March 11-12, 2017 Estates Auction by New Orleans Auction Galleries

New Orleans Auction galleries

MARCH 11-12, 2017

SESSION I: Sa t ur d ay, M a r c h 1 1 , 2 0 1 7 | L o t s 1 - 5 7 8

10:00 - 11:00

100

11:00 - 12:00

101

200

12:00

1:00

201

300

1:00

2:00

301

400

2:00

3:00

401

500

3:00

3:45

501

578

SESSION II: Sunday, March 12, 2017 | Lots 579 - 1119

10:00 - 11:00

579

649

11:00 - 12:00

650

719

12:00

1:00

720

789

1:00

2:00

790

889

2:00

3:00

890

989

3:00

4:00

990

1089

4:00

4:20

1090

1119

f e a t u r in g p r o p e r t y f r o m : The Estate of Carolyn Grant Fay Houston, Texas The Collection of Gail and the Late Gene Miller Baton Rouge, Louisiana

Website: NewOrleansAuction.com Email: Info@NewOrleansAuction.com Tel: 504-566-1849 | Fax: 504-566-1851 333 St. Joseph Street, New Orleans, Louisiana 70130 Right: Lot 935 Cover: Lot 557 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 or Check)

E s tat e s A u c t i o n :

M a r c h 11 - 1 2 , 2 0 1 7 Exhibition: March 1 - 10, 2017, Open Daily, 9 a.m. - 5 p.m. (Closed Sunday)

E v e n i n g Re c e p t i o n : Thursday, March 9, 2017, 5 - 8 p.m.

Evening Preview r e c ep t i o n | D e c . 2 0 1 6

L-R: Shawn McLain & Rico Valentino; Jen Sharp & Leah Foster; Wes & Sarah Pryor, Ashton Thomas; Margarita Bergen, Russell Rocke & Heidi Klee; Leigh Firestone & Hannah Goldstein; Christine White & Christian Galrin; Facundo Marolla, Hannah Cunningham & Garret Oswell; Jelena James, Rebecca Moss & Burke

letter from the ceo Bright, blooming flowers; gentle breezes ushered through wide-open windows; – all these things, and more, selfevidently signify spring. They bring to mind thoughts of renewal, and, if you are like me, renovation. Whether a quick decluttering and cleaning, or orchestrating a major house overhaul, as we move from the shadows of the longer, darker days of winter, this season seems to move us to spruce up our homes. Because my father was a Navy lifer, for my family, renovation meant we were moving again, possibly to housing on a base, or to off-base Navy housing, or to an affordable neighborhood, but always on a serviceman’s salary. One hundred percent of those homes were small, dark, dingy and in need of repairs. Before moving in, we would first clean thoroughly with a serious scrub and sweep, and disinfect. My mother’s passion for cleaning knew no bounds, and thus, I still loathe linoleum and old stoves with all my hear t. So after an exhausting couple of days of scrubbing, came painting, because we always repainted wherever we moved. To this day, the smell of fresh paint makes me think of the excitement of a new star t. With the stroke of a brush, our kitchens would transform with a coat of sunny yellow paint. My sister and I shared a bedroom, which was always pink, her choice, and the remainder of the rooms were softened with the perfect shade of linen – never white, never beige, just a subtle but luminous linen. Once the painting was done and we arranged the furniture, Mom would whip up new cur tains and we were home. These moves had to have been hard on my mom. However, to me, I welcomed each relocation as an adventure, secure in the knowledge that wherever we moved and whatever we moved into, that safe and welcoming place, with its bright yellow kitchen and our beloved dogs and cats, was home, until the next move. No matter how impermanent, it was where I loved to be.

As I learned growing up and fur thermore as I raised my own children, a home provides more than a protective roof over our heads. It contains our treasured objects and mementos and our prized furnishings, along with our memories. And, therefore, it also provides a kind of protective roof over our hear ts. If you have decided your cherished home could use a little seasonal sprucing, which might include finding that perfect table, or adding a few more precious collectables, join us at New Orleans Auction Galleries for our March 11th and 12th Auction. It will feature 1,119 items that will surely add some excitement to your own special springtime renewal! Our March sale features a beautiful painting by William Powell Frith depicting Sancho Panza and Don Quixote, an impressive Gorham Mar telé tea set, a collection of Picasso ceramics, a selection of exceptional Paris porcelain corbeilles, Newcomb pottery and much more. If you are a jewelry lover, you will enjoy our Sunday morning, which includes a large collection of Elizabeth Locke jewelry from a New Orleans estate as well as a playful Ar t Deco Raymond C. Yard “Rabbit Waiter” brooch from the 1930s. We are also pleased to offer furniture, decorative ar ts and paintings from the Estate of Carolyn Grant Fay of Houston, Texas and from the Collection of Gail and the Late Gene Miller of Baton Rouge, Louisiana. We would like to invite you to our preview par ty on March 9th from 5 p.m. to 8 p.m. Join us for drinks and hors d’oeuves while you take a look at our 1,119 ways to welcome spring! From our home to yours,

Susan D. Sarofim CEO P.S. Make sure to mark your calendars for New Orleans Auction Galleries’ premiere Fine Art Auction on April 22!

Carolyn grant fay HOUSTON, TEXAS

Carolyn Grant Fay was born on Galveston Island in 1914 to John F. Grant and Homoiselle Davenport Randall. The family moved to Houston the following year. She attended The Kinkaid School, at the time still located in Margaret Hunter Kinkaid’s home on the corner of San Jacinto and Elgin streets, from Kindergarten to ninth grade. She then enrolled in San Jacinto High School where she would meet the love of her life, Ernest Bel Fay. Ernest was a frequent guest at her mother’s Sunday night dinners and the two quickly became enamored with each other. Following her graduation from San Jacinto High School in 1931, Carolyn attended the Madeira School outside of Washington, D.C. Carolyn went on to study at Vassar College while Ernest studied at Harvard. The two visited frequently via train and married in New York City just days after Carolyn’s graduation from Vassar in June 1936. An avid sailor, Ernest left the day after the wedding to sail in the Bermuda Race, a 635 nautical mile sailing race from Newport, Rhode Island to Bermuda. The biennial event is considered the oldest regularly scheduled ocean race. Carolyn followed Ernest on the RMS Queen of Bermuda. During World War II, Ernest was a commander in the Navy. The couple remained together for 50 happy years sailing, dancing, traveling and laughing through life together until Ernest’s tragic death during a sailboat race on Galveston Bay in 1986. A brilliant and remarkable woman, Carolyn developed a passion for Jungian psychology in mid-life. She studied under Ruth Thacker Fry, a Jungian scholar who had completed three years of study at the Jung Institute in Zurich. In 1958, Carolyn, along with fellow students Alma Lloyd, Ella Winston and Ethel Kurth, founded The C.G. Jung Educational Center in Houston. She served as President of the Board of Trustees for 30 years and made numerous substantial contributions to ensure that The Center would continue to provide for future generations, including the generous donation of the building that houses The Center today.

In addition to Jungian psychology, Carolyn pursued her interest in dance therapy. She studied at the University of Houston, the University of Arizona and received her Masters in counseling and dance therapy from Goddard College. She became a counselor and a teacher, incorporating dance movement and other expressive arts into her work. One of her many lasting contributions to The Center is her creation of the School of Expressive Arts, an exploration of the intersections of dance therapy and Jungian psychology. Carolyn was awarded the Humanitarian Award by The Center in 2014 in honor of her 100th birthday. Carolyn’s philanthropic contributions did not stop at The Jung Center – she was an influential force in many other causes in the Houston community. She served on the Board of Directors for The Fay School, the Junior League of Houston, The Mental Health Association of Houston and Harris County and The DePelchin Children’s Center. She was a member of the Texas Corinthian Yacht Club, which she and her husband started with three other couples, Houston Country Club, Bayou Club, Bolero Club, Garden Club of Houston, The Argyle and the National Society of Colonial Dames of America. Carolyn also contributed to The University of Houston, MD Anderson Cancer Center, The Texas Medical Center, Vassar College, Madeira School, The Fay School and the establishment of the Grant/Fay Park in the Texas Medical Center in memory of her parents. Carolyn resided in the West Eleventh Place Historic District, a community planned in the 1920s by architect J. W. Northrop, Jr., in the Museum District of Houston on a private cul-desac. She died in August 2016 at 101 years old. New Orleans Auction Galleries is honored to offer fine art, silver, antique furniture, porcelain and more from the Estate of Carolyn Grant Fay.

S e s sion I : S at u r day, M a r c h 1 1 , 2 0 1 7 Lots 1 - 5 7 8

Lot 5 5 6

4 1

1 Directoire-Style Painted Trumeau Mirror, the upper tablet decorated with a roundel depicting figures in classical dress, framed with putti supporting delicate scrollwork and swags of flowers, the side panels with carved bellflowers over painted vases of flowers, the mirror plate with a ribbon-bound surround, h. 64‑1/4”, w. 45”. [1800/2500] Illustrated

3 Pair of Asian-Inspired Black Metal Planters, with tapered bodies on straight bracket feet, the sides mounted with ring pulls, the bottoms with drainage holes, h. 16”, w. 47‑1/2”, d. 16”. [500/800] Illustrated

2 Pair of Asian-Inspired Gray Metal Planters, with tapered sides and ball feet, set with ring handles, h. 23‑1/2”, w. 22‑1/2”, d. 22‑1/2”. [600/900] Illustrated

4 Pair of French Peinte-Gris Columnar-Form Pedestals, ca. 1900, the stop-reeded and fluted standards with inset carved scrollwork, and set with composite capitals and cove-molded tops, h. 61‑1/2”, w. 15‑1/2”, d. 15‑1/2”. [800/1200] Illustrated

5 Classical-Style Bronze Campana-Form Garden Urn, the body decorated with molded acanthus leaves and beading, the sides mounted with bold lion’s head ring handles on scrolled backplates, the downturned rim molded with lotus, h. 40”, w. 40”, d. 31”. [700/1000] Illustrated 6 Continental Composition Figure of an Imperial Roman Woman Wearing a Stola, 20th century, after the Antique, presented on a naturalistic plinth with a faint Latin inscription, overall h. 80”, w. 22”, d. 19”. [800/1200] Illustrated 7 Pair of Cast Stone Recumbent Lions on Bases, after a design by Antonio Canova (Venetian, 1757‑1822), h. 22”, w. 12‑1/4”, l. 24”. [600/900] Illustrated 8 Pair of Louis XV-Style Polychrome Bergeres, late 19th century, each with a padded and domed back surmounted by a floral crest, joined by padded arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes, h. 37‑1/4”. [800/1200] Illustrated

9 Louis XVI-Style Trumeau Mirror, ca. 1900, French, the mirror plate below an oil on canvas depicting a pair of shepherdesses resting with their flock, each framed with ribbon-bound giltwood, h. 65‑1/2”, w. 39‑1/4”. [800/1200] Illustrated 10 Italian Provincial-Style Painted and Silver-Gilt EightLight Chandelier, the turned wooden standard ornamented with silver-gilt carving, the scrolled candle arms set with silver-gilt-carved candle cups, the upper portion decorated with sprays of wooden finials, a silver-gilt bellflower serving as the lower finial, h. 36‑1/2”, dia. 36‑1/4”. [700/1000] Illustrated

11 Italian Provincial-Style Painted and Silver-Gilt Eight-Light Chandelier, the turned wooden standard ornamented with silvergilt carving, the scrolled candle arms set with silver-gilt-carved candle cups, the upper portion decorated with sprays of wooden finials, a silver-gilt bellflower serving as the lower finial, h. 36‑1/2”, dia. 36‑1/4”. [700/1000] Illustrated 12 Louis XV-Style Parcel-Gilt Trumeau Mirror, fourth quarter 19th century, with a gray-painted ground, the upper and lower panels trimmed with giltwood ogee molding decorated with scrollwork, with pierced rocaille work and a shell, set with an antique mirror glass, h. 74‑1/2”, w. 29‑1/4”. [800/1200] Illustrated

13 Pair of Italian Creme-Peinte and Parcel-Gilt Beds, 19th century, each with a tall headboard surmounted by an acanthine cornice over a scrolling ram-centered frieze over a paneled back, the lower footboard with an annulated and gadrooncarved frieze over a roundel featuring a deeply carved putto within a floral and foliate wreath, flanked to either side by a musical trophee, the whole raised on tall bulbous circular legs headed by ram’s masques and ending in toupie feet, h. 63”, inside w. 37‑1/2”, l. 74‑1/4”, outside w. 41‑1/2”, l. 82‑1/4”. [2000/4000] Illustrated

15 French Directoire-Style Parcel-Gilt Mirror, second half 20th century, with a gilt cove-molded scrolled surround, the upper table decorated with a gilt lozenge and a wreath of fruit, all on an ivory ground, h. 50‑1/4”, w. 31‑1/2”. [800/1200] Illustrated 16 Italian Giltwood and Polychrome Console Table, late 18th century, the shaped faux-marbre top above a foliate-carved frame raised on a support of foliate-carved C-scrolls, h. 29”, w. 28‑1/4”, d. 10”. [500/800] Illustrated

14 Continental Neoclassical Bas-Relief Plaster Sculpture, 20th century, modeled as a pair of putti playfully wrestling with a bowknot, against a draped background, h. 23‑1/2”, w. 31‑1/2”, d. 8”. [800/1200] Illustrated

16 13

20 18

17 Suite of Six Louis XV-Style Polychrome Sidechairs, early 20th century, each with a shaped caned back surmounted by a foliate crest, the caned seat raised on molded cabriole legs joined by an X-form stretcher and ending in scrolled toes, h. 38‑1/2”. [1200/1800] Illustrated

19 Louis XV-Style Polychrome Fauteuil, mid-19th century, the domed and padded back surmounted by a foliate shield-carved crest and within a molded frame, joined by scrolled arms to the padded seat, raised on cabriole legs to foliate-scrolled toes, h. 39”. [700/1000]

18 Continental Rococo-Style Crystal, Metal and Composition Eight-Light Chandelier, second quarter 20th century, the reeded and rococo-molded composition standard set with scrolled metal candle arms terminating in floriate-molded drip pans and candle cups, accented with swags of drops and various sizes of cut glass drops, h. 32”, dia. 23‑1/2”. [700/1000] Illustrated

20 Louis XIV-Style Polychrome and Marble-Top Tabouret, late 19th century, the inset circular marble top above a conforming pierced guilloche frieze and pendant laurel swags, and raised on molded bellflower-carved legs joined by a circular stretcher and ending in hairy hoof feet, h. 24‑1/2”, dia. 16‑1/2”. [700/1000] Illustrated

21 Louis XVI-Style Polychrome Porter’s Chair, late 19th century, the removable domed hood within a ribbed bead and foliate entwined frame, the padded rectangular back joined by shaped sides and downswept arms to the cushioned seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 55”. [1000/1500] Illustrated 22 Paul Renard (French/Dutch, 20th Century), “Parisian Snow Scene with View of Notre Dame”, gouache and watercolor on paper, signed lower right, 7‑1/4” x 11‑1/4”. Glazed, matted and framed. [1000/1500] Illustrated

23 Anton Karssen (Dutch, b. 1945), “Winter Evening”, oil on wood panel, signed lower right, 11‑3/8” x 16”. Framed. [1200/1800] Illustrated 24 Continental School (20th/21st Century), “Turn-of-theCentury Street Scene”, oil on canvas, illegibly signed lower right, 36‑3/4” x 48‑1/4”. Framed. [1000/1500] Illustrated

25 Louis XVI Polychrome Bergere, late 18th century, the padded rectangular back within a molded frame, joined to the cushioned seat by padded arms, raised on fluted tapering circular legs ending in toupie feet, h. 33‑1/4”. [1000/1500] Illustrated 26 Unusual Italian Neoclassical Parcel-Gilt and PaintDecorated Mirror, first quarter 19th century, on a gray-painted, black-trimmed wooden backplate, the giltwood mirror surround decorated with medallion corners, the high crest outlined with loops of braid terminating in carved tassels, and framing a giltwood military trophy with a shield, flowers, flags and a trumpet, the sides with giltwood baskets of flowers, h. 42”, w. 24‑1/2”. [700/1000] Illustrated

27 French Carved, Polychrome and Giltwood Barometer in the Baroque Taste, mid-18th century, the dial decorated with flowers, a carved bowknot supporting garlands of laurel leaves on each side, the lower portion with rocaille work of leaves and berries, carved in giltwood on an olivegreen ground, h. 37”, w. 11”. [600/900] Illustrated 28 Unusual Continental Bookcase, 19th century and later, the molded cornice above open shelving with two tiers of leather book bindings below, the lower section fitted with two cupboard doors faced with leather drawer fronts, raised on a plinth base, h. 110”, w. 66”, d. 16‑3/4”. [1500/2500] Illustrated 27

29 Continental School (First Quarter 19th Century), “Mountain Valley Landscape with Figures, a Village in the Distance”, oil on canvas, unsigned, 34” x 43”. Framed. [1800/2500] Illustrated 30 Suite of Eight Louis XV-Style Fruitwood Sidechairs, late 19th century, each with a shaped and padded back surmounted by a shaped crest, the padded seat raised on molded cabriole legs ending in scrolled toes, h. 39”. [700/1000] Illustrated 31 French Neoclassical-Style Giltwood Trumeau Mirror, fourth quarter 19th century, the gilt frame lined with dents-de-loup carving, the oil on canvas depicting riders in habits in a pastoral landscape, h. 58‑1/2”, w. 28‑1/2”. [600/900] Illustrated 32 Louis XVI-Style Polychrome Bergere, late 19th century, the padded rectangular back within a molded frame and joined by downswept padded arms to the cushioned seat, raised on stopfluted tapering circular legs ending in toupie feet, h. 34‑1/2”. [700/1000] Illustrated

35 36

33 Continental Polychrome and Faux-Marbre Bookcase, 19th century and later, the heavily molded cornice above a foliatedecorated frieze, with two large grilled doors below, flanked and separated by engaged fluted pilasters, the lower section fitted with four cupboard doors, each paneled, the whole raised on a plinth base, h. 99”, w. 118”, d. 18‑1/2”. [3000/5000] Illustrated 34 Continental Faux-Marbre-Painted Wood Column-Form Pedestal, 20th century, with a “verde antico” painted base and a “rosso antico” painted standard, h. 48‑1/4”, w. 17”, d. 17”. [500/800] Illustrated

35 Niek van der Plas (Dutch, b. 1954), “View of Venice”, oil on wood panel, signed lower right and en verso, 5‑1/4” x 13‑1/4”. Framed. [1000/1500] Illustrated 36 Niek van der Plas (Dutch, b. 1954), “Horseback Riders on the Beach”, oil on wood panel, signed lower right and en verso, 11‑3/8” x 9‑3/8”. Framed. [1000/1500] Illustrated

40 38

37 E. Haines (American, 20th Century), “Painting the Sea”, oil on canvas, signed lower right, 20” x 27”. Framed. [1500/2500] Illustrated 38 Directoire Polychrome Fauteuil, late 18th century, the padded square back surmounted by a paneled foliate scroll-carved crest, joined by downswept arms to the cushioned seat, raised on circular foliate-capped legs to cap feet, h. 35‑1/2”. [700/1000] Illustrated

39 Louis XVI-Style Polychrome and Marble-Top Side Table, the breakfront D-form marble top above a conforming frieze with foliate guilloche-carved panels and a central carved shield, raised on stop-fluted tapering circular legs joined by a shaped S-form stretcher and ending in foliate-carved bulbous feet, h. 39‑1/2”, w. 61‑1/2”, d. 17‑1/2”. [1000/1500] Illustrated 40 Louis XVI-Style Polychrome Chaise Longue, 19th century, the padded rectangular back surmounted by a molded crest, joined by like sides to the long padded seat, raised on stopfluted tapering circular legs headed by floral block capitals and ending in toupie feet, h. 39”, w. 29”, l. 73”. [600/900] Illustrated

41 Pal Fried (Hungarian, American, 1893‑1976), “Dolores”, oil on canvas, signed lower left, titled en verso canvas, 24” x 30”. Framed. [1000/1500] Illustrated 42 Pierre Eugene Duteurtre (French, 1911‑1989), “Pique Nique”, oil on canvas, signed lower left, signed and titled en verso canvas, 18” x 21”. Framed. [1500/2500] Illustrated

43 Directoire-Style Polychrome Window Seat, late 19th century, the padded rectangular seat flanked to either end by a padded outswept side, raised on fluted tapering circular legs ending in peg feet, h. 31”, w. 32”, l. 64‑1/2”. [1000/1500] Illustrated 44 Arthur J. Black (British, 1855‑1936), “In the Clearing”, oil on canvas, signed lower right, 24” x 30”. Framed. [1000/1500] Illustrated

47 Attributed to Sandor Bihari (Hungarian, 1855/56‑1906), “The Village Girls”, oil on canvas, unsigned, 12‑1/4” x 15”. Presented in a giltwood frame affixed with artist plaque. [1000/1500] Illustrated 48 Pair of Continental Brass Candlesticks, ca. 1700, with bellform feet and turned standards, h. 8‑1/4”, dia. 6”. [500/800] 49 Henry Joseph Ferdinand Pieron (Belgian, 1856‑1912), “The Thatched Cottage”, 1880, oil on canvas, signed and dated lower right, signed, dated and inscribed en verso canvas, 38” x 29”. Framed. [1500/2500] Illustrated

45 Continental Fruitwood and Marble-Top Commode, early 19th century, the marble top with a serpentine front, above a conforming case fitted with three long drawers, all with incised scrolling foliate designs, each side also fitted with a cabinet, raised on cabriole feet ending in sabots, h. 36‑1/2”, w. 80‑1/2”, d. 26”. [2000/4000] Illustrated 46 Emil Barbarini (Austrian, 1855‑1933), “Autumnal Village Scene with a Figure on Horseback”, oil on canvas, signed lower right, 27” x 40‑1/2”. Presented in a period, deeply carved and molded giltwood and gesso frame in the rococo style. [1800/2500] Illustrated

50 Provincial Regence Fruitwood Commode, 18th century, the slightly bowed and banded top with decorative geometric patterns, above a conforming case fitted with three long drawers over a shaped apron, raised on stylized hoof feet, h. 33”, w. 50‑1/2”, d. 26‑1/2”. [2000/4000] Illustrated

51 Collection of Three Pairs of Louis XV Brass Candlesticks, third quarter 18th century, including a pair with arched panels in the standards, engraved with bellflower swags on the bases, h. 10‑1/2”, dia. 5‑1/4”, a pair with arched panels in the standards, over shells and bellflowers, h. 10”, dia. 5‑1/2”, and a pair with paneled standards molded with shells, h. 10‑3/4”, dia. 6”. [600/900] Illustrated 52 Collection of Six French Brass Candlesticks, 18th century, including a pair of Louis XV ormolu sticks with arches framing engraved panels, h. 10”, dia. 5‑3/4”, a pair of Directoire ormolu sticks with original engraved decoration, h. 6‑1/4”, dia. 4‑1/2”, a single Louis XV engraved candlestick, h. 10‑1/2”, dia. 8‑1/2”, and a single Louis XIV candlestick with engraved decoration, h. 7‑1/2”, dia. 4”. [500/800] 53 Frederick Dickinson Williams (American/French, 1829‑1915), “French Village Scene”, oil on canvas, signed and dated “’72” lower right, 14‑1/4” x 16‑5/8”. Presented in a period frame. [1000/1500] Illustrated

54 Regence Fruitwood Commode, mid- to late 18th century, the rectangular top with a molded edge and slightly bowed front, above a conforming case fitted with three drawers, each with decorative panels and hardware, above a shaped apron, raised on shaped legs, h. 31‑1/2”, w. 39”, d. 20”. [1800/2500] Illustrated

55 Continental Provincial Fruitwood and Marble-Top Side Table, late 18th century, the rounded rectangular marble top above a conforming frieze fitted with a single drawer and with a fleur-de-lis-carved pendant, raised on cabriole legs headed by foliate shells and ending in hoof feet, h. 28‑1/2”, w. 34”, d. 25‑1/4”. [800/1200] Illustrated 56 Vladan Stiha (American/New Mexico, 1908‑1992), “Lobster Still Life”, 1982, oil on canvas, signed and dated lower right, signed en verso, with a “Stiha Studio & Gallery, Santa Fe, New Mexico” label on stretcher, 19‑7/8” x 24”. Framed. [1500/2500] Illustrated

57 Karoly Bachmann (Hungarian, 1874‑1924), “Still Life with Pottery and a Copper Pot”, oil on board, signed upper right, 5” x 6”. Framed. [1000/1500] Illustrated 58 Louis XIII-Style Fruitwood Fauteuil a la Reine, 18th century, the tall padded back joined by downswept arms to the padded seat, raised on turned and block legs joined by a like H-form stretcher and ending in ball feet, h. 48”. [600/900] Illustrated

59 Provincial Regence Fruitwood Commode, late 18th century and later, the rectangular top with a shaped front and molded edge, above a conforming case fitted with three long drawers, each with three panels, raised on shaped feet, h. 38”, w. 55‑1/2”, d. 27”. [2500/4000] Illustrated 60 French Tapestry of Fruit Pickers in an Orchard, 20th century, machine made, 5’ 1‑1/2” x 4’ 4”. [1200/1800] Illustrated

61 Provincial Louis XV Walnut Side Table, late 18th century, the rectangular top above a conforming scalloped frieze fitted with a single drawer, raised on slender cabriole legs, h. 26‑1/4”, w. 35‑1/2”, d. 25”. [800/1200] Illustrated 62 Pair of French Provincial-Style Fruitwood End Tables, 20th century, each with a shaped front and three-quarter raised edge, above a case fitted with two small drawers, raised on cabriole legs, h. 27”, w. 25”, d. 17‑1/2”. [700/1000] Illustrated

63 Henry Schouten (Belgian, 1864/1867‑1927), “Horses in a Field”, oil on canvas, 20” x 29”. Presented in a period giltwood and gesso frame. [2000/4000] Illustrated

65 Henry Schouten (Belgian, 1864/1867‑1927), “Cattle at Rest”, oil on canvas, signed lower right, 29” x 36‑1/4”. Framed. [1500/2500] Illustrated

64 Henry Schouten (Belgian, 1864/1867‑1927), “Resting by a Fence”, oil on canvas, signed lower right, 16” x 23‑1/2”. Framed. [1000/1500] Illustrated

66 Henry Schouten (Belgian, 1864/1867‑1927), “Herding the Cattle”, oil on wood panel, signed lower left, 19‑5/8” x 29‑3/8”. Framed. [1800/2500] Illustrated

67 Provincial Louis XV-Style Fruitwood Buffet, late 18th century, the rounded rectangular top above a case fitted with two drawers over two cupboard doors, each inset with a shaped panel, over a shaped foliate urn-carved apron, raised on scrolled feet, h. 38‑1/2”, w. 54‑1/2”, d. 24‑1/2”. [1800/2500] Illustrated 68 Italian Walnut and Marble-Top Commode, late 18th century, in the rococo taste, the slightly bowed charcoal marble top above a conforming case fitted with two long drawers, each tri-paneled, raised on molded splayed legs, h. 38‑1/2”, w. 48”, d. 22‑1/2”. [1800/2500] Illustrated

69 Edmond Marie Petitjean (French, 1844‑1925), “Hilltop Village on a River”, oil on canvas, signed lower right, 18‑1/2” x 26‑1/2”. Framed. [1000/1500] Illustrated 70 Provincial Louis XV Walnut Center Table, late 18th century and later, the square top with shaped and turreted corners, above a scalloped frieze, raised on cabriole legs ending in hoof feet, h. 30”, w. 35”, d. 35”. [800/1200] Illustrated

71 Provincial Louis XV-Style Fruitwood Settee, early 20th century, the padded and triple-domed back surmounted by floral crests, joined by downswept padded arms to the cushioned seat, raised above a shaped floral-carved apron on molded cabriole legs ending in peg feet, h. 40”, w. 80”, d. 27”. [3000/5000] Illustrated 72 Provincial Louis XV-Style Walnut Armoire, circa 1800, the rounded rectangular ogee-molded cornice above a conforming case fitted with a paneled and basket-carved “marriage” frieze over two long doors, each inset with two shaped panels, raised on shaped toes, h. 82”, w. 60”, d. 23”. Provenance: Wirthmore Antiques, New Orleans, LA reputedly acquired in the Borgogne region of France. [1500/2500] Illustrated

73 Provincial Louis XV-Style Mahogany and Fruitwood Draw-End Table, the rectangular top paneled and fitted with two draw-end leaves, raised above a scalloped frieze on molded cabriole legs headed by foliate carving and ending in scrolled toes, h. 30”, w. 40‑1/2”, l. 56”, extended l. 86”. [1000/1500] Illustrated

74 Francois Duyk (Belgian, 19th/20th Century), “Horses Watering with Children at Play”, 1875, oil on canvas, signed and dated lower right, 39‑1/2” x 30”. Framed. [1400/1800] Illustrated

78 76

75 Continental Provincial Fruitwood Tiered Occasional Table, late 19th century, the elongated, canted rectangular top with a full gallery and banding surrounding a parquetry inlay, joined by end supports to two lower elongated ovoid shelves with like banding and inlay, raised on splayed supports, h. 28”, w. 24”, d. 11”. Provenance: Balzac Antiques, New Orleans, Louisiana. [700/1000] Illustrated 76 Provincial Directoire-Style Fruitwood Settee, early 20th century, of elongated barrel form, the flat crest over four pierced diamond patera splats, the padded seat raised on bulbous fluted circular legs ending in toupie feet, h. 33”, w. 49”, d. 23”. [800/1200] Illustrated

77 Pair of Louis XVI-Style Fruitwood Demi-lune Side Tables, 19th century, each with a demi-lune top above a plain frieze, raised on tapering square legs ending in brass caps and casters, h. 27”, w. 50‑1/2”, d. 25”. [500/800] Illustrated 78 Louis XVI-Style Fruitwood Dining Table, 20th century, the rounded top with two ovoid drop leaves, bisected and opening to accommodate three 20” leaves, raised on tapering circular legs ending in brass caps and casters, h. 29”, w. 52”, l. 24”, extended l. 84”. [500/800] Illustrated

79 Provincial Directoire-Style Fruitwood Settee, late 19th century, the slightly curved crest rail above four lyre-form splats, joined to the padded seat by outscrolled arms, raised on tapering square sabre legs, h. 33‑1/4”, w. 68‑1/2”, d. 19‑1/2”. [700/1000] Illustrated 80 Swedish Neoclassical Giltwood Mirror, second quarter 19th century, with spiral-reeded pilasters terminating in acanthuscarved capitals beneath carved medallions, the upper tablet with a pitch pediment over a molded lunette, decorated with a central lyre flanked by carved leaves and berries, h. 71‑1/2”, w. 32”. [1000/1500] Illustrated

81 Biedermeier Fruitwood Cabinet, mid-19th century, the stepped and molded cornice above a case fitted with a single door, with a glazed upper section with an overlaid wood lyre and fabric backing, flanked to either side by an engaged ebonized pilaster, raised on block feet, h. 66‑1/2”, w. 34”, d. 16‑1/2”. [500/800] Illustrated 82 Pair of Continental Neoclassical Walnut Sidechairs, early 19th century, possibly Baltic, each with a domed crest over a splat, with painted accents to simulate a leaf, the padded seat raised on sabre legs, h. 36‑1/2”. [600/900] Illustrated

86 one of a pair

85 83

83 Biedermeier Blonde Fruitwood Settee, mid-19th century, the triangular crest and shaped frame above a padded back, joined by in-scrolled arms to the padded and bolstered seat, raised on exaggerated and ribbed splayed legs ending in brass caps and casters, h. 38‑1/2”, w. 104”, d. 24”. [2000/4000] Illustrated 84 Italian Carved Marble Bust of the “Diana of Versailles”, fourth quarter 19th century, after the 1st or 2nd century BCE Roman sculpture (itself a copy of a Greek original attributed to Leochares) now at the Musee du Louvre, Paris, a faint and illegible signature at back, on a socle base, overall h. 16‑1/2”, w. 10”, d. 6”. [800/1200] Illustrated

85 Italian Carved Marble of “The Country Girl”, fourth quarter 19th century, h. 24”, w. 10‑1/2”, d. 7‑1/4”, now presented on a columnar plaster plinth of antique inspiration, plinth h. 18‑3/4”. [1000/1500] Illustrated 86 Pair of Giltwood Cushion Mirrors in the Rococo Taste, second quarter 20th century, the gadrooned surrounds with shell-carved corners and set with beveled mirror plates, h. 45”, w. 37”. [1200/1800] Illustrated

87 Neoclassical Iron and Marble-Top Console Table, the long shaped marble top above a conforming pierced frieze centered by a foliate panel, raised on large open scroll supports with gilt foliate accents and ending in foliate toes, h. 35”, w. 88”, d. 21”. [700/1000] Illustrated

89 Unusual Pair of Continental Giltwood Sconces, fourth quarter 19th century, on acanthus-carved oval backplates, the leaf-carved, scrolled arms terminating in classical figures wearing laurel wreaths and supporting scalloped tin drip pans, now set with electrical sockets, h. 25‑1/2”, w. 8”, d. 19”. [1500/2500] Illustrated

88 Italian Neoclassical-Style Parcel-Gilt and Verdigris-Painted Mahogany Pier Mirror, ca. 1900, the mahogany frame with an upper tablet centered by a reeded urn flanked by a pair of griffins and lyres with unfurled ribbons, the mirror plate flanked by Corinthian-column pilasters, the surround richly decorated with scrollwork, acanthus leaves and swans, h. 105‑1/2”, w. 63”. [2500/4000] Illustrated

90 Italian Grand Tour Patinated Bronze “Warwick Vase”, fourth quarter 19th century, on a rosso antico marble base, the vase with twisted vine-form handles and a molded rim, with a removable brass liner for use as a jardiniere, h. 7‑3/4”, w. 10‑1/2”, d. 7”. [500/800] Illustrated

91 92

91 Italian Neoclassical Mixed Fruitwood Commode, early 19th century, the rectangular top above a conforming case fitted with two long drawers, each tri-paneled with decorative quarter veneering and banding, raised on tapering square legs, h. 32‑1/2”, w. 43‑1/2”, d. 21”. [1500/2500] Illustrated 92 Pair of Continental Patinated and Gilt-Bronze Four-Light Sconces, in the neoclassical taste, one decorated with a patinated satyr holding a pair of two-light candle arms, and the other a nymph holding a pair of two-light candle arms, the gilded bases decorated with grapes, pan pipes, tambourines and other accoutrements for a Dionysian feast, h. 34‑1/2”, w. 11”, d. 10”. [1200/1800] Illustrated

93 French Patinated Bronze of “Diana of Gabii”, ca. 1900, after the 4th century BCE marble statue attributed to Praxiteles and now conserved at the Musee du Louvre, an “A. Collas/Brevete/ Reduction Mechanique” foundry mark at edge of self-base, h. 26‑3/4”, w. 8‑1/4”, d. 6‑3/4”. [700/1000] Illustrated 94 Italian Carved Marble Bust of “The Aphrodite of Melos”, ca. 1900, after the 2nd century BCE Hellenistic marble sculpture excavated in 1820 and now conserved at the Musee du Louvre, Paris, on a socle base, h. 22”, w. 13‑3/4”, d. 8‑3/4”. [700/1000] Illustrated

96 Pair

95 Italian Neoclassical Fruitwood and Elm Commode, early 19th century, the banded rectangular top above a conforming case fitted with three long drawers, all banded and paneled to simulate three small drawers, raised on tapering circular legs, h. 33‑1/2”, w. 50‑1/2”, d. 21‑1/4”. [2000/4000] Illustrated 96 Pair of Continental Neoclassical Giltwood Pier Mirrors, ca. 1800, the frames carved with a rope-twist outer edge, inset with medallions on the corners and bold egg-and-dart molding on four sides, carved over urns set with wire and giltwood leaves serving as finials, with swags of bellflowers on each side leading to turned finials, set with an antique mirror glass, h. 79‑3/4”, w. 35‑1/4”. [1200/1800] Illustrated

97 Unusual Continental Bronze and Crystal Basket-Form TwoLight Chandelier, the lower bronze frame hung with strands of drops and set with small sprays of drops, the chandelier with one downturned and one upturned concealed socket, and lined with strands of drops and set with small sprays, a spray of drops and glass medallions decorating the top, h. 31”, dia. 29‑1/2”. [2000/4000] Illustrated 98 Continental Walnut and Fruitwood Cabinet, mid-19th century, the ogee-molded cornice above two tri-paneled glazed doors, opening to a shelved and mirrored interior, flanked to either side by a pilaster with an elongated inlaid Gothic arch, the sides also glazed, raised on a plinth base, h. 72‑1/2”, w. 72‑1/2”, d. 18‑1/2”. [1200/1800] Illustrated

99 Italian Neoclassical Mahogany and Fruitwood Commode, late 18th century, the rectangular top with a guilloche banding, above a conforming case fitted with an anthemion-inlaid banded frieze drawer over two long drawers, with a central inlaid foliate panel with like guilloche banding, raised on tapering square legs, h. 34”, w. 46‑1/2”, d. 23”. [1000/1500] Illustrated

101 Continental Fruitwood and Burlwood Bureau Plat, early 20th century, the large rectangular top with turreted corners and an inset leather surface, above a conforming frieze fitted with three fluted drawers to either side, raised on waisted, fluted tapering circular legs ending in toupie feet, h. 31”, w. 93”, d. 49”. [1000/1500] Illustrated

100 Pair of Continental Bronze and Marble Putti, fourth quarter 19th century, both seated, one with a stylus and tablet, the other with a book, each h. 15”, w. 6‑1/4”, d. 9”. [700/1000] Illustrated

102 Italian Neoclassical Giltwood Mirror, ca. 1800, on tapered, leaf-molded mirror rests, the surround carved with ribbon wrapping, the pierced crest flanked with carved drapes, decorated with a medallion, Greek-fret carvings and carved scrollwork, set with an antique mirror glass, h. 37‑1/2”, w. 28‑1/2”. [800/1200] Illustrated

100

103

102

101

103 Unusual Pair of Italian Giltwood Two-Light Pricket Sconces, 19th century and later, on lion’s head-carved backplates, the arms carved as branches, the ends with laurel leaves and set with iron candle prickets, h. 7”, w. 13‑1/2”, d. 7”. [500/800] Illustrated 104 Pair of Italian Giltwood Carvings, 19th century, carved with scrolls and leaves and accented with flowerheads, h. 14‑1/2”, w. 15”, d. 4”. [500/800] Illustrated

106 French Gilt-Bronze Sculpture of “Helen of Troy”, first quarter 20th century, after Auguste Joseph Peiffer (French, 1832‑1886), cast signature at side, h. 17‑3/4”, w. 8‑3/4”, d. 9”. [500/800] Illustrated 107 Neoclassical Decorative Canvas Panel, late 18th century, mounted on board, executed in oil paints, depicting an “Architectural Capriccio with Figures”, 61” x 38”. Framed. [600/900] Illustrated

105 Pair of Italian Parcel-Gilt Wood and Plaster Brackets in the Baroque Taste, mid-19th century, of classical form, the pierced brackets decorated with scrollwork and flowerheads, and mounted with walnut shelves, h. 32‑1/4”, w. 14‑1/2”, d. 9”. [500/800] Illustrated

105

104

106 107

111

111 detail

108

110

109

108 French Verdigris-Patinated Bronze of “Faune Dansant”, first quarter 20th century, after Eugene Louis Lequesne (French, 1815‑1887), a variant after his 1851 sculpture at the Jardin du Luxembourg, Paris, cast signature along edge of self-base, h. 44”, w. 15”, d. 25”. A bronze of this image was exhibited at the Paris Salon of 1887. [1200/1800] Illustrated 109 Pair of Neoclassical-Style Malachite Obelisks, raised on bases decorated with raised panels, above stepped plinths, h. 30‑1/2”, w. 6‑1/4”, d. 6‑1/4”. [2000/4000] Illustrated

110 Italian Neoclassical Polychrome Daybed, 19th century, in the Directoire taste, the long cushioned seat flanked to either end by an upright with a curved crest over a pierced lyre and urn splat, over a padded panel, raised on tapering circular legs ending in peg feet, h. 46”, w. 75”, d. 24‑1/2”. [3000/5000] Illustrated 111 Italian Neoclassical Polychrome Occasional Table, early 19th century, the canted rectangular top with a full dished edge and featuring a central polychrome shield design surrounded by garlands, festoons and a canopy, all within a foliate-patterned frame, above a conforming frieze fitted with a single small drawer, raised on slender, waisted, tapering square legs ending in pointed feet, h. 26”, w. 25‑1/4”, d. 17‑1/2”. Provenance: Kevin Stone Antiques, New Orleans, Louisiana. [1000/1500] Illustrated

115 113

114

112 Continental Neoclassical Polychrome Cabinet, 20th century, the rectangular top centered by a floral spray, above a conforming case fitted with two cabinet doors, each inset with a raised oval panel of a classical maiden, over a single drawer, raised on splayed bracket feet, h. 41‑1/2”, w. 26”, d. 13‑3/4”. [700/1000] 113 Italian Giltwood Mirror in the Rococo Taste, first quarter 20th century, the ogee-molded surround carved with flowers and scrollwork, beneath a mirror-inset pierced crest, the scrolled corners with like decoration, a pierced shell ornamenting the lower portion, h. 60‑1/2”, w. 35‑1/2”. [800/1200] Illustrated

114 Italian Rococo-Style Kingwood and Marble-Top Side Table, the long shaped and bowed Portoro marble top above a conforming frieze fitted with two end drawers flanking a central scrolling foliate- and shell-carved panel, raised on molded cabriole legs headed by shell and acanthine carving, joined by an X-form stretcher and ending in scrolled foliate feet, h. 38‑1/2”, w. 85”, d. 25‑1/2”. [2000/4000] Illustrated 115 Continental Patinated Bronze Allegorical Figure of Peace, 20th century, modeled as a young girl attending to a dove, cast signature “CAJANI” along edge of self-base, h. 12‑3/4”, w. 4‑1/4”, d. 4‑1/4”. [500/800] Illustrated

116 Unusual German Liqueur Set, first quarter 20th century, including three liqueur bottles composed of amber-cased glass decorated with engraved scrollwork and flowers, the tops of the bottles with rococo collars and set with stoppers with cupid finials, all fitting together in a round sterling silver holder, marked “Sterling Silver, Germany”, h. 11‑1/2”, dia. 5‑1/4”, together with eleven matching glasses composed of glass with alternating panels matching the decanters, with signed sterling bases, h. 2‑1/4”, dia. 1‑1/4”. [1000/1500] Illustrated 117 Unusual Pair of Continental Gilt-Metal and Crystal ThirteenLight Chandeliers, with a scrolled and pierced metal frame decorated with glass medallions, beads, drops and flowers, and set with four groups of three lights, each with molded crystal candle sockets, the lower center with a light concealed in an inverted pear-form shade composed of glass beading and medallions, with colorless and mauve flowers sprouting from the top, h. 42”, dia. 30”. [4000/7000] Illustrated

118 Italian Rococo-Style Giltwood Mirror, third quarter 20th century, with a serpentine crest and a finger-molded giltwood surround, the base decorated with pierced scrollwork, the sides with pierced rococo carving with flowerheads and reeded vases, and the pierced rococo crest with flowers and rocaille work, h. 64”, w. 39”. [800/1200] Illustrated 119 Italian Rococo Revival Fruitwood Console Table, 20th century, the shaped top with a molded edge, above a conforming frieze centered by a pierced shell, flanked to either side by a floral garland, raised on shaped legs headed by floral carving and joined by a shield-form stretcher base, h. 42”, w. 60”, d. 18‑1/2”. [1200/1800] Illustrated

118 117

116

119

120 Venetian Mahogany Settee, 20th century, the tall domed and padded back within a molded frame, joined by like outstretched arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, h. 43‑1/2”, w. 72”, d. 23‑1/2”. [600/900] Illustrated 121 Extensive Assembled Herend “Rothschild Bird” Partial Dinner Service, various dates from the early period, 1939‑48, to 1991, Hungary, including five dinner plates, dia. 10‑3/4”, nine bread-and-butter plates, dia. 6”, four crescent salad plates, dia. 7‑1/2”, four dessert/fruit/ sauce dishes, dia. 7‑3/4”, a pair of covered muffin dishes, h. 4”, dia. 8”, an oval open vegetable dish, h. 2‑1/2”, w. 10”, a scalloped tray, w. 12”, d. 9‑1/2”, a cake plate, w. 11”, d. 9‑3/4”, three cream soup bowls, dia. 5‑3/4”, three matching underplates, dia. 7”, two double egg cups, h. 3‑3/4”, one flat cup, h. 2”, a matching saucer, dia. 5‑3/4”, three footed cups, h. 2”, five matching saucers, dia. 4”, two leaf dishes, w. 8”, d. 7” and w. 3‑3/4”, d. 3‑1/8”, a small coffeepot, h. 6‑1/2”, two small teapots, one with a cover, h. 4”, two sugar bowls, one with a bird knop and the other a flower knop, dia. 3‑1/2”, a milk jug, h. 5”, w. 6”, a small chocolate/hot milk jug, h. 6‑1/4”, w. 4‑1/4”, a small vase, h. 2‑1/2”, a dinner bell, h. 2‑3/4”, a cream/mayonnaise ladle, l. 5‑1/2”, a round open weave basket, dia. 6”, a pierced plate, dia. 9‑3/8”, a chop plate, dia. 12”, and a lid, possibly to a jam pot, dia. 2‑3/4”. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [1500/2500] Illustrated

122

122 Nine-Piece Collection of Herend “Rothschild Bird” Porcelain, 20th century, Hungarian, including a ribbon tray, w. 11‑1/4”, d. 15‑1/2”, a teapot with a flower knop, h. 5”, w. 7‑1/4”, a cream jug with a twig handle, h. 2‑1/4”, w. 3‑1/4”, two flat cups, h. 2‑3/4”, with two saucers, dia. 5‑1/4”, a leaf dish, w. 3‑3/4”, d. 3‑1/4”, and a bud vase, h. 5”. [600/900] Illustrated 120

121

124 one of two

123

125

123 Italian Baroque-Style Giltwood Mirror, fourth quarter 19th century, the giltwood surround decorated with scrollwork, carved leaves and inset mirror glass, the base on scroll-carved mirror rests, and the lobed crest decorated with a basket of flowers and inset mirror glass, h. 38”, w. 21”. [1000/1500] Illustrated

124 Italian School (18th Century), “Floral Still Life with a Yellow Bird” and “Floral Still Life with a Spaniel”, pair of oils on canvas, unsigned, each 19‑1/2” x 24‑5/8”. Framed alike. [1500/2500] Illustrated 125 Continental Polychrome Dresser, late 19th century, the superstructure fitted with a central concave drawer flanked to either side by a shaped drawer, above a case with a serpentine top over three conforming long drawers, raised on cabriole legs, the whole decorated with floral and scrolling patterns, h. 41”, w. 51‑1/2”, d. 26”. [800/1200] Illustrated

126

127

128 129

126 Pair of Baroque-Style Patinated Plaster Brackets, first quarter 20th century, probably Venetian, decorated with rocaille and shell work under serpentine shelves with molded edges, h. 12‑1/2”, w. 12”, d. 10”. [500/800] Illustrated 127 Continental Fruitwood Settee, 19th century, the shaped and domed padded back surmounted by a shield-carved crest, joined by padded outscrolled arms to the cushioned seat, raised on cabriole legs headed by foliate carving and ending in scrolled toes, h. 42”, w. 83”, d. 28”. [700/1000] Illustrated

128 Italian Oak and Faux-Marbre Side Table, early 19th century, in the Grotto taste, the shaped faux-marbre top with a molded edge and raised on large S-form supports with foliate carving and a large central shell support, all above a shaped stretcher on large paw feet, h. 36”, w. 60”, d. 24”. [1500/2500] Illustrated 129 Pair of Continental Carved Giltwood and Gilt-Metal TwoLight Sconces, second quarter 20th century, on backplates carved with shells and “C” scrolls, the gilt-metal candle arms set with leaves and floriform drip pans, under electrified candles, h. 18‑1/2”, w. 8‑1/2”, d. 5‑3/4”. [500/800] Illustrated

133 130

131 132

130 Italian Giltwood Mirror in the Neoclassical Taste, ca. 1900, with a segmented mirror glass framed in giltwood, the crest designed with a bold, pierced central shell set against pierced scrollwork and bellflowers cascading down each side, h. 54”, w. 30”. [500/800] Illustrated 131 Hugo Golli Vallin (Italian, b. 1921), “Venetian Canal with Gondoliers and St. Mark’s in the Distance”, oil on canvas, signed and inscribed “H. Valli (?)/apres Turner” lower right, 30” x 54‑1/2”. Framed. [1000/1500] Illustrated

132 Nicholas Briganti (American/Italian, 1861‑1944), “The Grand Canal with View of Doge’s Palace”, oil on canvas, 16” x 23‑1/2”. Framed. [1200/1800] Illustrated 133 Paolo Sala (Italian, 1859‑1929), “View of the Grand Canal and Basilica di Santa Maria della Salute in Venice”, oil on copper, signed lower right, 13‑3/4” x 17‑3/4”. Framed. [1000/1500] Illustrated

137

135

134 136

134 Pair of Italian Giltwood and Polychrome Blackamoor Occasional Tables, early 19th century, each with a shaped top with floral and scrolling designs within a molded edge, raised on a Blackamoor standard, dressed in traditional garb and continuing to three shaped and molded legs ending in peg feet, h. 30”, w. 12‑1/2”, d. 11‑1/2”. [1500/2500] Illustrated 135 Italian Baroque-Style Giltwood Mirror, third quarter 20th century, with a scroll-carved surround, the crest with a swan’sneck pediment flanking a feather-carved crest with an angel masque, the serpentine base carved with a shell flanked by flowerheads, the upper and lower sides decorated with carved scrolls, h. 69‑1/2”, w. 42”. [1200/1800] Illustrated

136 Pair of Italian Parcel-Gilt and Ebonized Blackamoor Pedestal Tables, late 19th century, each with a “turtle”-form top raised on a Blackamoor standard to three splayed legs headed by foliate carving and ending in scrolled toes, h. 38”, dia. 17‑1/2”. [1200/1800] Illustrated 137 Slovakian Gilt-Bronze and Cut Glass Centerpiece, second quarter 20th century, the gilt-bronze base resting on sphinxform feet, with classical dancers supporting the engine-turned bezel set with a cut glass bowl insert, signed indistinctly on the base in three lines, the last line reading “Slovakia”, h. 9”, w. 11‑1/2”, d. 7‑3/4”. [500/800] Illustrated

138 Continental Carved Blackamoor, fourth quarter 19th century, depicting a youthful male in a belted tunic, stockings and sabots with one upheld arm holding a floral-topped urn-surmounted staff, presented upon a later stained pine pedestal, overall h. 84”, w. 13”, d. 13”. [1400/1800] Illustrated 139 Pair of Continental Patinated Bronze Figural Planters, 20th century, in the Baroque style, each with a figure of Eros balancing a scroll-molded planter on his head, above a hexagonal paw-footed base molded with shells and acanthus leaves, h. 48‑1/4”, w. 16‑1/4”, d. 12‑1/4”. [700/1000] Illustrated

140 Unusual Giltwood Mirror of Baroque Inspiration, fourth quarter 19th century, probably Italian, the mirrored surround framed with egg-and-dart molding on the outside and scrollwork on a stippled ground on the inside, and decorated with scrollframed corner medallions with applied masques and trailing flowers, h. 57”, w. 47”. [1000/1500] Illustrated

139

140

138

141 Italian Carved and Painted Putto, fourth quarter 19th century, the realistically painted putto clad in a gilt shawl, holding his hands up in exclamation, h. 32”, w. 15”, d. 13‑1/4”. [1200/1800] Illustrated 142 Italian Mahogany and Mixed Woods Desk, 19th century, the superstructure fitted with a central open double-arched cupboard flanked to either side by two small drawers, the lower section with a rectangular top with a molded edge, over a single long frieze drawer over a central kneehole, flanked to either side by two small drawers, raised on tapering square legs, the whole elaborately inlaid in bone and wood in patterns featuring putti engaged in a variety of activities, h. 44‑1/2”, w. 43‑1/2”, d. 21‑1/2”. [600/900] Illustrated

143 Continental Provincial Fruitwood Stool, 18th century, the padded rectangular top raised on cabriole legs headed by shell carving and ending in foliate-carved splayed feet, h. 18‑1/2”, w. 19”, d. 15”. Provenance: Karla Katz Antiques, New Orleans, Louisiana. [700/1000] Illustrated 144 Italian School (19th Century), “Amore Materno”, oil on canvas, unsigned, 24‑1/4” x 18‑1/4”. Presented in an antique gesso and carved giltwood pierced frame. [3000/5000] Illustrated

141

144

143 142

145

146

145 Pair of Italian Giltwood and Gilt-Metal Two-Light Sconces, third quarter 20th century, in the Baroque taste, the carved backplates decorated with shells and flowerheads, the giltmetal arms set with leaves and terminating in wooden candle sockets, h. 23‑1/2”, w. 9”, d. 7”. [500/800] Illustrated 146 Italian Walnut and Mixed Woods Bombe Commode, mid19th century, the shaped and banded top with an inlaid hunting scene, above a conforming bombe case fitted with a single drawer over a cupboard, each of the sides inlaid en suite, raised on splayed legs, h. 30”, w. 19‑1/2”, d. 13‑1/2”. [500/800] Illustrated

148

147

147 Continental Giltwood Mirror in the Baroque Taste, 20th century, boldly carved with pierced, overlapping scrollwork, the mirror set in an ogee-molded surround, a carved shell decorating the base, h. 44”, w. 31‑1/2”. [700/1000] Illustrated 148 Continental School (Fourth Quarter 18th/First Quarter 19th Century), “Still Life of Flowers, Fruit and a Parrot”, oil on canvas, 51‑1/2” x 54”. Presented in a contemporary giltwood frame. [1000/1500] Illustrated

149 150

151

149 Italian Kingwood and Marble-Top Commode, mid-19th century, the bowed serpentine marble top above a conforming case fitted with three long drawers, all banded and with scrolling floral inlay, raised on ebonized cabriole legs ending in sabots, h. 32‑1/2”, w. 34”, d. 20”. [500/800] Illustrated 150 Italian Rococo-Style Giltwood Mirror, third quarter 20th century, with a mirror-inset surround lined with giltwood molding, the serpentine crest decorated with a pierced wreath over a shell, flanked by sprays of flowers, the sides with carved scrollwork and trailing flowers, the base with pierced anthemia flanked by scrollwork, set with a beveled mirror plate, h. 61”, w. 39”. [900/1200] Illustrated

151 Pair of Italian Neoclassical Walnut Side Tables, mid-18th century, each with a banded and molded edge surrounding a quarter-veneered star-inlaid panel, above a conforming shaped frieze fitted with a single central drawer, raised on cabriole legs ending in sabots, h. 29‑1/2”, w. 32”, d. 16‑1/2”. [4000/7000] Illustrated 152 Continental Kingwood Side Table, mid-19th century, the shaped top above a conforming frieze fitted with a single drawer, raised on cabriole legs with millwork edging and ending in sabots, h. 29”, w. 32”, d. 19”. [500/800]

153 Belgian Mahogany Mechanical-Action Armchair in the Rococo Taste, late 19th century, the brass label engraved “Alp Swolfs Bruxelles”, the adjustable head rest joined to a barrelform back, with scroll arm supports and cabriole legs, h. 35‑3/4” to 46‑1/2”. [700/1000] Illustrated 154 Unusual Pair of Giltwood, Metal and Crystal Basket-Form Four-Light Sconces, mid-20th century, probably Florentine, on giltwood latticework backplates, each sconce with four candle arms attached to a semi-circular element decorated with glass medallions, the whole richly decorated with strings of drops, and a spray of drops serving as the crest, h. 29”, w. 16”, d. 7”. [800/1200] Illustrated 155

154

156

155 Unusual Pair of Giltwood, Metal and Crystal Four-Light Basket Sconces, mid-20th century, probably Florentine, on giltwood latticework backplates, the sconces with four candle arms attached to a semi-circular element decorated with glass medallions, embellished with strings of drops, a spray of drops serving as the crest, h. 29”, w. 16”, d. 7”. [800/1200] Illustrated 156 Italian Fin-de-Siecle Giltwood Mirror, fourth quarter 19th century, possibly Venetian, the center oval beveled mirror plate set into leaf-carved roping, the mirror-backed surround with engraved mirrored trim, the four corners decorated with scrolls of laurel leaves, the lower edge with pineapples on scrolled backs and the upper edge with scrollwork cabochons set with flower pots, the crest depicting a basket spilling fruit, h. 60‑3/4”, w. 39‑1/2”. [1400/1800] Illustrated 153

157 After Pierre Gobert (French, 1662‑1744), “Portrait of Louise-Elisabeth de Bourbon, Princess of Conti (1693‑1775)”, first half 19th century, oil on canvas, unsigned, erroneously titled “Louise de Bourbon” and attributed to Nicolas de Largilliere on old handwritten label on stretcher and on later artist plaque, 31‑1/2” x 23‑5/8”. Framed. [2500/4000] Illustrated Largilliere painted several members of the Bourbon family in similar poses with the ermine-lined blue fleurde-lis cape of royalty, including Marie-Anne de Bourbon, and the sitter’s mother Louise-Francoise de Bourbon. 158 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Commode, early 20th century, the rectangular top with a molded edge, above a conforming case fitted with a frieze drawer centered by an ormolu plaque of cavorting cherubs, over two long drawers, centered by a raised floral basket-inlaid panel, raised on cabriole legs, h. 34”, w. 39‑1/2”, d. 19”. [700/1000] Illustrated

157

158

159 Napoleon III Gilt-Bronze Encrier/Candelabra, third quarter 19th century, carefully cast in the Louis XV style, the pierced rococo base supporting a pair of covered inkpots, one with a removable pounce pot, and a pair of rococo candle cups on scrolled arms, wrapping around the standard and supporting a rococo bronze-framed pink silk adjustable candle shade, h. 17‑3/4”, w. 9‑1/4”, d. 4‑1/2”. [600/900] Illustrated

159

162 Max Albert Carlier (Belgian, 1872‑1938), “Still Life of Peonies and Wild Roses in a Woven Basket”, oil on canvas, signed lower left, 24” x 35‑1/2”. Framed. [2000/4000] Illustrated 162

160

160 Set of Twelve French Rose Pompadour Porcelain Plates in the Sevres Style, third quarter 19th century, with scalloped edges, the central panels with hand-painted baskets of flowers against a Pompadour pink ground, decorated with scattered raised and outlined flowers, with spurious Sevres marks on the back, dia. 10”. [500/800] Illustrated 161 Directoire-Style Fruitwood Fauteuil, 19th century, the padded back with a backswept crest, joined by padded arms on bulbous uprights to the like seat, raised on tapering circular legs ending in turned bun feet, h. 33”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [800/1200] Illustrated

161

164 Louis XVI-Style Kingwood, Mahogany and Circassian Walnut Bureau de Dame, fourth quarter 19th century, the superstructure with a three-quarter pierced brass gallery, centered by a tiered pedestal over a central door inset with a beveled mirror, and opening to a velvet-lined shelved interior and lower drawer, flanked to either side by a like-inset cabinet, opening to a shelved interior, the upper shelf lifting to reveal a revolving bank of six small drawers, the breakfrontform top with projecting corners and with inset panels, above a conforming frieze fitted with a central drawer opening to a velvet-lined hinged surface and ink and pen compartments, opening to a beveled mirror and a storage space, flanked to either side by a smaller drawer, all drawers with a concealed entry button on the underside, raised on fluted, graduated circular legs with applied swags, joined by a concave stretcher shelf centered by a pedestal, on toupie feet ending in foliate caps, bearing the label “Ebenisterie, Tapisserie, Literie Ginsbach Freres, S. Rue de Charonnes, S. Paris”, h. 58”, w. 45‑1/2”, d. 24”. [1500/2500] Illustrated 163

163 French Giltwood Mirror of Louis XVI Inspiration, fourth quarter 19th century, the outside edges molded with lotus leaves and ribbon binding and beading on the inside, the crest comprised of a scrollwork finial supporting swags of flowers cascading down each side, h. 33”, w. 34”. [700/1000] Illustrated

164

165 Group of Two Louis XVI-Style Fruitwood Bergeres, early 20th century, the larger chair with a shaped and padded back surmounted by a floral crest and joined by downswept arms to the padded seat, raised on fluted tapering circular legs ending in toupie feet, h. 35”, and the smaller, conforming chair with a lower back, h. 27”. [800/1200]

164 details

166

168

167

166 Pair of Unusual Continental Lidded Vases, ca. 1900, with a ground of applied daisies, the front decorated with a scrolled escutcheon, a profile of an 18th-century female figure, and a scroll-trimmed cabochon, with elaborate branch-form handles decorated with hydrangeas, female classical figures sitting on the tops, the domed covers comprised of scrolled shields supported by a pair of putti, marked with unidentified molded marks of a tower, flanked by rampant crowned lions, h. 19‑1/4”, w. 13”, d. 7‑3/4”. [1000/1500] Illustrated

167 Louis XVI-Style Mahogany and Kingwood Bureau Plat, early 20th century, the rectangular top with canted corners and a three-quarter pierced brass gallery around a banded parquetry top, raised above a conforming frieze fitted with a pullout writing slide over a single drawer with applied pierced foliate guilloche mounts, raised on paneled tapering circular legs ending in foliate caps, h. 20”, w. 43‑1/4”, d. 20”. [700/1000] Illustrated 168 Large Louis XVI Parcel-Gilt Trumeau Mirror, ca. 1800, with a pale gray ground, the lower portion set with an old mirror glass within a giltwood surround carved with dents-de-loup and corner medallions, the upper portion set with an oval oil-on-canvas panel of a couple in 18th-century costume, seated in a park beside a boy holding a bird in a cage, framed with a spray of bound ribbon, with foliate sprays bound by ribbon on the lower side, and a bowknot and furled ribbon on the upper side, flanked by swags of giltwood fruit and wheat, h. 83‑1/2”, w. 46”. [500/800] Illustrated

169 Italian Polychrome and Giltwood Fauteuil, late 18th century, the padded tapering rectangular back within a molded frame, joined by shaped and scrolling arms to the padded seat, raised above a dentillated apron on ribbed tapering circular legs, h. 32”. [800/1200] Illustrated 170 Louis XVI-Style Giltwood, Metal and Crystal TwelveLight Chandelier, mid-20th century, the carved giltwood standard decorated with carved lotus and acanthus leaves, and set with scrolled metal candle arms supporting candle cups and drip pans on two levels, with three tiers of metal arms supporting swags and drops of crystals, and matching drops hung from the candle arms, h. 49”, dia. 38”. [1200/1800] Illustrated

170

171

171 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Commode, early 20th century, the rectangular marble top with canted corners, above a conforming case fitted with three long drawers. all banded and with lattice-patterned parquetry panels, the sides en suite, raised on cabriole legs ending in sabots, h. 35”, w. 43‑1/2”, d. 18”. [700/1000] Illustrated

169

172 Pair of French Gilded Age Gilt-Bronze and Marble Five-Light Candelabra, fourth quarter 19th century, the fluted marble bases resting on bronze paw feet and supporting the vasiform standards with pierced handles, the pierced and scrolled candle arms set with candle cups molded with beaded swags and matching bobeches, h. 20‑1/4”, dia. 10”. [600/900] Illustrated 173 Louis XVI-Style Kingwood Bureau Plat, late 19th century, the ormolu-bound rectangular top with an inset leather surface, above a frieze fitted with a central drawer flanked to one side by two small drawers and to the other by a single deep drawer, the other side with the same faux arrangement, all with lattice-pattern veneers, raised on banded tapering square legs ending in caps, h. 30”, w. 59”, d. 31‑1/2”. [1800/2500] Illustrated

174

174 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. [2000/4000] Illustrated 172

173

175 Set of Six French Hand-Painted Portrait Plates in the Sevres Style, fourth quarter 19th century, depicting the Kings of France, with elaborate cobalt-ground borders with tooled gilt crowns, framed with raised gilt flowers, fleurs-de-lis and Sevres crossed L’s, the portraits signed by Delacroix and depicting Louis XIII, Louis XIV, Louis XV, Louis XVI, Louis XVII and Louis XVIII, each identified in gilt script on the plate’s border, marked on the back with spurious Sevres and Chateau de Versailles marks, dia. 10”. [1000/1500] Illustrated

175

177

175 detail

176 Pair of Louis XVI-Style Polychrome Bergeres, late 19th century, each with a low trisected padded back within a carved frame, joined by downswept arms to the cushioned seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 32‑3/4”. [800/1200] Illustrated 177 Transitional Louis XV-into-Louis XVI Kingwood Occasional Table, late 18th century, the oval top with a three-quarter pierced brass gallery and an inset leather surface, above a conforming frieze with chevron veneers and fitted with a small drawer to each end, joined to a like shaped and veneered lower shelf by shaped supports ending in splayed legs to sabots, h. 29”, w. 29”, d. 17‑1/2”. [1000/1500] Illustrated

176

178

178 Louis-Philippe Bronze and Marble Mantel Clock, mid-19th century, the Rococo Revival-style clock with a base decorated with scrollwork and flowers, and set with a black marble dial flanked by marble panels set with bronze medallions, the top with a figure of a Renaissance male musician plucking a mandolin, leaning against a balustrade, h. 16‑3/4”, w. 12”, d. 4‑1/2”. [500/800] Illustrated

180

179 Rococo-Style Parcel-Gilt and Carved Wood Overmantel Mirror, with a scrolled frame, the crest with a swan’s-neck carving above an oval central plate decorated with a crest of musical trophies, and phoenix birds on the side, the side panels set with urns terminating in flame finials, the lower section composed of scrolled frame segments flanked by carved deer, h. 74”, w. 57‑1/2”. [2000/4000] Illustrated 180 French Patinated Bronze Twelve-Light Chandelier in the Baroque Taste, mid20th century, the patinated bronze scrolled frame supporting candle arms set with foliate drip pans and turned candle cups, interspersed with molded glass spires, a large spire in the middle surrounded by four light sockets, the support rod clad with molded glass, hung throughout with various cut glass drops, h. 50”, dia. 32‑1/2”. [1800/2500] Illustrated

179

181 Pair of Louis XIV-Style Bronze and Crystal Six-Light Candelabra, second quarter 20th century, on bronze feet, the standards clad with molded glass, the bronze scrolled candle arms set with beaded candle cups and drip pans on the lower level, with sprays of drops hung with swags of drop above, terminating in cut glass sphere finials, electrified, h. 26‑3/4”, dia. 12‑1/2”. [700/1000] Illustrated

181

184

182 Louis XVI-Style Mahogany and Marble-Top Commode, early 20th century, the rectangular marble top with a molded edge and turreted corners, above a conforming case fitted with three long drawers, all paneled and with brass banding, raised on toupie feet ending in caps, h. 34”, w. 29‑1/2”, d. 17”. [700/1000] 183 Louis XVI-Style Mahogany and Marble-Top Chest, early 20th century, the inset rectangular marble top above a case fitted with eight drawers, all with brass banding, raised on bulbous feet, h. 54”, w. 25‑1/2”, d. 14”. [800/1200] Illustrated 184 Louis XVI-Style Mahogany and Marble-Top Commode, early 20th century, the rectangular marble top with turreted corners, above a conforming case fitted with three graduated long drawers, all paneled and with brass banding, flanked to either side by rounded and fluted pilasters, raised on tall toupie feet, h. 34‑1/4”, w. 48‑1/2”, d. 23‑1/4”. [1000/1500] Illustrated

183

185 Pair of French Gilded Age Five-Light Candelabra, fourth quarter 19th century, in the Louis XVI style, the bases and sinuous standards molded with rocaille ornament, the leaf-molded arms set with drip pans and bobeches molded with flowers and leaves, some parts stamped “EB”, h. 20‑3/4”, dia. 13”. [500/800] Illustrated 186 Louis XVI-Style Mahogany and Marble-Top Bureau Cylindre, late 19th century, the rectangular marble top within a three-quarter pierced brass gallery over three small drawers, the lower paneled cylinder opening to three small drawers and a pull-out leather-inset surface, with three drawers below, all drawers banded and with ormolu millwork, raised on tapering circular legs ending in brass caps, h. 43‑1/2”, w. 37‑1/4”, d. 19‑1/2”. [800/1200] Illustrated 187 Pair of Louis XVI-Style Mahogany Pedestals, each with a circular top above a fluted frieze, raised on molded square legs headed by bellflower carving, joined by a tripartite stretcher and ending in hairy hoof feet, h. 44‑1/2”, dia. 10‑1/2”. Provenance: Waldhorn’s Antiques, New Orleans, Louisiana. [800/1200] Illustrated

186

185

187

189 French Gilt-Bronze and Crystal Twelve-Light Chandelier, first quarter 20th century, possibly Baccarat, the molded giltbronze frame set with leaf-molded arms supporting scalloped drip pans and vasiform candle cups with molded bobeches, accented with swags of cut glass drops and prisms hung from the arms and sprays of prisms hanging above the arms, set with a faceted ball-form prism, h. 45‑1/2”, dia. 24‑1/2”. [1000/1500] Illustrated

189

190

188

188 French Rococo Revival Gilt-Bronze and Marble Three-Piece Clock Set, third quarter 19th century, the clock resting on a bronze base with bold scrollwork feet terminating in turned spires, and set with signed Marti works, and an enamel dial framed with strapwork and an unusual chain-link bezel, supporting a gilt-bronze figure of harvest revelers and three putti, one dancer flanked by one playing a bagpipe and another playing a tambourine, rolling on the harvest wheat, their scythe thrown to the side, h. 23‑1/4”, w. 16”, d. 19”, together with a pair of matching five-light candelabra with pierced scrollwork bases set with cluster-column standards and scroll-molded giltbronze capitals, candle arms and cups, the center candle cups set with flame finials, h. 25‑1/2”, w. 9‑1/2”, d. 9‑1/2”. [1000/1500] Illustrated

190 French Giltwood Trumeau Mirror in the Louis XV Taste, second quarter 20th century, with a scroll-carved crest and base, the sides with bolection molding wrapped in acanthus leaves, the upper section with an oil-on-canvas painting of a garden party on a portico and park, in a pastoral setting, h. 51‑1/2”, w. 39”. [1200/1800] Illustrated

191 French Gilt-Bronze Firescreen, first quarter 20th century, in the Louis XV style, resting on pierced and scrolled feet, the frame and central mount decorated with scroll and rocaille work accented with carefully detailed flowers, leaves and buds, retaining a strong matte gilt finish with tooled details, h. 28‑3/4”, w. 33”, d. 9”. [500/800] Illustrated

191

192 Pair of Louis XV-Style Polychrome Fauteuils, mid-19th 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”. [700/1000] Illustrated 193 Transitional Louis XV-into-Louis XVI-Style Mahogany Occasional Table, 20th century, the rectangular top with projecting canted corners, banded and centered by an inlaid floral spray amidst a parquetry background, above a conforming case fitted with a single frieze drawer, the front and sides with parquetry inlay, raised on cabriole legs ending in sabots, h. 27‑1/4”, w. 28‑1/2”, d. 18‑1/2”. [800/1200] Illustrated 194 Suite of Four Louis XVI-Style Giltwood Ballroom Chairs, early 20th century, each with a shaped crest with side finials above a stylized column-form splat, the padded seat raised on fluted tapering circular legs ending in toupie feet, h. 34”. [600/900] Illustrated

192

193

194

196

196 French Gilt-Bronze and Crystal Basket-Form Twenty-Light Chandelier, fourth quarter 20th century, the circular pierced bronze frame set with crystal buttons and decorated with anthemia, the eight arms set with two scrolled candle arms, each with a cut glass spire, the anthemia-molded corona supporting strings of drops cascading to the circular frame and concealing four light sockets, h. 33”, dia. 33”. [800/1200] Illustrated

195

197 Louis XV-Style Mahogany Dining Table, 20th century, the shaped rectangular top banded and with a molded edge and chevron veneers, above a scalloped frieze with foliate inlays, raised on large cabriole legs headed by scrolling ormolu mounts and ending in sabots, with four 19‑1/2” conforming leaves, h. 31”, w. 50‑1/2”, l. 52”, extended l. 130”. [800/1200] Illustrated

195 Louis XVI-Style Giltwood Pier Mirror, second quarter 20th century, the frame carved with bound ribbon and the arched top set with a pierced ribbon finial, h. 59‑3/4”, w. 23‑1/2”. [500/800] Illustrated

197

198 Pair of Louis XVI Alsatian 13 Lot (.813) Silver Candlesticks, 1778, Strasbourg, by Jacques Henri Alberti (1730‑1795), each with a knopped standard, above an ogee step-molded circular foot and surmounted by a cannon-form nozzle with detachable bobeche, the whole decorated with gadrooned calyces, h. 9‑1/4”, dia. 5‑1/2”, 34.82 total t. oz. [4000/7000] Illustrated 199 Pair of French Consular First Standard (.950) Silver Service Plates, marked Paris, 1798‑1809, by Nicolas-Theodore Cailliez (active 1799‑1808), of hexagonal serpentine-lobed form, with molded rim and recessed circular plateau, engraved on the rim with a laurel-mantled shield-shaped cartouche monogrammed “SP”, dia. 10‑5/8”, 43.78 total t. oz. [1000/1500]

198

200

200 Napoleon III First Standard (.950) Silver Platter, third quarter 19th century, Paris, by Paul Bour (1826‑1902; active 1856‑1873), of oval form with gadrooned edge, the rim engraved with the Silver Pilawa arms of the Polish noble houses of Potocki, Kamieniecki et al., l. 17‑1/2”, w. 10‑3/4”, 41.04 t. oz. [1000/1500] Illustrated

201

201 Good French First Standard (.950) Silver Gilt-Mounted Engraved Glass Claret Jug, fourth quarter 19th century, by Gustave Keller Freres (fl. 1881‑1922), Paris, with an inverted pear-shaped body wheel-engraved with floral rinceaux, gadrooned calyx and conjoined monogram “CH”, the tall neck clad in a silver gilt collar with integral spout, hinged lid with acanthus-bud finial and bifurcated, scroll-crested acanthus handle to the domed foot en suite, h. 12‑3/4”, dia. 4‑3/4”. [1000/1500] Illustrated

202 Six-Piece Atelier Froment-Meurice French First Standard (.950) Silver Salt Set, third quarter 19th century, Paris, including four single (l. 2‑1/2”) and two double (l. 5‑1/4”) salts, each in the form of a naturalistic coquille shell with gilt interior and raised on coral branches, the double salts with a central handle of a putto astride a dolphin, each engraved on the underside “Froment Meurice”, 29.12 total t. oz. [2500/4000] Illustrated

202

203 Four-Piece Belgian .800 Silver Coffee and Tea Set, first quarter 20th century, by Robert Altenloh (1879‑1934), Brussels, in the Huguenot taste, including a coffeepot, h. 11”, a teapot, h. 8‑1/2”, a covered sugar bowl, h. 7”, and a cream jug, h. 5‑1/2”, each of paneled form with molded band and waisted collar, decorated with applied arabesque and bulrush “strapwork” and engraved bellflower scrolls, with ebonized wood crested handles and bud finials, 82.41 total t. oz. (including wooden fittings). [2500/4000] Illustrated 204 One Hundred and One Pieces of Armand Frenais Silverplate Flatware, first quarter 20th century, including seventy-seven forks and spoons in a “Coquille” pattern, and twenty-four knives in a “Louis XV” pattern, no monograms. Detailed list of pieces available on request. [700/1000] Illustrated

203

205

205 Good Pair of French First Standard (.950) Silver Casters, first quarter 20th century, by Tetard Freres, Paris, working from 1903, each of traditional hexagonal baluster form, the screw-on cap pierced with alternating diaper and foliate openings, with conforming finial, h. 8‑3/4”, w. 3”, 22.18 total t. oz. [700/1000] Illustrated

204

208

206

207

206 French First Standard (.950) Silver Salver, first quarter 20th century, by Amelie, Vve. Cardeilhac, fl. 1904‑1920, Paris, of cinquefoil lobed form with laurel-banded edge, monogrammed “JD”, dia. 12‑1/2”, 33.06 t. oz. [700/1000] Illustrated 207 Pair of French First Standard (.950) Silver-Mounted Cut Glass Compotes, first quarter 20th century, by Louis Bardary, fl. 1914‑1919, Paris, each with a deep saucer-shaped colorless glass bowl cut with fluting, mounted in a silver rim and raised on a waisted foot, both decorated with shell-and-gadroon banding, h. 6‑1/2”, dia. 8‑1/4”. [800/1200] Illustrated

208 detail

208 One Hundred and Twenty-Nine-Piece Set of Christofle “Clement Marot” Silverplate Flatware, mid-20th century, Paris, including a dozen nine-piece place settings, with seven additional place pieces, eight serving pieces and a cased six-piece “Precious” (hors d’oeuvres) set, together with ten knife rests, a wine coaster, a “Dax” sauce ladle and a boxed nut cracker, no monograms (136 pieces plus 1 cased set of 6). Detailed list of pieces available on request. [800/1200] Illustrated

209 Four-Piece French First Standard (.950) Silver EmpireStyle Coffee and Tea Set, first quarter 20th century, by Marandet & Nichelini, Paris, including a coffeepot, h. 12‑1/4”, a teapot, h. 10‑1/4”, a covered sugar bowl, h. 7‑1/2”, and a cream jug, h. 5‑3/4”, each with an ovoid body and waisted collar, decorated with leaf-anddart banding, with eagle’s head spouts, acanthus bud finials and raised on swan-crested flatcolumn pad feet, with ebonized wood handles, 80.65 total t. oz. (including wooden fittings). [1800/2500] Illustrated 209

210

210 Four Pieces of Christofle “MalmaisonBeauharnais” Silverplate Hollowware, contemporary, including a sauceboat-onstand, h. 6‑1/4”, l. 8‑3/4”, a serving bowl, h. 6”, dia. 8‑3/4”, a covered vegetable dish, h. 7”, dia. 8‑3/4”, and a stand for either of the latter two pieces, h. 2‑1/4”, dia. 14”, the vegetable dish accompanied by the original box. [1500/2500] Illustrated

210 detail

211

211 detail

211 Gianmaria Buccellati (Italian, 1929‑2015) Sterling Silver Empire-Style Wine Cooler, contemporary, Milan, executed by Clementi Fabbrica Argenteria, Bologna, of oval campana form, decorated with leaf-and-dart banding and figural demi-swan handles, h. 11‑1/4”, l. 11”, d. 6‑1/4”, 86.84 t. oz. [3000/5000] Illustrated 212 Mario Buccellati (Italian, 1891‑1965) Sterling Silver Center Bowl, second quarter 20th century, Milan, of serpentinelobed oval form, with raised shaped and pierced collar and applied acanthus scroll rim and handles, the whole raised on a conforming domed foot, h. 9‑3/4”, l. 18‑3/4”, w. 12‑1/4”, 90.91 t. oz. [3000/5000] Illustrated

212

213

213 Pair of Italian .800 Silver Candelabra, third quarter 20th century, by Mario Poli, Milan, in the rococo taste, each with a baluster standard above a domed foot and surmounted by one central and four scrolling arms, each terminating in a wax pan and candle nozzle, the whole decorated with elaborate rococo scrolls, h. 14‑1/4”, w. 11‑1/4”, 89.61 total t. oz. [1200/1800] Illustrated

214

215 German .800 Silver and Cut Glass Center Bowl, first quarter 20th century, probably J. D. Schleissner Sohne, Hanau, the silver base in the form of a pair of realistically detailed addorsed swimming swans, fitted with a conforming lobed colorless glass bowl with notched wavy rim and cut with flutes and alternating strawberry block and engraved cornucopia panels, overall h. 6”, l. 16”, w. 8‑1/4”, 26.33 t. oz. (excluding liner). [2000/4000] Illustrated

214 Buccellati Sterling Silver Water Pitcher, fourth quarter 20th century, Italy, in the Settecento taste, the serpentine fluted helmet-form body decorated with engraved foliate gadroons and applied molded banding, with crested handle and domed foot en suite, monogrammed “MDW”, h. 10‑1/2”, l. 9‑5/8”, 31.57 t. oz. [900/1200] Illustrated

215

216 Continental Silverplate Wine Cooler, first quarter 20th century, of inverted pear form, decorated with repousse Bacchic masques, with wavy rim, ribbon handles and raised on four acanthus scroll feet, h. 10”, w. 10”. [500/800] Illustrated

216

217 Pair of German .800 Silver Fruit Bowls, first quarter 20th century, by Georg Roth, Hanau, in the Louis XV taste, each of bulbous oval form, decorated with embossed rococo cartouches joined by laurel swags on a trellised ground (one bowl with openwork), with everted rococo scroll rim, arched handles and four bracket feet, h. 4‑3/4”, l. 11‑1/2”, w. 6‑1/2”, 31.37 total t. oz.. [1000/1500]

216 detail

217

220

219

218 German .800 Silver Holy Water Font, first quarter 20th century, Hanau, retailed by Buchholz & Zelt, New York, New York, the rococo-shaped embossed backplate with pierced scroll rim decorated with a central figure of the Virgin and Child surrounded by cherubs in the clouds below a pierced canopy, the font with the Lamb of God, h. 16‑1/4”, w. 8‑7/8”, d. 2‑3/4”, 22.79 t. oz. [500/800] Illustrated 219 Continental Silver Gilt-Mounted Emerald Glass Decanter, first quarter 20th century, with flattened spherical body, narrow collar and spherical stopper, completely clad in a scrolling pierced silver gilt mounting decorated with birds and fish, with an espagnolette handle and hinged lid with figural putto finial, h. 10‑1/2”, w. 5”. [1000/1500] Illustrated

220 German .800 Silver Center Bowl, first quarter 20th century, by Louis Werner, Berlin, of bulbous oval form with waisted rim, decorated with embossed rococo scrolls, cartouches and putti masques, raised on four scrolling feet crested en suite, monogrammed “RAK” and engraved with 25th anniversary presentation date “1885 - 1 Juli - 1910”, h. 7‑1/4”, l. 16‑1/4”, w. 9‑1/4”, 42.75 t. oz. [800/1200] Illustrated

218

221 Semi-Antique Bakhtiari Carpet, 9’ 10” x 12’ 6”. [2000/4000] Illustrated 222 Agra Serapi Runner, 2’ 8” x 29’ 3”. [700/1000] 223 Agra Carpet, 11’ x 21’. [2000/4000] Illustrated 224 Fine Agra Heriz Carpet, 8’ x 10’. [1500/2500] Illustrated

224

221

223

225 Laristan Bijar Carpet, 8’ x 9’ 7”. [900/1200] 226 Bidjar Carpet, 6’ 11” x 10’ 7”. [1000/1500] Illustrated 227 Semi-Antique Bakhtiari Carpet, 5’ 3” x 6’ 6”. [700/1000] Illustrated 228 Turkish Angora Oushak Runner, 2’ 7” x 19’ 8”. [600/900] 229 Semi-Antique Persian Heriz Carpet, 9’ 8” x 12’ 4”. [2000/4000] Illustrated

226

229

227

230 Continental Pine Coffer, late 18th century, the rectangular hinged top opening to a void interior, the front paneled and with arched and patera-carved accents, above a shaped apron, raised on bracket feet, h. 34”, w. 67”, d. 28”. [700/1000] Illustrated 231 Danish Oak Cupboard, late 17th/early 18th century, the heavily molded cornice above a case fitted with a tri-paneled frieze over two ebony paneled doors, over two like taller doors, the whole flanked by fluted and faux fluted pilasters and raised on like feet, the sides also paneled, h. 58‑1/2”, w. 68”, d. 25”. Provenance: By tradition, descended in the maritime and lumber-trading Olsen/Strigel family of Denmark and New Orleans, until sold in these galleries in May 2014. [2500/4000] Illustrated

232 Pierre Uselding (French, b. 1849), “Un Lutrin”, 1877, oil on wood panel, inscribed “Uselding fecit/1877/Lectitice/Italis Suae 28/AMDG” mid-right, incised inscription en verso panel “Un Lutrin au 18th siecle/peint par Pierre Uselding/Paris/1877/ ne a Paris le 13 Juillet 1849/Faubourg Saint Antoine 89”, 21” x 18‑3/4”. Presented in an incised polychrome and giltwood frame. [4000/7000] Illustrated

230

232

231

233 Spanish Choir Book or Antiphonal, 16th/17th century, in Latin, red, blue and black ink on vellum, incomplete with 126 leaves, numerous large initials, some illuminated, large folio; sheets approx. 24” x 17”, the cover tooled leather-over-wood boards ornamented with brass central and corner fittings, iron and leather clasps, boards 25‑1/2” x 17‑3/4”. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [1500/2500] Illustrated

234 Continental Leather Knife Box, fourth quarter 18th century, the box with gilt stamping and decorated with scattered sprigs of flowers, acorns and anthemia, with a molded brass top handle and lock, the interior lined with rose baize, retaining a single Bow porcelain knife with a replaced blade, h. 11‑1/4”, w. 7‑1/4”, d. 5”. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [500/800] Illustrated

234 233

233 detail

235 Iberian Leather-Clad Domed Trunk-on-Stand, 18th century, the domed lid opening to a void interior, the body with side handles, the whole with embossed foliate and heraldic patterns and brass tack accents, raised on an oak stand on large paw feet, h. 29”, w. 24‑1/4”, d. 19‑1/4”. [500/800] Illustrated 236 Latin American Painted Wood Shrine with Santo Depicting Our Lady of Guadeloupe, mid-19th century, the center “stage” outlined with carved columns, a scroll-carved arch and medieval-inspired winged angel heads peeking from the corners, the interior lined with gilt-stamped red paper and displaying a carved and polychrome-painted figure of Our Lady, the exterior with a pitch pediment and a drawer under the shrine, trimmed with carving and retaining remnants of black paper decorated with gilt sprigging and birds, figure h. 15‑3/4”, overall h. 28”, w. 12‑3/4”, d. 6‑1/4”. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [1000/1500] Illustrated

237 Pair of Renaissance-Style Carved Hardwood Angels, 19th century, each clad in robes and poised to announce the presence of a heavenly being, h. 17‑3/4”, w. 13”, d. 8‑1/2”. [500/800] Illustrated 238 Continental Baroque Polychrome Terracotta Figure, 17th century, depicting a sleeping Christ Child wrapped in drapery and embracing a sacrificial lamb, h. 5‑1/4”, w. 15‑1/2”, d. 6‑3/4”. [500/800] Illustrated

235

236

237 238

239 Continental Silver on Copper Relief-Molded Depiction of the Last Supper, second quarter 20th century, inscribed "M. Registrado" at lower right, in a contemporary frame trimmed with gilt, h. 17”, w. 26”. [600/900] Illustrated 240 Monumental Continental Fruitwood Fauteuil a la Reine, 19th century, the tall padded and domed back joined by exuberantly carved arms in the form of a child resting on a branch of fruit, the branch being borne by a figural upright, the padded seat raised on naturalistically carved legs simulating branches and ending in scrolled toes, h. 54‑1/2”. [2000/4000] Illustrated

241 Continental Fruitwood Cabinet, 19th century, the rectangular top with deeply canted ends, above a conforming case fitted with two drawers over two cupboard doors, with annulated banding, paneled and centered by decorative wooden knobs, flanked to either side by a canted faux drawer over a cupboard, raised on carved and splayed feet, h. 47‑1/2”, w. 78”, d. 23‑1/2”. [500/800] Illustrated 242 After Raphael (Raffaello Sanzio, Italian, 1483‑1520), “Madonna della Sedia”, 19th century, oil on canvas, unsigned, 29” x 29”. Presented in an elaborate 19th-century giltwood and gesso Renaissance-style frame. [3000/5000] Illustrated

239 241

240 detail

240

243 Spanish School (18th Century), “Mystical Marriage of St. Catherine”, oil on canvas, 59” x 43‑1/2”. Framed. [3000/5000] Illustrated 244 Three Carved and Painted Santos Figures, 18th/19th century, Latin American or Filipino, including a figure of St. Joseph in an orange jacket with one arm raised, on an original base, h. 16”, w. 5‑1/2”, a figure of St. Michael painted pink and green, on a gadrooned base, h. 13”, w. 7”, and a figure of Christ with a tin halo, h. 12‑1/4”, w. 4‑3/4”. [700/1000] Illustrated 245 Five Carved and Painted Santos Figures, 18th/19th century, Latin American or Filipino, including a figure of Christ on the cross, h. 17‑1/2”, w. 11”, a figure of St. John the Baptist, his hand extended to hold a staff, h. 13‑1/4”, w. 5”, a figure of St. Nicholas in his distinctive pointed hat and cape, h. 14‑1/4”, w. 5”, a figure of Christ draped in yellow and green robes, h. 12”, w. 3‑1/2”, and a small figure of St. Anthony of Padua, h. 7‑1/2”, w. 2‑3/4”. [700/1000] Illustrated

243

244

242

245

246

247

246 Three Carved, Painted and Gilded Santos Figures, 18th/19th century, Latin American or Filipino, including a figure of Our Lady of Guadeloupe in gilded robes, h. 14‑1/2”, w. 6‑1/2”, a figure of St. Luke the Evangelist carrying his purse, h. 14‑1/2”, w. 4”, and a small figure of St. George, polychrome-decorated on a distinctive painted wooden base, h. 10‑1/2”, dia. 4”. [700/1000] Illustrated 247 Pair of Italian Parcel-Gilt and Tole Garnitures, the 17th-century Baroque wooden bases reeded and gilt trimmed, and mounted with second quarter 20th-century tole flower standards with daisies, lilies and various leaves, h. 29”, w. 10”, d. 5‑1/2”. [500/800] Illustrated

248

248 Elaborate Italian Giltwood Mirror of Renaissance Inspiration, first quarter 20th century, set with an arched and beveled mirror plate, with an inset mirror surround cut with stars, the top and bottom decorated with bold gadrooning, the crest depicting a lion’s head set into pierced scrollwork, the lower edge with a crest flanked by cornucopia and winged angels resting on scroll-carved angels, h. 63”, w. 38”. [1500/2500] Illustrated

250

249

249 Italian Giltwood and Scagliola-Top Table, 19th century, the rectangular scagliola top featuring various colorful scrolling and foliate panels, within a reeded frame, raised on exuberantly foliate-carved scrolling end supports joined by a like stretcher and ending in up-scrolled toes, h. 27”, w. 38”, l. 82‑1/2”. [3000/5000] Illustrated

250 Pair of Italian Polychrome and Faux-Marbre Side Tables, partially constructed of antique elements, each with a shaped faux verde antico top above an asymmetrical paneled base featuring bands of various faux marbles and acanthine carving, raised on a socle base, h. 36”, w. 38”, d. 23”. [1500/2500] Illustrated

252 Fine Continental Framed Embroidery of St. Joseph, fourth quarter 19th century, dense cross stitch rendered in wool, cotton and silk threads on a finely woven backing, saint holding his attribute of white flowers signifying fidelity and purity, all edged in brown linen, sight 34” x 28”. Glazed and framed. [700/1000] Illustrated

251

251 Pair of Italian Baroque Silver-Gilt Candlesticks, first quarter 18th century, now mounted as lamps, supported on scrolled feet, the tripartite bases mounted with vigorously turned and leaf-carved standards, electrified and mounted with shades, h. 31‑1/2”, dia. 11‑1/2”. [500/800] Illustrated

252

253 French Onyx and Champleve Enamel Holy Water Font, first quarter 20th century, the green onyx backplate with enamel corners, cross and lidded font, and supporting the carved bone figure of Christ hanging in the center, a rosary in his hand, h. 13”, w. 8‑1/2”. [700/1000] Illustrated

253

254 Exceptional Bohemian Ruby-Flashed Cut Glass and Gilt-Trimmed Twelve-Light Chandelier, fourth quarter 19th century, the top decorated with cut glass scrolls supporting prism-hung, ruby-flashed bells, with twelve cut glass arms supporting the lights on three levels, with additional bells hanging from the arms, with prism-hung, lattice-cut drip pans, set with matching glass cups, mounted with flaring lattice cups and gilt-trimmed shades, electrified, h 45”, dia. 43”. [2000/4000] Illustrated

254

255

255 Pair of Bohemian Ruby-Flashed and Engraved Glass Pokals, first quarter 20th century, decorated with a scene of a hunter leading a dog in pursuit of a stag, and trimmed with laurel leaves, h. 13‑1/2”, dia. 4‑1/4”. [500/800] Illustrated 256 Dutch Mahogany and Marquetry Center Table, 19th century, the rectangular top with an elaborate scrolling foliate, floral and avian marquetry inlay, above a like-inlaid conforming frieze, raised on tapering square legs joined by a shaped X-form stretcher and ending in bun feet, h. 31”, w. 45”, d. 33”. [500/800] Illustrated 256

258

257

257 Gyula Siska (Hungarian, b. 1958), “Exuberant Still Life on a Marble Ledge”, oil on board, monogrammed lower right, 39‑3/8” x 31‑1/2”. Framed. [1000/1500] Illustrated

259 Suite of Six Flemish-Style Fruitwood Sidechairs, early 20th century, each with a padded and domed back with brass tack accents, the padded seat raised on shaped legs joined by a like H-form stretcher and ending in rounded feet, upholstered in dark bottle green leather, h. 43”. [1200/1800] Illustrated

258 Spanish Baroque-Style Parcel-Gilt Mirror, fourth quarter 19th century, on an ebonized ground, decorated with gilt roping on the outside edge and egg-and-dart molding on the inside, with boldly carved scrollwork on the corners and sides, and large flowers on the top and bottom, h. 62‑1/2”, w. 42”. [1000/1500] Illustrated

259

260

260 Continental-Style Patinated Metal Sixteen-Light Chandelier, the scrolled frame set with candle cups on three levels, and turned drip pans and matching candle cups, hung with glass drops, h. 63”, dia. 50‑1/2”. [1200/1800] Illustrated 261 Spanish Oak Guard Room Table, of traditional form, the rounded rectangular top raised on shaped end supports joined by scrolling iron stretchers, h. 28‑1/2”, w. 38‑1/2”, l. 78”. [1200/1800] Illustrated 261

262 Unusual Spanish Copper Table Box in the Neoclassical Taste, third quarter 19th century, the carefully cast box resting on paw feet, and with molded acanthus leaves at the corners, the front and back decorated with Orientalist panels, the sides marked “cigarres”, the hinged cover with molded acanthus leaves and laurel wreaths, and a playful terrier holding a riding crop serving as the knop, the interior marked “KN1”, h. 7‑3/4”, w. 9‑1/4”, d. 7‑1/4”. [700/1000] Illustrated 263 Continental Mahogany Desk, early 20th century, in the Renaissance taste, the rectangular top with a wide carved foliate banding, above a conforming frieze fitted with a single like-carved drawer centered by a lion’s masque pull, raised to a lower shelf by bulbous and columnar legs ending in paw feet, h. 31”, w. 42”, d. 28”. [500/800] Illustrated 264 Chabada Bela (Hungarian/German, 1878‑?), “After the Hunt, Still Life with Dead Game and Peacock in a Park Setting”, after Jan Weenix (Dutch, 1642‑1719), oil on canvas, signed and further inscribed mid-left, 37” x 29‑1/2”. Framed. [1000/1500] Illustrated

264

263

262

265 Austrian Patinated Bronze Figural Group of “The Rock Movers”, first quarter 20th century, after Bruno Zach (Russian/Vienna, 1891‑1945), cast signature at back edge, h. 7”, w. 12‑1/2”, d. 9”. [500/800] Illustrated 266 Spanish Fruitwood Guard Room Table, of traditional form, the rectangular top with breadboard ends, pegged and raised on shaped end supports joined by scrolling iron stretchers, h. 29”, w. 31”, l. 83”. [1000/1500] Illustrated

265

266

267 Continental Provincial Walnut Cabinet, early 19th century, the superstructure with a molded cornice over four small drawers, all with heavily modeled diamond-patterned fronts, the rectangular top above a case fitted with two drawers over two paneled cupboard doors, all with like modeling, raised on bun feet, h. 60‑1/2”, w. 65”, d. 24”. [800/1200] Illustrated 268 Italian Fruitwood Armchair, 18th century, the domed and padded back upholstered in embossed leather, joined by molded downswept arms and scrolling hand rests on bobbin-turned uprights to the padded seat, raised on like-turned legs joined by an H-form stretcher and ending in block and bun feet, h. 50”. [600/900] Illustrated

268

267

272

269 English Oak Refectory Table, 18th century, in the Elizabethan manner, the long rectangular top above a palmetto-carved frieze, raised on large ribbed cup and cover legs, joined by a box stretcher and ending in block feet, h. 31”, w. 33”, l. 96”. [2000/4000] Illustrated 270 Collection of Eight Mason’s Ironstone “Japan” Pattern Graduated Jugs, ca. 1813‑1840, h. 3‑1/2” to 8‑1/2”, dia. 3” to 6‑3/4”. [500/800] Illustrated

271

271 Circle of George Morland (British, 1763‑1804), “The Labourer’s Respite”, oil on canvas, signed lower right, 15‑1/4” x 12‑1/2”. Framed. [1500/2500] Illustrated 272 English Oak Drop-Leaf Table, late 18th century, the rounded top with two ovoid leaves, raised on a gateleg support of bobbin-turned legs joined by box stretchers and ending in bun feet, h. 28”, w. 51‑1/2”, l. 19”, extended l. 61”. [600/900] Illustrated

270

269

273 276

273 Extensive Ashworth Bros. Ironstone Partial Dinner Service, pre-1891, English, the “Willow”-type pattern transfer-printed in mulberry and clobbered in orange and green, marked with an underglaze printed mulberry crown mark, the set including a pair of covered vegetable dishes, h. 6‑1/2”, w. 11‑1/4”, a matching underplate, w. 14”, d. 16‑1/4”, a pair of sauce tureens and underplates, h. 5‑1/2”, w. 8”, a nest of four graduated platters, the largest, w. 16‑3/4”, d. 14”, twelve dinner plates, dia. 10”, twelve soup plates, dia. 10”, twelve luncheon plates, dia. 9”, and twelve bread-and-butter plates, dia. 7”. [700/1000] Illustrated 274

274 Attributed to James Ward (British, 1769‑1859), “Rural Landscape with Shepherd, Sheep and White Stallion”, oil on canvas, unsigned, 24” x 29”. Framed. Provenance: Estate of Richard and Lucy Nunnally, Baton Rouge, Louisiana. [1000/1500] Illustrated 275 Jacobean Oak Two-Section Court Cupboard, 18th century, with handsome raised panel doors, and turned drops on the upper sections of the sides, the “1747” date on the upper section likely commemorative, h. 68”, w. 59”, d. 23”. [1500/2500] Illustrated 276 English Yewwood Wake Table, of traditional form, the long narrow top with two ovoid leaves, raised on stopfluted columnar supports joined by a stretcher and a gateleg support, h. 28”, w. 14”, l. 95”, extended l. 56”. [1000/1500] Illustrated

275

277 278

277 Collection of Eight English and French Candlesticks, 18th century, including a pair of English petal-base candlesticks, h. 9‑1/4”, a Queen Anne candlestick with a swirled base, h. 8‑1/2”, a Queen Anne candlestick with a shell-molded base, h. 8‑1/4”, a Queen Anne candlestick with a molded base, h. 9‑1/2”, a Louis XV hexagonal candlestick, h. 9”, dia. 4‑3/4”, and a pair of Louis XVI candlesticks, h. 9‑1/2”. [600/900] Illustrated 278 Rare Set of Twenty-Four Mason’s Ironstone “Bamboo” Pattern Dinner Plates, ca. 1813‑1820, decorated with bamboo, lotus flowers and chrysanthemums, executed in blue with polychrome highlights, marked with Mason’s impressed one-line mark and a printed blue crown over a banner, dia. 9‑1/2”. [500/800] Illustrated 279 English Mahogany Shop Stand, 19th century, the rectangular top with a slatted superstructure shelf above a slightly slanted top over a frieze fitted with three drawers, raised on balusterform supports joined by an H-form stretcher and ending in toupie feet, h. 55”, w. 72‑1/2”, d. 32‑3/4”. [1500/2500] Illustrated

279

280 Collection of Thirty-Nine Victorian Painted Stone Fruits, second half 19th century, including peas, tangerines, a lemon, cherries, grapes, various plums and figs, peaches, a banana and a persimmon, h. 1‑1/2” to 3”. [500/800] Illustrated

280

282

281 one of two

281 two of two

281 Robert Watson (British, 1865‑1916), “Highland Cattle”, pair of oils on canvas, each signed lower right, 29” x 16”. Presented in period giltwood and gesso frames. [1000/1500] Illustrated 282 Queen Anne-Style Mahogany Stool, 18th century, the inset padded seat above a shaped frieze, raised on cabriole legs ending in pad feet, h. 17”, w. 19”, d. 16”. [700/1000] Illustrated 283 Early George II Giltwood Mirror, first quarter 18th century, the broad crest with an arched center flanked by short swan’s-neck pediments, decorated with shallow scrolled relief carving and flowers on a stippled ground, the sides with like decoration and terminating in carved leaves, the lower portion carved with a shell flanking medallions and bellflowers, h. 51”, w. 27‑1/2”. [800/1200] Illustrated 283

284 George III-Style Pine Breakfront, the broken triangular pediment centered by a finial and above two dentillated, annulated and wave-carved friezes over a conforming case fitted with four astragal-glazed doors, the lower section with a wave-carved frieze with four paneled cupboard doors below, raised on a plinth base, h. 87‑1/2”, w. 65‑1/2”, d. 14”. [1500/2500] Illustrated 285 Queen Anne-Style Fruitwood Lowboy, early 19th century, the rounded rectangular top above a conforming frieze fitted with a central drawer, flanked to either side by a deeper short drawer, raised on cabriole legs ending in pad feet, h. 27”, w. 30‑1/4”, d. 18”. [700/1000] Illustrated 286 Set of Twelve Royal Doulton “Shakespeare Country” HandPainted Cabinet Plates, ca. 1920‑1927, English, the plates with scalloped edges trimmed with raised gilt, and polychrome depictions of various castles, cathedrals and half-timbered cottages, all identified on the back, eleven of the plates signed by artist Charles Hart and the other plate by R. Brown, dia. 10‑1/2”. [1200/1800] Illustrated

287

287 George III-Style Mahogany Chest, 19th century, the rectangular top double-banded and quarter-veneered, above a conforming case fitted with two short drawers over three graduated long drawers, raised on bracket feet, h. 41”, w. 39‑1/2”, d. 20‑1/2”. [500/800] Illustrated

286

284

285

288 one of two

288 two of two

289

288 Frederick Mackenzie (British, 1788‑1854), “Choir of Norwich Cathedral” and “Nave of Christ Church Cathedral, Oxford”, pair of graphite and watercolors on paper, former with title and signature en verso, sight 25‑1/4” x 19‑1/4”, latter 23‑3/4” x 17‑3/4”. Matted, glazed and framed alike. Provenance: Sotheby’s London, March 22, 2000, lot 156. [1000/1500] Illustrated

289 Suite of Four Queen Anne Oak and Elm Sidechairs, late 18th century, each with a rounded crest above a baluster-form splat, the padded seat raised on cabriole legs joined by a block and turned H-form stretcher and ending in pad feet, h. 41”. [800/1200] Illustrated

290 Assembled Collection of Four Rare Chinese Export Blue and White Canton Porcelain Canisters, second quarter 19th century, decorated with Canton design elements, including cloud borders on the covers, h. 3” to 8”, w. 2‑3/4” to 7”. [800/1200] Illustrated 291 Large Collection of English Blue and White Staffordshire Dinnerware, some pieces from the 1825‑1850 period, including a J. Meir “wild rose” signed soup tureen, h. 5‑1/4”, w. 12”, two signed Spode “girl at well” plates, dia. 10”, a pair of signed Enoch Woods and Sons “Wardour Castle, Wiltshire” plates, dia. 10”, six Staffordshire soup plates from various makers, dia. 9‑1/4”, a pair of early Mason’s plates, probably the “blue pheasants” pattern, dia. 9‑1/2”, fourteen handsome Staffordshire plates from various patterns and makers, dia. 9‑3/4”, a large coffeepot printed with a fox treeing chickens, h. 10‑3/4”, w. 10”, three platters, w. 12” to 15‑1/4”, d. 9‑3/4” to 12”, and a “willow” pattern dish cover, w. 8‑1/4”, d. 7”, and some pieces, late 19th century, Copeland Spode’s “Italian”, including a platter, w. 12‑1/2”, d. 9”, a teapot, h. 4‑3/4”, w. 8”, a pair of open bowls, dia. 9‑3/4”, a waste bowl, dia. 4‑3/4”, five salad plates, dia. 7‑3/4”, a bread-and-butter plate, dia. 6‑1/2”, four bowls, some with later marks, dia. 6‑1/2”, a pair of soup plates with later marks, dia. 8‑3/4”, two luncheon plates with later marks, dia. 9”, and six “old willow” salad plates, dia. 7”. [1000/1500] Illustrated

290

292 Group of Five Staffordshire Blue and White Pottery Platters, second quarter 19th century, including an “English Scenery” platter, w. 20‑1/2”, d. 16”, two “wild rose” pattern platters, w. 17” to 17‑1/2”, d. 13” to 13‑3/4”, a platter decorated with a vase of flowers, w. 17”, d. 13‑1/4”, and a platter decorated in the Chinese taste, w. 16‑1/2”, d. 12‑1/2”. [500/800] Illustrated

292

291

848

293 Queen Anne Walnut Secretary Bookcase, 18th century, the molded cornice above a single door inset with a shaped mirrored panel and a single candle slide, the lower section fitted with a banded slant front opening to a variety of drawers and cubbyholes, flanking a central cupboard, over three graduated and banded long drawers, raised on ogee-molded bracket feet, h. 77‑1/2”, w. 30‑1/2”, d. 18”. [2000/4000] Illustrated 294 George II Walnut Games Table, mid-18th century, the hinged rectangular top with turreted corners, and opening to a baize-lined interior with corner candle holders and four recessed compartments for gaming pieces, above a conforming frieze fitted with a single drawer, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 28”, w. 34‑1/4”, d. 17”. [2000/4000] Illustrated

295

295 Georgian Walnut-Veneered Looking Glass, third quarter 18th century, the crest with a pierced giltwood shell flanked by carved scrolls with “ears” on the sides, the bottom with a serpentine skirt, the interior liner comprised of an ogee walnut molding with a carved and scrolled giltwood inner liner, h. 41”, w. 22‑1/4”. [800/1200] Illustrated

293

294

297 Suite of Six Queen Anne-Style Polychrome Sidechairs, ca. 1800, in the chinoiserie manner, each with a shell-carved crest above a baluster-form splat featuring differing Asian figures in exotic landscapes, the padded seats with period needlework depicting similar scenes, raised on cabriole legs joined by a shaped H-form stretcher and ending in pad feet; accompanied by the original receipt, h. 42”. Provenance: Henry Stern Antiques, New Orleans, Louisiana; Estate of Carolyn G. Fay, Houston, Texas. [1500/2500] Illustrated

296

296 British School (19th Century), “Portrait of a Lady in an Oyster-Gray Shot-Silk Gown with Pearls and Kid Leather Gloves”, unsigned, 50” x 40”. Presented in a thin gallery frame. [1000/1500] Illustrated

297 detail

297

298 Georgian-Style Polychrome Secretary, 19th century, the shaped and molded cornice above a diamondpaneled frieze and two arched mirrored doors, opening to a compartmented interior with a lower central cupboard and drawers, the lower section fitted with a slant front opening to various drawers and cubbyholes, flanking a central cupboard over four graduated long drawers, raised on bracket feet, the whole with gilt and polychrome accents in the chinoiserie taste, h. 88”, w. 36”, d. 19‑1/2”. [1500/2500] Illustrated 299 Chinese Chippendale-Style Giltwood and Mahogany Mantel Mirror, 20th century, the mirror with a twigcarved mahogany outer edge and a pierced basket of flowers finial over a pagoda roof, and rocaille panels flanked by phoenix birds above a neoclassical masque, the vase stands with mahogany shelves carved with gilt leaves and set at three levels, with an arched architectural covered platform with mahogany colonnettes flanking the stairs, and rocaille panels set with additional vase shelves and swags of gilt flowers decorating each side, h. 64‑1/4”, w. 59‑1/4”. [2000/4000] Illustrated

299

300 Set of Eleven Minton’s Dinner Plates in the Imari Palette, ca. 1941, English, decorated in variations of the orange and cobalt blue pattern, each marked on the rear with Minton’s 1941 date mark, and an impressed airplane, dia. 9‑1/4”. [500/800] Illustrated 300

298 detail

298

303 Set of Four Early George III Scottish Sterling Silver Cauldron Salts, hallmarked Edinburgh, 1759‑1761, by James Wemyss (1711‑ca. 1786; free 1738), each of traditional form with fluted rim and raised on three step-crested pad feet, engraved with the crest of a crescent, h. 1‑1/2”, dia. 2‑3/4”, 9.53 total t. oz. [500/800] Illustrated

301

301 George II Sterling Silver Sauceboat, hallmarked London, 1751‑1752, by John Pollock (free 1739; d. 1755), of serpentine-lobed batteau form, with crested C-scroll handle and raised on three shellcrested pad feet, engraved with a rococo cartouche centering the monogram “W/J+M”, h. 5‑1/8”, l. 7‑1/4”, w. 3‑5/8”, 9.98 t. oz. [700/1000] Illustrated 302 Good George Wickes (1698‑1761) Sterling Silver Condiment Urn, hallmarked London, 1748‑1749, the ovoid body decorated with applied coquilles and openwork reeded scroll banding, with quartered gadrooned calyx, the waisted collar with gadrooned rim and fitted with a domed lid and flammiform finial, the whole raised on a domed foot en suite, engraved with a crest of a hawk rising, h. 7‑1/2”, dia. 4”, 14.76 t. oz. [2000/4000] Illustrated

302

303

304 Hester Bateman (1708‑1794) Sterling Silver Coffeepot, hallmarked London, 1783‑1784, of baluster form, with crested wooden handle, acanthus-mounted “gooseneck” spout and hinged ogee-domed lid with urn-form finial, the whole above an ogee-domed foot ring, the edges with beaded banding, h. 11‑./4”, dia. 4‑3/4”, l. 8‑1/4”, 24.93 t. oz. [1500/2500] Illustrated 305 George III Sterling Silver Hot Water Urn, hallmarked London, 1780‑1781, by Charles Wright (1732‑1815; free 1754), the ovoid body decorated with elaborate wrigglework ovolo banding and swags, with arched handles, waisted collar and lid, urn-form finial and square-section spout with spatulate key, the whole above a waisted stem and plinth base raised on four spherical feet, the whole with narrow beaded banding, h. 21‑1/4”, w. 10‑3/4”, d. 11‑1/4”, 91.03 t. oz. [2500/4000] Illustrated

304

306

306 Pair of George III Sterling Silver Waiters, hallmarked London, 1779‑1780, by Richard Rugg II (1749‑ca. 1800; free 1770), each circular with bright-cut rim and beaded edge and raised on three claw-and-ball feet, engraved with a pricked cartouche centering the arms of Perring of Membland, Devon, dia. 8”, 26.26 total t. oz. [1500/2500] Illustrated

305

307 Fine Hester Bateman (1708‑1794) Sterling Silver Teapot and Stand, hallmarked London, 1788‑1789, of wavy oval section and decorated with engraved floral and drapery swags centering pricked oval and wrigglework cartouches, with a cavetto collar, gadrooned tapering conical spout, hinged and gadrooned domed lid with pineapple finial and gadrooned wooden handle, the whole presented on a conforming stand with beaded edge and raised on four flat column feet, later monogrammed “FHE”, overall h. 7‑1/2”, l. 10”, w. 5‑1/4”, 51.57 total t. oz. (including wooden handle). [1800/2500] Illustrated 308 Good Bateman Family Sterling Silver Coffeepot, hallmarked London, 1800‑1801, by Peter, Anne and William Bateman (active 1800‑1805), the urn-form body with wavy quarter panels and engraved with an upper foliate scroll band, with cavetto collar, gooseneck spout, arched wooden handle and steeply domed hinged lid with pineapple finial, all above a conforming foot, the whole with narrow applied reeded banding, later engraved with the arms of Critchley of Warrenfield opposing the conjoined monogram “WAPC”, h. 12‑1/4”, l. 13”, w. 5‑1/4”, 33.03 t. oz. (including wooden handle). [1500/2500] Illustrated 307

308

The arms and monogram here are those of Walter Asheton Paget Critchley, the son of Walter Richard Critchley and Elizabeth Dawson, born August 6, 1859 and baptized February 18, 1860 at St. Margaret’s, Dunham Massey, Cheshire. He was married on July 6, 1905 to Laura Isabel Pearson, and was admitted to the bar the following year. He had a long career as a prominent barrister, and died on April 25, 1946 at Rosery Ryhall, Rutlandshire.

308 detail

311 309

309 George III Sterling Silver Salver, hallmarked London, 1789‑1790, by Robert Sharp (ca. 1733‑1803; free 1757), of circular form with reeded rim and raised on four bracket feet, engraved with a band of alternating scrolls and paterae, the center with a cartouche en suite and engraved with unhatched arms “a crescent, on a chief dovetailed three roundels”, dia. 15”, 53.35 t. oz. [4500/7000] Illustrated 310 George III Sterling Silver and Glass Decanter Frame, hallmarked London, 1791‑1792, by Robert Hennell I (1741‑1811; free 1763), the saltire-form wooden-backed frame with canted corners and four flat-column legs supporting conforming receptacles with stopper holders and centering a reeded ring handle, with four colorless conforming paneled decanters with diamond-cut banding and floriform stoppers, overall h. 9‑1/2”, w. 7‑7/8”, 20.57 t. oz. (excluding decanters but including wooden backing). [1200/1800] Illustrated

310

311 Late George III Sterling Silver Cake Basket, hallmarked London, 1800‑1801, by John Emes (1762‑1808; free 1786) of oval form, decorated with pricked leaf-anddiaper banding, with reeded swing handle and conforming foot ring, l. 12‑1/4”, w. 8”, h. 3” (9‑1/4” with handle), 17.26 t. oz. [1200/1800] Illustrated

312

312 detail

312 Paul Storr (1771‑1844) Sterling Silver Entree Dish, hallmarked London, 1799, of rectangular form with pinched corners and slightly concave sides, with gadrooned rim, the conforming fitted, domed lid with foliate-mounted reeded ring handle, engraved with the arms of Clarke of London, overall h. 6‑1/4”, l. 11”, w. 9‑1/4”, 58.38 t. oz. [3000/5000] Illustrated

313

313 Regency Matthew Boulton Old Sheffield Plate Wine Cooler, first quarter 19th century, of campana form, with gadrooned calyx, gadroon-and-scroll rim, addorsed acanthus handles and cavetto-domed foot ring, retaining the original collar and liner, engraved with a crest “a horse passant”, h. 10‑1/4”, dia. 8‑3/4”, w. 9‑1/4”. [800/1200] Illustrated 314 Pair of Late George III Sterling Silver Sauce Tureens, hallmarked London, 1808‑1809, by William Frisbee (1761‑1820; free 1782), each of rounded rectangular form, with gadrooned rim, stirrup handles and four lion’s paw feet, the fitted lid with reeded ring handle, engraved on the lid with the arms of Heywood impaling Dansey, h. 4‑3/4”, l. 8”, w. 4‑3/4”, 41.63 total t. oz. [2500/4000] Illustrated The arms here are those of Dr. Walter Charles Heywood (1766‑1854) and his wife Elizabeth Georgiana Dansey, who were married on September 12, 1803 in Blandford Forum, Dorset.

314

316

316 detail

315 Two Regency Sterling Silver Fish Slices, one hallmarked Edinburgh, 1815‑1816, by George Fenwick (ca. 1776‑1857; free 1810), the other London, 1817‑1818, by William Bateman I (1774‑1850; free 1799), both in the traditional “Fiddle” pattern, with pierced scimitar-shaped blade, l. 12‑1/8” and 11‑3/4”, 10.93 total t. oz. [800/1200] 316 Late George III Sterling Silver Tray, hallmarked London, 1810‑1811, by William Stroud (ca. 1755‑1820; free 1776), of lobed oval form, with leaf-and-gadroon rim and handles, raised on four flat fan-crested lion’s paw feet, the underside with period presentation inscription “Presented to William Reade Esq.re, Camberwell, by his fellow officers of the Long Room, H.M. Customs, London, Dec.r 1810”, the plateau engraved with later armorial (?Guven impaling Smyth), l. 27‑3/4”, w. 17”, 132.78 t. oz. [7000/10000] Illustrated 317 Good Victorian Sterling Silver Gilt Fruit Stand, hallmarked Sheffield, 1874‑1875, by the Fenton Brothers, comprising two graduated lobed circular bowls with beaded rims and decorated with repousse fruit and floral swags, joined by a waisted standard and surmounted by a pyr finial and raised on four floral-crested rococo scroll feet, engraved with a crest of an eagle rising within a nimbus, overall h. 14‑3/4”, dia. 12‑1/4”, 53.32 t. oz. [600/900] Illustrated

317

319

318 320

318 Victorian Silverplate and Glass Centerpiece, fourth quarter 19th century, the lobed baluster standard decorated with applied scrolls, raised above a conforming foot with acanthus scrolls, applied birds and a central cartouche, and surmounted by a trumpeting receptacle surrounded by three scrolling arms each terminating in a lotus-form drip pan and short nozzle, the central receptacle fitted with a later shaped glass bowl decorated with frosted and cut acanthus fronds, engraved on the cartouche with the arms of Gilstrap impaling Haigh, h. 22‑1/2”, w. 14‑1/4”. [600/900] Illustrated The arms here are those of Sir William Gilstrap, 1st Baronet (1816‑1896) and his wife Elizabeth Haigh (1822‑1891), who were married on June 2, 1847 at Christ Church, Woodhouse, Huddersfield parish, York.

319 Victorian Sterling Silver-Mounted Cut Glass Claret Jug, hallmarked London, 1879‑1880, by Charles Edwards, the ovoid glass body engraved with mitred squares each centering a star, with up-pulled handle and circular foot, the silver cylindrical collar engraved with floral arabesques, with “U”-shaped spout and hinged domed lid, h. 10‑1/2”, dia. 4‑1/2”, l. 5‑1/2”. [500/800] Illustrated 320 Pair of George V Sterling Silver Graduated Bowls, hallmarked London, 1918‑1919, by Mappin & Webb, each of hemispherical form with egg-and-dart edge, with a trio of paired lions couchant handles, their tails entwined around a flower, the whole raised on a foot ring en suite with three lion couchant feet, monogrammed “PLM”, dia. 8‑1/2” and 12”, 76.33 total t. oz. [1500/2500] Illustrated

322

321

323

321 Asprey & Co. Sterling Silver Salver, hallmarked Sheffield, 1988, of square form, with molded rim and in-peaked corners, raised on four bracket feet, w. 12‑1/2”, 44.14 t. oz. [1500/2500] Illustrated 322 Good Comyns & Son Three-Piece Sterling Silver Novelty Condiment Set, hallmarked London, 1962‑1969, including a mustard pot, h. 3”, and salt and pepper casters, h. 2‑3/8”, in the form of a mother penguin with her two chicks, all realistically detailed with black glass bead eyes, 8.39 total t. oz. [1200/1800] Illustrated

323 Irish George II Mahogany Serving Table, second quarter 18th century and later, the rectangular top with a molded edge, above a shaped shell-centered frieze, raised on cabriole legs headed by shell carving and ending in waisted hairy paw feet, h. 30‑1/2”, w. 54”, d. 25‑1/4”. [1500/2500] Illustrated

326

325

324

324 Suite of Eight George II-Style Mahogany Dining Chairs, 20th century, comprised of two armchairs and eight sidechairs, each with a shaped gilt shell-carved crest above a baluster-form splat, the padded saddle seat raised on cabriole legs headed by a gilt shell carving and ending in pad feet, h. 39”. [700/1000] Illustrated 325 British School (19th Century), “Portrait of a Poet, Possibly Alexander Pope”, oil on canvas, unsigned, erroneously attributed to William Hogarth (British, 1697‑1764) on artist plaque, 48” x 37‑1/2”. In a carved giltwood frame. [1500/2500] Illustrated

326 George III-Style Mahogany Partner’s Desk, the oval top with an inset gilt-tooled leather surface above a frieze fitted with three drawers to either end, raised on two conforming bases, each fitted with a cupboard to one side and a drawer over a deeper drawer to the other, raised on plinth bases, labeled “Maitland-Smith”, h. 29”, w. 70‑1/2”, d. 45‑1/2”. [800/1200] Illustrated

327 English Oak and Iron Trench Ladder, first quarter 20th century, the vintage WWI folding ladder marked “Hodgkinson’s Patent, Ambergate, Derby”, folded w. 6”, l. 37‑1/4”, extended w. 10‑1/4”, l. 97”. [700/1000] Illustrated 328 Exceptional George III Inlaid Mahogany Lap Desk, ca. 1800, the top outlined with rosewood crossbanding and set with an oval green-stained and sand-burned inlay of a shell wrapped in a leaf, with an identical inlay on the underside of the lid, the cover opening to reveal numerous compartments, including three with covers, the front inlaid with stringing, the lower drawer inlaid to resemble three, opening to reveal a baize-inset writing surface, with brass bail carrying handles on each side, h. 6‑1/4”, w. 18”, d. 12”. [800/1200] Illustrated 329 Two Georgian Mahogany Trays, 19th century, comprising a large Regency kidney-shaped tray inlaid with a conch shell, and set with a scalloped gallery and supported with period brass handles, w. 22‑3/4”, d. 13‑1/2”, and a Chippendalestyle tray with a molded rim and acanthus-carved handles, w. 20”, d. 11‑3/4”. [500/800]

328

330 Georgian-Style Upholstered and Mahogany Wing Chair, early 20th century, the tall, tufted and padded back with a backswept crest, joined by shaped sides and outscrolled arms to the cushioned seat, raised on cabriole legs headed by scroll carving and ending in pad feet, h. 57”. [800/1200] Illustrated

330

327

331

332

331 Days of the Dandies, a collection of ten biographies and autobiographies of 18th-century English notables: Peg Woffington, Laurence Sterne, Colley Cibber, Rees Howell Gronow, Dorothea Jordan, Beau Nash, Fanny Burney, Lady Mary Wortley Montague, Horace Walpole and Charles J. Fox, London: Edinburgh Press for The Grolier Society, n.d. (ca. 1900), complete in fifteen volumes, limited edition amateur 37 of 100, octavo, in brown leather, the spine with raised bands and gilt lettering and panel decoration, the top edges trimmed and gilt, the rest deckled, 9” x 6”. [600/900] Illustrated

333

332 George III Mahogany Music Stand, early 19th century, the rounded, ratcheted, easel-back stand raised on a turned vasiform standard to three splayed legs ending in ball feet, h. 40‑1/2”, w. 17‑1/2”, d. 13‑1/2”. Provenance: Uptowner Antiques, New Orleans, Louisiana. [700/1000] Illustrated 333 George III Mahogany Secretary Bookcase, fourth quarter 18th century, the broken triangular molded and dentillated pediment above two doors, each inset with a shaped panel and opening to a shelved interior, the lower section fitted with a variety of drawers and cubbyholes, flanking a central cupboard, over four graduated long drawers, raised on splayed feet, h. 88”, w. 36”, d. 19”. [2000/4000] Illustrated

334 336

334 George III Mahogany End Table, constructed of antique elements, the rectangular top with a canted edge, above a frieze fitted with a single drawer, raised on cabriole legs headed by shell and foliate carving and ending in foliate-carved shaped feet, h. 26‑1/2”, w. 21‑1/2”, d. 15”. [600/900] Illustrated 335 George III-Style Mahogany Breakfront, 19th century and later, the broken swan’s-neck pediment above a dentillated frieze with four glazed doors below, opening to a fabric-lined shelved interior, the lower section fitted with a drop-front secretary drawer opening to a variety of drawers and cubbyholes, over two cupboard doors, each inset with an oval panel, flanked to either side by a single cupboard faced as a drawer over an oval-paneled cupboard, and opening to eight small graduated drawers, raised on a plinth base, h. 97”, w. 68”, d. 22‑1/2”. [2500/4000] Illustrated 336 Attributed to William Traies (British, 1789‑1872), “The Becky Falls, River Wray, South Devon”, oil on canvas, unsigned, 36” x 28”. In an attractive gesso and giltwood frame. [1200/1800] Illustrated

335

337

339

339 British School (First Quarter 18th Century), “Portrait of a Member of the Offley Family, Possibly Urith Offley, Norton Hall, Sheffield”, oil on canvas, later inscription lower left “Mrs Stephen Offley/ob 1711”, 49‑1/2” x 39‑1/2”. Presented in a later giltwood frame. [3000/5000] Illustrated

338

337 George II-Style Parcel-Gilt and Mahogany Mirror, ca. 1900, the leaf-carved swan’s-neck pediment framing a rocaille finial on the crest, the surround decorated with applied giltwood rocaille and leaf carving, and the sides with drops of carved oak leaves and acorns, h. 46”, w. 25”. [900/1200] Illustrated 338 Irish George II Mahogany Silver Table, mid-18th century, the rectangular dished top above a shaped shellcarved frieze, raised on cabriole legs headed by foliate carving and ending in waisted paw feet, h. 28”, w. 30‑1/4”, d. 20”. [1200/1800] Illustrated

100

The Offley family is an historically significant and socially and politically prominent British family. In the late 17th century, Robert Offley inherited the Sheffield County estate of Norton Hall from his heirless uncle. While there is no record of when the first edifice was built upon the estate’s acreage, it is believed to date from before the Norman Conquest of the 11th century; the building presently in situ dates to the early 19th century. One of Robert Offley’s descendants and heirs, Stephen Offley, was named High Sheriff of Derbyshire in 1716. This was a prestigious position, originally integrally involved in law enforcement, but now mainly ceremonial, and it is the oldest secular office under the Crown. A Urith Offley is mentioned in various contemporaneous and slightly later documents as Stephen Offley’s daughter, heir, wife, etc. Since Stephen and Urith are two of the more prevalent family surnames, and appear across several centuries of the family’s lineage, it is difficult to assert unequivocally that the sitter of this charming portrait is Urith. Through inheritence and marriage, the Offleys were associated with the equally prominent Shore and Nightingale families. One of the 19th century holders of Norton Hall, Offley Shore, was cousin to the Crimean War heroine Florence Nightingale (1820‑1910). References: The English Reports-House of Lords (1677‑1865), Volume I, London: Stevens & Sons, Limited, 1900, pp 565‑568.; J. Bernard Burke, Esq. A Genealogical and Heraldic Dictionary of the Landed Gentry of Great Britain and Ireland for 1852, Volume II , London: Colburn and Co., 1852, pp 1231 and 1232.

341

342

341 Extensive Royal Crown Derby “Red Aves” Bone China Partial Dinner Service, pre-1997, with various dates, English, the service including twelve dinner plates, dia. 10‑1/2”, ten salad plates, dia. 8‑1/2”, a pair of octagonal serving bowls, h. 3”, dia. 8‑1/4”, a pair of medium ginger jars with lids, h. 7”, dia. 6”, a small unlidded ginger jar, h. 4‑1/2”, dia. 3‑3/4”, ten footed cups, h. 2‑1/4”, with twelve matching saucers, dia. 5‑1/2”, fifteen flat demitasse cups, h. 2‑1/4”, with eighteen matching saucers, dia. 4‑1/2”, a rectangular covered box, w. 4‑1/2”, d. 3‑1/2”, a pair of candlesticks, h. 10‑1/2”, a coffeepot, h. 9‑1/2”, w. 8”, a teapot, h. 6”, w. 9”, two cream jugs, h. 3‑1/2” and 2‑3/4”, two sugar bowls, h. 5” and 6”, and a scalloped dish, dia. 4‑1/2”. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [1200/1800] Illustrated

340 Suite of Ten George III-Style Mahogany Dining Chairs, in the Chippendale manner, consisting of two armchairs and eight sidechairs, each with an earred and domed crest above a pierced and interlacing splat, the inset padded seat raised on cabriole legs, headed by foliate carving and ending in ball-and-claw feet, h. 39‑1/2”. [1800/2500] Illustrated

342 detail

342 George III Mahogany Dining Table, 19th century, consisting of two drop-leaf D-ends and a central drop-leaf section, all with finely figured veneers, above a conforming frieze with a lower inlaid diamond banding, raised on tapering square legs with geometric band inlay, h. 29”, w. 48”, extended l. 155”. [1000/1500] Illustrated

340

101

343 George III-Style Mahogany Breakfront Bookcase, fourth quarter 19th century, the broken swan’s-neck pediment with gadroon- and dentil-carved bands terminating in a foliate roundel, above a like-carved frieze over two central doors, each inset with a shaped mirrored panel, flanked to either side by a single door, featuring a finely carved floral festoon, centered by fluted Corinthian pilasters, opening to a shelved interior, the lower section fitted with a drop-front secretary drawer opening to an inset leather writing surface and a variety of drawers and cubbyholes, flanked to either side by two small drawers, over two paneled cupboard doors, the side sections each fitted with four graduated drawers, raised on a plinth base, h. 106”, w. 124”, d. 24”. Provenance: Williams Antiques, Atlanta, Georgia. [5000/8000] Illustrated This design is similar to those found in William Salmon’s Palladio Londinensis. 344 George III Inlaid Mahogany Knife Box, ca. 1800, the serpentine front outlined with a delicate barber-pole inlay and set with a silverplate ring pull and escutcheon, retaining inlaid fittings, the top inlaid with a compass star on the underside, h. 14‑1/2”, w. 8‑3/4”, d. 12”. [500/800] Illustrated

102

344

343

345

345 George III-Style Mahogany Kettle Stand, 19th century, the square top with a full shaped gallery, above a frieze fitted with a single candle slide, raised on slightly splayed square legs joined by an X-form stretcher and ending in block feet, h. 25‑1/2”, w. 11‑1/2”, d. 11‑1/2”. [500/800] Illustrated

348

346 George III Mahogany Bowfront Sideboard, fourth quarter 18th century, the banded and bowed top above a conforming case fitted with a single central drawer flanked to either side by a deep drawer, faced as two drawers, one fitted as a cellarette, raised on tapering square legs ending in spade feet, h. 37‑1/4”, w. 48”, d. 26”. [800/1200] Illustrated 347 Group of Three English Mahogany Tea Caddies, second half 18th century, including a bracket-footed tea caddy with a molded top and a Queen Anne escutcheon, the interior retaining two tole tea caddies and a covered mixing bowl, likely original, h. 4‑1/2”, w. 7‑1/4”, d. 4‑1/4”, an octagonal tea caddy inlaid with bellflowers and bowknots, the interior retaining fragments of foil lining, h. 4‑1/2”, w. 4‑1/2”, d. 3‑3/4”, and a caddy inlaid with rosewood oval panels, retaining its interior cover and foil liner, h. 5”, w. 5”, d. 4‑1/4”. [500/800] 348 French Baccarat-Style Glass Twelve-Light Chandelier, the baluster-form standard cut in diamond patterns, and issuing tiered molded glass arms with reeded bobeches, hung with glass swags and faceted prisms, h. 26”, w. 22‑1/2”. [800/1200] Illustrated

346

103

349 George III-Style Mahogany Secretary Bookcase, late 19th century, the molded cornice above two astragalglazed doors, the lower section fitted with a slant front opening to a variety of drawers and cubbyholes flanking a central cupboard, over four graduated long drawers, raised on bracket feet, h. 86”, w. 41‑1/2”, d. 22”. [500/800] Illustrated 350 George III-Style Mahogany Dining Table, the circular top with a burled and geometric banding, and raised on fluted columnar supports to a canted concave square stretcher on splayed and ribboned legs ending in brass paws on casters, h. 30”, dia. 72”. [500/800] Illustrated

352 Pair of Chinese Export-Style Porcelain Planters, 20th century, each of slightly tapering, cylindrical form, with a slightly splayed foot and lion-dog loop handles to either side, decorated in the famille rose palette, with a bird perched amid branches of blossoming peonies to the exterior, a neat band encircling the foot, painted with an alternating flowerhead motif above foliate sprays, the interior decorated with individual floral sprays, the base unglazed and unmarked, h. 16‑3/4”, dia. 25‑1/4”. [2500/4000] Illustrated

351 Chinese Export Hand-Painted Ch’ien Lung Punchbowl in the Famille Rose Palette, fourth quarter 19th century, the exterior decorated with panels of Mandarin scenes framed with gilt scrollwork, alternating with panels of birds on branches, on a gilt vermicelli ground, the interior decorated with a view of a Mandarin procession, with a gilt lancet border, on a pierced, ebonized wooden stand, h. 9”, dia. 15”. [700/1000] Illustrated

352

351

349

104

350

354

355

353

355 Pair of George II Giltwood Mirrors, second quarter 18th century, each set with a two-part antique mirror plate with shallow beveled edges, the upper plate engraved and the other replaced, with bas-relief scroll carving on the upper portion of the frame, below carved swan’s-neck pediments flanking carved shield-form finials, the serpentine lower portion decorated with scrolled relief carvings, the sides with scrollcarved “ears”, h. 56‑1/2”, w. 29”. [2000/4000] Illustrated

353 George III-Style Mahogany Kneehole Desk, 19th century, the rectangular top banded and with crimped corners, above a case fitted with a pull-out slide over a single frieze drawer and two banks of three graduated short drawers flanking a recessed kneehole cupboard, raised on ogee-molded bracket feet, h. 32‑1/2”, w. 31‑1/2”, d. 18”. [500/800] Illustrated 354 British School (Fourth Quarter 19th Century), “Rest for the Weary”, oil on panel, unsigned, 16” x 24”. Presented in a giltwood frame. [1000/1500] Illustrated

105

356

357

358

356 Suite of Eight George III-Style Mahogany Dining Chairs, 20th century, consisting of two armchairs and six sidechairs, each with an earred and shell-carved crest above an interlacing torchere-carved splat, the padded seat raised on cabriole legs ending in ball-and-claw feet, h. 43”. [700/1000] Illustrated 357 George III-Style Mahogany Center Table, 20th century, the circular banded top raised on a turned baluster-form standard to four splayed and ribbed legs ending in brass paws and casters, h. 29‑1/2”, dia. 60”. [800/1200] Illustrated 358 Set of Eleven Minton’s Armorial Dinner Plates, ca. 1874, English, with a bleu celeste border trimmed in raised gilt, the armorial, “Argent, a dragon’s head and neck, erased vert, holding in the mouth a bloody hand”, probably that of Lewis of Warner Hall, Gloucester co., Virginia, impressed “Minton’s” and a date mark with a printed mark including the retailer, Goode & Co., South Audley St., London, and with a decorator’s mark near the foot rim, dia. 10‑1/4”. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [500/800] Illustrated

106

358 detail

359 Handsome Edwardian Wedgwood-Style Jasperware Lamp, first quarter 20th century, on a cylindrical base decorated with leopard’s heads supporting swags of grapes and a pierced anthemia border, the campana urn-form body decorated with muses and trees, and fitted with a pierced boughpot/potpourri-type cover, h. 38‑1/2”, dia. 8”. [600/900] Illustrated 360 George III Mahogany Secretary Bookcase, fourth quarter 18th century, the molded cornice above two astragal-glazed doors, the lower section fitted with a drop-front secretary drawer opening to a variety of drawers and cubbyholes, flanking a central shell-inlaid cupboard, over three graduated long drawers, raised on splayed bracket feet, h. 90”, w. 47‑1/2”, d. 21”. [900/1200] Illustrated

359

361

361 George III-Style Mahogany Serving Table, 19th century, the banded and shaped top above a conforming frieze fitted with three drawers, all banded and with string inlay, raised on tapering square legs ending in spade feet, h. 33‑1/4”, w. 62”, d. 23‑3/4”. [900/1200] Illustrated 360

107

362 363

362 George III Mahogany Games Table, fourth quarter 18th century, the demi-lune top hinged and opening to a larger surface, above a conforming frieze, raised on chamfered tapering square legs, h. 29”, w. 39‑1/2”, d. 19‑1/4”. [700/1000] Illustrated 363 Regency Revival Giltwood Convex Mirror, fourth quarter 19th century, English, the convex mirror plate with a reeded and ebonized liner, the displayed eagle finial atop a rocky plinth, flanked by pierced scrollwork, the lower edge decorated with carved leaves, h. 41‑1/2”, w. 25”. [1200/1800] Illustrated 364 William IV Walnut Cellarette, second quarter 19th century, the domed top with inlaid Tunbridge ware bands and opening to a void interior, the tapering body with side wooden knobs and like bands, raised on bun feet, h. 20‑1/2”, w. 22”, d. 17‑1/2”. [800/1200] Illustrated

364

365 Pair of Edwardian Satinwood End Tables, early 20th century, each with a banded and bowed top centered by a patera, above a conforming case fitted with two banded scroll-inlaid drawers, raised on slender tapering square legs, h. 28‑1/4”, w. 12‑1/2”, d. 10‑1/4”. [700/1000] Illustrated

365

108

366 Victorian Walnut Cabinet, late 19th century, the rectangular top above a floral-inlaid frieze and a single glazed door opening to a shelved interior, with side ormolu mounts, raised on a plinth base, h. 40‑1/2”, w. 31‑1/2”, d. 11‑1/2”. [500/800] Illustrated 367 Regency-Style Mahogany Window Seat, 20th century, the padded rectangular seat flanked to either end by outscrolled padded sides with gilt lion’s head accents, raised on splayed legs headed by gilt foliate carving and ending in paw feet, labeled “Maitland-Smith”, h. 32”, w. 56”, d. 19”. [600/900] Illustrated

368

367

369

368 Rare Regency Bronze Library Clock, 1820‑1830, on gilt-bronze Psyche-head feet, the stepped patinated bronze base supporting the engine-turned trim around the clock, set with an enamel dial, the lyre-form finial pierced with an arrow and terminating in swan’s heads, labeled “F. Baetens, 23 Gerrard St., London”, h. 10”, w. 5‑1/4”, d. 3‑1/4”. [700/1000] Illustrated 369 Handsome William IV Bronze Dore et Patine Fireplace Fender, second quarter 19th century, on an ogee-molded base with gilt leaf-molded scrollwork ends, with a leaf-molded and mirrored vasiform center section connected with patinated and reeded sections, with a patinated and gilt-bronze chain hanging from both ends, h. 10”, w. 38” (adjustable), d. 4”. [1200/1800] Illustrated

366

109

372 370

370 English Regency-Style Bronze and Brass Twelve-Light Chandelier, first quarter 20th century, the brass body with impressed ivy vines and set with an artichoke finial and twelve leafmolded candle cups, with molded chain holders terminating in pierced anthemia and decorated with reeding, beading and inset lion’s head medallions, h. 35”, dia. 21‑3/4”. [1500/2500] Illustrated 371 Regency Rosewood Cabinet, first quarter 19th century, in the manner of George Oakley (English, 1760‑1840), the rectangular top with a ribbed edge, above a conforming case fitted with a frieze centered by a brass-inlaid foliatepatterned mount over two cabinet doors, each inset with a grilled panel, raised on ormolu paw feet, h. 33‑3/4”, w. 40‑1/4”, d. 14”. Provenance: Purchased from Wakefield-Scearce Galleries, New York, New York in 1968. [1000/1500] Illustrated

373

372 Assembled Suite of Ten Late Regency Mahogany Dining Chairs, ca. 1825, of klismos form, the concave top rail with a reeded perimeter, over reeded stiles with foliate-carved capitals and turned and reeded front legs, h. 34”. [3000/5000] Illustrated 373 Regency-Style Mahogany Center Table, ca. 1820, the circular, banded, sunburstveneered top raised on a tripartite standard to a concave tripartite base on gilt feet, h. 28‑1/2”, dia. 47‑1/4”. [1200/1800] Illustrated

371

110

376

374

374 Regency Revival Giltwood Convex Mirror, ca. 1900, the convex mirror plate set into a reeded ebonized liner, the cove-molded frame set with gilt spherules and supporting a displayed eagle crest flanked with pierced scrollwork, the lower portion decorated with a carved fan set with fruit, h. 38”, w. 24‑1/2”. [700/1000] Illustrated 375 Regency Inlaid Mahogany Wheel Barometer, first quarter 20th century, with a swan’s-neck pediment flanking a brass finial, over a hydrometer, thermometer and a round mirror in a reeded frame, the barometer with a silver dial over the level, marked “Warranted, Correct”, h. 42‑1/2”, w. 11‑1/4”. [500/800] Illustrated 376 Pair of Regency Mahogany Serpentine Knife Boxes, ca. 1811, the boxes outlined with ebonized stringing and set with silverplated ring pulls and escutcheons, retaining their fitted interiors, h. 14‑1/2”, w. 9”, d. 11”. [1000/1500] Illustrated By family repute, these knife boxes are from Dorothy Lansdale of Moore Hall, Kent County, England, who married Stephen Sawyer of Winfield, Kent County, England in 1811, and received the knife boxes at the time of her wedding. The couple emigrated to the United States, and she died in Lyme Township, Huron County, Michigan. They descended to Thomas Mitchell Sawyer of Hillsdale, Michigan, and on to a friend in 1962.

375

111

377 Regency Mahogany Linen Press, early 19th century, the molded cornice above a drop finial-applied frieze, over a case fitted with two doors, each inset with an oval panel, the lower section fitted with three graduated long drawers, raised on bracket feet, h. 86‑1/2”, w. 50”, d. 24”. [500/800] Illustrated 378 Handsome English Regency Wheel Barometer in a Mahogany Case, second quarter 19th century, Sheffield, set with a hydrometer, thermometer and a barometer over a level signed “Fornelli, Sheffield”, all under a swan’s-neck pediment, each side mounted with Regency brass spheres in lotus-molded bezels, h. 43‑3/4”, w. 13‑1/2”. [700/1000] Illustrated 379 Regency-Style Mahogany Step Table, fitted with three tiered surfaces, all banded, the middle one hinged and opening to a storage compartment, raised on ribbed tapering circular legs ending in toupie feet, h. 27”, w. 17‑1/2”, d. 27‑1/2”. [500/800] Illustrated 380 Late Regency Bronze and Steel Fire Fender, second quarter 19th century, the serpentine-form fender on reeded bun feet, the pierced sides with carefully delineated trumpet flowers and a gadrooned upper edge, the molded lower edge decorated with lotus leaves, the steel floor set with bronze scrolled tool rests on each side, with raised stops in the center, h. 9”, w. 67”, d. 22‑1/2”. [1200/1800] Illustrated 378

379

377

112

380

381 French Empire Mahogany Bidet de Voyage, first quarter 19th century, the removable rectangular top lifting off to reveal a removable metal basin, raised on bulbous tapering circular legs, h. 17‑1/2”, w. 18”, d. 9”. [600/900] Illustrated 382 English Mother-of-Pearl Tea Caddy, third quarter 19th century, with a bow front and molded cover, and set with a shield-form silvered plaque engraved with initials, the twocompartment interior fitted with mother-of-pearl covers, h. 5‑1/2”, w. 6‑3/4”, d. 4‑1/2”. [700/1000] Illustrated 383 Regency Pagoda-Form Tea Caddy, second quarter 19th century, the chinoiserie-form caddy on fruitwood button feet, the two-compartment interior with a single cover, h. 4‑1/2”, w. 6”, d. 3‑3/4”. [500/800] Illustrated 384 George III Tortoiseshell Tea Caddy, ca. 1800, with silvered brass feet and knob, the front set with a silver oval engraved with a falcon armorial device, the cover laid out in sections, divided by line inlay, the two-compartment interior set with mahogany covers, h. 7‑1/4”, w. 6‑3/4”, d. 4”. [700/1000] Illustrated

382

383

381 384

113

386

388

114

387

389

390

393

385 Turkish Angora Oushak Carpet, 8’ x 10’. [700/1000] 386 Semi-Antique Heriz Carpet, 8’ x 10’. [2500/4000] Illustrated 387 Kerman Carpet, 8’ 3” x 11’ 6”. [800/1200] Illustrated 388 Tabriz Silk Carpet, 9’ 2” x 12’. [1500/2500] Illustrated 389 Semi-Antique Sparta Carpet, 9’ 7” x 13’ 9”. [1000/1500] Illustrated 390 Nain Carpet, 9’ 5” x 13’ 1”. [5000/8000] Illustrated 391 Turkish Angora Oushak Carpet, 8’ 2” x 10’. [800/1200] 392 Semi-Antique Bakhtiari Carpet, 6’ 10” x 10’ 7”. [1000/1500] Illustrated 393 Tabriz Silk Carpet, 8’ x 12’. [2000/4000] Illustrated

392

115

394 Pair of Louis XIV-Style Fruitwood Fauteuils, 19th century, each with a padded, domed back joined by paneled, downswept, bellflower-carved arms to the scrolling hand rest and padded seat, raised on S-scroll legs joined by a like X-form stretcher and ending in foliate block feet, h. 41”. [1500/2500] Illustrated 395 Pair of English Carved Giltwood Wall Brackets, 20th century, in the Regency style, of hemispherical form, the tapered backplates carved with acanthus leaves and flowerheads, h. 12”, w. 14”, d. 6‑3/4”. [600/900] Illustrated

396

395

397

396 Louis XIV-Style Carved Giltwood Six-Light Chandelier, first quarter 20th century, the bold, turned standard decorated with scrollwork, acanthus leaves and bellflowers, the carved and scrolled arms set with swags of laurel, under leaf-carved candle cups and beaded drip pans, h. 30‑1/2”, dia. 30”. [1000/1500] Illustrated 397 Regence Fruitwood and Marble-Top Commode, 18th century, the slightly bowed marble top with turreted corners, above a conforming case fitted with two short drawers over two long drawers, all with highly carved scrolling foliate patterns, raised on stylized hoof feet, h. 35‑1/2”, w. 49‑1/2”, d. 25‑1/2”. [1500/2500] Illustrated

394

116

399 398

398 Impressive Brocot and Delettrez GiltBronze Cartel Clock in the Baroque Taste, ca. 1851‑1878, French, handsomely decorated with a putto grasping a shell on the case, with rocaille and scrollwork, a figure of Achilles serving as the finial, the panel below the enamel dial decorated with chased pierced flowers in front of a red velvet panel, the works signed “A. Brocot and Delettrez, Paris”, h. 36”, w. 17‑3/4”. [3000/5000] Illustrated 399 Emile Auguste Pinchart (French, 1842‑1924), “Feeding the Goats”, oil on canvas, signed lower right, 20‑5/8” x 17‑3/4”. Framed. [1800/2500] Illustrated 400 Unusual French Gilded Age Trumeau Mirror in the Louis XV Style, fourth quarter 19th century, set with a beveled mirror plate, the surround decorated with applied scroll and rocaille work, and sprays of flowers, the unusual reverse serpentine crest fitted with an oval painting of courting couples in 17th-century costume in a garden, h. 80‑1/2”, w. 48‑1/2”. [1800/2500] Illustrated

400

117

401

403

401 Pair of Meissen Porcelain Wine Barrel-Form Figural Tobacco Jars, ca. 1860‑1922, German, decorated with winemakers enjoying the fruits of their labor, two people playing instruments, a young man sitting adjacent to a basket of grapes, holding a goblet of wine, and a female figure eating the freshly harvested grapes, marked with the pommel-ended underglaze blue crossed swords mark, h. 8”, dia. 9”. [1500/2500] Illustrated 402

402 Pair of Louis XV-Style Giltwood Fauteuils, mid19th century, each with a padded needlework back surmounted by a foliate shield crest, joined by padded arms to the like seat, raised on cabriole legs headed by foliate carving and ending in scrolled toes, h. 39”. [700/1000] Illustrated 403 Handsome French Overmantel Mirror, ca. 1900, in the Louis XV style, in three parts, the side mirrors with delicate scrollwork, with heavier scrollwork on the base, the serpentine top with a pierced crest decorated with carefully carved scroll and rocaille work, h. 73”, w. 47”. [700/1000] Illustrated

404

118

404 Pair of Louis XV-Style Giltwood and Marble-Top Console Tables, each with a shaped marble top with a molded edge, above a conforming pierced frieze centered by a shell carving, raised on molded and scrolling foliate-carved supports joined by a stretcher and ending in foliate toes, h. 32”, w. 32‑1/4”, d. 12‑1/2”. [1000/1500] Illustrated

405

407

406

405 Pair of Unusual French Bronze and Crystal Five-Light Girandoles, second quarter 20th century, in the Baroque taste, each example in the form of a pierced bronze basket of flowers interspersed with candle branches and hung with various drops, some in the form of flowers, and set with a cut glass finial over a spray of prisms, now electrified, h. 29‑1/2”, dia. 16‑1/2”. [1500/2500] Illustrated

406 Transitional Louis XV-into-Louis XVI-Style Kingwood Occasional Table, late 19th century, the oval top with brass edging, double-banded and centered by an inlaid musical motif, above a conforming frieze fitted with a single drawer, joined to a banded quarter-veneered lower shelf by cabriole legs ending in sabots, h. 30”, w. 27”, d. 20”. [700/1000] Illustrated 407 French Giltwood Mirror, third quarter 20th century, in the Louis XV style, with a pierced, serpentine crest decorated with a basket of flowers against a carved sunburst, the corners carved with scrollwork and trailing leaves, the lower sides with pierced scrollwork on small toupie feet, h. 63‑1/2”, w. 30‑1/2”. [500/800] Illustrated

119

409

408

409 Pair of Louis XV-Style Carved Fruitwood Fauteuils, early 20th century, each with a foliate-shell-form carved crest, molded frame and acanthine-carved hand rests, raised on cabriole legs ending in scrolled toes, covered in brown leather upholstery with brass-headed tacks, h. 36”. [1200/1800] Illustrated 410 Duke of Saint-Simon (Louis de Rouvroy, 1675‑1755) Memoirs of Louis XIV, London and New York: M. Walter Dunne, 1901, translated by Bayle St. John (1822‑1859), complete in three volumes, in half brown leather, the spines with raised bands and gilt lettering and decoration, 9‑1/4” x 6‑3/4”. [500/800] Illustrated

410

411 Louis XV-Style Kingwood Bureau Plat, early 20th century, the shaped rectangular top with an inset leather writing surface and a molded edge, above a conforming frieze, fitted with three drawers to one side, raised on cabriole legs headed by ormolu mounts and ending in sabots, h. 29‑1/2”, w. 50”, d. 28”. [1000/1500] Illustrated

408 Louis XV-Style Rosewood Cartonniere, late 19th century, the bombe-form superstructure fitted with five conforming leather compartments, each removable and with a bisected lid and fall-front front, the fronts with delicate gilt-tooled accents, the interior lid of each bearing a label from “Ruffier, Marchand Papetier a Paris, rue Dauphine”, the tower section with a shaped front over a conforming case with a banded and bi-paneled front centered by an ormolu mount, each side fitted with a banded quarter-veneered cupboard door, raised on cabriole legs ending in sabots, h. 57‑1/2”, w. 40”, d. 13‑1/2”. [1800/2500] Illustrated

411

120

414 French Carved Bone and Engraved Paper Fan, mid19th century, titled “Entree de l’imperatrice Mathilde a Winchester”, depicting Matilda, Empress of England (1102‑1167), arriving with forces to free her imprisoned brother, King Stephen, the conforming, contemporary giltwood frame decorated with carved scrollwork, h. 17‑1/2”, w. 23‑3/4”. [500/800] Illustrated 415 French Gilt-Bronze Firescreen, first quarter 20th century, in the Louis XV style, on pierced bronze feet, the pear-form rococo frame decorated with rocaille work, gadrooning and flowers, the top mounted with a phoenix bird carrying handle, the central mount decorated with rocaille work and flowers, accented with treillage, h. 36”, w. 26”, d. 8‑1/2”. [800/1200] Illustrated

413

412 Louis XV-Style Kingwood and Marble-Top Cabinet, 20th century, the shaped and bowed marble top above a conforming case fitted with two central drawers over two cupboard doors, flanked to either side by a bowed drawer over a cupboard, all banded and quarter-veneered, raised on shaped feet ending in sabots, h. 43‑1/2”, w. 72‑1/2”, d. 22‑1/2”. [1500/2500] Illustrated 413 Unusual French Brass and Crystal Basket-Form Chandelier, the lower basket-form portion of the chandelier leaf-molded and hanging from the scroll-molded vasiform standard, with four pairs of scroll-molded candle arms set on the bottom tier, four single branches on the middle tier, and four downturned candle arms set on the top tier, the drip pans hung with long prisms, with drapes of prisms hung between the arms and from the corona to the lower tier, h. 32”, dia. 32”. [1500/2500] Illustrated

412

414

415

121

417

416

418 Pair of Maria Theresa-Style Gilt-Metal, Giltwood and Glass Five-Light Sconces, mid-20th century, the circular backplates set with gilt-metal scrolled frames with giltwood candle cups and molded bobeches, hung with swags of crystals and drops, h. 19‑1/2”, w. 15”, d. 12‑1/2”. [600/900] Illustrated

416 Louis XV-Style Kingwood Armoire, late 19th century, the heavily molded and domed cornice centered by a large pierced foliate crest, above a case fitted with two long doors, each inset with a beveled mirror panel, and above a shaped floral-carved apron, raised on foliate scrolled toes, h. 107”, w. 63”, d. 24”. [900/1200] Illustrated 417 French Belle Epoque Giltwood Overmantel Mirror, ca. 1900, the surround molded with gadrooning on the top and sides, with scrollwork trim at the base, the serpentine crest decorated with a central scrollwork finial with roses and framed with scrollwork finials on each side, set with a beveled mirror plate, h. 69‑1/2”, w. 43‑1/2”. [600/900] Illustrated

418

122

419

421

421 signature

419 French Bronze and Crystal Fifteen-Light Chandelier in the Rococo Taste, third quarter 20th century, the vasiform standard molded with rococo ornamentation, the scroll-molded candle arms set with leaf-molded drip pans and scroll-molded candle cups, the arms hung with cut glass prisms and swags of drops, a spray of cut glass prisms forming the corona, h. 37‑1/2”, dia. 35”. [700/1000] Illustrated 420 Handsome Giltwood Bed Corona, 20th century, with serpentine and coved sides, hung with gold, silver and ivory striped silk, frame h. 3‑1/2”, w. 51”, d. 34‑1/2”, curtains l. 134‑1/2”, cornice dia. 14‑1/2”. [1000/1500] Illustrated

420

421 Signed Paul Sormani Three-Panel Screen, fourth quarter 19th century, French, the carved walnut frame in the Louis XV style and trimmed with gilt, the upper sections set with beveled colorless glass and the lower sections with hand-painted oil-on-copper panels, the central panel depicting Erato accompanied by Eros as cupid, flying above and dropping a wreath of flowers on her hair, the side panels decorated with polychrome muses accompanied by putti, inscribed “Sormani Paris” on the rear top of the frame, h. 34‑1/2”, w. 59”. [2500/4000] Illustrated

123

422 Louis XV-Style Polychrome Bergere, the padded, shaped and domed back surmounted by a foliate crest, joined by closed arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes, h. 40”. [500/800] Illustrated 423 French Gilded Age Gilt-Bronze Dressing Mirror, fourth quarter 19th century, in the Louis XV taste, the bronze asymmetrical surround pierced and molded with rocaille work, the sides set with candle holders, on tapered standards decorated with leaves and berries, on a mahogany easel support, labeled by Maison Hopilliart, R. Rue des St. Peres, Paris, h. 22‑1/4”, w. 16‑1/2”. [700/1000] Illustrated 424 Pair of French Bronze Five-Light Sconces, mid-20th century, in the Louis XV style, on scroll- and rocaillemolded backplates, with matching arms, flaring drip pans and vasiform candle cups, h. 22‑1/4”, w. 14‑1/2”, d. 8‑3/4”. [500/800] Illustrated

423

425 Three-Piece French Belle Epoque Gilt-Bronze Desk Set, ca. 1900, in the Louis XV style, the set decorated with classical masques of bearded males, geographical trophies of globes, and laurel and oak branches, including a letter holder, h. 10‑1/2”, w. 14”, d. 6‑1/2”, an encrier set with two inkpots, h. 6”, w. 15”, d. 8‑1/2”, and a stamp box, h. 2‑1/4”, w. 5‑1/4”, d. 2‑3/4”. [1800/2500] Illustrated

424

422

124

425

427 French Bronze and Crystal Twenty-Four-Light Chandelier, second quarter 20th century, of Louis XV inspiration, with a gilt-bronze scroll-molded frame and leaf-molded arms emanating from a bronze standard, set with sockets in two tiers, the molded drip pans and vasiform candle cups set with sprays of cut glass drops, a spray of drops forming the corona, h. 25‑1/2”, dia. 33‑1/2”. [1500/2500] Illustrated

427

426 Louis XV-Style Ormolu-Mounted Mahogany Desk, early 20th century, the ebonized top with an inset leather surface and within an ormolu banding, above a conforming case fitted with a single drawer, faced as three, raised on cabriole legs headed by foliate ormolu mounts and ending in sabots, h. 30”, w. 48”, d. 25‑1/2”. [1000/1500] Illustrated

428

428 Pair of Louis XIV-Style Bronze and Crystal FourLight Girandoles, second quarter 20th century, the bronze bases with reeded lower standards, the scrolled candle arms set with bronze candle cups and drip pans, the upper standards set with molded glass and crystals hung from the candle arms, and with two upper tiers of sprays and drops, set with molded glass finials, h. 26‑1/2”, dia. 14‑1/2”. [500/800] Illustrated

426

125

429 Louis XVI-Style Mahogany Dining Table, 20th century, the circular table bisected and opening to accommodate five leaves, above a brass-bound frieze, raised on tapering square legs ending in brass caps and casters, h. 29”, w. 52”, l. 52”, extended l. 149‑1/2”. [500/800] Illustrated 430 Napoleon III Mahogany, Gilt-Bronze and Porcelain Jardiniere, third quarter 19th century, with serpentine sides and outlined with gilt-bronze trim, a pierced gilt-bronze gallery around the top edge, decorated with a porcelain plaque of a hand-painted bird on a bleu celeste ground, set in a flower-molded pierced gilt-bronze frame, the sides mounted with gilt-bronze handles, the interior fitted with a tole liner, h. 7‑1/4”, w. 11”, d. 7‑1/2”. [500/800] Illustrated 431 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded circular back within a molded square frame, joined by padded scrolling arms to the round padded seat, raised on fluted tapering circular legs ending in bulb feet, upholstered in period tapestry in floral and avian patterns, h. 36”. [800/1200] Illustrated

431

432 Italian Giltwood Barometer, third quarter 20th century, in the Louis XV style, the round-faced barometer framed with cornucopias of fruit and carved, pierced swags of flowers and tassels, the upper thermometer decorated with carved swags and a fluted urn with a bouquet of flowers, stamped “Made in Italy” and labeled “C. di Salvo, Made in Italy”, h. 39‑1/2”, w. 19”. [600/900] Illustrated

430

432

429

126

435 French Bronze Firescreen in the Rococo Taste, second quarter 20th century, on scrolled feet, the surround decorated with rocaille work and flowers, the central mount decorated with pierced flowers and rocaille work, with a scrolled carrying handle, h. 32”, w. 27”, d. 4‑3/4”. [800/1200] Illustrated

434

433 Transitional Louis XV-into-Louis XVI-Style Mahogany and Marble-Top Occasional Table, early 20th century, the kidney-form marble top within a three-quarter pierced brass gallery, above a conforming frieze fitted with a single drawer, joined by fluted supports to a galleried lower shelf, raised on cabriole legs ending in sabots, h. 30”, w. 27‑1/4”, d. 16‑1/2”. [700/1000] Illustrated

435

434 Louis XIV-Style Bronze and Crystal Eight-Light Chandelier, fourth quarter 20th century, with a bronze frame and a standard set with molded glass and scrolled candle arms, the frame and arms hung with cut glass drops, a spray of large glass drops forming the corona, h. 33”, dia. 19”. [800/1200] Illustrated

436

436 Sevres-Style Bronze and Porcelain Centerpiece in the Louis XV Taste, fourth quarter 19th century, French, the robust pierced bronze base resting on toupie feet, the bowl decorated with hand-painted panels of figures in 18th-century costume in a pastoral landscape on one side panel and grouse in a flower garden on the other side panel, all against a rose and bleu celeste ground, the interior with floral panels, with pierced bronze handles and a matching bronze rim on the upper portion, h. 18‑1/2”, w. 22”, d. 14”. [800/1200] Illustrated

433

127

437 Handsome French Gilt-Bronze and Porcelain Three-Piece Clock Set, third quarter 19th century, the Baroque-style clock with an arched top and freestanding side columns, with front porcelain panels decorated with neoclassical figures, and trim panels with jewels and gilt on a turquoise ground, the dial signed “Raingo Freres, Paris” and the works signed “Vincenti et Cie”, h. 13”, w. 7‑1/2”, d. 4”, together with a pair of candlesticks, decorated to match the outside of the clock dial, h. 7”, dia. 3‑3/4”. [1800/2500] Illustrated 438 French Belle Epoque Giltwood “Cushion” Mirror, ca. 1900, in the Louis XVI taste, the surround set with a beveled glass and lined with egg-and-dart molding on the outside edge, and beading on the inside, lyres decorating the corners, with shells and pierced gilt-metal strapwork on the sides and base, the arched crest decorated with a spray of pierced laurel leaves framing a wreath of flowers, set with a lovebird over a crossed quiver of arrows and a torch, h. 66”, w. 39”. [800/1200] Illustrated

439 Pair of Louis XVI-Style 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”. [700/1000] Illustrated 440 Pair of Louis XVI-Style Mahogany, Kingwood and Marble-Top Demi-lune Cabinets, early 20th century, each with a demi-lune marble top within a three-quarter pierced brass gallery, above a conforming case fitted with a single cupboard door, banded and with a parquetry veneer, the sides banded and veneered en suite, raised on cabriole legs ending in sabots, h. 32‑1/2”, w. 19‑3/4”, d. 10‑1/2”. [1000/1500] Illustrated

437

439

438

128

440

441

443

442

444

441 Louis XVI-Style Bronze and Patinated Metal ThreeLight Lantern, 20th century, labeled “Maitland Smith”, the upper portion decorated with molded feathers beneath a swirl-molded cap, the central portion with a bronze-molded frame with wave decoration, mounted with ram’s heads alternating with bowknots and hung with laurel swags, set with an artichoke finial at the base, h. 29”, dia. 12‑3/4”. [600/900] Illustrated

443 Louis XVI-Style Giltwood and Marble-Top Side Table, the D-form top composed of various marbles inlaid in a foliate starburst pattern within banding and a molded edge, above a pierced foliate garland frieze centered by a female masque and with pendant floral garlands, raised on foliate-capped, fluted tapering circular legs joined by a stretcher centered by an urn issuing floral garlands and raised on spiral-ribbed toupie feet, h. 36”, w. 63”, d. 25”. [1500/2500] Illustrated

442 Louis XVI-Style Bronze and Patinated Metal ThreeLight Lantern, 20th century, labeled “Maitland Smith”, the upper portion decorated with molded feathers beneath a swirl-molded cap, the central portion with a bronze-molded frame with wave decoration, mounted with ram’s heads alternating with bowknots and hung with laurel swags, set with an artichoke finial at the base, h. 29”, dia. 12‑3/4”. [600/900] Illustrated

444 Unusual French Gilded Age Bronze and Porcelain ThreePiece Clock Set, fourth quarter 19th century, the porcelain decorated with luminous hand-painted Victorian fishing scenes on a cobalt ground trimmed with opaline “jewels”, the clock with an arched top trimmed with gilt scrollwork, h. 15‑1/2”, w. 9”, d. 5”, the pair of matching garnitures with molded bronze bases, the side handles molded with putto masques and the covers set with cone-shaped knops, h. 12‑3/4”, w. 4‑1/2”, d. 3‑1/2”. [500/800] Illustrated

129

445 Monumental Henry Dasson, Paris, Louis XVIStyle Mahogany and Marble-Top Grand Buffet, 1880, the upper section with a domed and molded cornice above a conforming glazed door, flanked to either side by a shorter glazed cupboard, all opening to a shelved interior, the lower section with a brescia marble top with projecting canted corners, above a conforming case fitted with three drawers, with foliate guilloche ormolu panels, over three paneled cupboard doors, raised on tapering square feet ending in caps, the whole with ormolu mounts and millwork, signed at one side on the ormolu molding “henry Dasson.1880”, stamp/branded at the rear upper left corner of the lower section “Henry Dasson/1880” and the back with three sets of eight stenciled black numerals “48020380”, “48020208” and “48020121”, h. 93‑1/2”, w. 81”, d. 28”. Provenance: Sotheby’s, New York, June 18‑20, 1981, lot 1124; Sotheby’s, New York, April 27, 2006, lot 222. [15000/25000] Illustrated 445 details

130

445

448

447

446 Louis XVI-Style Mahogany Dining Table, 20th century, the ovoid top with an ormolu edging, above a conforming frieze with brass-bound panels, raised on fluted tapering circular legs with applied ormolu bellflowers and ending in toupie feet, with one 24” leaf, h. 30‑1/4”, w. 48”, l. 108”, extended l. 132”. [1000/1500] Illustrated

448 Rare Louis XV Bronze Dore et Patine Clock Set with Ferdinand Berthoud Works, fourth quarter 18th century, on a base with molded guilloche and corner medallions, the clock decorated with symbols of knowledge and education, a bronze putto sitting atop a stack of books, holding a scroll and a pen, leaning against the clock, and a celestial globe with a sundial and calipers to one side, the clock signed on the enamel dial and the interior plate, h. 12‑1/4”, w. 11‑3/4”, d. 5”. [700/1000] Illustrated

447 Louis XVI-Style Polychrome and Marble-Top Console Table, early 19th century, the inset demi-lune marble top above a paneled frame, raised on tapering ribbed legs headed by a foliate cap and ending in toupie feet, h. 30‑1/2”, w. 32”, d. 16”. [700/1000] Illustrated

446

131

450 French Baroque-Style Gilt-Bronze and Crystal Six-Light Chandelier, second quarter 20th century, with a bronze frame, the interior standard clad with molded glass and cut spires, surrounded with a spray of drops, the eight scrolled candle arms interspersed with cut glass on the lower level, and mounted with spires and sprays of drops on the upper levels, the arms adorned with large cut glass drops, h. 37‑1/2”, dia. 23”. [1500/2500] Illustrated

449

449 Pair of French Bronze and Crystal Two-Light Sconces, fourth quarter 19th century, the standards depicting cupid monopodia with ivy-molded bases, the cupids supporting cornucopias holding cut glass arms, set with pairs of bronze candle cups mounted with honeycomb-cut glass prism rings and prisms, each arm set with a central cut glass spire, h. 22‑3/4”, w. 15”, d. 5‑3/4”. [1200/1800] Illustrated

451

451 Transitional Louis XV-into-Louis XVI-Style Mahogany and Marble-Top Commode, the rectangular breakfront marble top above a conforming case fitted with three small frieze drawers, over two long drawers, all with ormolu banding and millwork, raised on cabriole legs ending in paw sabots, h. 38”, w. 53”, d. 23”. [1500/2500] Illustrated

450

132

452

454

452 Semi-Antique Mahal Carpet, 10’ 9” x 14’ 7”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1000/1500] Illustrated 453 Louis XV-Style Needlepoint Carpet, 14’ x 16’ 8”. [1000/1500] Illustrated

453

455

454 Bamboo Silk Carpet, 8’ 9” x 12’. [1500/2500] Illustrated 455 Semi-Antique Bakhtiari Carpet, 4’ 5” x 7’. [1200/1800] Illustrated

133

456 Fine Agra Serapi Carpet, 9’ x 12’. [2000/4000] Illustrated 457 Semi-Antique Heriz Carpet, 8’ 3” x 10’ 2”. [2000/4000] Illustrated 458 Heriz Carpet, 3’ 5” x 5’ 4”. [800/1200]

134

459 Turkish Angora Oushak Carpet, 12’ 2” x 15’. [1800/2500] Illustrated 460 Semi-Antique Sarouk Carpet, 8’ 10” x 11’ 10”. [800/1200] Illustrated

456

457

459

460

461

463

462

464

461 Pair of Napoleon III Bronze and Marble Two-Light Candelabra, on marble plinths, the gilt-bronze column-form leaf-molded and fluted bases supporting patinated bronze figures of muses, each holding a cornucopia of gilt-bronze flowers interspersed with roses and mounted with candle sockets, h. 30‑3/4”, w. 10‑3/4”, d. 6‑1/4”. [1500/2500] Illustrated

463 Directoire Giltwood Barometer, ca. 1800, the lyre-form barometer with a handsome black, white and gilt verre eglomise dial, set in a band of giltwood laurel leaves, the frame decorated with carved anthemia, cornucopia and medallions, the crest ornamented with a carved laurel wreath, h. 34‑3/4”, w. 16”. [600/900] Illustrated

462 Pair of Directoire-Style Gilt-Brass and Granite Occasional Tables, each with a brass-bound circular granite top, joined by shaped scrolling supports to a smaller like-shaped granite shelf, ending in foliate paw sabots, h. 28”, dia. 27”. [1000/1500] Illustrated

464 Directoire Gilt-Bronze Figural Mantel Clock, ca. 1800, depicting Homer playing the lyre for his muse Calliope, whose bust sits opposite atop a column, the draped clock case holding two scrolls on top, one marked Odyssey (the Iliad) and the other marked Jliade (the Odyssee), the clock dial marked “Daguin Regna a Chalons sur Marne”, the base decorated with trophies of music and theater, h. 13”, w. 12‑1/4”, d. 4‑1/2”. [700/1000] Illustrated

135

465 Pair of Empire-Style Giltwood Fauteuils, early 20th century, each with a padded rectangular back within a paneled frame, joined by downswept arms on dolphin uprights to the padded seat, raised on ring-turned tapering circular legs ending in ribbed bulb feet, h. 42‑1/2”. [3000/5000] Illustrated 466 Set of Four Handsome French Bronze Two-Light Sconces, second quarter 20th century, in the neoclassical taste, with swag-form backplates terminating in tassels, and set with a “trumpet” of acanthus leaves supporting reeded candle arms set with fluted candle cups and lotus-molded drip pans, h. 20‑1/2”, w. 11‑1/2”, d. 7”. [800/1200] Illustrated

466

467 Pair of Good French Restauration Gilt-Bronze FourLight Candelabra, second quarter 19th century, on tripartite bases, the Corinthian column fluted standards terminating in scrolled feet decorated with shields, with cornucopia-form candle arms set with lotus-molded drip pans, and beaded vase-form candle cups set above the columns, h. 21‑1/4”, dia. 7”. [500/800] Illustrated 468 French Empire Gilt-Bronze Mantel Clock, first quarter 19th century, depicting Numa Pompilius, the second King of Rome, on engine-turned feet, the bas-relief plaque on the base depicting an event in his life, the clockworks set with an engine-turned dial, set in a central box, decorated on the top with trophies of war, a caduceus, a helmet and a patinated bronze lamp, a figure of Numa carrying a scroll inscribed with his name on the right, and several staffs, including one marked “SPQR”, a symbol for Rome, on the left, set with a silk-string suspension movement, h. 15‑1/2”, w. 11‑3/4”, d. 3‑3/4”. [1000/1500] Illustrated

467

465

136

468

469

471

470

472

469 French Empire Revival Gilt-Bronze and Burl Walnut Napoleonic Encrier, first quarter 20th century, the burl walnut stand with a bronze eagle mount in the front of the inset pen rest, and a pair of engine-turned bronze inkpots with glass inserts mounted on either side of the bust of Napoleon, signed “Canova”, after Antonio Canova (French, 1757‑1822), h. 7‑1/4”, w. 12”, d. 5”. [600/900] Illustrated 470 French Glazed Pottery Plaque, second quarter 20th century, depicting one of Napoleon’s campaigns, signed “Mignet”, possibly referring to Francois Mignet, Napoleon’s scholar, in a painted contemporary frame, sight 18‑1/2” x 16‑1/2”, overall h. 19”, w. 22”. [1000/1500] Illustrated 471 Set of Six German Porcelain Figures of Military Notables, ca. 1949‑1989, decorated with polychrome enamels, the figures identified on their bases, including two Garde Imperiales, Poniatowski, Davoust, Napoleon a Cherbourg, and Pully, marked on the side in underglaze blue, “Saxonian Porcelain Co.” and “Made in Germany, Democratic Republic”, h. 12”, w. 7‑3/4”. [1500/2500] Illustrated

472 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”. [3000/5000] 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.

137

473

474

473 Pair of French Empire-Style Gilt-Bronze and Molded Crystal Five-Light Candelabra, third quarter 20th century, attributed to Baccarat, the leaf-molded bronze bases supporting the reeded crystal plinths, displayed eagles perched on engine-turned spheres forming the standards, set with leaf-molded candle arms terminating in leaf-molded drip pans and bellflowermolded candle cups, each with beaded edges, h. 28‑3/4”, w. 11‑3/4”, w. 11‑3/4”. [3000/5000] Illustrated 474 French Empire-Style Marble and Gilt-Bronze Mantel Clock, fourth quarter 19th century, composed of portoro marble and gilt-bronze, the serpentine base set with marble columns with gilt-bronze Corinthian capitals, the dial bearing a spurious signature, “Imbert L’aine, Paris”, the gilt-bronze eagle finial flanked with bronze ewers and marble and bronze vases, set with A.D. Mougin works, h. 20‑1/2”, w. 13‑3/4”, d. 6”. [700/1000] Illustrated

138

475

476

475 Empire-Style Giltwood Center Table, 19th century, the inset circular cast stone top within a foliate-modeled frame, above a conforming circular pierced frieze, raised on fluted supports headed by ram’s masques, joined by a circular stretcher and ending in hoof feet, h. 30”, dia. 32”. [700/1000] Illustrated 476 French Empire-Style Alabaster and Gilt-Bronze Portico Clock, ca. 1900, the base with a gilt-bronze mount depicting a lyre flanked by griffins, supporting alabaster columns mounted with bronze Corinthian capitals, set with marked Vincenti et Cie works stamped “Made in France”, the upper frieze decorated with swag mounts and a bronze dentillated cornice, h. 21‑1/2”, w. 11‑1/4”, d. 6‑1/2”. [1000/1500] Illustrated

477 French Neoclassical-Style Giltwood Trumeau Mirror, ca. 1900, with a giltwood surround decorated with beading, the upper portion with an oil-on-canvas painting depicting Venus, Cupid’s mother, amusing him with a flower vine, an anchor--the symbol of hope--resting nearby, h. 51‑1/2”, w. 27‑1/2”. [700/1000] Illustrated 478 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 column, raised on turreted feet, h. 33‑1/2”, w. 36‑1/2”, d. 21”. [500/800] Illustrated

477

479

479 Empire Mahogany Tub Chair, early 19th century, the rounded backswept crest joined by a padded back and downswept arms on scrolled hand rests to the padded seat, raised on ribbed sabre legs ending in casters, h. 32”. [800/1200] Illustrated

478

139

480 Pair of French Neo-Grec Bronze and Wood Six-Light Candelabra, third quarter 19th century, the painted metal and wood bases set with bronze friezes, and supporting figures of nymphs after Louis Alfred Habert (French, 1824‑1893) and signed “Habert”, one nymph carrying an amphora and the other a basket of grapes, set with delicate pierced gilt-bronze candle branches decorated with molded and incised anthemia, h. 32”, dia. 14”. [1800/2500] Illustrated 481 Empire-Style Mahogany Desk, 19th century, the superstructure with a central section fitted with an ormolu-applied frieze above an enameled clock, flanked to either side by an ormolu caryatid figure and further flanked by a band of three small drawers, the lower section with a leather-inset pull-out writing surface above a case fitted with a central drawer flanked to either side by two small drawers, raised on tapering square legs ending in paw feet, the whole accented with various ormolu mounts, h. 40‑1/2”, w. 56‑1/2”, d. 27‑1/2”. [2000/4000] Illustrated 480

481

140

482 Empire-Style Mahogany Cabinet, early 20th century, the molded cornice above an ormolu palmetto-applied frieze, with a central door below, the upper part grilled, the lower paneled, flanked to either side by a paneled door with angel mounts, divided by engaged pilasters headed by maiden’s heads, the whole raised on gilt paw feet, h. 68‑3/4”, w. 80”, d. 23‑1/4”. [1500/2500] Illustrated 483 Empire-Style Ormolu, Burlwood and MarbleTop Center Table, the circular marble top within a palmetto-patterned ormolu band, joined by supports headed by ebonized winged caryatids and ending in paw feet to a concave-banded square base on squat bun feet, h. 32”, dia. 40‑1/2”. [1800/2500] Illustrated

482

484

484 Suite of Ten French Empire-Style Gilt-Bronze Single-Light Sconces, mid-20th century, on circular backplates trimmed with molded leaves, the cornucopia-form arms leaf-molded on a stippled ground, and terminating in scrolled lotus leaves, electrified, h. 14‑1/4”, w. 6‑3/4”. [500/800] Illustrated

483

141

487

485

485 French Patinated Metal and Bronze Three-Light Argand-Style Chandelier, first quarter 20th century, the lower tank applied with bronze stars and anthemia, and set with three cornucopia-form scrolled arms hung with bronze chains, the chandelier hanging from a leaf-mounted canopy on bronze ropes, h. 31‑1/2”, dia. 24‑1/2”. [700/1000] Illustrated 486 Pair of French Mahogany and Bronze Torcheres, in the manner of Percier et Fontaine, on mahogany pylonform stands with bronze scrollwork feet, the fronts with bronze lozenge-form mounts and the sides with torchform mounts, with patinated bronze caryatid standards and masque-decorated gilt-bronze arms around quiverform finials with central flames, electrified, h. 88‑1/2”, w. 18‑1/2”, d. 18‑1/2”. [15000/25000] Illustrated 487 French Marble, Onyx, Bronze and Gilt-Metal EgyptoRevival Three-Piece Clock Set, fourth quarter 19th century, the pylon-form clock with onyx rustication and gilt-incised trim depicting lotus flowers, a gilt-bronze sphinx sitting on top, h. 17”, w. 14‑1/2”, d. 6‑1/4”, the en suite marble garnitures with urns on gilt-bronze bases, the gilt-metal bas-relief sides decorated with Egyptian figures and sphinx-head handles, h. 11‑1/2”, dia. 5‑1/2”. [700/1000] Illustrated

486

142

488 Five-Piece Empire-Style Mahogany Parlor Suite, early 20th century, comprised of a settee, h. 36”, w. 47”, d. 24”, two armchairs, h. 34‑1/2”, and two sidechairs, h. 36”, all with rounded cornices with floral inlay, the settee and armchairs with downswept arms joined by winged lion-head uprights to the padded seat, all raised on sabre legs ending in ormolu paws. [2000/4000] Illustrated 489 Empire-Style Walnut and Marble-Top Commode, mid-19th century, the rectangular marble top above a conforming case fitted with a long frieze drawer over three recessed drawers, flanked to either side by an engaged ormolu-mounted pilaster, raised on turreted feet, h. 34‑1/2”, w. 51‑1/4”, d. 23‑1/2”. [800/1200] Illustrated

490

490 French Neoclassical-Style Brass and Crystal Basket-Form Five-Light Chandelier, first quarter 20th century, the central brass frame molded with laurel leaves over graduated tiers of prisms, the upper portion hung with strands of drops, concealing five interior light sockets, h. 33‑1/2”, dia. 15”. [500/800] Illustrated

489

488

143

491

493

491 Impressive Pair of Napoleon III Marble, Bronze and Cut Glass Seven-Light Candelabra, third quarter 19th century, the shaped black marble bases mounted with bronze patine et dore scrolled standards decorated with masques of bearded males and leopard’s heads, and supporting strawberry-cut glass columns mounted with patinated scrolled candle arms, set with gilt-bronze egg-and-dart candle cups, h. 28”, dia. 9‑3/4”. [1500/2500] Illustrated 492 Unusual French Baccarat-Style Bronze and Glass Seven-Light Hurricane Lamp, first quarter 20th century, the diamond-point molded standard with bronze dore et patine fittings, the tripartite lotus-molded base supporting paw feet, the standard with an acanthus-molded bronze base and a Corinthian-molded capital, the molded and scrolled arms terminating in bronze dore drip pans, fitted with cylindrical glass hurricane shades, electrified, h. 48‑1/4”, dia. 17‑3/4”. [800/1200] Illustrated 493 French School (Mid-19th Century), “Portrait of a Lady a La Mode”, oil on canvas, unsigned, 23‑3/4” x 19‑3/4”. Framed. [2000/4000] Illustrated

492

144

494

495

494 Two Exceptional Royal Vienna-Style HandPainted Porcelain Portrait Plates, fourth quarter 19th century, each with similar elaborate raised gilt borders, on patinated metallic grounds with laurel leaf inner borders, with different motifs employed in the primary borders, one plate decorated with a portrait of Mademoiselle Sombreuil, known as Madame Guillotine and identified on the back, along with an underglaze blue bindenschild, and a fraction of an artist’s signature visible under the edge of the raised gilt border, the other plate possibly portraying Princess Marie Christine of Orleans, daughter of Louis-Philippe, with an underglaze blue scepter and an overglaze orange bindenschild on the back, dia. 9‑3/4”. [600/900] Illustrated 495 Pair of French Gilt-Bronze and Specimen Marble Garnitures, first quarter 19th century and later, the gilt-bronze figures depicting musicians in Renaissance costume, the mixed specimen marble bases on giltmetal reeded feet, h. 12” and 13”, w. 4‑1/4”, d. 4”. [500/800] Illustrated 496 Unusual Louis-Philippe Giltwood Mirror, mid-19th century, the frame with wave edge molding on four sides, the lower corners decorated with scrollwork cabochons, the upper corners with large roses, framing a pierced scrollwork crest with rocaille work, h. 56”, w. 36‑1/2”. [700/1000] Illustrated

496

145

497 Restauration Fruitwood Bergere, mid-19th century, the curved crest above a padded back, joined by downswept arms to the cushioned seat, raised on sabre legs, upholstered in caramel silk cut-velvet, h. 36”. Provenance: Wirthmore Antiques, New Orleans, Louisiana. [1400/1800] Illustrated

498

497

498 Louis-Philippe Rosewood and Granite-Top Center Table, mid-19th century, the circular granite top above a conforming frieze and raised on a paneled bulbous standard to three scrolling supports to paw feet, now reduced to cocktail table height, h. 24‑1/2”, dia. 38”. [1000/1500] Illustrated

499

499 French Patinated Bronze Bas-Relief Plaque of a Nymph, 19th century, the figure modeled with flowing robes, 16‑3/4” x 9‑1/4”. [500/800] Illustrated 500 Three-Piece French Patinated Metal and Marble Figural Clock Set, ca. 1900, the clock depicting “Education” (a classical female figure teaching a cupid), after Auguste Moreau (French, 1861‑1906), on a mottled pink, gray and white marble base, the works marked “Societe Clusienne S.C.A.P.H. Cluses”, and the dial marked by the retailer, Vieau Bordeaux, h. 24”, w. 13”, d. 8”, the matching vases decorated with putti and classical ornaments, h. 17‑1/2”, w. 7”, d. 5‑1/4”. [1000/1500] Illustrated

146

500

501

503

501 Unusual French Gilt-Bronze, Enamel and Marble Tazza, ca. 1900, the molded marble base with scrolled and leaf-molded feet supporting the engine-turned and gilt-bronze bowl, set with a circular enamel portrait of a jeune fille, and fitted with pierced, rolled handles decorated with flowers, h. 9‑1/2”, dia. 11‑1/2”. [500/800] Illustrated 502 Napoleon III Rosewood and Marble-Top Encoignure, third quarter 19th century, the superstructure fitted with a shaped crest over two graduated bowed shelves, separated by shaped supports mounted with Sevres-style plaques and mirrored panels, the lower shelf with an inset bowed marble top above a case fitted with two drawers over two cupboard doors, each paneled and inset with an oval porcelain plaque featuring classical maidens and cherubs, raised on a plinth base, the whole accented with ormolu mounts and millwork, h. 79‑1/2”, w. 39‑1/2”, d. 25”. [1500/2500] Illustrated 503 Pair of Paul Milet MP Sevres Bronze-Mounted Vases, first quarter 20th century, each with a cobalt, turquoise and yellow mottled flambe glaze, and mounted with a bronze foot rim, twig-form handles, and cover and sides molded with leaves and berries, the foot rims marked “France”, the vases with the underglaze MP Sevres mark, h. 14‑3/4”, dia. 5‑1/2”. [2000/4000] Illustrated

502

147

504 French Empire-Style Cobalt Glass and Bronze Centerpiece, ca. 1900, the oval-form cobalt glass insert with a scalloped cut rim, resting in a bronze stand pierced with swans and scrollwork, the sides mounted with swanform handles, h. 8”, w. 17”, d. 8‑1/4”. [1000/1500] Illustrated 505 Pair of French Empire-Style Bronze and Cobalt-Plated Cut Glass Urns, first quarter 20th century, on molded bronze bases, the cobalt cut to colorless glass vases decorated with panels and diamond-point cutting, set with bronze ram-headed handles and molded bronze rims, h. 14”, w. 6‑3/4”, d. 4‑1/4”. [1500/2500] Illustrated 504

505

507

506 French Empire-Style Bronze and Cobalt-Plated Cut Glass Centerpiece, first quarter 20th century, set with a colorless and cobalt blue-plated flared bowl cut with stars, resting on paw feet, with a molded bronze rim and scrolled bronze handles terminating in medallions, h. 4”, w. 16‑3/4”, d. 12”. [1000/1500] Illustrated 507 Pair of French Empire-Style Bronze and Cobalt-Plated Cut Glass Sweetmeat Dishes, first quarter 20th century, each modeled as a putto standing on a reeded base and supporting a cobalt-plated colorless glass dish cut with diamond-point bands and central stars, and mounted with flower-molded bronze ring handles, h. 8‑1/4”, dia. 6‑1/2”. [700/1000] Illustrated

506

148

508 Napoleon III Ebonized and Marble-Top Cabinet, third quarter 19th century, the D-form marble top above a conforming case fitted with a central cabinet door with ormolu banding and centered by a large Sevres-style figural plaque, flanked to either side by a bowed and glazed cupboard door opening to a shelved interior, raised on a plinth base, the whole accented with ormolu mounts and millwork, h. 41‑1/2”, w. 71”, d. 19‑1/2”. [1000/1500] Illustrated

509 French Neoclassical-Style Bronze and Crystal Hall Lantern, first quarter 20th century, the lantern supported on three fluted rods, hinging from leaf-molded bronze scrolls, the panel-cut crystal lantern mounted with bronze fittings depicting goat’s heads over beading, the lower section leaf-molded and terminating in a bunch of grapes, h. 29”, dia. 9‑3/4”. [500/800] Illustrated 510 French Gilt-Bronze and Crystal Centerpiece, first quarter 20th century, supported on pierced, scrolled feet, the bowl delicately engraved with ferns and leaves, with pierced handles, the bronze rim set with Louis XVI-style mounts, h. 12‑1/2”, w. 15”, d. 11”. [1500/2500] Illustrated 511 Napoleon III Gilt-Bronze Mantel Clock in the Louis XV Taste, third quarter 19th century, on a gilded base decorated with bold laurel swags, guilloche panels and a pierced bowknot at the base, the top decorated with a figure of Erato holding a gilt bird to the delight of the cherub adjacent to her, inspired by the work of Francois Boucher (French, 1703‑1770), h. 21‑1/2”, w. 18”, d. 6‑3/4”. [700/1000] Illustrated

509

510

511

508

149

512

514

512 Pair of Louis-Philippe Giltwood Oval Mirrored Sconces, mid-19th century, the oval surrounds twigmolded and decorated with ivy leaves, the delicate crest decorated with fern fronds and trumpet vines, the turned candle cups on vine-molded branches with ferns and flowers, h. 38”, w. 19‑1/2”, d. 4‑1/4”. [800/1200] Illustrated

515

513 Napoleon III Ebonized and Gilt-Bronze-Mounted Jardiniere-on-Stand, late 19th century, the rectangular top with a removable metal liner and four corner maiden’s head mounts, the body accented with enameled panels and applied ormolu mounts, the stand with like decor and raised on tapering circular legs with applied spiral millwork, joined by an X-form scrolling metal standard and ending in toupie feet, h. 38”, w. 29‑3/4”, d. 14”. [1000/1500] Illustrated 514 French Belle Epoque Marble and Bronze Tazza, fourth quarter 19th century, the mottled brown, red and white marble base with bronze dore trim and supporting a pair of putti holding the marble dish, carved with cove-molded sides, h. 13‑1/2”, dia. 13‑1/2”. [1500/2500] Illustrated

513

150

515 Patinated Bronze and Marble Sculpture of “Cupid Stringing His Bow”, ca. 1900, after Charles Louchet (French, 1854‑1936), mounted on a mauve and white mottled marble base, the figure sitting on a gilt-bronze edge, the giltbronze bow and quiver discarded at his feet, h. 18”, w. 12”, d. 6”. [1800/2500] Illustrated

519

516

517 Napoleon III Marquetry, Bronze and Porcelain Jardiniere, third quarter 19th century, of serpentine form with kingwood marquetry veneers and bronze feet, handles, pierced rim and trim, the oval porcelain panels with hand-painted flowers on a bleu celeste ground within molded bronze frames, decorated on both the obverse and reverse, h. 7‑1/4”, w. 13‑1/4”, d. 10‑1/2”. [600/900] Illustrated

517

516 French Bronze and Gilt-Brass Carcel Lamp, mid-19th century, the patinated brass lamp trimmed in gilt bronze and depicting a stag hunt, supported on a stand decorated with a patinated putto, on a gilt-bronze base with scrollwork and flowers, set with a custom fringed shade, now electrified, h. 37”, w. 20”, d. 12”. [500/800] Illustrated

518 Napoleon III Kingwood Games Table, third quarter 19th century, the banded and turreted top quarter-veneered, hinged and opening to a baize-lined gaming surface and side recessed compartments, above a frieze fitted with a single small drawer, raised on slender cabriole legs, h. 28”, w. 33‑1/2”, d. 16‑1/4”. [500/800] 519 French Fin-de-Siecle Gilt-Bronze Six-Light Chandelier, ca. 1900, cast by Thiebaut Freres, Paris, the turned standard decorated with acanthus leaves and reeding, terminating in an artichoke finial, the scrolled candle arms with molded acanthus leaves and alternating with lotus-molded scrolls holding drops, the arms set with molded crystal drip pans and glass prisms, h. 35”, dia. 32”. [1000/1500] Illustrated

151

520

521

520 Monumental Pair of French Gilded Age Gilt-Bronze FifteenLight Sconces, ca. 1900, in the Baroque taste, on backplates decorated with masques on molded anthemia, framed with pierced leaves and scrollwork, the scrolled and leaf-molded candle arms set with vasiform standards on three levels, set with beaded drip pans and molded matching candle cups, electrified, h. 30”, w. 23‑1/2”, d. 22‑3/4”. [2500/4000] Illustrated

521 Monumental Pair of French Gilded Age Gilt-Bronze FifteenLight Sconces, ca. 1900, in the Baroque taste, on backplates decorated with masques on molded anthemia, framed with pierced leaves and scrollwork, the scrolled and leaf-molded candle arms set with vasiform standards on three levels, set with beaded drip pans and molded matching candle cups, electrified, h. 30”, w. 23‑1/2”, d. 22‑3/4”. [2500/4000] Illustrated

522 Impressive Pair of French Gilded Age Giltwood Mirrors in the Louis XV Taste, fourth quarter 19th century, the ovalform mirrors decorated on the outside with boldly molded rocaille work and sprays of flowers, the lower edge with a pierced anthemion, the segmented mirrored inner edge framed with cabochon molding, with oval paterae covering the seams, h. 58‑1/2”, w. 40‑1/2”. [2500/4000] Illustrated

522

152

524 Napoleon III Giltwood Window Seat, third quarter 19th century, in the transitional neoclassical to rococo taste, the serpentine frame adorned with fruit and leaf decor, now handsomely upholstered in pale blue and gold striped damask, h. 16‑1/2”, w. 28”, l. 62”. [500/800] Illustrated 525 French Gilt-Bronze Eight-Light Chandelier, early 20th century, of Art Nouveau inspiration, the bowl designed as a web with faceted crystal beads, the arms fitted with etched glass shades, h. 40”, including chain, dia. 28”. [800/1200] Illustrated

525

523 Victorian Giltwood, Gilt-Metal and Onyx-Top Pedestal, late 19th century, the square onyx top above a waisted cherub-carved capital on a tapering square standard with lattice-patterned panels, raised on a socle base, h. 37”, w. 14”, d. 14”. [500/800] Illustrated

523

524

153

526 Louis-Philippe Giltwood and Needlepoint Firescreen, mid-19th century, on flower-carved cabriole legs, the beaded frame decorated with carved scrollwork and flowering vines, with a pierced rococo crest, the needlework panel depicting Christ with Rebecca at the well, h. 51”, w. 27”, d. 26”. [500/800] Illustrated 527 Louis-Philippe Giltwood and Needlepoint Firescreen, mid-19th century, on flower-carved cabriole legs, the beaded frame decorated with carved scrollwork and flowering vines, with a pierced rococo crest, the needlework panel depicting Mary, Joseph and Baby Jesus on a donkey, h. 51”, w. 27”, d. 26”. [500/800] Illustrated 528 French Bronze of “Adieux au Village”, 20th century, after Eutrope Bouret (French, 1833‑1906), cast signature along rockwork, h. 19”, w. 7‑1/4”, d. 5‑3/4”. [500/800] Illustrated

528

526

154

527

529 Alexandre-Georges-Henri Regnault (French, 1843‑1871), “La Poissoniere (Fishmonger) from Tangiers, Morocco”, ca. 1869‑1870, oil on canvas laid on cigar box cover, signed lower right, verso with a late 19th-/ early 20th-century auction label, London, stating “from the Collection of the Right Honorable the Lord Menin of Albergaria,” and two 1912 news clippings from the Seattle Post-Intelligencer, 5‑3/4” x 9‑3/4”. Framed. Provenance: Mr. and Mrs. William Allen Mears of the Perry Hotel, Seattle, Washington. Exhibited: Central District, Seattle, Washington, 1912. Published: Seattle Post-Intelligencer, June 5,1912. [1000/1500] Illustrated This stunning study of a Moroccan fishmonger returning from the market at dusk with her basket is a rare glimpse into Regnault's brief sojourn in Tangiers, a city he had intended to return to after buying a home with fellow artist Georges Clairin before his untimely death in the "Battle of Buzenal" during the Franco-Prussian war of 1871. Regnault's early career was marked by extreme success within the academic traditions of the Paris Salon. After studying under Alexandre Cabanel and Louis Lamothe, he won the coveted "Prix de Rome" in 1866, a prestigious award that guaranteed a three-year scholarship to study in Rome at the expense of the state. Regnault, however, was the first recipient not to complete his studies in Italy, preferring instead the "exoticism" of the North African colony of Morocco.

529

Regnault is best known, not for his Grand Prix entry "Thetis Bringing the Arms Forged by Vulcan to Achilles", but for his Moorish-gypsy inspired interpretation of Salome - the biblical seductress, who ordered the beheading of John the Baptist. Hailed an immediate success at the Paris Salon, the painting captured international headlines again in 1912 after it was auctioned as part of the Carcano Collection for which a bidding war ensued between the Louvre Museum (on behalf of the French government) and a New York art dealer, who was the victorious bidder at $105,000. "Salome" was a tourde-force of "Orientalism" inspired by Regnault's travails in Tangiers. With its Moorish architecture, colorful Berber markets, sun-drenched beaches and stepped coastline off the Strait of Gibraltar, Tangiers captivated 19th-century French artist and writers alike. In the painting offered here, a work contemporaneous with the execution of "Salome", a Muslim woman, lit from behind in orbs of gold and burntorange, walks home along the quay with the last rays of sunlight reflecting off the water and and off the white hijab (head covering) that frames her face. This remarkable study is a vestige of Renault's Moroccan legacy, and a window into the works he would have done. The provenance behind this painting is as equally impressive. Though no records were found on Lord Menin of Albergaria, the alleged owner of the painting according to the British auction label en verso, the two accompanying 1912 news articles from the Seattle-Post Intelligencer lend credence to this provenance. One of the articles, which is tattered and lacking much of its text, describes this painting at length as belonging to Mrs. W. A. Mears (18451913), a socialite "of the Perry Hotel, of this city", who was the wife of William Allen Mears (1849-1916), the Manager of the Transportation Bureau, New Seattle Chamber of Commerce. The article then states that the painting was acquired (?) from the Uncle of Louis Pinto, the Marquis de Soveral - a Portuguese nobleman, with family ties to Albergaria, a municipality in the Aveiro District in Portugal, and will be exhibited in "...Galleries" in the Central district "as a matter of interest to art..."

530

530 French Rococo Revival Cast Iron Hall Stand, mid-19th century, attributed to Corneau Freres, Charleville, molded in a twig pattern, a scene of Zouaves at work decorating the lower umbrella stand, with leaf-molded drip pans, coat hooks and molded vines set around the oval mirror, mounted with three candle branches at the top, h. 84‑1/2”, w. 33”, d. 17”. [800/1200] Illustrated

155

531 Italian Walnut Settee, mid-19th century, the crest surmounted by a carved putto above an oval grisaille panel of classical figures, flanked to either side by elaborate scrolling garlands, above a Gothic arch pierced back, joined to the cushioned seat by like sides fronted by Atlantean figures and continuing to reeded feet, h. 65”, w. 111”, d. 33”. [3000/5000] Illustrated 532 French Fin-de-Siecle Bronze Single-Light Hall Lantern, ca. 1900, the frame decorated with Psyche heads and bowknots, the panels lined with silk, supported on bronze cords from a pierced canopy, h. 28‑1/2”, w. 8”, d. 8”. [700/1000] Illustrated

532

533 Pair of Gilt-Bronze-Mounted Ebonized Faux Boulle Pedestals, early 20th century, each with a variegated white and gray marble top, over canted corners with figural mounts flanking the boulle-style panels, h. 42”, w. 19‑1/4”, d. 19‑1/4”. [800/1200] Illustrated 533

531

156

535

536

534 French Aesthetic Movement Parcel-Gilt Ebonized Sidechair in the Japonesque Taste, the back with a spindle gallery and Japanese-inspired brackets, the apron with a like gallery, now upholstered in Scalamandre silk depicting bamboo leaves and flora, h. 27‑3/4”. [500/800] Illustrated 535 Pair of French Porcelain and Bronze Aesthetic Garnitures, fourth quarter 19th century, on bronze bases, the vasiform garnitures painted with birds, prunus branches and turquoise panels on platinum grounds, the scrolled bronze arms terminating in lion-headed ring pulls, the bronze covers set with pinecone finials, h. 11”, w. 3‑1/2”, d. 33”. [700/1000] Illustrated

537

536 Pair of Sevres-Style Hand-Painted Porcelain Plaques in Molded Bronze Frames, 20th century, the flowermolded bronze frames with pierced crests depicting bowknots and flowers, the polychrome plaques depicting lush gardens with birds and butterflies, the backs with spurious Sevres marks, h. 29”, w. 18‑3/4”. [2500/4000] Illustrated 537 Louis-Philippe Giltwood Oval Mirror, mid-19th century, the frame with inner beading and lushly decorated with ribbon-bound bunches of oak leaves and carefully modeled acorns, set with a pierced bowknot crest, h. 47‑1/2”, w. 33‑1/4”. [600/900] Illustrated

534

157

538

541

538 Pair of French Bronze Five-Light Sconces, in the Louis XVI style, on quiver-form backplates supported by bowknots, the gadrooned candle arms terminating in lower medallions, and set with leaf-molded drip pans and candle cups, h. 26‑1/2”, w. 15”, d. 8”. [500/800] Illustrated

539

539 Antal Berkes (Hungarian, 1874‑1938), “Early Spring in Budapest”, oil on board, signed lower right, 7‑1/2” x 13”. Presented in a giltwood and gesso frame. [1000/1500] Illustrated 540 Antal Berkes (Hungarian, 1874‑1938), “Promenade in Budapest”, oil on canvas, signed lower right, 15‑3/4” x 19‑3/4”. Framed. [2000/4000] Illustrated 541 Pair of French Porcelain, Bronze and Glass Moderator Lamps, mid-19th century, on scrolled bronze feet, the mazarin blue bottle vase-form bases decorated with gilt veining and set with scrolled handles, the brass-lined, textured glass shades likely original, h. 24”, dia. 5”. [700/1000] Illustrated

540

158

542

544

543 British Wool Embroidery of “In the Stable-Yard”, 19th century, needlepoint and petit point, the faces and hands enhanced with paint, sight 50” x 40‑1/2”. Glazed and framed. [700/1000] Illustrated 544 French School (Fourth Quarter 19th Century), “Chiens et Gibier”, oil on canvas, signed and dated lower left “A. Lambert 89”, titled en verso stretcher, 18” x 21‑3/4”. Framed. [1000/1500] Illustrated 545 Life-Sized Plaster Figure of a Newfoundland, 20th century, probably inspired by similar 19th-century cast iron garden ornaments, the dog with a patinated bronze finish and depicted on a plinth, its head turned to one side, h. 39”, w. 50”, d. 18”. [700/1000] Illustrated

543

542 Unusual Continental Belle Epoque Gilt-Brass and -Metal Ten-Light Chandelier, ca. 1900, the pear-shaped molded body decorated with flowers and scrollwork, the candle arms framed with scrollwork and set with leafmolded drip pans and candle cups, electrified, h. 25”, dia. 25”. [1500/2500] Illustrated

545

159

546

548 one of two

547 548 two of two

546 Pair of English Neoclassical-Style Lead Garden Urns, fourth quarter 19th century, on tapered bases, the sides decorated with raised scrollwork over a scale pattern, the upper rim with egg-and-dart molding, and the sides mounted with ram’s head handles, h. 27‑1/2”, w. 30‑1/2”, d. 18‑1/2”. [700/1000] Illustrated 547 Pair of Painted Metal “Tetes aux Chevaux” Wall Plaques, the rounded-end plaques decorated with life-sized molded horse’s heads, h. 30”, w. 14‑1/2”, d. 22”. [500/800] Illustrated

160

548 Richard Newton (American, 1874‑1951), “Releasing the Hounds” and “Following the Scent”, pair of hunt scenes, oils on canvas, signed lower right, 24” x 32”. Framed alike. [2000/4000] Illustrated

550 one of two

549 Unusual Victorian Polychrome and Ebonized Low Table, third quarter 19th century, the tilting turtle-form top with an elaborate painted hunt scene within a pierced mother-of-pearl banding, raised on a bulbous turned standard to three shaped legs, h. 19”, w. 40”, d. 28‑1/2”. [500/800] Illustrated 550 Richard Newton (American, 1874‑1951), “Lead Horse” and “Making the Jump”, pair of hunt scenes, oils on canvas, signed lower right, 24” x 32”. Framed alike. [1500/2500] Illustrated

550 two of two

549

161

551 551 detail

552

551 Extensive John Ridgway “Iron Stone China” Partial Dinner Service, ca. 1835‑1855, English, decorated in the Imari palette and retaining most of its gilt trim, the set including a soup tureen with an underplate and ladle, h. 13”, w. 14”, a sauce tureen and underplate, h. 8”, w. 8‑1/2”, an oval covered vegetable dish, h. 7”, w. 11‑1/4”, a platter, w. 11‑3/4”, d. 9‑3/4”, a pierced mazarin, w. 13”, d. 9”, a large open bowl, h. 5‑1/4”, dia. 11”, a leaf dish, dia. 8‑1/2”, fifteen dinner plates, dia. 9‑3/4”, nine soup plates, dia. 9‑3/4”, sixteen luncheon plates, dia. 8‑1/2”, and seven bread-and-butter plates, dia. 6‑1/4”, each piece with a “Real Stone China” mark in underglaze blue and an orange overglaze “995” pattern number. [500/800] Illustrated 552 Regency Mahogany Drop-Leaf Sofa Table, first quarter 19th century, the top with satinwood banding and fitted with two drawers along the front and back sides, supported by unusual spindled ends joined by a stretcher and with brass toes fitted with casters, h. 28”, w. 35‑1/2”, d. 27”, extended w. 59”. [500/800] Illustrated

162

553

553 French Bronze Two-Light Lantern in the Neoclassical Taste, second quarter 20th century, the hexagonal-form lantern with bronze clustered columns dividing the sides, above leaf-molded bronze base moldings, with bronze gilded masques flanking pierced scrollwork on the sides and top, h. 37”, dia. 21”. [1500/2500] Illustrated

554 William IV Mahogany Sofa, second quarter 19th century, the padded back-scrolled rectangular back joined to the padded seat by like arms fronted by foliate scrolling carved uprights, raised on bulbous carved feet ending in casters, h. 39”, w. 74”, d. 29‑1/2”. Provenance: By tradition, descended in the maritime and lumber-trading Olsen/Strigel family of Denmark and New Orleans, until sold in these galleries in May 2014. [1500/2500] Illustrated 555 Victorian Walnut Canterbury, third quarter 19th century, the front with an arched top above an intricate pierced carving centered by an urn-inlaid oval panel, fitted with two slatted dividers and an arched backpiece, above a single long drawer, raised on tall, turned toupie feet ending in casters, h. 24‑1/2”, w. 25‑1/2”, d. 15‑1/2”. [700/1000] Illustrated 556

556 Pair of Painted Plaster and Glass Three-Light Wall Lights, ca. 1953, probably Jansen, Paris, made for No. 4 Route du Champs d’Entrainement, with Royal coat of arms and motto below the helmet surmounted by a lion regardant supporting three spiral-molded candle arms, fitted for electricity, h. 32”, w. 21”, d. 14”. Provenance: Duke and Duchess of Windsor; their sale Sotheby’s, New York, September 11, 1997; Private collection. [5000/8000] Illustrated

555

554

163

557

557 William Powell Frith, RA (British, 1819‑1909), “Don Quixote: Sancho Panza Tells a Tale to the Duke and Duchess”, 1850, oil on canvas, signed and dated lower right, several labels en verso, including one from “The Carroll Galleries/Toronto, Canada” and an old handwritten note stating artist, exhibition history and describing the scene from Don Quixote by Miguel de Cervantes (Part II., Ch 31), 34‑3/4” x 46‑3/4”. Presented in a giltwood frame with artist plaque. [75000/125000] Illustrated Provenance: Commissioned from the artist by Frederick Huth, London; thence by descent to Charles Frederick Huth, London; Christie’s, London, July 6, 1895, lot 82; J. & W. Vokins Gallery, London; Robert G. Roy, Esq., Toronto; The Carroll Galleries, Toronto; Private collection; Waddington’s, Toronto, May 16, 2006, lot 14; Private collection. Exhibition: Royal Academy, London, 1850 as number 332.

164

An earlier study of this painting is conserved at the Victoria & Albert Museum, London. A popular black and white engraving was produced in 1851. Literature: Algernon Graves, The Royal Academy of Arts, Volume III, London: Henry Graves and Co., Ltd. and George Bell and Sons, 1905, p. 172.; The Drawing-Room Portrait Gallery of Eminent Personages, London: the London Joint Stock Newspaper Company, Ltd., 1859; Mark Bills and Vivien Knight, eds. William Powell Frith:Painting the Victorian Age, New Haven: Yale University Press, 2006.

559 William Adams and Sons Ironstone Partial Dinner Service, ca. 1850, English, with gilt-trimmed claret and ivory borders and decorated with hand-painted village scenes, the set comprised of two graduated platters, w. 14‑1/4”, d. 11‑1/2” and w. 19”, d. 14”, a pair of oval covered vegetable dishes with melon knops, h. 7‑3/4”, w. 12‑1/4”, d. 9”, a covered sauce tureen with a melon knop, h. 6‑1/2”, w. 7”, d. 5‑1/2”, eight dinner plates, dia. 10‑1/4”, seven soup plates, dia. 10‑1/4”, and twelve luncheon plates, dia. 9”, each signed “W. Adams & Sons, Stoke-Upon-Trent” in underglaze puce. [700/800] Illustrated 560 Suite of Eight Late Regency Mahogany Dining Chairs, first quarter 19th century, consisting of two armchairs and six sidechairs, each with a paneled crest rail above double horizontal splats, the padded seat raised on ringturned tapering circular legs ending in toupie feet, h. 33”. Provenance: Sotheby’s, London, November 9, 2004, lot 515. [2000/4000] Illustrated

558

558 English Waterford-Style Cut Glass Fifteen-Light Chandelier, the standard clad with diamond-cut and diamondpoint-cut glass vasiform elements, terminating in a corona of cut glass scrolls hung with prisms, the fifteen rope-twist glass candle arms set with cut glass drip pans and matching vasiform candle cups, set on three tiers and interspersed with cut glass scrolls, set with prisms and supporting swags of drops, h. 58”, dia. 35”. [2500/4000] Illustrated

559

560

165

563

562

562 Anglo-Irish Cut Glass Eight-Light Chandelier, second quarter 20th century, the standard clad with ball and vasiform cut glass elements, the blown and molded glass arms set with cut glass candle cups and drip pans, with cascades of drops hung from the corona and between the drip pans, h. 42”, dia. 24”. [700/1000] Illustrated

561 Monumental William IV Mahogany Pedestal Sideboard, second quarter 19th century, the canted rectangular top with a gadrooned edge, above a conforming frieze fitted with two drawers, raised on large cabriole supports headed by lion’s masques and ending in paw feet, further supported by two taller pedestal ends, each with a gadroon-edged top above a drop-front cupboard, with a tapered cupboard below, raised on paw feet to plinth bases, h. 45”, w. 102”, d. 29‑1/2”. [4000/7000] Illustrated

563 Jean Lefort (French, b. 1948), “The Sleepy Puppies”, oil on canvas, signed lower right, 27” x 35‑1/2”. Framed. [1000/1500] Illustrated

561

166

564

565

564 Handsome William IV Brass-Inlaid Rosewood Tea Caddy, second quarter 19th century, of pylon form, resting on beehiveturned feet, the sides and top with brass-inlaid running frets, honeysuckle and swag work, the brass nameplate on the cover engraved “S. Kendall”, the interior now lined with gilt-stamped red leather, h. 8‑3/4”, w. 12”, d. 6”. [500/800] Illustrated 565 Unusual William IV Rosewood and Motherof-Pearl-Inlaid Tea Caddy, second quarter 19th century, probably Scottish, on reeded bun feet, with matching handles, the doors and casket top inlaid with thistles, opening to reveal a series of foil-lined drawers, h. 13‑1/2”, w. 11‑3/4”, d. 10‑1/4”. [800/1200] Illustrated

567

566 Regency-Style Mahogany Dining Table, the circular top banded and above a plain frieze, raised on three ribbed supports to a concave tripartite base on scroll-carved claw feet, h. 30”, dia. 60”. Provenance: Lee Calicchio, Ltd. Antiques, New York, New York. [2500/4000] Illustrated 567 Forty-One-Piece Collection of Waterford Crystal Stemware, 20th century, Anglo-Irish, including seven Rosslare water goblets, h. 6‑3/4”, four Rosslare champagne/sherbets, h. 4‑3/4”, eight Rosslare claret glasses, h. 6”, two Lismore fluted champagne glasses, h. 7‑1/4”, two Lismore champagne/tall sherbets, h. 4‑3/4”, six Lismore small brandy glasses, h. 4‑3/4”, and twelve Kenmore port glasses, h. 4‑3/4”, each signed. [700/1000] Illustrated 566

167

568 Pair of English Mahogany Knife Urns and Pedestals in the Adam Taste, each urn with a finialed lid with fluting, lifting off to a fitted interior, the body with foliate carving and raised on a socle base, each pedestal with a stepped, canted rectangular top above a case fitted with a single door featuring a festoon ribbon carving, raised on a plinth base, h. 72”, w. 19”, d. 23‑1/2”. [1000/1500] Illustrated

570 Edwardian Satinwood Cabinet, early 20th century, the bowed and shaped top banded and centered by a polychrome landscape and floral basket, above a conforming case fitted with a floral garland-decorated frieze over two cabinet doors, each banded, quarter-veneered and centered by an oval panel with a floral vase, raised on tapering square legs ending in block feet, h. 37‑1/2”, w. 48‑1/4”, d. 21”. [1000/1500] Illustrated

569 Pair of Handsome Chamberlain’s Worcester Hand-Painted Covered Sugar Urns, first quarter 19th century, English, decorated with gilt and carefully executed hand-painted flowers against a bleu-de-roi ground, signed in red script under one cover, h. 7‑3/4”, dia. 5‑3/4”. [1000/1500] Illustrated

569

568

570

168

571

571 Pair of Royal Doulton Stoneware Vases, ca. 1902‑1922, probably Lambeth, England, decorated in cobalt and tan, with molded leaves, flowers and anthemia, the bottom with an impressed mark and unidentified artist’s initials “CV”, h. 13‑3/4”, dia. 6”. [500/800] Illustrated

572

572 George Graham (British, 1881‑1949), “Fisherman’s Beach”, oil on canvas, signed lower right, verso with “Kurt E. Schon, Ltd., New Orleans, Louisiana” gallery label, 28” x 36”. Framed. [1500/2500] Illustrated 573 Edwardian Mahogany Desk, early 20th century, the rectangular top with a decorative foliate border surrounding a quarter-veneered surface centered by a foliate medallion, above a case fitted with a central drawer flanked to either side by two short drawers, all with scrolling foliate inlays, raised on tapering square legs, h. 31”, w. 47‑1/2”, d. 28”. [1200/1800] Illustrated

573

169

575 William Maw Egley (British, 1826‑1916), “Portrait of a Spanish Lady on a Balcony”, 1873, oil on canvas, signed and dated mid-left, 18” x 14”. Presented in a period giltwood and gesso frame stenciled with the artist’s name. [1200/1800] Illustrated

575

574 Victorian Carved Mahogany Desk, late 19th century, in the manner of R.J. Horner, the shaped rectangular top with a carved edge, over a conforming case fitted with a central drawer flanked to either side by two short drawers, all with carved shell pulls on a scrolling foliate background, raised on cabriole legs ending in ball-and-claw feet, h. 29”, w. 46”, d. 28”. [800/1200] Illustrated

574

170

578

577

576 Contemporary Yamaha Ebonized Baby Grand Piano and Bench, bearing the serial number J2216709, piano h. 39‑1/2”, w. 57‑1/2”, l. 61”. [1500/2500] Illustrated 577 Victorian Papier-Mache Tray, third quarter 19th century, on a later conforming stand, the shaped tray with a full raised gilt-decorated edge centering a floral spray, now on a conforming ebonized stand on ringturned tapering splayed legs, h. 19‑1/2”, w. 31”, d. 24”. [700/1000] Illustrated 578 Victorian Black Tole Tray, third quarter 19th century, the shaped tray with a full raised edge with scrolling gilt accents surrounding an elaborate and exotic avian scene, raised on a later conforming stand of splayed tapering square legs, h. 18‑1/2”, w. 32”, d. 24”. [700/1000] Illustrated

576

171

Session I I: S u nday, M a r c h 1 2 , 2 0 1 7 Lots 5 7 9 - 1 1 1 9

579 Elizabeth Locke Eighteen-Karat Yellow Gold Intaglio Pendant/Brooch, the convertible pendant/brooch with a removable bail and mounted with a rust-colored Venetian glass intaglio flanked by two columns, accented on each end by a citrine cabochon, stamped “18K” and with the Elizabeth Locke logo, size 1‑3/4” x 2‑1/4” (without bail), 52.3 grams total weight. [1800/2500] Illustrated 580 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold and Garnet Intaglio Earrings, each earring set with an ambercolored glass intaglio of a classical musician and two round 2.5 mm garnet cabochons, with retractable posts, marked with the Elizabeth Locke logo and “18K”, l. 1”, 25.6 grams total weight. [1200/1800] Illustrated 581 Elizabeth Locke Eighteen-Karat Yellow Gold and Citrine Necklace, the four-strand necklace composed of irregular oval citrine beads, the eighteen-karat yellow gold clasp with a hammered texture and set with three 5.7 mm round citrine cabochons, marked with the Elizabeth Locke logo and “18K”, l. 16‑1/2”, 148.3 grams total weight. [1000/1500] Illustrated 582 Elizabeth Locke Eighteen-Karat Yellow Gold Intaglio Ring, set with an intaglio of a leaping dog, stamped “18K” and marked with the Elizabeth Locke logo, size 4‑1/2, 14.4 grams total weight. [900/1200] Illustrated 583 Elizabeth Locke Eighteen-Karat Yellow Gold Necklace, the oval link necklace with a hammered texture and a toggle clasp, marked with the Elizabeth Locke logo and “18K”, l. 17‑1/4”, 60.5 grams total weight. [1500/2500] Illustrated

579

588 Elizabeth Locke Eighteen-Karat Yellow Gold and Baroque Pearl Pendant/Enhancer, the pendant with a hammered texture and applied gold beads, and set with a silver-white baroque pearl, marked with the Elizabeth Locke logo and “18K”, l. 1‑1/2”, 12.8 grams total weight. [700/1000] Illustrated

584 Elizabeth Locke Eighteen-Karat Yellow Gold and Porcelain Pendant/Brooch, the convertible pendant/brooch with a removable bail and mounted with a porcelain miniature of a dog, stamped “18K” and with the Elizabeth Locke logo, size 1‑1/2” x 1‑1/2”, 24.4 grams total weight. [900/1200] Illustrated 585 Elizabeth Locke Eighteen-Karat Yellow Gold and Pearl Intaglio Brooch, the oval gold frame accented with eight 4.0 mm round silver-white cultured pearls surrounding an oval gray glass intaglio of classical figures, marked with the Elizabeth Locke logo and “18K”, size 1‑1/2” x 1‑1/4”, 22.2 grams total weight. [800/1200] Illustrated 586 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold and Mabe Pearl Earrings, each convertible pierced/clip back earring mounted with a 9.0 mm white/gray mabe pearl with a good luster, stamped “18K” and with the Elizabeth Locke logo, l. 1‑1/4”, 24.3 grams total weight. [900/1200] Illustrated 587 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold and Pearl Earrings, the dangling pendant earrings each mounted with a 9.5 mm silver-white cultured pearl, with retractable posts, marked with the Elizabeth Locke logo and “18K”, l. 1‑1/2”, 18.8 grams total weight. [1200/1800] Illustrated

174

584

585

581 detail

581

580

588

582

586

583

590

595

587

594

596 591

176

592

590 Elizabeth Locke Eighteen-Karat Yellow Gold, Micro-Mosaic and Diamond Pendant/Brooch, the convertible pendant/brooch with a removable bail and mounted with a micro-mosaic of a dove carrying an olive branch in its beak, surrounded by alternating moonstone cabochons and cultured pearls, each pearl accented with a round brilliant-cut diamond, with an approximate total weight of 0.40 carats, stamped “18K” and marked with the Elizabeth Locke logo, size 2” x 2‑1/4”, 41.1 grams total weight. [2000/4000] Illustrated 591 Elizabeth Locke Eighteen-Karat Yellow Gold and Pearl Bracelet, the baroque freshwater pearl bracelet with an eighteenkarat yellow gold toggle clasp, marked with the Elizabeth Locke logo, and “18K”, l. 7”, together with two associated baroque freshwater pearl necklaces, each with a fourteen-karat yellow gold clasp, l. 16‑1/2” and 18‑1/4”, 159.4 grams total weight (three total pieces). [800/1200] Illustrated

589

589 Elizabeth Locke Eighteen-Karat Yellow Gold, Mother-ofPearl and Diamond Brooch, mounted with a central carved mother-of-pearl medallion surrounded by four white cultured pearls, each accented with a round brilliant-cut diamond, with an approximate total weight of 0.16 carats, stamped “18K” and marked with the Elizabeth Locke logo, size 3” x 2‑3/4”, 42.1 grams total weight. [1400/1800] Illustrated

592 Lady’s Hublot Eighteen-Karat White Gold/Stainless Steel and Diamond MDM Wristwatch, the round stainless case with an eighteen-karat gold bezel and lugs set with eighty single-cut diamonds, the quartz date watch with a white mother-of-pearl dial set with ten single-cut diamonds, with an approximate total diamond weight of 0.75 carats, the black silicone band with a stainless double deployment clasp, the dial signed “Hublot, MDM, Geneve, Swiss”, the case back marked “Hublot, MDM, Geneve, Model 1401L.5.054, Depose, Wat. Res. 5 atm”, serial #443,XXX, case size without crown, 32.0 mm x 40.0 mm, inside circumference 6‑1/8”, with a black leather Hublot inner box. [1200/1800] Illustrated 593 Vintage Judith Leiber “Inro” Minaudiere, late 1970s, the stacked oval compartments decorated in silver, gunmetal and jet crystals above a narrow onyx and clear crystal band, with pearl and onyx push clasps and knotted black silk cord, the underside of padded gold kidskin, the compartments gold kidskin-lined with the upper cover bearing the gold Judith Leiber label, includes a gold swing mirror, tasseled comb and dust bag, h. 4”, w. 4‑1/2”, d. 3‑1/4” including clasps. [500/800] Illustrated 594 Fourteen-Karat White Gold, Tahitian Pearl and Diamond Necklace, mounted with fourteen 10.5 mm x 11.0 mm black Tahitian pearls with a very good luster, set in a filigree-style necklace, mounted with round brilliant-cut diamonds, with an approximate total weight of 6.00 carats, approximate color J-K and clarity I1‑I2, l. 17”, 60.2 grams total weight. [8000/12000] Illustrated 595 Silver-Gilt, Diamond and Baroque Pearl Ring, the large heavy freeform nugget-textured mounting set with a rose-cut diamond in the center, with an approximate weight of 0.20 carats, surrounded by three baroque pearls with good luster, size 7‑3/4, 46.2 grams total weight. [1500/2500] Illustrated

593

596 Twenty-Karat Yellow Gold, Black Star Sapphire, Blue Sapphire, Diamond and Ruby Ring, mounted with an oval cabochon-cut black star sapphire, with an approximate weight of 9.44 carats, bordered by a halo of round-cut blue sapphires, with an approximate total weight of 0.96 carats, flanked by a halo of round single-cut diamonds, with an approximate total weight of 0.50 carats, and accented on the sides of the ring gallery with two oval-cut rubies, with an approximate total weight of 0.24 carats, size 6‑1/2, 16.0 grams total weight. [1500/2500] Illustrated

177

597 Pair of Sterling Silver, Labradorite and Diamond Earrings, the dangle earrings each mounted with a square faceted labradorite suspended from an oval- and pear-shaped labradorite cabochon, with an approximate total weight of 30.00 carats for the pair, each surrounded by a halo of rose-cut diamonds, with an approximate total weight of 1.63 carats for the pair, l. 2”, 16.8 grams total weight. [500/800] Illustrated 598 Pair of Sterling Silver and Diamond Dangle Earrings, each composed of two sections of concentric circles, accented with rose-cut diamonds, with an approximate total weight of 3.04 carats for the pair, l. 2‑1/4”, 10.1 grams total weight. [500/800] Illustrated 599 Sterling Silver, Diamond and Sapphire Buckle Bracelet, the chain-link bracelet mounted with a buckle set with rose-cut diamonds, with an approximate total weight of 1.10 carats, and round-cut treated sapphires, with an approximate total weight of 1.20 carats, l. 7‑1/2”, 35.1 grams total weight. [500/800] Illustrated

601

602 Pair of Eighteen-Karat White Gold, Sapphire and Diamond Earrings, each earring mounted with an emerald-cut sapphire, with an approximate total weight of 6.47 carats for the pair, and two baguette-cut diamonds, with an approximate total weight of 0.83 carats for the pair, approximate color E-F and clarity SI1‑SI2, l. 1/2”, 8.0 grams total weight. [3500/5000] Illustrated

600 Pair of Sterling Silver, Sapphire and Diamond Earrings, the dangle earrings mounted with round-cut treated sapphires, with an approximate total weight of 3.50 carats for the pair, and rosecut diamonds, with an approximate total weight of 0.75 carats for the pair, l. 2‑1/8”, 15.0 grams total weight. [500/800] Illustrated 601 Eighteen-Karat White Gold, Sapphire and Diamond Ring, the custom-designed ring mounted with square-cut invisibleset treated sapphires, with an approximate total weight of 1.65 carats, and round brilliant-cut diamonds, with an approximate total weight of 0.55 carats, size 7‑3/4, 9.0 grams total weight. [1000/1500] Illustrated

603 Stunning Eighteen-Karat Yellow/White Gold, Natural Sapphire and Diamond Ring, mounted with a rectangular cushion-cut natural sapphire, with a total weight of 26.22 carats, accented with round brilliant-cut diamonds, pave-set around the center stone and on the ring’s gallery and split shank, with an approximate total weight of 1.66 carats, approximate color F-G and clarity VS1‑SI1, size 7‑1/4, 22.7 grams total weight. [25000/40000] Illustrated

599

178

598

597

603 detail 603

602

600

179

605 Stunning Eighteen-Karat White Gold, Sapphire and Diamond Necklace, mounted with eleven pear-cut treated sapphires, with an approximate total weight of 28.35 carats, accented by seventy-six marquise-cut diamonds, with an approximate total weight of 9.60 carats, thirty-four pear-cut diamonds, with an approximate total weight of 9.70 carats, and 180 round brilliant-cut diamonds, with an approximate total weight of 8.18 carats, the diamonds with an approximate color of E-F and clarity VS2‑SI1, l. 18‑1/2”, 53.0 grams total weight. [70000/100000] Illustrated

605

604 detail

604 Beautiful Eighteen-Karat White Gold, Sapphire and Diamond Bracelet, the flexible bracelet mounted with a wavy row of round brilliant-cut diamonds, with an approximate total weight of 7.00 carats, approximate color E-F and clarity VS2‑SI2, flanked on the top and bottom with twenty-six pear-cut treated sapphires, with an approximate total weight of 17.42 carats, l. 7‑1/2”, 20.0 grams total weight. [18000/25000] Illustrated

604

180

606 Raymond C. Yard Platinum and Diamond Brooch, the circular-designed brooch mounted with thirty-four round brilliant-cut diamonds, with an approximate total weight of 1.70 carats, stamped “Yard”, dia. 1‑1/4”, 5.6 grams total weight. [1500/2500] Illustrated

Raymond Carter Yard (1885‑1964), the renowned American jeweler, began his career in the trade when he was 13, working as a door boy at Marcus & Co. in New York. By the time he was in his early 30s, he was Marcus’ most sought-after salesman. In 1922, John D. Rockefeller, Jr., an established client, encouraged him to open his own jewelry firm. Mr. Rockefeller recommended Yard to his family and friends, and his business grew exponentially. He began creating some of the most magnificent jewels in the country, using only high-quality gemstones and platinum mountings. His exceptional and identifiable style elevated Art Deco jewelry to a new level. 607 Raymond C. Yard Platinum “Rabbit Waiter” Brooch, ca. 1930s, the whimsical rabbit carrying an articulated ice bucket with champagne, decorated with various enamels and set with various cuts of diamonds, with an approximate total weight of 0.80 carats, and sapphires, emeralds and rubies, with an approximate total weight of 0.40 carats, stamped “YARD, Inc.”, h. 1‑3/4”, 13.0 grams total weight. [30000/50000] Illustrated

The first rabbit brooch appeared in December 1928 and depicted a rabbit in profile wearing a jacket and a top hat, carrying a cane and flower bouquet. His rabbit waiter brooch followed in March 1929. That example, like the one being offered here, depicted the rabbit in a coat, slacks, shoes, and a shirt with a bow tie, carrying a tray with a cocktail shaker, glasses and a towel. These brooches appealed to Yard’s “high society” clientele. Between 1929 and 1931, Yard designed a series of rabbit waiters; however, no two rabbits were the same. Though he retired in 1958, the name Yard is still synonymous today with the highest standards in fine jewelry. These whimsical brooches are highly sought after by collectors and continue to command high prices at auction.

181

608 Beautiful Eighteen-Karat White Gold, Emerald, Sapphire and Diamond Ring, mounted with a central cushion-cut treated sapphire, with an approximate weight of 12.15 carats, flanked on either side by an emerald-cut emerald, with an approximate total weight of 1.40 carats, the whole accented with round brilliant-cut diamonds, with an approximate total weight of 1.35 carats, approximate color F-G and clarity VS1‑VS2, size 7, 12.0 grams total weight. [18000/25000] Illustrated 609 Eighteen-Karat White Gold and Diamond Bangle Bracelet, the hinged bracelet pave-set with round brilliant-cut diamonds, with an approximate total weight of 13.37 carats, approximate color E-F and clarity VS1‑VS2, inside circumference 6‑1/2”, 64.0 grams total weight. [7000/10000] Illustrated

616 Pair of Gold Vermeil, Emerald and Diamond Earrings, the dangling pendant earrings in the form of ginkgo leaves, mounted with irregular round-cut emeralds, with an approximate total weight of 3.50 carats for the pair, accented by rose-cut diamonds, with an approximate total weight of 1.00 carat, suspended from two faceted foil-backed diamond slices, l. 2‑1/2”, 23.0 grams total weight. [500/800] Illustrated 617 Fourteen-Karat White Gold, Emerald and Diamond Ring, mounted with a rectangular step-cut treated emerald, with an approximate weight of 1.54 carats, accented by round brilliantcut diamonds in a halo around the stone and on the ring shank, with an approximate total weight of 0.91 carats, size 7, 4.4 grams total weight. [1400/1800] Illustrated

610 Pair of Eighteen-Karat White Gold and Diamond Hoop Earrings, the inside-out hinged hoop earrings pave-set with round brilliant-cut diamonds, with an approximate total weight of 4.25 carats for the pair, dia. 15/16”, 10.2 grams total weight. [1800/2500] Illustrated 611 Fourteen-Karat White/Yellow Gold, Emerald and Diamond Ring, the diagonal mounting set with three emerald-cut emeralds, with an approximate total weight of 2.96 carats, each with a halo of round European-cut diamonds, with an approximate total weight of 1.46 carats, approximate color E-F and clarity VS1‑VS2, size 6, 12.0 grams total weight. [2500/4000] Illustrated 612 Beautiful Eighteen-Karat White Gold, Emerald and Diamond Bracelet, the flexible bangle bracelet mounted with round-cut emeralds, with an approximate total weight of 12.53 carats and round brilliant-cut diamonds, with an approximate total weight of 1.49 carats, approximate color F-G and clarity SI1‑SI2, inside circumference 7‑1/4”, 32.0 grams total weight. [8000/12000] Illustrated 613 Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with an emerald-cut treated emerald, with an approximate weight of 2.39 carats, accented with two baguettecut and eighteen single-cut diamonds, with an approximate total weight of 0.69 carats, approximate color F-I and clarity VVS2‑SI1, size 7‑1/2, 8.0 grams total weight. [1200/1800] Illustrated

604

614 Platinum, Emerald and Diamond Ring, mounted with a cushion-cut treated emerald, with an approximate weight of 1.81 carats, flanked on each side by six baguette-cut diamonds, with an approximate total weight of 1.87 carats, approximate color E-F and clarity VVS2‑VS1, size 7‑1/4, 14.0 grams total weight. [3500/5000] Illustrated

618 Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with a pear-cut emerald, with an approximate weight of 3.26 carats, surrounded by round brilliant-cut diamonds, with an approximate total weight of 1.77 carats, approximate color F-G and clarity VS1‑SI2, size 7, 8.0 grams total weight. [5000/8000] Illustrated

615 Fourteen-Karat White Gold and Diamond Bracelet, composed of ten sections, each mounted with a central round brilliant-cut diamond, with an approximate total weight of 1.14 carats, approximate color G-I and clarity SI2‑I1, accented by round brilliant-cut diamonds, with an approximate total weight of 1.29 carats, approximate color G-I and clarity SI2‑I1, l. 7”, 22.0 grams total weight. [1500/2500] Illustrated

619 Pair of Eighteen-Karat White Gold, Emerald and Diamond Earrings, the flower-designed earrings each mounted with round-cut emeralds, with an approximate total weight of 1.50 carats for the pair, and round brilliant-cut diamonds, with an approximate total weight of 0.32 carats for the pair, dia. 1/2”, 5.0 grams total weight. [1200/1800] Illustrated

182

614 613

608

610

619 618

615 609

617

611

612

183

622

621

184

623

624 detail

624

625 detail

625 620

626

620 Eighteen-Karat Yellow/White Gold, Emerald and Diamond Ring, mounted with an oval-cut emerald, with an approximate weight of 6.69 carats, accented by round brilliant-cut diamonds around the emerald and on the split shank, with an approximate total weight of 1.25 carats, size 6‑1/2, 12.0 grams total weight. [2500/4000] Illustrated 621 Pair of Eighteen-Karat Yellow/White Gold, Turquoise, Emerald and Diamond Earrings, the pendant earrings each mounted with a pear-shaped 8.0 mm x 16.0 mm turquoise, surrounded and accented by marquise-cut and pear-cut emeralds, with an approximate total weight of 5.90 carats for the pair, and round brilliant-cut diamonds, with an approximate total weight of 2.01 carats for the pair, approximate color E-G and clarity VS2‑SI1, l. 1‑1/2”, 17.0 grams total weight. [3500/5000] Illustrated 622 Spectacular Eighteen-Karat Yellow Gold, Turquoise and Diamond Bib Necklace, the bold and playful necklace composed of graduated chains intermingled with round turquoise beads, finished with eleven teardrop-shaped turquoise beads, all suspended from a necklace mounted with rose-cut and round brilliant-cut diamonds, with an approximate total weight of 1.31 carats, necklace l. 18”, bib l. 4”, 95.0 grams total weight. [3000/5000] Illustrated 623 Eighteen-Karat Yellow Gold, Turquoise and Diamond Ring, the large 22.0 mm x 30.0 mm turquoise cabochon held in place by the crossover design, set with round brilliant-cut white and chocolate diamonds, with an approximate total weight of 0.50 carats, size 7‑1/2, 18.2 grams total weight. [2500/4000] Illustrated

624 Eighteen/Fourteen-Karat Yellow Gold Necklace with Interchangeable Pendant, the eighteenkarat yellow gold omega necklace, l. 14‑3/4”, with a removable fourteen-karat yellow gold pendant set with round brilliant-cut diamonds, with an approximate total weight of 1.20 carats, dia. 1‑1/8”, the pendant with five interchangeable 15.0 mm round cabochons, including black onyx, malachite, lapis lazuli, turquoise and mabe pearl, 74.5 grams total weight. [1800/2500] Illustrated 625 Eighteen-Karat Yellow Gold, Lapis Lazuli and Rhodochrosite Scarab Ring, the scarab composed of an oval lapis lazuli and two calibre-cut rhodochrosite cabochons, bordered by four calibre-cut lapis lazulis, size 7‑1/4, 20.8 grams total weight. [1200/1800] Illustrated 626 Fourteen-Karat Yellow Gold and Multi-Stone Bracelet, composed of rings alternating with bars, the bar ends mounted with a variety of stone cabochons, including five blue chalcedony cabochon-cut stones, with an approximate total weight of 3.95 carats, five dyed green quartz cabochon-cut stones, with an approximate total weight of 3.95 carats, and four brown carnelian quartz cabochon-cut stones, with an approximate total weight of 3.16 carats, w. 1”, l. 8‑1/4”, 67.9 grams total weight. [1800/2500] Illustrated

185

628

631

632

633

186

627

630

627 Vintage Judith Leiber “Resting Lion” Minaudiere, ca. 1978, the lion with onyx eyes and resting on a jet crystal platform inset with semi-precious cabochons and centered by a cabochon push clasp, the underside of padded gold kidskin, the gold kidskin-lined interior with a gusseted rigid divider bearing the gold metal Judith Leiber label, the frame edge signed, includes a matching gold leather coin purse, a gold swing mirror and tasseled comb, h. 3‑1/2”, w. 6”, d. 3”. See Enid Nemy & John Bigelow Taylor, Judith Leiber: The Artful Handbag (New York: Harry N. Abrams, 1995), p. 137, for an identical example with leopard spots and onyx cabochons. [1200/1800] Illustrated 628 Fourteen-Karat Yellow Gold and Multi-Stone Necklace, the long necklace with a twisted link chain and mounted with two cabochon-cut amethyst discs, with an approximate total weight of 12.92 carats, two cabochon-cut citrine discs, with an approximate total weight of 12.92 carats, and two cabochon-cut green quartz discs, with an approximate total weight of 12.92 carats, l. 27”, 79.0 grams total weight. [2500/4000] Illustrated

631 Fourteen-Karat Yellow Gold, Tourmaline and Diamond Ring, with a foliate-designed mounting and set with an emeraldcut deep green tourmaline, with an approximate weight of 9.20 carats, and eleven round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, size 7‑3/4, 26.6 grams total weight. [800/1200] Illustrated 632 Fourteen-Karat Yellow Gold, Tourmaline and Diamond Ring, mounted with a round-cut mint green-colored tourmaline, with an approximate weight of 3.46 carats, surrounded by a halo of yellow-green diamonds, with an approximate total weight of 0.49 carats, approximate clarity VS2‑SI1, size 6‑1/2, 6.0 grams total weight. [2000/4000] Illustrated 633 Eighteen-Karat Yellow Gold and Paraiba Tourmaline Ring, mounted with an oval-cut paraiba tourmaline, with an approximate weight of 1.74 carats, size 7‑3/4, 10.7 grams total weight. [1800/2500] Illustrated 634 Eighteen-Karat Yellow Gold, Amethyst and Enamel Cuff Bracelet, the boldly designed tubular spring-loaded cuff bracelet decorated with green and black enamel and set with four 5.5 mm round amethyst cabochons, inside circumference 6‑1/4”, 77.0 grams total weight. [3000/5000] Illustrated

629

629 Unusual Fourteen-Karat White Gold, Yellow Tourmaline and Diamond Ring, mounted with a round-cut yellow tourmaline, with an approximate weight of 5.93 carats, and thirty-five round brilliant-cut diamonds around the stone and on the ring shank, with an approximate total weight of 0.68 carats, approximate color G-I and clarity VS1‑VS2, size 7‑3/4, 7.0 grams total weight. [3000/5000] Illustrated 630 Eighteen-Karat and Multi-Stone Ring, the custom-made ring with a bark finish and mounted with round-cut amethysts, with an approximate total weight of 0.91 carats, round-cut pink tourmalines, with an approximate total weight of 1.70 carats, round-cut citrines, with an approximate total weight of 0.85 carats, and round-cut peridots, with an approximate total weight of 0.78 carats, size 7, 20.0 grams total weight. [600/900] Illustrated

634

634 detail

187

637 Fourteen-Karat Yellow Gold, Watermelon Tourmaline and Diamond Ring, mounted with an emerald-cut watermelon tourmaline, with an approximate weight of 4.55 carats, flanked by two princess-cut pink tourmalines, with an approximate total weight of 0.40 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 0.30 carats, size 7, 5.7 grams total weight. [1200/1800] Illustrated 638 Eighteen-Karat White Gold, Rubellite Tourmaline and Diamond Pendant with Chain, the pendant mounted with an oval-cut rubellite tourmaline, with an approximate weight of 8.10 carats, surrounded and accented with round brilliant-cut diamonds, with an approximate total weight of 0.81 carats, approximate color E-G and clarity VS1‑SI1, suspended from a 16” white gold chain, 5.0 grams total weight. [4000/7000] Illustrated 639 Eighteen-Karat Rubellite Tourmaline and Diamond Ring, mounted with a cushion-cut rubellite tourmaline, with an approximate weight of 8.27 carats, accented by round brilliantcut diamonds, with an approximate total weight of 1.33 carats, approximate color E-F and clarity VS1‑SI1, size 7, 8.0 grams total weight. [4500/7000] Illustrated 640 Eighteen-Karat White Gold, Ruby and Diamond Ring, mounted with a pear-cut treated ruby, with an approximate weight of 25.17 carats, surrounded by two rows of round brilliant-cut diamonds, with an approximate total weight of 1.50 carats, size 6‑1/4, 15.0 grams total weight. [2500/4000] Illustrated 641 Pair of Eighteen-Karat White Gold, Ruby and Diamond Earrings, each earring mounted with an oval-cut treated ruby, with an approximate total weight of 3.84 carats for the pair, surrounded by sixteen round brilliant-cut diamonds, with an approximate total weight of 0.89 carats for the pair, l. 1/2”, 6.0 grams total weight. [1800/2500] Illustrated

635

635 Italian Fourteen-Karat Yellow Gold and Tourmaline Necklace, the hollow circular link necklace composed of six ribbed melons separated by two pink and three green tourmaline cabochons, with an approximate total weight of 3.75 carats, l. 18‑3/4”, 51.5 grams total weight. [1400/1800] Illustrated 636 Italian Fourteen-Karat Yellow Gold and Tourmaline Bracelet, the braided knot flexible link bracelet set with three green and three pink tourmaline cabochons, with an approximate total weight of 4.50 carats, w. 5/8”, l. 7‑1/2”, 73.0 grams total weight. [1800/2500] Illustrated

188

642 Platinum, Star Ruby and Diamond Ring, mounted with a GIA certified natural oval double cabochon star ruby, with a weight of 21.02 carats, GIA report #6167719616, accented by round brilliant-cut diamonds, with an approximate total weight of 0.78 carats, size 7‑3/4, 14.6 grams total weight. [2500/4000] Illustrated 643 Platinum, Star Ruby and Diamond Ring, mounted with an oval cabochon-cut star ruby, with an approximate weight of 5.70 carats, surrounded by an undulating design mounted with baguette-cut and round brilliant-cut diamonds, with an approximate total weight of 0.66 carats, size 6‑1/2, 11.8 grams total weight. [1800/2500] Illustrated 644 Fourteen-Karat White Gold, Star Ruby and Diamond Ring, mounted with a round cabochon-cut star ruby, with an approximate weight of 9.86 carats, accented by round brilliantcut diamonds, with an approximate total weight of 0.40 carats, size 7‑1/4, 5.4 grams total weight. [900/1200] Illustrated

638 640

639

641

636

643

637

642 644

189

649

645 detail

651

648 Three-Piece Suite

190

646

645 Sterling Silver, Ruby and Diamond Necklace, the long necklace designed to be worn as one or two strands, composed of 3.0 mm treated ruby roundels, finished with a silver and diamond clasp in the form of a snake, mounted with rose-cut diamonds, with an approximate total weight of 0.47 carats, and with two faceted rubies for the eyes, l. 39”, 34.9 grams total weight. [500/800] Illustrated 646 Pair of Sterling Silver, Ruby and Diamond Earrings, the dangle earrings each mounted with an oval-cut treated ruby, with an approximate total weight of 4.50 carats for the pair, accented with rose-cut diamonds, with an approximate total weight of 3.86 carats for the pair, l. 2‑1/2”, 14.7 grams total weight. [500/800] Illustrated 647 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, mounted with an oval-cut treated ruby, with an approximate weight of 13.48 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 2.60 carats, size 7, 9.0 grams total weight. [1800/2500] Illustrated 648 Three-Piece Gold Vermeil and Tourmaline Jewelry Suite, including a pair of pendant earrings set with pear-cut tourmalines, with an approximate total weight of 1.60 carats, and rose-cut diamonds, with an approximate total weight of 0.66 carats, l. 2‑3/4”, a pair of pendant earrings set with round-cut pink and green tourmalines, with an approximate total weight of 1.50 carats, accented by rose-cut diamonds, with an approximate total weight of 1.65 carats, l. 2‑3/4”, and a ring mounted with round-cut multicolored tourmalines, with an approximate total weight of 1.30 carats, accented by rose-cut diamonds, with an approximate total weight of 0.45 carats, size 6‑1/2, 66.5 grams total weight. [500/800] Illustrated

850

649 Two Sterling Silver, Opal and Diamond Bangle Bracelets, each hinged bracelet mounted with three oval faceted opals, with an approximate total weight of 7.00 carats for the pair, accented by rose-cut diamonds, with an approximate total weight of 1.50 carats for the pair, inside circumference 6‑1/2”, 28.7 grams total weight. [500/800] Illustrated 650 Fourteen-Karat Yellow Gold, Opal and Diamond Pendant with Chain, the pendant mounted with an oval cabochon-cut opal, with an approximate weight of 16.43 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 1.95 carats, l. 1‑1/2”, suspended from a fourteen-karat yellow/ white gold chain, l. 19”, 16.2 grams total weight. [3000/5000] Illustrated 651 Gold Vermeil, Moonstone and Diamond Bangle Bracelet, the hinged bangle bracelet mounted with twenty-nine emeraldcut moonstones, with an approximate total weight of 7.30 carats, bordered by a row of rose-cut diamonds, with an approximate total weight of 0.85 carats, inside circumference 6‑1/2”, 21.3 grams total weight. [500/800] Illustrated

847

191

657 Elizabeth Locke Eighteen-Karat Yellow Gold Charm Bracelet, the oval link bracelet with a hammered texture and a toggle clasp set with two round 2.0 mm sapphire cabochons, and with seven charms, one with a silver ancient coin, one with a gray baroque pearl, one with a bronze ancient coin, one green glass intaglio, one molded blue glass and one moonstone carved as the moon, marked with the Elizabeth Locke logo and “18K”, l. 7‑1/2”, 69.5 grams total weight. [2000/4000] Illustrated 658 Elizabeth Locke Nineteen-Karat Yellow Gold Necklace, with a heavy hammered texture and oval beaded links, marked with the Elizabeth Locke logo and “19K”, l. 18‑3/4”, 135.9 grams total weight. [4000/7000] Illustrated 659 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold Intaglio Earrings, each dangling pendant earring with a hammered texture and set with a ruby glass intaglio of a classical figure, with retractable posts, marked with the Elizabeth Locke logo and “18K”, l. 1‑5/8”, 21.8 grams total weight. [1200/1800] Illustrated 652

652 Elizabeth Locke Eighteen-Karat Yellow Gold, Mother-ofPearl and Moonstone Brooch, in the shape of the sun and mounted in the center with a carved mother-of-pearl medallion, each ray of the sun accented on the end with a moonstone cabochon, stamped “18K” and marked with the Elizabeth Locke logo, dia. 2‑1/2”, 30.9 grams total weight. [1400/1800] Illustrated 653 Elizabeth Locke Eighteen-Karat Yellow Gold and Venetian Glass Intaglio Brooch, mounted with a clear Venetian glass intaglio of a Pegasus, on a mother-of-pearl back, stamped “18K” and marked with the Elizabeth Locke logo, size 1‑1/8” x 1‑1/4”, 14.9 grams total weight. [700/1000] Illustrated 654 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold and Mother-of-Pearl Earrings, each convertible pierced/clip-back earring mounted with a mother-of-pearl-backed glass intaglio depicting Pegasus, stamped “18K” and with the Elizabeth Locke logo, l. 1‑1/8”, 27.2 grams total weight. [900/1200] Illustrated 655 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold Earrings, the dangling pendant earrings with a hammered texture and retractable posts, marked with the Elizabeth Locke logo and “18K”, l. 1‑3/8”, 16.4 grams total weight. [900/1200] Illustrated 656 Elizabeth Locke Eighteen-Karat Yellow Gold, Moonstone and Pearl Brooch, mounted with a central moonstone cabochon surrounded by four smaller moonstone cabochons, and accented on each side by a gray cultured pearl, stamped “18K” and with the Elizabeth Locke logo, size 1‑1/2” x 1‑1/2”, 17.1 grams total weight. [900/1200] Illustrated

192

656

660 Elizabeth Locke Eighteen-Karat Yellow Gold Intaglio Pendant/Brooch, the convertible pendant/brooch with a removable bail and mounted in the center with a burgundy Venetian glass intaglio surrounded by four onyx cabochons and four points mounted with cultured pearls and accented with tourmaline roundels, stamped “18K” and marked with the Elizabeth Locke logo, size 1‑5/8” x 1‑5/8” (without bail), 35.0 grams total weight. [1800/2500] Illustrated

658

655

654

659

653

660

657

193

662

661

666

664

665

669

194

668

661 Elizabeth Locke Eighteen-Karat Yellow Gold and Onyx Intaglio Ring, mounted with an onyx intaglio, stamped “18K” and with the Elizabeth Locke logo, size 6, 5.6 grams total weight. [900/1200] Illustrated 662 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold and Venetian Glass Intaglio Earrings, the convertible pierced/ clip back earrings each mounted with a black Venetian glass intaglio of a Pegasus, resting on a bar accented on each end with a black onyx cabochon, stamped “18K” and marked with the Elizabeth Locke logo, size 3/4” x 7/8”, 22.8 grams total weight. [1200/1800] Illustrated 663 Elizabeth Locke Eighteen-Karat Yellow Gold, Pink Tourmaline and Sapphire Ring, with a hammered texture and mounted with an antique-cut pink tourmaline, with an approximate weight of 4.85 carats, and four round faceted sapphires, with an approximate total weight of 0.55 carats, marked with the Elizabeth Locke logo and “18K”, size (without sizing beads) 5‑1/2, 11.2 grams total weight. [1400/1800] Illustrated

665 Elizabeth Locke Eighteen-Karat Yellow Gold Coin Brooch, mounted with a coin flanked by two columns, accented on each end with a cultured pearl, stamped “18K” and with the Elizabeth Locke logo, size 1‑3/4” x 1‑3/4”, 32.1 grams total weight. [1400/1800] Illustrated 666 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold Coin Earrings, the convertible pierced/clip back earrings each mounted with a coin, stamped “18K” and marked with the Elizabeth Locke logo, dia. 1”, 25.5 grams total weight. [1200/1800] Illustrated 667 Elizabeth Locke Eighteen-Karat Yellow Gold and Carnelian Intaglio Ring, mounted with a carnelian intaglio of a galloping horse, stamped “18K” and with the Elizabeth Locke logo, size 6, 13.0 grams total weight. [900/1200] Illustrated 668 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold and Coral Earrings, each convertible pierced/clip back earring mounted with an oval coral cabochon, stamped “18K” and marked with the Elizabeth Locke logo, size 7/8” x 3/4”, 22.4 grams total weight. [900/1200] Illustrated

664 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold Earrings, the dome earrings with a hammered texture and retractable posts, marked with the Elizabeth Locke logo and “18K”, dia. 7/8”, 22.2 grams total weight. [800/1200] Illustrated

669 Elizabeth Locke Eighteen-Karat Yellow Gold and Coral Pendant/Brooch, the pendant/brooch with a removable bail and mounted with oval coral cabochons, stamped “18K” and with the Elizabeth Locke logo, size 2‑1/2” x 2‑1/4” (without bail), 28.2 grams total weight. [900/1200] Illustrated

195

676

670 Eighteen-Karat Yellow Gold, Coral and Diamond Ring, mounted with an oval-shaped coral cabochon, with an approximate weight of 11.13 carats, surrounded by eighteen round brilliant-cut diamonds, with an approximate total weight of 1.03 carats, size 9‑1/2, 15.0 grams total weight. [1500/2500] Illustrated 671 Eighteen-Karat Yellow Gold, Coral and Diamond Necklace, the triple-strand necklace composed of 8.0 mm coral beads, interspersed with gold twisted roundels, and finished with a clasp mounted with an oval-cut coral cabochon, with an approximate weight of 12.88 carats, surrounded by twenty-two round brilliant-cut diamonds, with an approximate total weight of 0.99 carats, l. 25”, 152.0 grams total weight. [1800/2500] Illustrated 672 Pair of Eighteen-Karat Yellow Gold, Coral and Diamond Earrings, each earring mounted with an oval-shaped coral cabochon, with an approximate total weight of 10.38 carats for the pair, surrounded by round brilliant-cut diamonds, with an approximate total weight of 1.76 carats for the pair, l. 1”, 23.0 grams total weight. [1800/2500] Illustrated 673 Pair of Unusual Eighteen-Karat White Gold, Red Coral, Malachite and Diamond Earrings, each pendant “martini” earring with a fixed red coral teardrop, with a free-floating malachite disc at the top, suspended from a stud mounted with a round brilliant-cut diamond, with an approximate total weight of 0.01 carat for the pair, l. 1‑1/2”, 7.6 grams total weight. [700/1000] Illustrated

196

674 Whimsical Fourteen-Karat Yellow Gold, Red Coral and Emerald Frog Brooch, the fourteen-karat yellow gold frog with two 2.0 mm round faceted emeralds for the eyes, clinging to a large red coral branch, size 2‑1/4” x 3‑3/4”, 13.6 grams total weight. [800/1200] Illustrated 675 Four-Piece Suite of Eighteen/Fourteen-Karat Yellow Gold Brooches, including an eighteen-karat yellow gold dancing mouse set with a 0.01‑carat diamond for its eye, a fourteenkarat yellow gold mouse set with a .01‑carat diamond for its eye, a fourteen-karat yellow/white gold koala dressed in farmer jeans, leaning against a branch set with two seed pearls and a 0.05‑carat diamond for its eye, and three round faceted emeralds with an approximate total weight of 0.10 carats, and a fourteen-karat yellow gold bow tie rabbit with two faceted faux rubies for its eyes, the largest, size 7/8” x 1‑3/4”, 34.2 grams total weight. [900/1200] Illustrated 676 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. [1800/2500] Illustrated 677 Mexican Fifty Pesos Coin/Pendant, the 1947 gold bullion coin set in a fourteen-karat yellow gold bezel, dia. 1‑1/2”, 46.2 grams total weight. [1200/1800] Illustrated

671

675 672

670

673

677

674

197

683

678

685

685 detail

198

684

679

681

682

683 Henry Dunay Platinum and Eighteen-Karat Yellow Gold Bracelet, composed of three rows of braided gold and platinum wire, the clasp stamped “Dunay, Plat 18K”, inside circumference 6‑3/4”, w. 5/8”, 92.9 grams total weight. [2000/4000] Illustrated

680

678 Italian Fourteen-Karat Yellow Gold Convertible Necklace/ Bracelet, the wide interlocking gold necklace with a matching bracelet, connecting to make the necklace longer, stamped “14K, Italy”, necklace l. 16‑1/4”, bracelet l. 7”, 76.2 grams total weight. [1500/2500] Illustrated 679 English Nine-Karat Yellow Gold Bracelet, the flexible florallink bracelet in the Renaissance style, l. 6‑7/8”, w. 3/4”, 31.2 grams total weight. [600/900] Illustrated

684 Pair of Eighteen-Karat Yellow Gold Tiffany and Company “Paloma Picasso” Ear Clips, the gold ear clips in the “Kiss,X” design, signed “Tiffany & Co. 750, Paloma Picasso”, and with a “C” in a circle, l. 1”, 9.4 grams total weight. [600/900] Illustrated 685 Lady’s Bucherer Eighteen-Karat Yellow Gold Wristwatch, the flexible herringbone mesh bracelet wristwatch with a seventeen jewels manual wind mechanical movement marked “Swiss, 17 jewels”, the champagne-colored dial marked “Bucherer, 17 jewels”, the case and band stamped “CB, 18K, 0.750”, l. 7”, 53.0 grams total weight. [1400/1800] Illustrated 686 Eighteen-Karat Yellow Gold and Diamond Zodiac Pendant, the large circular Capricorn pendant set with a round brilliantcut diamond, with an approximate weight of 0.10 carats, dia. 2”, 60.4 grams total weight. [1400/1800] Illustrated

680 Fourteen-Karat Yellow Gold and Diamond Pendant with Chain, the custom-made pendant mounted with round- and single-cut diamonds, with an approximate total weight of 1.22 carats, approximate color D-E and clarity VS2‑SI2, l. 1‑1/2”, suspended from a 19‑1/2” gold chain, 12.0 grams total weight. [1500/2500] Illustrated 681 French Eighteen-Karat Yellow Gold and Diamond Bracelet, the flexible bracelet with a stick design and set with twenty round brilliant-cut diamonds, with an approximate total weight of 0.80 carats, the clasp marked “Made in France” and with a maker’s touchmark, w. 3/4”, l. 6‑3/4”, 68.0 grams total weight. [2500/4000] Illustrated 682 Pair of Henry Dunay Eighteen-Karat Yellow Gold Ear Clips, with a round ribbed design and a hammered finish, stamped “Dunay, 18K, 750” and with the Dunay logo, dia. 1‑1/8”, 28.4 grams total weight. [1500/2500] Illustrated

686

199

691 Fourteen-Karat Yellow Gold, Diamond and Jade Cufflinks, each oval cufflink with a rope design and set with a carved floralmotif oval green jade cabochon, measuring 14.0 mm x 19.0 mm, and accented with single-cut diamonds, with an approximate total weight of 0.07 carats for the pair, l. 7/8”, 17.8 grams total weight. [1400/1800] Illustrated 692 Gentleman’s Tiffany and Company Eighteen-Karat Yellow Gold Minute Repeater Pocket Watch with Chain, the smooth round open face watch measuring 51.0 mm in diameter, with slide, but not including bow, crown and stem, the back monogrammed “LLK”, the gold gilt guilloche dial with a sub second and black Arabic numerals and signed “Tiffany & Co.”, the stem wind and stem set rhodium-plated Fusee Cotes straight line lever escapement with bi-metallic balance movement and signed “Adjusted, extra”, serial #253,XXX, the case marked “Swiss, 18K”, serial #253,XXX, matching the movement number, the fourteen-karat yellow gold watch chain marked “14K, Tiffany & Co.” on the clasp, the pocket watch accompanied by a Tiffany & Co. pocket watch box, chain l. 17”, 90.5 grams total weight. [2000/4000] Illustrated

687

687 Fourteen-Karat Yellow Gold, Diamond and Ruby Crucifix, the bold crucifix mounted with three round-cut rubies, with an approximate total weight of 0.18 carats, and accented with round brilliant-cut diamonds, with an approximate total weight of 1.99 carats, l. 4”, including bail, 25.5 grams total weight. [600/900] Illustrated

693 Eighteen-Karat Yellow Gold, Ruby and Mother-of-Pearl Cufflinks and Studs, the cufflinks each with an oval motherof-pearl bar capped with two oval ruby cabochons, with an approximate total weight of 0.50 carats, and the studs with a round mother-of-pearl bar with gold caps, cufflink l. 1‑5/16”, 28.4 grams total weight. [800/1200] Illustrated 694 Fourteen-Karat Yellow Gold Cufflinks, the knotted cufflinks each composed of a large knot joined to a smaller knot by an arched bar, l. 1”, 9.8 grams total weight. [900/1200] Illustrated

688 Fourteen-Karat Yellow Gold Zodiac Pendant, the large circular Taurus pendant marked “Lindsay, 14K”, dia. 2‑1/8”, 47.0 grams total weight. [700/1000] Illustrated 689 Gentleman’s Fourteen-Karat Yellow Gold Knot Cufflinks and Studs and Nugget Cufflinks, the pair of engraved knotted cufflinks with three engraved knotted studs, together with a pair of cast nugget cufflinks, 59.4 grams total weight. [700/1000] Illustrated 690 Gentleman’s Rolex Stainless Steel Oyster Perpetual Wristwatch, the stainless case measuring 35.0 mm without the crown, with a smooth stainless bezel, the olive-green dial with stick index markers and marked “Rolex, Oyster Perpetual, Superlative Chronometer, Officially Certified, Swiss made”, the oyster band with a Rolex deployment clasp marked “Rolex, Geneva, Swiss Made, Steelmax, 2ET”, with a mechanical automatic wind movement, reference #114200, serial #S5,802,XXX, inside circumference 6‑1/4”, together with the inner and outer box, two hang tags, booklets, guarantee card and two additional links. [1800/2500] Illustrated

200

694

695 Gentleman’s Hublot Eighteen-Karat Yellow Gold Chronograph Watch, the heavy water-resistant eighteen-karat gold watch with an automatic calendar mechanical chronograph movement with a black dial marked “Hublot, MDM, Geneve”, the rubber band with an eighteen-karat gold double deployment clasp, model #1810.3, serial #296758, case diameter, 40.0 mm, inside circumference 7‑1/2”, with inner and outer Hublot boxes. [2000/4000] Illustrated 696 Fourteen-Karat Yellow Gold and Diamond Cufflinks, the Art Deco-style cufflinks set with round brilliant-cut diamonds, with an approximate total weight of 1.25 carats, l. 7/8”, 10.3 grams total weight. [600/900] Illustrated

689

692

696 690

692

691

695

693

201

700 703

702

705

701

699 706

704

202

699 Platinum, Alexandrite and Diamond Ring, mounted with a GIA certified pear-cut natural alexandrite, with a weight of 1.02 carats, and a color change from bluish green to grayish purple, GIA report #1146433206, accented by round brilliant-cut diamonds, with an approximate total weight of 0.34 carats, size 7, 4.7 grams total weight. [3000/5000] Illustrated 700 Fourteen-Karat White Gold, Tanzanite and Diamond Pendant with Chain, the pendant mounted with a triangle-cut treated tanzanite, with an approximate weight of 4.86 carats, and 100 single-cut diamonds surrounding the tanzanite and on the bail, with an approximate total weight of 0.64 carats, approximate color G-I and clarity VS1‑SI1, l. 1‑1/4”, suspended from an 18” fourteen-karat chain, 10.0 grams total weight. [1500/2500] Illustrated

697

697 Gentleman’s Rolex Stainless Steel and Eighteen-Karat White Gold Datejust Wristwatch, the stainless case measuring 36.0 mm without crown, with an eighteen-karat white gold fluted bezel, the white dial with stick index markers, with an alternating black and red numeral date wheel, the dial marked “Rolex, Oyster Perpetual, Datejust, Superlative Chronometer, Officially Certified, Swiss Made”, the jubilee band with a hidden clasp marked “Rolex, Geneva, Swiss Made, Steelmax, MA22, 63200”, with a quick set mechanical movement, reference #116234, serial # D552,XXX, inside circumference 7‑3/4”, together with the inner green box, two hang tags, two booklets and certificate. [3000/5000] Illustrated 698 Pair of Fourteen-Karat Rose Gold/Sterling Silver, Diamond and Enamel Cufflinks, the silver-top blue guilloche enamel cufflinks in the Imperial Russian style, each with an applied silver Romanoff eagle set with single-cut diamonds, with an approximate total weight of 0.55 carats for the pair, l. 7/8”, 15.6 grams total weight. [1200/1800] Illustrated

698

701 Ten-Karat White Gold, Tanzanite and Diamond Ring, mounted with a trillion-cut tanzanite, with an approximate weight of 1.20 carats, surrounded by single-cut diamonds, with an approximate total weight of 0.14 carats, size 8‑1/4, 3.1 grams total weight. [1000/1500] Illustrated 702 Eighteen-Karat White Gold and Diamond Necklace, the lariat-style necklace mounted with seven bezel-set round brilliant-cut diamonds, eight round brilliant-cut diamonds and fifteen baguette-cut diamonds, with an approximate total weight of 0.80 carats, l. 17”, drop l. 2‑1/2”, 4.0 grams total weight. [1000/1500] Illustrated 703 Pair of Eighteen-Karat White Gold and Diamond Earrings, the long drop dangle earrings mounted with round brilliant-cut and baguette-cut diamonds, with an approximate total weight of 2.01 carats for the pair, approximate color E-F and clarity VVS1‑VS2, l. 2‑1/2”, 7.0 grams total weight. [3000/5000] Illustrated 704 Stunning Tiffany and Company Tanzanite and Diamond Ring, mounted with an oval-cut tanzanite, with an approximate weight of 7.24 carats, surrounded by a double halo of round brilliant-cut diamonds, with an approximate total weight of 4.39 carats, approximate color E-F and clarity VVS2‑VS1, stamped “Tiffany & Co.”, size 7‑3/4, 11.0 grams total weight. [6000/9000] Illustrated 705 Pair of Eighteen-Karat White Gold and Diamond Earrings, the clip/post earrings each mounted with a central round brilliant-cut diamond, with an approximate total weight of 0.49 carats for the pair, surrounded by round brilliant-cut and baguette-cut diamonds, with an approximate total weight of 3.13 carats for the pair, the diamonds with an approximate color of E-F and clarity VVS2‑SI1, dia. 3/4”, 9.0 grams total weight. [4500/7000] Illustrated 706 Platinum, Tanzanite and Diamond Ring, mounted with a pear-cut tanzanite, with an approximate weight of 5.24 carats, accented by round brilliant-cut diamonds in a double halo around the stone and down the ring shank, with an approximate total weight of 0.73 carats, size 7, 8.0 grams total weight. [3000/5000] Illustrated

203

707 Pair of Eighteen-Karat White Gold, Diamond, Sapphire and Tanzanite Earrings, each dangling pendant earring composed of a faceted pear-shaped tanzanite pendant, with an approximate total weight of 2.15 carats for the pair, four calibre French-cut treated sapphire baguettes, three oval-cut treated sapphires and one pear-cut treated sapphire, with an approximate total sapphire weight of 4.00 carats for the pair, accented by round brilliant-cut diamonds, with an approximate total weight of 0.80 carats for the pair, l. 1‑7/8”, 9.1 grams total weight. [2000/4000] Illustrated

711 Platinum/Eighteen-Karat Yellow Gold, Amethyst and Diamond Ring, the large cocktail ring mounted with an oval-cut amethyst, with an approximate weight of 44.43 carats, set in a filigree birdcage mounting accented with round brilliant-cut diamonds, with an approximate total weight of 0.38 carats, size 7‑1/4, 25.4 grams total weight. [1500/2500] Illustrated 712 Fourteen-Karat White Gold, Kunzite and Diamond Pendant on Chain, the large pendant mounted with an oval-cut kunzite, with an approximate weight of 24.18 carats, accented with round brilliant-cut diamonds, with an approximate total weight of 1.27 carats, l. 1‑1/2”, suspended from a fourteen-karat white gold chain, l. 18”, 18.1 grams total weight. [3000/5000] Illustrated 713 Eighteen-Karat Yellow Gold, Amethyst and Pink Tourmaline Ring, mounted with a bezel-set oval-cut amethyst, with an approximate weight of 5.00 carats, flanked on either side by three round faceted pink tourmalines, with an approximate total weight of 1.50 carats, size 6‑1/2, 16.2 grams total weight. [800/1200] Illustrated 714 Eighteen-Karat Yellow Gold, Iolite and Diamond Necklace, the braided gold chain set with a pendant mounted with a central cushion-cut iolite, with an approximate weight of 14.10 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 0.36 carats, l. 19”, 58.0 grams total weight. [1800/2500] Illustrated

707

708 Fourteen-Karat White Gold and Tanzanite Ring, mounted with an emerald-cut tanzanite, with an approximate weight of 8.32 carats, size 7‑1/4, 6.1 grams total weight. [1200/1800] Illustrated 709 Fourteen-Karat Rose Gold and Amethyst Necklace, composed of 13.5 mm faceted amethyst beads, separated by rose-gold roundels and finished with a fourteen-karat rose gold clasp, l. 19”, 124.1 grams total weight. [500/800] Illustrated 710 Unusual Eighteen-Karat Yellow Gold, Amethyst and Diamond Cuff Bracelet, the custom-made flexible bracelet with a leaf and ribbon design and mounted with a central emerald-cut amethyst, with an approximate weight of 38.06 carats, two hexagonal-cut amethysts, with an approximate total weight of 50.10 carats, and two smaller hexagonal amethysts, with an approximate total weight of 10.00 carats, the whole accented with round brilliant-cut, European-cut and single-cut diamonds, with an approximate total weight of 2.93 carats, approximate color E-G and clarity VS2‑SI1, l. 9”, 99.0 grams total weight. [3000/5000] Illustrated

204

711

714 712

708

709

710

713

205

722 Group of Three

722 Three-Piece Suite

717 718

206

721

719

720 Three-Piece Eighteen-Karat Yellow Gold and Diamond Jewelry Suite, late 19th century, Continental, probably French, including a pin/pendant mounted with thirteen round buttercupset European-cut diamonds, with an approximate total weight of 2.06 carats, approximate color E-F and clarity VS2‑SI2, dia. 1‑1/4”, and a pair of clip-back earrings, each mounted with seven European-cut diamonds, with an approximate total weight of 1.57 carats for the pair, approximate color E-F and clarity SI1‑SI2, dia. 3/4”, both decorated with black taille d’epargne enamel, 24.0 grams total weight. [2500/4000] Illustrated 721 Victorian Fourteen-Karat Yellow Gold and Black Enamel Cuff Bracelet, the wide hinged bracelet designed as a belt buckle and hand engraved with a black enamel background, w. 1‑1/8”, inside circumference 6‑1/8”, 45.4 grams total weight. [900/1200] Illustrated

715

715 Fourteen-Karat Rose Gold, Morganite and White and Chocolate Diamond Ring, mounted with an oval faceted morganite, with an approximate weight of 3.30 carats, surrounded by a halo of round brilliant-cut white diamonds and a halo of round brilliant-cut chocolate diamonds, with an approximate total weight of 0.50 carats, size 7‑1/4, 7.3 grams total weight. [1000/1500] Illustrated 716 Pair of Fourteen-Karat Yellow Gold, Kunzite and Emerald Earrings, each pendant earring mounted with an emerald-cut kunzite, with an approximate total weight of 19.10 carats for the pair, suspended from a round-cut emerald, with an approximate total weight of 0.50 carats for the pair, l. 1‑3/8”, 9.8 grams total weight. [2000/4000] Illustrated 717 Fourteen-Karat Yellow Gold, Diamond and Carved Amethyst and Nephrite Brooch, with a floral design and composed of two carved nephrite leaves and five amethyst blossoms, each set with a round brilliant-cut diamond, with an approximate total weight of 0.12 carats, size 1‑5/8” x 1‑3/4”, 15.8 grams total weight. [700/1000] Illustrated 718 Eighteen/Fourteen-Karat Yellow Gold, Diamond and Enamel Art Nouveau Pendant/Pin, the pendant/pin with a flower and leaf design and mounted with forty-six Europeancut diamonds, with an approximate total weight of 2.80 carats, approximate color F-G and clarity VS1‑SI1, size 1‑1/2” x 2”, 15.0 grams total weight. [800/1200] Illustrated 719 Victorian Fourteen-Karat Yellow Gold and Black Enamel Cuff Bracelet, the wide hinged bracelet designed as a belt buckle and hand engraved with a black enamel background, w. 1‑1/8”, inside circumference 6‑1/8”, 44.2 grams total weight. [900/1200] Illustrated

716

722 Three Fourteen-Karat Yellow Gold, Diamond, Pearl and Ruby Sunburst Brooches, including a brooch set with thirty-six seed pearls and three round faceted rubies, with an approximate total weight of 0.45 carats, dia. 1‑1/2”, a brooch set with sixty seed pearls and a mine-cut diamond, with an approximate weight of 0.06 carats, dia. 1‑1/8”, and a brooch set with eighteen single-cut and full-cut diamonds, with an approximate total weight of 0.39 carats, dia. 1”, 16.4 grams total weight. [1000/1500] Illustrated

207

723 Eighteen-Karat Yellow Gold, Diamond and Multi-Strand Freshwater Pearl Necklace, the twelve-strand necklace composed of rose-colored freshwater pearls with a good luster, ranging in size from 3.0 mm to 8.5 mm, the eighteen-karat clasp set with fifty round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, l. 21‑1/4”, 562.0 grams total weight. [1500/2500] Illustrated 724 Pair of Eighteen-Karat Yellow Gold, Pearl and Diamond Earrings, each dangling pendant earring composed of a 10.5 mm round golden-colored cultured pearl with an excellent luster, and fifteen round brilliant-cut diamonds, with an approximate total weight of 0.25 carats for the pair, l. 1‑7/16”, 8.6 grams total weight. [800/1200] Illustrated 725 Eighteen-Karat White/Yellow Gold and White/Yellow Diamond Ring, mounted with a center row of round brilliantcut yellow diamonds, with an approximate total weight of 0.52 carats, approximate clarity VS2‑SI2, flanked on the top and bottom by a row of round brilliant-cut white diamonds, with an approximate total weight of 0.36 carats, approximate color E-F and clarity VS1‑VS2, size 6‑1/4, 5.0 grams total weight. [1200/1800] Illustrated

731

727 Eighteen-Karat White Gold and Yellow Diamond Bracelet, the hinged bangle bracelet pave-set with round-cut fancy yellow diamonds, with an approximate total weight of 2.58 carats, approximate clarity VS1‑SI1, inside circumference 7‑1/2”, 16.0 grams total weight. [3000/5000] Illustrated 728 Pair of Eighteen-Karat White Gold and Yellow and White Diamond Earrings, the dangle earrings mounted with roundcut fancy yellow diamonds, with an approximate total weight of 0.94 carats for the pair, and round brilliant-cut white diamonds, with an approximate total weight of 0.34 carats for the pair, l. 1‑1/4”, 4.0 grams total weight. [1400/1800] Illustrated

728

726 Pair of Eighteen-Karat Yellow Gold and Yellow and White Diamond Hoop Earrings, each earring mounted with seven round brilliant-cut fancy intense yellow diamonds, with an approximate total weight of 0.67 carats for the pair, approximate clarity VS1‑SI1, surrounded by round brilliant-cut white diamonds, with an approximate total weight of 1.10 carats for the pair, approximate color D-E and clarity VS1‑SI1, l. 1”, 9.0 grams total weight. [2500/4000] Illustrated

208

729 Eighteen-Karat Yellow Gold, Emerald and Diamond Brooch/ Pendant, the custom-made pendant mounted with an oval-cut emerald, with an approximate weight of 7.50 carats, surrounded by fourteen transitional round-cut diamonds, with an approximate total weight of 1.08 carats, accented on the “petals” with round- and European-cut diamonds, with an approximate total weight of 1.66 carats, approximate color E-F and clarity VS2‑SI1, size 1” x 1‑1/4”, 14.0 grams total weight. [3000/5000] Illustrated 730 Eighteen-Karat Yellow/White Gold, Emerald and Diamond Ring, the elongated ring mounted with five round-cut emeralds, with an approximate total weight of 0.75 carats, accented with round brilliant-cut diamonds, with an approximate total weight of 0.41 carats, size 6‑1/2, 7.0 grams total weight. [1200/1800] Illustrated 731 Pair of Fourteen-Karat Yellow Gold, Emerald and Diamond Earrings, each dangle earring mounted with an emerald-cut treated emerald, with an approximate total weight of 6.80 carats for the pair, accented by round brilliant-cut diamonds, with an approximate total weight of 0.96 carats for the pair, l. 1‑1/8”, 6.4 grams total weight. [4000/7000] Illustrated

719 detail

723 725

729 724 726

727 730

209

735

736

210

737

734

total weight. [1200/1800] Illustrated

732 detail

732

732 Lady’s Chopard Eighteen-Karat Yellow Gold “Happy Diamonds” Wristwatch, the quartz watch measuring 24.0 mm in diameter, not including the “T” lugs, with five floating diamonds, approximately seventy-eight single-cut diamonds and eight round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, the off-white-colored dial marked “Chopard, Geneve, Swiss made”, the clasp marked “Chopard, Geneve, 750”, the case marked “Happy Diamonds 20/5180”, reference #4097, serial #289,XXX, accompanied by an inner and outer box, l. 6‑1/4”, 39.2 grams total weight. [4000/7000] Illustrated 733 Fourteen-Karat White/Yellow Gold, Emerald and White/ Yellow Diamond Ring, mounted with a bezel-set emerald-cut emerald, with an approximate weight of 2.13 carats, the emerald set within a crossed border of twenty-four round brilliant-cut fancy yellowish-green diamonds, with an approximate total weight of 0.47 carats, the whole between a double split shank mounted with thirty-seven round brilliant-cut white diamonds, with an approximate total weight of 0.46 carats, size 6, 12.1 grams total weight. [1800/2500] Illustrated

737 Vintage Judith Leiber “Bunch of Grapes” Minaudiere, ca. 1986, decorated with green, gold and jet crystals, the gold frame signed, with a green onxy-inset clasp and drop-in gold chain, the gold kidskin-lined interior with a rigid center divider, one side bearing the Judith Leiber gold metal label, includes a matching gold leather coin purse along with a gold swing mirror and tasseled comb, both signed, h. 5”, w. 5‑3/4”, d. 2‑1/2”, chain drop: 18‑1/2”. [1200/1800] Illustrated See Enid Nemy & John Bigelow Taylor, Judith Leiber: The Artful Handbag (New York: Harry N. Abrams, 1995), p. 157, for an identical example with red crystal grapes.

734 Pair of Eighteen-Karat Yellow Gold, Jade and Pearl Pendant Earrings, the hoop earrings each with a dangling pendant composed of a 12.0 mm round green translucent jade bead suspended from a cluster of freshwater pearls, l. 2”, 22.4 grams total weight. [700/1000] Illustrated 735 Fourteen-Karat Yellow Gold, Emerald and Diamond Bracelet, mounted with eighteen oval cabochon-cut treated emeralds, with an approximate total weight of 16.01 carats, each surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 1.38 carats, l. 7‑1/2”, 15.6 grams total weight. [2500/4000] Illustrated 736 Eighteen-Karat White/Yellow Gold, Emerald and Diamond Ring, with five open rows mounted with round-cut emeralds, with an approximate total weight of 1.45 carats, bordered on the top and bottom by a row of round brilliant-cut diamonds, with an approximate total weight of 0.36 carats, size 6‑1/4, 9.0 grams

733

211

738

738 Fourteen-Karat Yellow Gold and Diamond Necklace, mounted with bezel-set round brilliant-cut diamonds, with an approximate total weight of 11.26 carats, approximate color E-F and clarity VS1‑SI2, and fourteen baguette-cut diamonds, with an approximate total weight of 0.57 carats, approximate color E-F and clarity VVS1‑VVS2, l. 17”, 59.0 grams total weight. [25000/40000] Illustrated

212

739

739 Stunning Buccellati Eighteen-Karat Yellow Gold and Diamond Anthochron Cuff Bracelet Wristwatch, the wide heavy spring hinged bracelet with a brushed finish with floral engravings, the round quartz watch with a white mother-of-pearl dial at the center of an applied floral blossom set with ninetysix round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, marked “Buccellati, 750, Gianmaria, Anthochron”, serial #W0700XXX, accompanied with the inner and outer Buccellati boxes, inside circumference 6‑3/4”, w. 1‑3/8”, 98.5 grams total weight. [35000/50000] Illustrated 740 Fourteen-Karat Yellow Gold and Diamond Tassel Necklace, the tassel mounted with round brilliant-cut, marquise-cut and pear-cut bezel-set diamonds, suspended from a chain mounted with bezel-set pear-cut, marquise-cut, round brilliant-cut and heart-cut diamonds, with an approximate total weight of 3.65 carats, approximate color G-I and clarity VS1‑SI1, tassel l. 2‑1/2”, chain l. 18‑1/2”, 7.0 grams total weight. [8000/12000] Illustrated

740 detail

740

213

741 Pair of Fourteen-Karat Yellow Gold and Diamond Earrings, the drop dangle earrings each mounted with a round brilliant-cut diamond, with an approximate total weight of 2.13 carats for the pair, approximate color H-I and clarity VVS2‑VS1, accented by 128 round brilliant-cut diamonds, with an approximate total weight of 5.69 carats for the pair, approximate color E-G and clarity VS1‑VS2, l. 2”, 11.0 grams total weight. [7000/10000] Illustrated 742 Fourteen-Karat Rose Gold and Diamond Tennis Bracelet, the flexible ribbon bracelet mounted with eighty-four channelset princess-cut diamonds, with an approximate total weight of 4.78 carats, approximate color G-I and clarity SI1‑I2, l. 7‑1/2”, 9.0 grams total weight. [2500/4000] Illustrated 743 Eighteen-Karat Yellow Gold and Diamond Engagement Ring, the mounted with a mine-cut diamond, with a weight of 1.08 carats, approximate color F and clarity VS2, size 7, 2.4 grams total weight. [2500/4000] Illustrated

749

746 Stunning Platinum and Diamond Ring, mounted with a central European cushion-cut diamond, with an approximate weight of 6.00 carats, approximate color O and clarity VVS2, surrounded by round brilliant-cut diamonds, with an approximate total weight of 0.41 carats, approximate color E-G and clarity VS1‑VS2, size 6, 7.0 grams total weight. [35000/50000] Illustrated 747 Eighteen-Karat White Gold and Diamond Band, mounted with round brilliant-cut and baguette-cut diamonds, with an approximate total weight of 3.04 carats, approximate color E-F and clarity VVS2‑VS2, size 6‑1/2, 13.0 grams total weight. [3500/5000] Illustrated 748 Pair of Eighteen-Karat White Gold and Diamond Earrings, the dangle earrings mounted with round brilliant-cut and baguette-cut diamonds, with an approximate total weight of 1.92 carats for the pair, approximate color E-F and clarity VVS2‑VS2, l. 1‑1/2”, 4.0 grams total weight. [1800/2500] Illustrated

741

744 Eighteen-Karat Yellow Gold and Diamond Necklace, mounted with thirty bezel-set rose-cut diamonds, with an approximate total weight of 7.25 carats, approximate color E-G and clarity SI1‑SI2, l. 18”, 5.0 grams total weight. [8000/12000] Illustrated 745 Pair of Fourteen-Karat White Gold and Diamond Earrings, the dangle earrings each mounted with a transitional roundcut diamond, with an approximate total weight of 1.67 carats for the pair, accented by round brilliant-cut diamonds, with an approximate total weight of 0.87 carats for the pair, the diamonds with an approximate color of E-G and clarity VS1‑SI2, l. 1”, 7.0 grams total weight. [8000/12000] Illustrated

214

745

742

747 744 detail

743 748

746

744

215

755

756

750

753 754

757

216

758

754 Fourteen-Karat White Gold, Aquamarine and Diamond Ring, mounted with an emerald-cut aquamarine, with an approximate weight of 14.99 carats, flanked by round brilliantcut and baguette-cut diamonds, with an approximate total weight of 0.93 carats, approximate color E-I and clarity VVS2‑SI2, size 6‑3/4, 10.0 grams total weight. [4000/7000] Illustrated 755 Platinum, Aquamarine and Diamond Ring, mounted with an oval-cut aquamarine, with an approximate weight of 10.41 carats, flanked on either side by two tapered baguette-cut diamonds, with an approximate total weight of 0.82 carats, approximate color F-G and clarity VS1‑VS2, size 6, 11.0 grams total weight. [2000/4000] Illustrated

751

749 Eighteen-Karat White Gold and Diamond Ring, mounted with baguette-cut and round brilliant-cut diamonds, with an approximate total weight of 1.36 carats, approximate color E-G and clarity VVS2‑VS2, size 6, 7.0 grams total weight. [2500/4000] Illustrated 750 Eighteen-Karat White Gold and Diamond Pendant on Chain, the chandelier-style pendant mounted with seven square-cut diamonds, with an approximate total weight of 0.70 carats, and round brilliant-cut diamonds, with an approximate total weight of 0.55 carats, suspended from a chain mounted with two square-cut diamonds, with an approximate total weight of 0.15 carats, the diamonds with an approximate color of E-I and clarity of VVS2‑VS2, pendant l. 2”, chain l. 15‑3/4”, 10.0 grams total weight. [3500/5000] Illustrated

756 Fourteen-Karat Yellow Gold, Blue Topaz and Opal Pendant with Chain, the pendant mounted with a pear-cut blue topaz, with an approximate weight of 16.74 carats, and an oval black opal, with an approximate weight of 1.20 carats, l. 1‑1/4”, the whole suspended from a fourteen-karat yellow gold rope chain, l. 16”, 10.0 grams total weight. [1000/1500] Illustrated 757 Fourteen-Karat Yellow Gold, Blue Topaz and Diamond Ring, mounted with an emerald-cut blue topaz, with an approximate weight of 7.76 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 0.53 carats, size 7‑3/4, 7.0 grams total weight. [1000/1500] Illustrated 758 Pair of Sterling Silver, Moonstone and Diamond Earrings, the chandelier earrings mounted with pear-cut moonstones, with an approximate total weight of 8.40 carats, accented by rose-cut diamonds, with an approximate total weight of 3.20 carats, l. 2‑5/8”, 18.55 grams total weight. [500/800] Illustrated

751 Eighteen-Karat White Gold and Diamond Band, the wide band mounted with four rows of baguette-cut diamonds and five rows of round brilliant-cut diamonds, with an approximate total weight of 6.50 carats, approximate color D-E and clarity SI2‑I2, size 7, 19.0 grams total weight. [2000/4000] Illustrated 752 Sterling Silver and Diamond Cuff Bracelet, the large open cuff bracelet mounted with rose-cut diamonds, with an approximate total weight of 5.50 carats, inside circumference 6‑3/4”, 30.4 grams total weight. [500/800] Illustrated 753 Eighteen-Karat White Gold and Diamond Ring, the Asianinspired ring mounted with a central round brilliant-cut diamond, with an approximate weight of 0.15 carats, and accented by round brilliant-cut diamonds, with an approximate total weight of 0.57 carats, size 6‑1/2, 6.0 grams total weight. [800/1200] Illustrated

752

217

759 Pair of Sterling Silver, Aquamarine and Diamond Earrings, the dangle earrings each mounted with a pear- and oval-cut aquamarine, with an approximate total weight of 11.48 carats for the pair, surrounded by a halo of single-cut diamonds, with an approximate total weight of 0.66 carats for the pair, l. 2”, 7.0 grams total weight. [500/800] Illustrated 760 Pair of Sterling Silver, Aquamarine, Sapphire and Diamond Earrings, the earrings each mounted with an oval-cut treated sapphire, with an approximate total weight of 1.60 carats for the pair, and an oval- and square-cut aquamarine, with an approximate total weight of 15.5 carats for the pair, each accented with rose-cut diamonds, with an approximate total weight of 1.42 carats for the pair, l. 1‑7/8”, 10.8 grams total weight. [500/800] Illustrated

763 Fourteen-Karat White Gold and Diamond Band, mounted with a center row of seven round brilliant-cut diamonds, with an approximate total weight of 0.73 carats, bordered on the top and bottom by a row of round brilliant-cut diamonds, with an approximate total weight of 0.18 carats, approximate color E-G and clarity SI1‑SI2, size 7‑3/4, 7.0 grams total weight. [1400/1800] Illustrated 764 Eighteen-Karat White Gold and Blue and White Diamond Engagement Ring with Band, the floral-designed mounting set with a round brilliant-cut treated blue diamond, with an approximate weight of .70 carats, the “petals” and the ring shank pave-set with approximately 110 round brilliant-cut diamonds, with an additional twenty-two on the separate band, with an approximate total weight of 1.25 carats, stamped “H. Emperor, 18k, 750”, size 7‑1/2, 4.7 grams total weight. [700/1000] Illustrated 765 Platinum and Diamond Ring, mounted with a central round brilliant-cut diamond, with an approximate weight of 1.55 carats, approximate color G and clarity SI2, accented by round brilliantcut diamonds in a halo around the center stone and down the crossover-design ring shank, with an approximate total weight of 0.56 carats, approximate color D-E and clarity VS1‑VS2, size 7, 6.4 grams total weight. [6000/9000] Illustrated

761

761 Platinum, Sapphire and Diamond Ring, mounted with a GIA certified natural oval-cut sapphire, with a weight of 3.68 carats, GIA report #1235044352, accented by round brilliantcut diamonds, with an approximate total weight of 0.64 carats, approximate color D-F and clarity VS1‑VS2, size 7, 7.9 grams total weight. [4500/7000] Illustrated 762 Platinum, Sapphire and Diamond Ring, mounted with an oval-cut natural GIA certified sapphire, with a weight of 8.62 carats, GIA report #6231790395, accented by round brilliantcut diamonds, with an approximate total weight of 0.79 carats, approximate color D-F and clarity VS1‑VS2, size 7‑1/4, 9.0 grams total weight. [12000/18000] Illustrated

218

766 Pair of Fourteen-Karat White Gold, Diamond and Sapphire Earrings, the pierced clip-back stylized earrings mounted with eighty-two single-cut diamonds, with an approximate total weight of 1.01 carats for the pair, and accented with four roundcut sapphires, with an approximate total weight of 1.66 carats for the pair, l. 1‑5/8”, 7.9 grams total weight. [1200/1800] Illustrated 767 Fourteen-Karat White Gold, Sapphire and Diamond Ring, mounted with a pear-cut treated sapphire, with an approximate weight of 3.37 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 0.55 carats, approximate color G-H and clarity SI1‑SI2, size 6‑3/4, 6.0 grams total weight. [1500/2500] Illustrated 768 Pair of Eighteen-Karat White Gold, Sapphire, Diamond and Pearl Earrings, each dangle earring set with an 8.0 mm round silver-white cultured pearl, suspended from a mounting set with six calibre French-cut sapphire baguettes, with an approximate total weight of 1.00 carat for the pair, and twenty-four round brilliant-cut diamonds, with an approximate total weight of 0.33 carats for the pair, l. 1”, 6.6 grams total weight. [800/1200] Illustrated

762

760

766

764

763

759

768 767

765

219

770

771 778

772

776

775 Two-Piece Suite

777

220

773

769 Platinum, Star Sapphire and Diamond Ring, mounted with a blue/gray round cabochon-cut star sapphire, with an approximate weight of 5.05 carats, accented by baguettecut and round brilliant-cut diamonds, with an approximate total weight of 0.59 carats, size 5‑1/2, 8.4 grams total weight. [900/1200] Illustrated 770 Eighteen-Karat White Gold, Pink Sapphire and Diamond Butterfly Pin, mounted with square- and calibrated-cut pink sapphires, with an approximate total weight of 2.40 carats, and round brilliant-cut diamonds, with an approximate total weight of 0.41 carats, size 3/4” x 1”, 7.0 grams total weight. [4000/7000] Illustrated

773 Platinum, Sapphire and Diamond Ring, mounted with an oval cabochon-cut sapphire, with an approximate weight of 2.21 carats, surrounded by round brilliant-cut and baguette-cut diamonds, with an approximate total weight of 0.91 carats, size 7, 8.7 grams total weight. [900/1200] Illustrated 774 Fourteen-Karat White/Yellow Gold, Natural Sapphire and Diamond Ring, mounted with a natural cushion-cut sapphire, with an approximate weight of 14.51 carats, accented on four sides with eight pear-cut diamonds, with an approximate total weight of 1.09 carats, approximate color D-E and clarity VS2‑SI2, size 5‑1/2 (without sizing beads), 16.0 grams total weight. [5000/8000] Illustrated 775 Eighteen-Karat Yellow Gold and Blue Sapphire Jewelry Suite, comprising an engraved, textured, six-strand bracelet with a clasp mounted with round faceted sapphires, l. 6‑7/8”, together with a pair of domed button ear clips each set with round-cut sapphires, dia. 9/16”, with an approximate total sapphire weight of 1.35 carats for the suite, 53.5 grams total weight. [1400/1800] Illustrated 776 Fourteen-Karat Yellow Gold and Diamond Poison Ring, with a basket-weave design and pave-set with single-cut diamonds on the hinged lid, the lid opening to reveal a single-cut diamond in the compartment, with an approximate total diamond weight of 0.12 carats, size 8‑1/4, 17.8 grams total weight. [600/900] Illustrated 777 Pair of Eighteen-Karat Yellow Gold and Diamond Earrings, the oval-shaped hinged hoop earrings pave-set with round brilliant-cut diamonds, with an approximate total weight of 1.61 carats, approximate color E-F and clarity VS1‑VS2, stamped “Adler”, l. 1”, 9.0 grams total weight. [700/1000] Illustrated

774

778 Eighteen-Karat Yellow Gold and Diamond Ring, with a bypass design and pave-set with round brilliant-cut diamonds, with an approximate total weight of 2.25 carats, size 7‑3/4, 12.6 grams total weight. [3000/5000] Illustrated

771 Platinum, Pink Sapphire and Diamond Ring, mounted with an oval-cut GIA certified treated pink sapphire, with a weight of 2.58 carats, GIA report #6232791066, accented by round brilliant-cut diamonds in a halo around the stone and on the split shank, with an approximate total weight of 0.49 carats, size 7, 5.7 grams total weight. [2500/4000] Illustrated 772 Fourteen-Karat White Gold, Gray Star Sapphire and Diamond Ring, the openwork mounting set with a central oval cabochon-cut gray star sapphire, with an approximate weight of 4.34 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 1.70 carats, size 7‑1/2, 7.1 grams total weight. [1800/2500] Illustrated

769

221

785

779 Eighteen-Karat Yellow Gold and Diamond Bracelet, the flexible link bracelet composed of eleven oval freeform links, the central link set with round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, w. 1‑3/16”, l. 7‑3/4”, 22.0 grams total weight. [2000/4000] Illustrated 780 Fourteen-Karat Yellow/White Gold and Diamond Ring, the double-row ring mounted with ten round brilliant-cut diamonds, with an approximate total weight of 1.11 carats, approximate color H-I and clarity VS2‑SI1, size 8‑1/4, 5.0 grams total weight. [600/900] Illustrated 781 Eighteen-Karat Rose Gold and Diamond Butterfly Pendant on Chain, the pendant mounted with a central marquisecut diamond, accented on the wings with round brilliant-cut diamonds, the pendant suspended from an adjustable rose gold chain mounted with a bezel-set round brilliant-cut diamond, with an approximate total diamond weight of 0.87 carats, l. 18”, 4.0 grams total weight. [2500/4000] Illustrated 782 Pair of Eighteen-Karat Rose Gold and Diamond Butterfly Earrings, each earring mounted with a marquise-cut diamond and round brilliant-cut diamonds, with an approximate total weight of 2.14 carats for the pair, l. 1/2”, 4.0 grams total weight. [3500/5000] Illustrated

222

783 Eighteen-Karat Rose/White Gold and Diamond Butterfly Ring, designed with a white gold and rose gold butterfly, each mounted with a single marquise-cut diamond and thirty-eight round brilliant-cut diamonds, with an approximate total weight of 1.78 carats, size 7‑1/4, 6.0 grams total weight. [3500/5000] Illustrated 784 Eighteen-Karat White/Yellow Gold and Cognac and White Diamond Ring, mounted with an oval-cut treated cognac diamond, with an approximate weight of 1.09 carats, clarity SI2, flanked by two round brilliant-cut diamonds, with an approximate total weight of 0.21 carats, and accented with fifty round brilliant-cut diamonds, with an approximate total weight of 0.33 carats, approximate color F-I and clarity VS1‑VS2, size 6‑1/2, 5.0 grams total weight. [8000/12000] Illustrated 785 Seven-Piece Collection of Vintage Louis Vuitton Monogram Canvas Shoulder Bags and Accessories, 1990s, comprising a large “Camera Bag”, h. 8”, w. 12”, d. 3‑1/4”, strap drop: 18”, a “Musette Tango” shoulder bag, h. 7‑1/4”, w. 10”, d. 2”, strap drop: 12‑3/4”, a “Saint Cloud” cross-body bag, h. 7‑1/2”, w. 8‑1/4”, d. 2‑1/4”, strap drop: 18‑1/4”, a single gusset sunglass case, l. 6‑1/2”, w. 3”, a “Portefeuille Vennois” wallet, h. 4”, w. 7”, d. 1”, a zippered cosmetic pouch, h. 4‑3/4”, w. 7‑1/2”, d. 2‑1/4”, and a “Mini Agenda” for 1991 with gold tone mechanical pencil, h. 5”, w. 3‑1/4”, d. 3/8”, all fully marked. [700/1000] Illustrated

781 783

782 784

780

779

223

786

786 Collection of Vintage Louis Vuitton Monogram Canvas Travel Accessories, a Tote and Shoulder Bag, ca. 2000, comprising a “Train Case” with removable shoulder strap, h. 8”, w. 12‑1/4”, d. 8‑3/4”, handle drop: 1‑3/4”, strap drop: 17‑3/4”, a “Monte Carlo” zippered jewelry case, h. 2”, w. 9”, d. 2‑1/4”, a medium ring “Travel Agenda” for 2000, h. 7‑1/4”, w. 5‑1/2”, d. 1‑1/2”, a zippered “Toiletry Pouch 19”, h. 5‑3/4”, w. 7‑1/2”, d. 2”, a “Toiletry Pouch 26”, h. 7‑3/4”, w. 10”, d. 2‑1/4”, a “Sac Plat” tote, h. 15”, w. 14‑1/2”, d. 3‑1/2”, handle drop: 4‑1/2”, and a “Chantilly” shoulder/cross-body bag, h. 10”, w. 10‑1/2”, d. 2‑3/4”, all fully marked (seven total pieces). [700/1000] Illustrated

224

787 Eighteen-Karat White Gold, Lemon Quartz and Diamond Ring, mounted with a large rectangular cushion-cut lemon quartz, with an approximate weight of 33.97 carats, surrounded by a halo of single-cut diamonds, with an approximate total weight of 0.56 carats, size 8, 26.0 grams total weight. [3000/5000] Illustrated 788 Eighteen-Karat White Gold, Yellow Chrysoberyl and Diamond Ring, mounted with a round-cut yellow chrysoberyl, with an approximate weight of 2.60 carats, accented by round brilliant-cut diamonds around the stone and down the ring shank, with an approximate total weight of 1.30 carats, size 8, 7.0 grams total weight. [700/1000] Illustrated 789 Fourteen-Karat White Gold, Diamond, Tsavorite Garnet and Ruby Lizard Brooch, mounted with European-cut diamonds, with an approximate total weight of 1.42 carats, approximate color E-F and clarity VS2‑SI2, eighteen round-cut tsavorites, with an approximate total weight of 1.44 carats, and two round-cut rubies accenting the eyes, with an approximate total weight of 0.02 carats, size 1” x 2‑3/4”, 10.0 grams total weight. [2500/4000] Illustrated

788 787

790 Platinum, Tsavorite Garnet and Diamond Ring, mounted with a GIA certified tsavorite garnet, with a weight of 1.24 carats, GIA report #2175684156, accented by round brilliant-cut diamonds, with an approximate total weight of 0.49 carats, size 7, 5.5 grams total weight. [1800/2500] Illustrated 791 Three-Piece Eighteen/Fourteen-Karat Yellow Gold and Garnet Jewelry Suite, including a pair of eighteen-karat yellow gold screw/clip dangling pendant earrings, each mounted with an oval-cut garnet, with an approximate total weight of 3.00 carats for the pair, two single-cut diamonds, with an approximate total weight of 0.01 carats for the pair, and an 8.5 mm round cultured pearl, l. 1‑5/16”, an eighteen-karat yellow gold and garnet eternity band mounted with twenty-one bezel-cut garnets, with an approximate total weight of 6.50 carats, size 6, and a fourteen-karat yellow gold brooch mounted with an oval-cut garnet, with an approximate weight of 10.50 carats, surrounded by ten 6.5 mm round rose-colored cultured pearls, size 1‑1/8” x 1‑5/16”, 24.6 grams total weight. [700/1000] Illustrated

789

791 Three-Piece Suite

790

225

797

796

797 798

792

226

796 Fourteen-Karat Yellow Gold, Ruby and Diamond Bracelet, mounted with sixteen oval-cut graduated, treated rubies, with an approximate total weight of 29.77 carats, each surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 3.31 carats, l. 7‑3/4”, 19.8 grams total weight. [2500/4000] Illustrated 797 Pair of Fourteen-Karat Yellow Gold, Ruby and Diamond Earrings, each dangle earring mounted with four graduated, treated oval-cut rubies, with an approximate total weight of 17.53 carats for the pair, surrounded by a halo of round brilliantcut diamonds, with an approximate total weight of 1.55 carats for the pair, l. 1‑7/8”, 10.1 grams total weight. [1200/1800] Illustrated

794

792 Three Gold Vermeil, Ruby and Diamond Bangle Bracelets, the hinged bracelets mounted with four sections set with round- and pear-cut treated rubies, with an approximate total weight 9.17 carats, accented by rose-cut diamonds, with an approximate total weight of 1.20 carats, inside circumference 7”, 58.1 grams total weight. [500/800] Illustrated 793 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, the mounted with an oval-cut treated ruby, with an approximate weight of 11.03 carats, accented by round brilliant-cut diamonds in a halo around the stone and down the split shank, with an approximate total weight of 0.64 carats, size 7‑1/2, 9.2 grams total weight. [1200/1800] Illustrated 794 Pair of Fourteen-Karat Yellow Gold, Ruby and Diamond Dangle Earrings, each earring mounted with a treated ovalcut ruby, with an approximate total weight of 11.51 carats for the pair, accented by round brilliant-cut diamonds, with an approximate total weight of 0.54 carats for the pair, l. 1‑1/4”, 4.4 grams total weight. [800/1200] Illustrated 795 Fourteen-Karat Yellow/White Gold, Ruby and Diamond Pendant with Chain, the pendant mounted with baguette-cut rubies, with an approximate total weight of 0.80 carats, and round brilliant-cut diamonds, with an approximate total weight of 0.34 carats, l. 3/4”, suspended from a fourteen-karat yellow gold chain, l. 18”, 4.0 grams total weight. [700/1000] Illustrated

795

798 Eighteen-Karat Yellow Gold, Ruby and Diamond Bracelet, the flexible bracelet composed of three rows of oval-cut treated rubies, with an approximate total weight of 33.66 carats, accented with round brilliant-cut diamonds, with an approximate total weight of 0.69 carats, inside circumference 7‑1/4”, 42.0 grams total weight. [4500/7000] Illustrated

227

799 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold, Mabe Pearl and Ruby Earrings, each earring set with a white 12.0 mm round mabe pearl, accented with four 4.0 mm round cultured pearls and four 3.5 mm ruby beads, with a retractable post, marked with the Elizabeth Locke logo and “18K”, l. 1”, 20.4 grams total weight. [1000/1500] Illustrated 800 Elizabeth Locke Eighteen-Karat Yellow Gold, Pearl and Mother-of-Pearl Brooch, the rectangular brooch mounted with a rectangular mother-of-pearl plaque engraved with a pair of songbirds, accented with four 8.0 mm round silver-white cultured pearls, marked with the Elizabeth Locke logo and “18K”, size 2‑1/2” x 1‑7/8”, 25.0 grams total weight. [900/1200] Illustrated 801 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold and Mabe Pearl Earrings, each circular earring with a hammered texture and set with a lavender 14.0 mm round mabe pearl, with retractable posts, marked with the Elizabeth Locke logo and “18K”, dia. 1”, 21.2 grams total weight. [900/1200] Illustrated

804

802

802 Elizabeth Locke Eighteen-Karat Yellow Gold Bar Brooch with Charms, the brooch with a hammered texture and set with two blue-green 5.0 mm round tourmaline cabochons on each end, and with four charms, one set with an ancient bronze coin, another set with a 9.0 mm baroque pearl, another set with a pietra dura plaque and the last set with a green glass intaglio, marked with the Elizabeth Locke logo and “18K”, size 2‑3/4” x 1‑5/8”, 40.6 grams total weight [1800/2500] Illustrated 803 Elizabeth Locke Eighteen-Karat Yellow Gold Intaglio Ring, the oval hammered textured mounting set with a blue glass intaglio of a sphinx, marked with the Elizabeth Locke logo and “18K”, size 6, 10.2 grams total weight. [900/1200] Illustrated 804 Elizabeth Locke Eighteen-Karat Yellow Gold Micro-Mosaic Pendant/Brooch, the convertible pendant/brooch with a removable bail and mounted with a micro-mosaic image of a cat, accented on four sides with sapphire cabochons, marked “18K” and with the Elizabeth Locke logo, size 2‑1/2” x 2‑1/4” (without bail), 35.2 grams total weight. [2000/4000] Illustrated

228

805 Elizabeth Locke Eighteen-Karat Yellow Gold, Tanzanite and Diamond Ring, with a hammered finish and mounted with a cushion-cut tanzanite, with an approximate weight of 3.40 carats, flanked on either side by a princess-cut diamond, with an approximate total weight of 0.33 carats, approximate color E-F and clarity VS1‑VS2, stamped “18K” and with the Elizabeth Locke logo, size 4, 13.0 grams total weight. [1400/1800] Illustrated 806 Elizabeth Locke Eighteen-Karat Yellow Gold Necklace, the long oval link necklace with a hammered texture and a toggle clasp, marked with the Elizabeth Locke logo and “18K”, l. 25‑1/4”, 61.5 grams total weight. [1500/2500] Illustrated 807 Elizabeth Locke Eighteen-Karat Yellow Gold and Peridot Pendant/Enhancer, the pendant set with a checkerboardfaceted teardrop peridot, with an approximate weight of 4.00 carats, marked with the Elizabeth Locke logo and “18K”, l. 1‑3/16”, 5.2 grams total weight. [700/1000] Illustrated 808 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold and Peridot Earrings, with a hammered texture and mounted with a round and oval faceted peridot, with an approximate total weight of 10.50 carats for the pair, with retractable posts, marked with the Elizabeth Locke logo and “18K”, l. 7/8”, 15.6 grams total weight. [1200/1800] Illustrated

799

800

805

799

803

807

806

808

229

810

817 816

812

814

811

230

815

809 Elizabeth Locke Eighteen-Karat Yellow Gold, Peridot and Tourmaline Ring, with a hammered texture and set with a round checkerboard-faceted peridot, with an approximate weight of 4.50 carats, accented with six round faceted pink tourmalines, with an approximate total weight of 0.30 carats, marked with the Elizabeth Locke logo, partially covered by the sizing beads, size 4‑1/2 (without sizing beads), 14.4 grams total weight. [1200/1800] Illustrated 810 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold, Peridot and Pink Tourmaline Earrings, each with a hammered texture and mounted with a round checkerboard-cut peridot, with an approximate total weight of 3.00 carats for the pair, and seven round faceted pink tourmalines, with an approximate total weight of 0.50 carats for the pair, with retractable posts, marked with the Elizabeth Locke logo and “18K”, l. 1‑3/8”, 18.2 grams total weight. [1200/1800] Illustrated

813 Elizabeth Locke Eighteen-Karat Yellow Gold, Pearl and Lava Cameo Brooch, the round brooch with a hammered texture and mounted with a high-relief-carved lava putto cameo, accented with four gray baroque pearls, marked with the Elizabeth Locke logo and “750”, size 2‑1/2” x 3‑3/16”, 46.8 grams total weight. [1800/2500] Illustrated 814 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold and Intaglio Earrings, each convertible pierced/clip back earring mounted with a taupe-colored Venetian glass intaglio of a man and a goat, stamped “18K” and with the Elizabeth Locke logo, l. 3/4”, 19.2 grams total weight. [1000/1500] Illustrated 815 Elizabeth Locke Eighteen-Karat Yellow Gold, Pearl and Glass Brooch/Pendant, the rounded triangular brooch with a hammered texture and fitted with three dangling pendants, each set with a round 8.0 mm silver-rose-colored cultured pearl, and a molded black glass Bacchanal masque, marked with the Elizabeth Locke logo and “18K”, size 1‑5/8” x 2‑3/4”, 29.8 grams total weight. [1500/2500] Illustrated 816 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold and Blister Pearl Earrings, each earring with a hammered texture and set with a gray 15.0 mm round blister pearl, with retractable posts, marked with the Elizabeth Locke logo and “18K”, l. 7/8”, 25.6 grams total weight. [900/1200] Illustrated 817 Eighteen-Karat Yellow Gold and Multi-Strand Baroque Pearl Necklace, the three-strand necklace composed of rosecolored baroque freshwater pearls with a good luster, with an adjustable eighteen-karat yellow gold hook and chain clasp, l. 17”, 140.6 grams total weight. [700/1000] Illustrated

809

811 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold Earrings, in an “X” design with applied twisted roping and retractable posts, designed to have interchangeable pendants, marked with the Elizabeth Locke logo and “18K”, l. 3/4”, 18.2 grams total weight. [800/1200] Illustrated 812 Pair of Elizabeth Locke Eighteen-Karat Yellow Gold and Carved Lava Cameo Earrings, each convertible pierced/clip back earring mounted with a carved lava cameo, stamped “18K” and marked with the Elizabeth Locke logo, l. 7/8”, 25.6 grams total weight. [900/1200] Illustrated

813

231

818

819

821

820

818 Tiffany & Co. Sterling Silver Bowl, the pattern introduced in 1906, New York, New York, of inverted bell form, the rim decorated with short scalloped sections at regular intervals, raised on a plain foot ring, monogrammed “MED”, h. 4‑1/2”, dia. 9”, 32.44 t. oz. [800/1200] Illustrated

820 Tiffany & Co. Sterling Silver Platter, the pattern introduced in 1923, New York, New York, this example 1947‑1956, of oval form with molded rim, monogrammed “JL”, w. 14‑3/4”, l. 20”, 67.59 t. oz. En suite with the following lot. [1200/1800] Illustrated

819 Tiffany & Co. Sterling Silver Bowl, the pattern introduced in 1932, New York, New York, of circular form with everted rim and decorated with eight vertical reeded sections, h. 2‑1/2”, dia. 9‑1/2”, 20.18 t. oz. [500/800] Illustrated

821 Tiffany & Co. Sterling Silver Well-and-Tree Platter, the pattern introduced in 1923, New York, New York, this example 1947‑1956, of oval form with molded rim, raised on four hemispherical feet, h. 1‑1/2”, w. 14‑3/4”, l. 20”, 71.35 t. oz. En suite with the previous lot. [2000/4000] Illustrated

232

822

8\23

825

822 Tiffany & Co. Sterling Silver Water Pitcher, the pattern introduced in 1911, New York, New York, of ovoid form with waisted collar, squared handle and molded banding, monogrammed “MD”, h. 9‑1/2”, l. 8‑3/4”, 34.02 t. oz. [1000/1500] Illustrated 823 Large Tiffany & Co. Sterling Silver Platter, the pattern introduced in 1952, New York, New York, of circular form with molded rim, dia. 22‑1/2”, 106.42 t. oz. [3000/5000] Illustrated

824 Tiffany & Co. Sterling Silver Salver, the pattern introduced in 1924, New York, New York, of circular form with molded “Chippendale” rim, monogrammed “MGK”, dia. 13”, 27.92 t. oz. [800/1200] 825 Set of Eight Tiffany & Co. Sterling Silver Cordials, the pattern introduced in 1915, New York, New York, each with a rounded conical bowl raised on a short baluster stem above a circular foot, h. 4‑1/8”, dia. 2‑1/4”, 26.36 total t. oz. [700/1000] Illustrated

233

826 Tiffany & Co. Sterling Silver Salver, third quarter 20th century, New York, New York, of square form with molded rim and addorsed cyma corners, w. 13‑7/8”, 44.81 t. oz. [700/1000] Illustrated 827 Set of Twelve Tiffany & Co. Sterling Silver Bread and Butter Plates, the pattern introduced in 1923, New York, New York, of circular form with molded rim, monogrammed “JFG” for John Fishback Grant (1865‑1952) of Houston, Texas, dia. 6‑1/8”, 65.29 total t. oz. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [1000/1500] Illustrated

828 Four Pieces of Tiffany & Co. Sterling Silver Hollowware, the patterns introduced in 1907 and 1923, New York, New York, including a pair of rounded rectangular vegetable bowls, l. 8‑7/8”, w. 6‑7/8”, a shallow dish, dia. 11‑7/8”, and a small platter, dia. 13‑1/8”, all with molded rim and monogrammed “JFG” for John Fishback Grant (1865‑1952) of Houston, Texas, 96.65 total t. oz. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [1400/1800] Illustrated

828

826

827

234

829 Three Tiffany & Co. Sterling Silver Yachting Trophies, 1958 and 1964, including a pair of bowls after the ca. 1700 Joseph Conyer, Boston, original, h. 4”, dia. 9”, and a shallow circular dish, h. 1‑3/4”, dia. 12”, all engraved with the burgee of the Texas Corinthian Yacht Club and presentation inscriptions from them to the 5.5 meter class “Sabre” and “Pride”, owned by Ernest Bel Fay (1914‑1986), 72.67 total t. oz. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [1000/1500] Illustrated

830 One Hundred and Seventy-Piece Set of Georg Jensen “Acorn” Sterling Silver Flatware, the pattern designed in 1915 by Johan Gudmann Rohde (1856‑1935), Copenhagen, Denmark, including a dozen ten-piece place settings (seven pieces lacking) with an additional thirty-six place pieces and twenty-two serving pieces, no monograms, 180.72 total t. oz. (weighable silver). Detailed list of pieces available on request. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [4000/7000] Illustrated

Ernest Bel Fay was born in New Orleans on July 26, 1914, the son of Marie Dorothy Bel and Charles Spencer Fay. In 1936, one week after graduating from Harvard, he married Carolyn Homoiselle Grant of Houston, where the couple settled. In 1938, Fay established, with his brother Albert Bel Fay (1913‑1992), the Seabrook Shipyard, which built submarine chasers and rescue craft during World War II; that same year, they were also founding members of the Texas Corinthian Yacht Club at Galveston Bay. Fay would later become President of the John F. Grant Lumber Company and Vice-President of the Bel Oil Corp., but boat building and racing remained his passion. He first learned to sail with his brother in catboats and leaky 30‑footers in Bay St. Louis, and had his skills refined during his college years at Boston. He was among the earliest U.S. sailors to become enthusiastic about the 5.5 meter class, his first being the Bill Luders (1909‑1999) designed “Sabre”. Completed in 1956, it would become an extremely successful all-around ship, winning numerous cups between 1958 and 1962, including the U.S. 5.5 Meter Championship three times: in 1958, 1960 and 1961. Following that success, Fay designed with Luders his next 5.5 meter, the “Pride”, completed in 1961 and licensed in 1962; it is noted for having won both the Scandinavian Gold Cup and the King Olav Cup in 1966. Fay remained a noted and devoted yachtsman his entire life, dying at the helm on August 16, 1986.

829

830

235

831 Two Sterling Silver Pieces from the “Louis Comfort Tiffany Collection”, the line introduced in 1992, New York, New York, including an ovoid vase in a wave and scroll pattern, h. 8‑3/4”, and a covered jar in an embossed fruiting prunus pattern, h. 9”, 42.86 total t. oz. [800/1200] Illustrated 832 Seventy-Two-Piece Set of Towle “Contour” Sterling Silver Flatware, the pattern designed in 1950 by John Owen Van Koert (1912‑1998), Newburyport, Massachusetts, including a dozen fourpiece place settings, with an additional six teaspoons, nine demitasse spoons and nine serving pieces, 82.52 total t. oz. (weighable silver), presented in a plum Pacific clothlined fitted wooden case with lift top and single drawer, 5” x 14‑1/2” x 11”. Detailed list of pieces available on request. [1500/2500] Illustrated 831

832

236

832 detail

833 Pair of French Art Nouveau Bronze Vases, ca. 1900, each with a lobed body and handles in the form of bundled stems, with gilt flowerheads at the tops of the handles and the vases, signed “L. Kann” for Leon Kann (French, 1859‑1925), h. 15‑3/4”, dia. 6‑1/2”. Kann was a designer at Sevres porcelain from 1896‑1915, and designed some of the iconic Sevres Art Nouveau objects. [2500/4000] Illustrated

835 Daum Nancy Art Glass and Bronze Pendant Chandelier, second quarter 20th century, French, now set into a scrolled and pierced rococo-style frame, the Art Deco mottled orange and yellow shade marked “Daum, Nancy” on the side, h. 18”, dia. 23‑3/4”. [1000/1500] Illustrated 836 Emile Galle Cameo Glass Stick Vase, first quarter 20th century, French, decorated with green vines over a shaded pink ground, signed “Galle” in cameo on the lower neck, h. 13‑1/2”, dia. 3‑1/4”. [800/1200] Illustrated

834 Continental Gilt-Bronze and Slag Glass Vase, ca. 1900, on pierced leaf-molded bronze feet, the glass vase mounted with a central bronze band of oak leaves and acorns, continuing up each side, with lizards framing a musical trophy, a molded bronze band trimming the top, h. 22”, dia. 7‑3/4”. [500/800] Illustrated

837 Two Daum Nancy Berluze Solifleur Vases, ca. 1918‑1925, French, including a large amber and blue mottled example h. 21‑1/2”, dia. 5‑3/4”, a small amber and brown mottled example, h. 7”, dia. 2”, both signed “Daum Nancy”, and with a Croix de Lorraine on the side. [1500/2500] Illustrated

833 835

836

837

834

237

840 detail 838

839 detail

838 Art Deco-Style Mahogany, Glass and Brushed Metal Bar Cart, 20th century, of square form, the glazed top bisected and opening to an interior fitted for various bar implements, the sides glazed, joined to a lower shelf by square supports continuing to casters, h. 32”, w. 19‑3/4”, d. 19‑3/4”. [500/800] Illustrated 839 Extensive Partial Service of Steuben Table Glass, Corning, New York, second quarter 20th century, all with an engraved crest of “a dragon’s head erased”, each piece marked with “Steuben” or an engraved “S” mark, the set including fourteen plain goblets, Steuben catalog no. 6794, h. 5‑1/4”, nineteen matching small goblets, h. 4‑1/2”, twelve matching champagne “saucers”, dia. 4”, a decanter, h. 11‑1/2”, dia. 4‑3/4”, and a matching pair of smaller decanters, h. 7‑1/2”, dia. 2‑3/4”, all catalog no. 7712, eight finger bowls, catalog no. 7931, h. 2‑1/2”, and eleven soup plates, catalog no. 7975, dia. 9‑1/4”. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [800/1200] Illustrated

238

839 detail

840 Extensive Partial Service of Baccarat Cut Crystal Stemware, 20th century, French, the set including thirteen Harcourt water goblets, h. 6‑1/8”, twenty-five champagne/tall sherbet glasses, h. 5”, eleven port glasses, h. 5”, five liqueur glasses, h. 3‑3/4”, and four panel-cut crystal goblets by an unidentified maker, h. 7”. [500/800] Illustrated

841 Art Deco-Style Burlwood Armchair, late 20th century, the closed arms and apron in highly figured veneers, raised on bun feet, upholstered in gold and tan velvet and fitted with a loose seat cushion, h. 29‑1/2”. [700/1000] Illustrated 842 Attributed to William Hunt Diederich (Austrian/ American, 1884‑1953), Art Deco gilt and patinated iron music or magazine rack, with a central motif of a figure with a wolfhound, h. 20”, w. 14‑7/8”, d. 4‑7/8”. [1000/1500] Illustrated The son of a Hungarian father and American mother (who was a member of the prominent Hunt family of Boston; her father was the acclaimed artist William Morris Hunt), Diederich spent his childhood in Switzerland before briefly attending the Boston Art School and the Pennsylvania Academy of the Fine Arts. Formal schooling held little interest for the young man, and Diederich spent several years traveling across the American West working as an itinerant cowboy. He eventually traveled to Africa and Europe, studying in Paris with the great animalier Emmanuel Fremiet. Diederich exhibited in the Paris Salons of 1911 and 1912, and at the Salon d’Automne in 1914. Upon his return to the United States, Diederich settled in New York City where he began to produce silhouettes, sculptures, and carefully composed iron and metal items. A believer that even the most mundane could--and should--be beautiful, he dedicated much of his career to creating gracefully rendered utilitarian objects, such as fire screens, gates, racks and trivets. Incorporating into his work elements of the various cultures he had encountered during his travels, Diederich was inspired by everything from Native American pottery to Roman architecture. His elegant figural pierced metal pieces were much admired by New York society in particular, and his work was frequently exhibited at the Whitney Studio Club (which evolved into the Whitney Museum of American Art), and Ferargil Galleries, New York, New York.

842

841

843 Austrian Art Deco Aluminum-Banded, Ebonized and Burlwood Dining Table, third quarter 19th century, with a projecting fold-over top, raised on a pedestal with a central burled panel, edged by metal bands and with ebonized ends, on a platform base in like decor, the pedestal finished on all sides, h. 30”, w. 52”, l. 26‑1/4”, extended l. 52‑1/2”. [1800/2500] Illustrated

843

239

844

846

845

844 Suite of Four French Gilt-Bronze Two-Light Sconces, second quarter 20th century, on tapered, paneled backplates, the scrolled arms fluted and leafmolded, and terminating in beaded scrolls, set with circular drip pans over gadrooned fittings, h. 14‑1/2”, w. 12‑1/2”, d. 5‑1/2”. [500/800] Illustrated 845 Pierre Guillaume (Dutch, b. 1954), “Dancing Under the Lights”, oil on canvas, signed lower right, 24‑1/2” x 36‑1/4”. Framed. [2000/4000] Illustrated 846 French Brass-Mounted Opaline Urn, first quarter 20th century, on a square opaline base set with beaded brass trim, the urn with a matching brass upper edge, h. 16‑1/4”, dia. 8‑1/4”. [500/800] Illustrated 847 French Art Deco Parcel-Gilt and Mahogany Vitrine Cabinet, mid-20th century, the Portoro marble top on a case with a central beveled glazed door, flanked by wooded doors, raised on a shaped plinth, h. 40”, w. 51”, d. 17‑1/4”. [1000/1500] Illustrated 847

240

848 Patinated Bronze of a Woman, 20th century, inscribed “CAK (?)” and numbered “2/6” along edge, on an integral textured iron base, overall h. 17‑1/4”, w. 7”, d. 12”. [700/1000] Illustrated

849 Suite of Four French Art Deco-Style Ebonized Dining Chairs, each with a shaped back, flare legs and a back and seat upholstered in cream microsuede, h. 39”. [800/1200] Illustrated 850 Rare Pair of Vintage Mazzega Bollicine Glass “Lotus” Lamps, ca. 1969, designed by Carlo Nason, model LT 305, h. 18”, dia. 18”. [4000/7000] Illustrated

848

849

850

241

851

853

854

852

851 Two Cartier Brass and Enamel Boudoir Clocks, fourth quarter 20th century, in the Art Deco taste, each decorated with black and red enamel, one example with a Chinese-fret enamel on the front, marked “Cartier, Paris”, h. 3‑3/4”, w. 4”, d. 1‑1/4”, and the second example decorated with black and red lotus flowers and leaves, with a quartz works, marked “Cartier, Swiss Made” on the back and with a registration number, h. 3‑3/4”, w. 3‑1/2”, d. 1‑1/2”. [1000/1500] Illustrated 852 Italian Modern Brass-Inlaid Lacquered Goatskin Dining Table, ca. 1960, probably by Aldo Tura, the square top with an inlaid brass band of like form, on a square pedestal, h. 29”, w. 47‑1/4”, d. 47‑1/4”. [1500/2500] Illustrated

242

853 Lalique Crystal “Martinets” Vase, post-1978, French, molded with frosted martinets and unfrosted swirling leaves, marked “Lalique” and “France” in engraved script, h. 9‑1/2”, dia. 6‑1/4”. [600/900] Illustrated 854 Lalique Crystal Vase, post-1978, French, the oval vase molded with frosted fish on both the front and rear, marked “Lalique” and “France”, h. 8‑3/4”, w. 8‑3/4”, d. 7‑1/4”. [500/800] Illustrated

855 Max Carlier (Belgian, 1872‑1932), “The Darling’s Treat”, oil on wood panel, signed lower right, 14‑3/8” x 20‑1/2”. Framed. [1500/2500] Illustrated 856 Faux Alligator-Upholstered and Mahogany Club Chair, the domed and padded back joined by outscrolled arms to the cushioned seat, raised on large turned toupie feet, the whole with brass tack accents, h. 38‑1/4”. [800/1200] Illustrated 857 French Silverplated Metal and Crystal Basket-Form EightLight Chandelier, first quarter 20th century, with six graduated tiers of prisms on the lower level and cascades of crystal drops on the upper level, concealing eight light sockets, h. 47‑1/2”, dia. 16‑3/4”. [500/800] Illustrated

857

855

856

243

860

861

858

858 Jay Strongwater Enameled and Jeweled Easel Picture Frame, 20th century, American, the bolection-molded frame decorated with cabochons centering each side, with alternating black enamel and Swarovski crystal arches of Middle Eastern inspiration, in its original presentation box, h. 11”, w. 9”. [700/1000] Illustrated 859 Jay Strongwater Enameled and Jeweled Easel Picture Frame, 20th century, American, the bolection-molded frame decorated with cabochons centering each side, with alternating black enamel and Swarovski crystal arches of Middle Eastern inspiration, in its original presentation box, h. 11”, w. 9”. [700/1000] Illustrated

244

859

860 Art Deco Patinated Bronze of a Sea Nymph, second quarter 20th century, the figure with one foot balanced on a dolphin and wave-decorated self-base, h. 32”, w. 26”, d. 12”. [700/1000] Illustrated 861 Millefiori Murano Glass Table Lamp, first half 20th century, Italian, the “thousand flower” pattern lamp with a mushroom shade, resting on a serpentine base mounted with vintage brass fittings, h. 21‑1/2”, dia. 10‑1/2”. [600/900] Illustrated

862 Zvi Raphaeli (Israeli, 1920/1924‑2005), “Jerusalem Alley Scenes”, suite of three oils on panels, all signed, one 7‑1/4” x 10‑1/4”, two 5” x 3”. All framed alike in carved wood frames. [1000/1500] Illustrated 863 Pierre Guillaume (Dutch, b. 1954), “Pantai Goa Lawah”, Bali, 2005, oil on canvas, signed lower right, signed, titled and dated en verso, 47‑1/2” x 51”. Framed. [1800/2500] Illustrated

862 one of three

864 Rosemarie Beck (American/New York, 1923‑2003), “Le Maquillage IX”, 1962/3, oil on canvas, signed lower right, signed, dated and titled on stretcher, a “Peridot Gallery/New York” label en verso, 67‑1/4” x 48”. Framed. [1800/2500] Illustrated

862 three of three

862 two of three

863

864

245

865 Frank Fleming (American/Alabama, b. 1940), whimsical rectangular verdigris and patinated bronze “Tortoise and Hare” glass-topped table, the base comprising a verdigris twig-form base with patinated bronze hares and verdigris bronze tortoises grasping opposing legs and serving as feet, with a patinated bronze bird perched on the stretcher, both tortoises stamped “Fleming”, fitted with a glass top, overall h. 29‑1/2”, w. 72”, d. 39”. [800/1200] Illustrated 866 Pablo Picasso (Spanish/Paris, 1881‑1973), “The Flute Player (A.R. 126)”, 1951, embossed and glazed earthenware, edition of 40, base inscribed “Edition Picasso” and stamped “Empreinte Originale de Picasso” and “Madoura Plein Feu”, dia. 9‑5/8”. [2500/4000] Illustrated

866

865 detail

865

246

867 Pablo Picasso (Spanish/Paris, 1881‑1973), “Toros (A.R. 161)”, 1952, glazed earthenware, base inscribed “Edition Picasso”, and stamped “Edition Picasso” and “Madoura Plein Feu”, dia. 7‑3/4”. [1500/2500] Illustrated 868 Pablo Picasso (Spanish/Paris, 1881‑1973), “Little-Headed Pitcher (A.R. 612)”, 1969, white earthenware turned pitcher painted in gray patina, red, green, blue and white, base inscribed “Edition Picasso/no. 248/500” and “R.140”, and stamped “Edition Picasso” and “Madoura Plein Feu”, h. 11‑1/2”, w. 11”, d. 7”. [4000/7000] Illustrated 869 Pablo Picasso (Spanish/Paris, 1881‑1973), “Little Square with Face (A.R. 633)”, 1971, red earthenware, inscribed on reverse “J. 168, 132/500” and stamped “Poincon Originale de Picasso” and “Madoura Plein Feu”, 5‑3/4” x 5‑3/4”. [700/1000] Illustrated

867

869

868

247

870 Mid-Century Modern Folding Beechwood Armchair, after a 1949 design by Hans Wegner (Danish, 1914‑2007), with a woven jute seat and back cushion, pivoting on brass hardware, h. 29‑3/4”. [600/900] Illustrated 871 Pair of Danish Modern Teak Stools, retaining the label of “Domus Danica”, after a design by Erik Buch, each with an impressed saddle seat, raised on splay legs joined by a stretcher with a front footrest, h. 27‑1/2”. [800/1200] Illustrated 872 Unusual “Surrealist” Mahogany Tripod Stand, 20th century, the circular top appearing to melt in one spot and pooling around the base of one foot, signed “Resnick 49”, h. 28”, dia. 14”. [500/800] Illustrated

872

871

870

248

873 Pablo Picasso (Spanish/Paris, 1881‑1973), “Bull under the Tree (A.R. 159), 1952, white earthenware with oxidized paraffin, edition of 500, base inscribed “Edition Picasso” and stamped “Edition Picasso and Madoura Plein Feu”, dia. 8”. [800/1200] Illustrated

875 Pablo Picasso (Spanish/Paris, 1881‑1973), “Bird under the Sun (A.R. 174)”, 1952, and “Bird on a Branch (A.R. 175)”, 1952, two earthenware clay dishes with oxidized paraffin, each base inscribed “Edition Picasso”, and stamped “Edition Picasso” and “Madoura Plein Feu”, each dia. 5‑3/4”. [1800/2500] Illustrated

874 Pablo Picasso (Spanish/Paris, 1881‑1973), “Little-Headed Pitcher (A.R. 222)”, 1953, white earthenware with white and black enamel, base inscribed “Edition Picasso/no. 124/300”, and stamped “Edition Picasso” and “Madoura Plein Feu”, h. 5‑1/8”, w. 6”, d. 6”. [1800/2500] Illustrated

874

873

875

249

876 Philip LaVerne (American, 1908‑1988) and Kelvin LaVerne (American, b. 1936) Patinated Bronze and Pewter “Chan” Cocktail Table, ca. 1960s, model #142, mounted on wood, the surfaces enameled and acid-etched in a chinoiserie design, the top signed “Philip & Kelvin LaVerne”, h. 18”, dia. 40”. [3000/5000] Illustrated

878 Caroline Wogan Durieux (American/New Orleans, 1896‑1989), “Almost”, 1971, cliche verre with hand-color, signed and numbered “4/10” lower left, titled lower right, sight 7‑1/4” x 18‑3/4”. Matted. glazed and framed. [1000/1500] Illustrated

877 Michael Steiner (American/New York, b. 1945), “U-249” and “U-250”, pair of mixed medias on hand-made paper, verso with “Meredith Long & Company, Houston, Texas” gallery labels, 30” x 22”. Both presented in contemporary blond wood frames. Provenance: Meredith Long & Company, Houston, Texas; Private collection, Houston, Texas. [1000/1500] Illustrated

878 877

876

250

881

877

881 detail

879 Pair of Contemporary Art Deco-Inspired Leather and Polished Steel Armchairs, in the “Sinclair Club Chair” design, probably manufactured by “Four Hands”, each with split wraparound arms and black leather seat cushions and backs, unmarked, h. 28‑1/4”. [1000/1500] Illustrated 880 Herbert Richard Mears (American/Texas, 1923‑1999), “Untitled”, oil on board, signed upper right, 29‑1/2” x 24”. Framed. [1000/1500] Illustrated 881 Suite of Eleven Modern “Toscana” Chairs, designed by Piero Sartogo and Nathalie Grenon for Saporiti Italia in 1986, each with asymmetrically molded burlwood plywood backs joined to a seat with a leather cushion and raised on shaped ebonized legs, retaining the label “Saporiti Italia Made in Italy by Saporiti”, each with a serpentine back and single arm on opposing sides, enabling paired chairs to form a bench, h. 33”. [1500/2500] Illustrated 880

251

882 Contemporary Tiger Maple, Ebonized and Maple Console Table of Art Deco Inspiration, the figured maple top over a waive-molded apron, raised on tapering legs with ebonized cuffs, h. 28”, w. 60”, d. 18”. [1000/1500] Illustrated

884 Modern Brass, Satinwood, Teak and Mahogany Dining Table, of 1970s vintage, probably Italian, the ovoid top with satinwood panels and perimeter banding, each end with five tapering conical legs supporting a brass rail and gallery affixed to the top, h. 28‑1/2”, w. 48”, l. 116‑1/2”. [1200/1800] Illustrated

883 Attributed to Madeline von Foerster (American, b, 1973), “Contemporary Eve in Emeralds and Rubies”, oil and tempera on wood panel, unsigned, monogrammed “AW” center right, and indecipherably inscribed on frame, 24” x 18‑3/4”. Presented in a custom-made wood frame. [1000/1500] Illustrated

885 Jean Besnard Pottery Vase, second quarter 20th century, French, decorated with pink striations and a deep gilt-incised spiral, signed “JB” in incised script and “France”, h. 7‑1/2”, dia. 4”. [1000/1500] Illustrated

882 883

885

884

252

886 Louise Guidry (American/Louisiana, b. 1930), “A Little After Three”, acrylic on gallery wrapped canvas, signed lower right, 30” x 30”. Unframed. [1500/2500] Illustrated 887 Louise Guidry (American/Louisiana, b. 1930), “A Streak of Orange”, acrylic on gallery wrapped canvas, signed lower right, 36” x 36”. Unframed. [1800/2500] Illustrated 888 Masaru Takiguchi (Japanese, b. 1941), “Seishum”, 1970, polished bronze, incised signature, numbered “4/9” and date stamped at back edge, presented on a round marble plinth, overall h. 20‑7/8”, w. 9‑1/2”, d. 5”. Provenance: Kiko Galleries, Houston, Texas; Estate of Carolyn G. Fay, Houston, Texas. [700/1000] Illustrated Masaru Takiguchi received an MA in sculpture from Kyoto City College of Fine Arts, Japan, before travelling to the United States in 1968 to accept a position as guest lecturer at the High Museum School of Art, Atlanta, Georgia. He eventually taught for several years at the University of Houston, Texas. With his undulating metal and stone sculptures which twist, turn and curve, Takiguchi explores mass and movement, and reveals his delight and fascination with the organic form. His works are in numerous private and public collections.

886

889 Justin Garcia (American/Texas, Contemporary), “Meadow Sunrise”, mixed media on canvas, signed lower right, 39” x 29”. Unframed. [1000/1500] Illustrated

887

888 889

253

890

893

892

891

890 Pair of Bagues-Style Rock Crystal and Gilt-Metal Two-Light Sconces, with rock crystal backplates in the form of chinoiserie vases with “growing” gilt-metal-mounted flowers, flanked by giltmetal candle cups hung with glass and rock crystal drops, h. 25”, w. 12”, d. 5‑1/2”. [3000/5000] Illustrated 891 Pair of Continental Contemporary Rock Crystal Candlesticks, 20th century, with pyramidal bases and tapered stems and candle cups, h. 11‑1/2”, w. 4”, d. 4”. [800/1200] Illustrated

254

892 Contemporary Oak and Brass Console Table, late 20th century, the top over a molded frieze and legs, the frieze fitted with a pair of drawers, the legs joined by a spun gilt-metal stretcher, h. 34”, w. 68”, d. 17‑3/8”. [1400/1800] Illustrated 893 Dessin Fournir Twelve-Light Chandelier, composed of twenty-two karat gilded iron, the small Duveaux model in the post-modern design, consisting of interlocking mirror image “D”’s alternating with pierced fleur-de-lis, set with four sets of triple candle arms, the faceted and tapered support chains gilded to match the base, h. 52”, dia. 41”. [3500/5000] Illustrated

894 Contemporary Directoire-Style Brushed Metal and Glass-Top Cocktail Table, in the manner of Jansen, the inset rectangular glass top within a gilt frame, raised on tubular legs joined by an H-form standard and ending in toupie feet, the whole accented with gilt rings, h. 17”, w. 48”, d. 24”. [500/800] Illustrated 895 Joan Miro (Spanish, 1893‑1983), “Plate 5 (Owl)”, from Raymond Queneau, Album 19, lithograph in colors, signed in pencil lower right, numbered “55/75” lower left, sheet 26” x 20”. Glazed and framed. [2000/4000] Illustrated 896 Allison Stewart (American/New Orleans, Contemporary), “Louisiana Ikebana”, 1984, acrylic on canvas, signed lower right, signed en verso canvas, titled and dated on stretcher, 66” x 30”. Unframed. Provenance: Arthur Roger Gallery, New Orleans, Louisiana to a private collector. [1500/2500] Illustrated

896

895

894

255

897

897 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Markings 89‑1”, 1989, mixed media on canvas, signed and dated lower right, verso with “Allene Lapides, Santa Fe, New Mexico” gallery label, 36” x 43‑3/4”. Presented in a thin gallery frame. [10000/15000] Illustrated 898 Morio Shinoda (Japanese, b. 1931), “Untitled”, steel, wire and mixed media construction from “Tension and Composition” series, h. 18‑3/4”, w. 17‑1/4”, d. 17‑1/2”. Provenance: Kiko Galleries, Houston, Texas; Estate of Carolyn G. Fay, Houston, Texas; together with the original receipt from Kiko Galleries, Houston, Texas. [700/1000] Illustrated Mario Shinoda received his initial training in his native Japan before briefly studying with the American architect, designer and inventor R. Buckminster Fuller (1895‑1983). Deftly combining various aspects of both Eastern and Western culture, Shinoda creates carefully composed metal and wire constructions which explore the concept of gravity and - especially - the interplay of tension and compression. The resultant works are elegant and precise. He represented Japan at the 1966 Venice Biennale, was the recipient of the 2000 International Sculpture Center’s Outstanding Sculpture Educator Award, and has exhibited widely, including at the Museum of Modern Art, New York and the Guggenheim, New York.

256

898

899 Pair of Chromed Steel and Leather Wassily Chairs, designed by Marcel Breuer (1902‑1981) in 1925, the period examples third quarter 20th century, attributed to Knoll International, upholstered in dark brown leather, unmarked, h. 29”, w. 30‑3/4”, d. 25‑1/2”. [700/1000] Illustrated 900 Ludwig Mies van der Rohe (1886‑1969) Chromed Steel and Leather Barcelona Daybed, the quilted taupe cushion on a steel frame, the underside of the seat cushion printed “Knoll” for Knoll International, with a “Made in Italy” sticker with the Knoll logo, h. 23”, w. 38‑1/2”, l. 78”. [1800/2500] Illustrated 901 John Carroll (American, 1892‑1959), “Mrs. Morrissey and Children”, oil on canvas, signed lower left, verso frame with a “Galerie Georges Giroux, Bruxelles”, 54” x 40”. Framed. [2000/4000] Illustrated

901

900

899

257

904

903

902 Rolla Sims Taylor (American/Texas, 1872-1970), "First Presbyterian Church, West Houston", oil on canvas, signed and dated "1903" lower right, signed, titled and further inscribed en verso stretcher, 16" x 20". Framed. [1200/1800] Illustrated 903 Pair of Contemporary Art Deco-Inspired Polished Steel Armchairs, in the “Sinclair Club Chair” design, probably manufactured by “Four Hands”, each with wraparound arms, divided at the back, and with a lightly distressed brown leather seat and back cushion, unmarked, h. 28‑1/4”. [1800/2500] Illustrated 904 Neoclassical-Style Gilt-Metal and Plate Glass Cocktail Table, the legs with lion masques and ending in paw feet, joined by curved X-form stretchers, with a thick beveled plate glass top with canted corners, h. 26‑1/2”, w. 50‑1/2”, d. 32‑1/2”. [600/900] Illustrated

258

905 William Posey Silva (American, 1859-1948), 'A Quiet Pond in the Park", oil on canvas, signed lower left, localized and dated en verso "Paris, 1908", 25-3/4" x 21". Presented in a period giltwood and gesso frame. [3000/5000] Illustrated 906 Gaston de Vel (Belgian/New Zealand, 1924‑2010), “Luxembourg Gardens in Autumn”, 2005, oil on canvas, signed and dated “’05” lower left, titled en verso board, verso with “International Art Centre, Auckland, New Zealand” label, 17‑1/2” x 23‑3/4”. Framed. [1000/1500] Illustrated 907 Jacob Vincent Manguno (American/Louisiana, b. 1925), “Rhythm Queen”, 2009, casein on paper, signed lower left, verso with “Mann Gallery, 305 Royal Street, New Orleans, Louisiana” gallery label, sheet 20‑1/4” x 15”. Glazed, matted and framed. [1000/1500] Illustrated

905

906 907

259

908 Kashan Carpet, 5’ 4” x 8’ 11”. [600/900] 909 Semi-Antique Sarouk Carpet, 8’ 10” x 11’ 4”. [2000/4000] Illustrated 910 Turkish Hotan Carpet, 8’ 10” x 11’ 9”. [1000/1500] 911 Semi-Antique Kerman Carpet, 10’ x 17’ 3”. [800/1200] Illustrated

909

911

910

260

912 Bakhtiari Carpet, 8’ 6” x 11’ 8”. [1500/2500] 913 Peshawar Sultanabad Carpet, 9’ 2” x 12’. [2000/4000] Illustrated 914 Turkish Angora Oushak Runner, 3’ x 29’ 8”. [800/1200] Illustrated 915 Antique Heriz Carpet, 4’ 11” x 6’ 3”. [700/1000] 916 Semi-Antique Mahal Carpet, 5’ x 6’ 6”. [700/1000] Illustrated

913

916 914

261

919

917

918

917 American Queen Anne Cherry Chest on Stand, mid-18th century, the case with a pair of drawers over a bank of four graduated drawers, on a stool with scalloped apron, cabriole legs and pad feet, the back of the case marked in lamp black “March 19, 1752” and indistinctly signed “- Restorations”, h. 48”, w. 39”, d. 19‑1/2”. [500/800] Illustrated 918 Philadelphia Chippendale-Style Mahogany Tripod Table, 20th century, the large tilting piecrust top with a full raised edge, above a birdcage support to a turned baluster-form standard to three splayed legs headed by foliate shield carving and ending in ball-and-claw feet, h. 29”, dia. 34‑1/2”. [700/1000] Illustrated

262

919 Collection of Three Dutch Delft Vases, first half 18th century, including a pair of faceted vases with raised flowers framing a village scene, signed “S.F.”, h. 10‑1/2”, w. 5‑1/4”, and a faceted vase richly decorated with cobalt flowers, marked by Albert Justus Brouwer, known as De Byl (the hatchet), with a hatchetshaped mark, h. 10‑1/4”, w. 5‑1/2”. [700/1000] Illustrated

920 American Chippendale Banded Mahogany Bonnet-Top Chest-on-Chest, second half 18th century, the upper case with a central shell-carved drawer and flanked by two smaller drawers and four graduated long drawers below, the base fitted with four graduated long drawers, raised on ogee bracket feet, h. 80‑1/2”, w. 43”, d. 21‑1/2”. [2000/4000] Illustrated 921 American Chippendale Cherry Game Table, second half 18th century, New England, the serpentine fold-over top supported by a fly leg, the apron fitted with a drawer over a dentillated lower edge, raised on molded Marlborough legs, h. 28‑3/8”, w. 34”, l. 16‑3/4”, extended l. 33‑1/2”. [800/1200] Illustrated 922 American Chippendale Mahogany Tilt-Top Candle Stand, fourth quarter 18th century, attributed to Joseph Short, Newburyport, Massachusetts, with a serpentine-sided top attached to a birch block, the ridged slipper feet set on a delicate turned standard, h. 29‑1/4”, w. 18”, d. 18”. [500/800] Illustrated

921

923 American Federal Mahogany Bowfront Chest in the Hepplewhite Taste, late 18th/early 19th century, Maryland or Virginia, the case with a bank of four graduated and beaded drawers, raised on flaring bracket feet, h. 36‑1/2”, w. 42”, d. 21‑1/2”. [800/1200] Illustrated

923

920

922

263

924 Rare Fredericksburg, Virginia, Inlaid Mahogany Tall Case Clock, the works made by John M. Weidemeyer, ca. 1804‑1822, with a swan’s-neck pediment with turned wooden rosettes flanking an urn-form crest in two parts and likely original, the hood set with fluted columns in molded brass capitals and bases, the door outlined with stringing, set with moon phase works signed “Jno M. Weidemeyer, Fredericksburg”, with a painted flourish below painted spandrels in each corner, depicting the United States shield trimmed with raised gilt scrollwork, the trunk door with a serpentine top and inlaid oval three-part stringing, flanked by fluted wooden quarter columns, the base inlaid with round stringing matching the door inlay, the whole on flaring French feet, attached with vertical chamfered blocks, the two-board bottom likely replaced, the back composed of two lapped poplar boards, the secondary wood is poplar and pine, h. 103‑1/4”, w. 20‑1/2”, d. 10‑1/4”. The case inlay follows the New York, New Jersey model, which was common in Fredericksburg. Fredericksburg was one of the South’s most important clock making centers, with hybrid cases combining influences of New England, New York and New Jersey. The clock offered here combines New York and New Jersey influences, and is nearly identical to one illustrated in Southern Furniture by Jonathan Ronald L. Hurst and Jonathan Prown, figure 172.3, p. 573, and shares the same secondary woods. [5000/8000] Illustrated

924

264

924 detail

925

925 detail

925 American Inlaid Cherry Pembroke Table, ca. 1800, possibly from the workshop of Nathan Lombard (1777‑1847) of Sutton, Massachusetts, fitted with demi-lune drop leaves and a frieze drawer, the tapered legs inlaid with distinctive segmented icicles terminating in “dots”, the drawer with an old exhibition label which states it was owned by Mr. & Mrs. L. B. Pattison, h. 28‑3/4”, w. 39‑1/2”, d. 31‑1/4”. [700/1000] Illustrated The inlay appears on Winterthur Museum’s iconic eagle-inlaid secretary, formerly thought to be Connecticut or Rhode Island, now attributed to Lombard. The desk which shares the inlay is illustrated in American Furniture, the Federal Period 1788‑1825, by Charles Montgomery, on the dust jacket and on page 221; the inlay itself is illustrated on page 35, lower right. 926 “Grondvlakte van Nieuw Orleans, de Hoofdstad van Louisiana (Ground Plan of New Orleans, of the Capital of Louisiana)...”, by Isaak Tirion (Dutch, 1705‑1765), handcolored engraved map, published Amsterdam, 1769, sight 14” x 18‑1/2”. Glazed, matted and framed. Provenance: Descended in a New Orleans family. [600/900] Illustrated

927

Tirion’s map was created after Louis Brion de la Tour’s 1720 plan of the city, two years after it was founded. Divided into three sections, the first is one of the oldest plans of the French Quarter; the second is a survey of the New Orleans environs, including the delta and the surrounding bayou; and the third section delineates the boundaries of Fort La Balise, which later sank into the marsh in the late 1700s. 927 “Carte de La Louisiane,” by Jean-Baptiste Bourguignon d’Anville (French, 1697‑1782), hand-colored copper engraved map, created 1732, published Paris, 1752, plate 20‑3/4” x 23‑1/4”, sheet 22” x 28‑3/4”. Glazed, matted and framed. Provenance: Descended in a New Orleans family. [1400/1800] Illustrated 926

265

928

929

928 American Federal-Style Parcel-Gilt Mahogany Sofa, in the manner of McIntire, Salem, Massachusetts, the top rail centered by a carved eagle flanked by swags, joined to closed arms on turned supports, raised on reeded legs, h. 40‑1/2”, w. 79‑3/4”, d. 25”. [700/1000] Illustrated 929 Inlaid Cherry Tall Case Clock, first quarter 19th century, on French feet, the base inlaid with roundels and cut-cornered panels, the trunk set with a door with an inlaid oval and inlaid dots, framed on the outer edges with quarter columns and panels of reeding, the painted wooden dial decorated with scrollwork and flowers, with matching spandrels in the corners, signed “R. Whiting, Winchester”, in gilt panels, the hood set with a swan’s-neck pediment and sausage-turned columns, h. 98”, w. 17‑3/4”, d. 9‑3/4”. [2000/4000] Illustrated

266

930

930 American Fan-Back Windsor Armchair, first quarter 19th century, probably Nantucket, the concave crest rail with scroll ends, and joined to tapering stiles and open arms, a dished plank seat and turned legs joined by box stretchers, retaining old black paint, h. 41‑1/2”. [1000/1500] Illustrated

931 “Plan de la Nouvelle Orleans”, by Jacques Nicolas Bellin (French, 1703‑1772), hand-colored copper engraved map on laid paper, from Abbe Antoine Francois Prevost’sL’Histoire Generale des Voyages..., vol. 14, published Paris, 1746‑1759, plate 8” x 11‑1/4”, sheet 10‑1/4” x 13‑5/8”. Glazed, matted and framed. Provenance: Descended in a New Orleans family. [600/900] Illustrated

932

This stunning map illustrates the French Quarter with labeled streets and a numbered key at the top demarcating eighteen key sites, including the government building, prison, hospital, the parish church (now where the St. Louis Cathedral is), the Ursuline and Capucin Monk convents, gunpowder magazine and windmill to name some. 932 Impressive Hand-Colored Lithograph Map of the Gulf of Mexico, titled “U.S. Coast Survey, A.D. Bache Superintendent, Sketch H, Showing the Progress of the Survey in Section No. 8, 1846‑1854”, the map inset with two ancillary charts of the Gulf positions of temperature and lines of sounding by Lieutenant Commanding B. F. Sands, USN, 1854, published New York, 1854, sheet 16” x 34‑5/8”. Glazed, matted and framed. [2000/4000] Illustrated

931

933 Exceptional Nineteen-Piece Paris Porcelain Tea and Coffee Service, first quarter 19th century, richly decorated with bands of tooled gilt laurel leaves, one saucer marked on the bottom with an unidentified “DT” mark in underglaze blue block letters, the set comprised of a coffeepot, h. 11”, w. 8”, a teapot, h. 9”, w. 7‑3/4”, a cream jug, h. 7‑1/2”, w. 4‑1/2”, a sugar bowl, h. 5‑1/2”, w. 6‑1/4”, eight cups, h. 2‑1/4”, and seven saucers, dia. 5‑1/4”. [1500/2500] Illustrated

The Coast Survey illustrates the Delta, the mouth of the Mississippi, and the major bays, sounds and lakes from just west of Vermillion Bay, Louisiana east to Mobile Bay, Alabama.

933

267

934 American Giltwood Pier Mirror, second quarter 19th century, with a Restauration-style frame, designed with an upper tablet over a larger mirror, retaining a rich, original gold-leaf surface, h. 54‑1/2”, w. 27‑3/4”. [600/900] Illustrated 935 Simon Willard Federal Mahogany Tall Case Clock, first quarter 19th century, the face signed “Warranted by S. Willard”, the dial attributed to Nolen & Curtis, Boston, with an eight-day time and strike movement, h. 92‑1/2”, w. 20”, d. 10”. [12000/18000] Illustrated

934

935

268

937 Rare, Large Paris Porcelain Empire Premiere Figural Corbeille, first quarter 19th century, of bateau form, the base resting on unusual paw feet framed by vertical medallions, decorated with molded, matte-finish classical ornament, including anthemia and wreathed masques, the top of the base in matte cobalt with gilt tracery and butterflies, beneath the figures of white biscuit kneeling angels supporting the gilded basket with molded acanthus leaves on each side, h. 13‑3/4”, w. 15‑3/4”, d. 8”. [1500/2500] Illustrated

936

936 Exceptional Paris Porcelain Gilt Figural Corbeille, first quarter 19th century, of bateau form, on paw feet, the base decorated with matte acanthus leaves and tooled gilt decoration on its platform, matte gilt kneeling angels supporting the basket, with a tooled gilt border around its base and matte anthemia and acanthus leaves decorating the pierced portion, h. 11‑1/2”, w. 13”, d. 7”. [1000/1500] Illustrated

937

938 American Late Classical Parcel-Gilt and Die-Cut Brass-Decorated Rosewood Pier Table, ca. 1825, New York, school of Duncan Phyfe, with a marble top with rounded corners, above a conforming frieze with freehand gilt decoration, the lower edge with a die-cut brass band, raised on canted scroll columns, joined to a lower shelf, on tapering conical legs, h. 36”, w. 44‑5/8”, d. 17‑1/8”. [2500/4000] Illustrated

938

269

940

941

939

939 Fine American Classical Brass-Inlaid Mahogany Sofa, first quarter 19th century, school of Duncan Phyfe, the top rail with a row of five figured panels, each edged with brass stringing with reeded scroll arms and seat rail, supported by reeded sabre-form legs ending in brass paw cap casters, sumptuously upholstered in gold damask, h. 31”, w. 88”, d. 24‑1/2”. [1800/2500] Illustrated 940 Two Paris Porcelain Figural Corbeilles, first quarter 19th century, in the manner of Dagoty, Darte Freres, or a contemporary of equal rank, each decorated in matte blue and gilt, the figural support depicting a putto, the rectangular base molded with a “mount” and delicately molded lotus leaves on the supporting plinths of the figure, the pierced basket with a central rope molding and reeded, segmented lower section, h. 10”, dia. 8‑1/4”. [600/900] Illustrated

270

941 Collection of Four Small Paris Porcelain Corbeilles, early 19th century, including an example with a black base mimicking black marble and molded biscuit leaves framing the base of the pierced basket, probably Nast, h. 5‑1/2”, dia. 6‑1/4”, a bateauform basket with a matte cobalt band decorated with tooled gilt over a border with raised biscuit ornamentation, h. 4‑1/2”, dia. 8‑3/4”, and two graduated similar gilt bateau-form baskets raised on paw feet, h. 3‑3/4”, w. 5‑3/4” and h. 4‑1/2”, w. 6‑3/4”. [500/800] Illustrated

942 Pair of Paris Porcelain Campana-Form Urns, first quarter 19th century, hand-painted on the obverse with carefully rendered depictions of a Scottish shepherd and shepherdess, the shepherd dressed in a kilt and carrying a bagpipe, the reverse decorated with roundels of flowers framed with wreaths of leaves terminating in medallions, all executed in tooled work, the remainder of the urns in gilt with handles terminating in matte gilt masques, h. 14‑1/2”, dia. 9‑1/2”. [700/1000] Illustrated 943 Pair of American Colonial Revival Giltwood Convex Mirrors, first quarter 20th century, with a cove-molded frame set with gilt spherules, the crests decorated with displayed eagles and sprays of laurel and berries, and the base with shells and scrollwork, h. 29‑3/4”, w. 19”. [700/1000] Illustrated

943

944 American Classical Mahogany Pier Table, second quarter 19th century, the period white marble top over an arched frieze, now fitted with a drawer, raised on marble columns on a concave lower shelf with tapering hexagonal feet, retaining its period mirror plate, h. 36”, w. 42‑1/4”, d. 20”. [1500/2500] Illustrated 945 Pair of Paris Porcelain Garniture Urns, second quarter 19th century, now mounted as lamps, on faux-marbre wooden bases, the urns decorated with carefully painted views of villas in parks and along a stream, the handles with matte gilt masques, set with three-light lamp fittings, urn h. 16‑1/2”, overall h. 28‑1/2”, w. 7”, d. 8”. [500/800] Illustrated

942

944

945

271

946 American Classical Mahogany Sideboard, second quarter 19th century, the backboard centered by a carved shell flanked by fruit and foliage, the case with a bank of three molded drawers over a pair of paneled doors, and two like single doors, divided by tapering columns with Ionic capitals, raised on carved paw feet, h. 50‑1/2”, w. 61”, d. 23‑1/4”. [600/900] Illustrated 947 Two Paris Porcelain Gilt Corbeilles, early 19th century, including a bateau-form example raised on a base decorated with molded gilt and white acanthus leaves, h. 10‑3/4”, w. 13‑1/2”, d. 7”, and a circular example raised on paw feet, signed “Leple” in red script, 1824‑1836, a rarely encountered Paris porcelain decorator, h. 10‑1/2”, w. 13‑3/4”, d. 7”. [500/800] Illustrated

947

948 American Cherry Tall Case Clock, on French feet, with a paneled base and chamfered corners, the hood with cove molding, turned colonnettes and a swan’s-neck pediment terminating in compass-inlaid rosettes, the central finial over a fan carving, the painted sheet-iron dial with painted spandrels at the corners, signed “Jos. Richmond”, and with a lunette depicting a dog chasing a hare, signed “J. Richmond”, probably Joseph Richmond (1758‑1829) of York, England, h. 90‑1/4”, w. 17‑1/2”, d. 10‑1/4”. [700/1000] Illustrated

946

272

948

950

949 American Late Federal Mahogany Four-Post Canopy Bed, first quarter 19th century and later, the post with spiral carving and acanthus details, professionally modified to accommodate a queen-size box spring and mattress, h. 93”, inside w. 62‑1/2”, l. 81”, outside w. 68”, l. 87”. [3000/5000] Illustrated 950 Suite of Four Colonial Revival Silverplate and Glass Argand-Style Lamps, first quarter 20th century, probably American, the silverplate fittings mounted with cobalt engraved glass “tanks” decorated with silverplate and glass finials, the arms set with sockets concealed with cut and engraved shades, the set comprised of a pair of singlelight lamps, h. 20‑1/4”, w. 10‑1/4”, d. 6”, and a pair of two-light lamps, h. 20‑1/4”, w. 13‑1/2”, d. 6”. [3000/5000] Illustrated

949

273

951 Pair of American Late Classical Mahogany Drop-Leaf Work Tables, second quarter 19th century, New York, possibly by J. & J. W. Meeks, each with drop leaves and a pair of molded drawers, raised on a vasiform column above a concave base with scroll feet, h. 29‑1/2”, w. 19”, l. 20”, extended l. 38”. [1000/1500] Illustrated

953 American Late Classical Mahogany Double-Pedestal Dining Table, second quarter 19th century, each section with a single deep drop leaf and a cyma-molded apron with rounded corners, supported by a figural pedestal on a concave base with scroll feet, h. 28‑1/4”, w. 44”, extended l. 85”. [500/800] Illustrated

952 Pair of Paris Porcelain Urns, second quarter 19th century, with hand-painted scenes depicting the birth of Cupid, one draped in green and the other in red, framed with tooled borders and set with swan’s head handles, the reverse sides decorated with fronds of leaves, medallions, and lyres of acanthus leaves on a matte gilt ground, h. 12‑1/2”, w. 5‑1/2”, d. 4”. [500/800] Illustrated

954 Handsome Pair of Paris Porcelain Mantel Urns, second quarter 19th century, now mounted as lamps, hand-painted with neoclassical figures in landscapes, framed in tooled gilt borders on a matte bleu-de-roi ground, the reverse decorated with tooled gilt anthemia, laurel vines and medallions, the gilt handles terminating in oval masques, set with shades, base h. 15‑1/2”, overall h. 31”, w. 16”, d. 14”. [600/900] Illustrated

953

952

954

274

951

955 Pair of Paris Porcelain Hand-Painted Cachepots, second quarter 19th century, the black grounds hand-painted with flowers and decorated with scrollwork and lion’s head handles, formerly fitted with under trays, h. 6”, dia. 5‑3/4”. [500/800] Illustrated 956 Pair of Neoclassical-Style Gilt-Lacquered Hall Lanterns, by the “Fine Art Lamp Co.”, each adorned with swags and arabesques, cylindrical glass shades and three electric candles, each with a molded mark “Lamp Art MP”, h. 30”, dia. 10”. [700/1000] Illustrated 957 American Southern Poplar Four-Post Canopy Bed, second quarter 19th century, with large turned posts and rolling-pin headboard, with a flared canopy, h. 100‑1/2”, inside w. 55”, l. 75”, outside w. 64”, l. 84”. [700/1000] Illustrated 955

956

957

275

958 Turkish Angora Oushak Carpet, 9’ x 12’. [1000/1500] Illustrated 959 Semi-Antique Mashad Carpet, 9’ 6” x 12’ 8”. [1200/1800] Illustrated 960 Antique Persian Heriz Carpet, 6’ 2” x 9’ 3”. [1400/1800] 961 Turkish Angora Oushak Carpet, 10’ x 13’ 8”. [1200/1800] Illustrated

958

962

957

276

964

963

962 Semi-Antique Sarouk Carpet, 11’ 3” x 18’ 9”. [2000/4000] Illustrated 963 Antique Persian Mahal Carpet, 7’ 10” x 11’ 7”. [2500/4000] Illustrated 964 Peshawar Zeiglar Mahal Carpet, 5’ 10” x 7’ 7”. [700/1000] Illustrated

962

277

965 Kashan Carpet, 10’ 6” x 16’ 8”. [2000/4000] Illustrated 966 Turkish Angora Oushak Carpet, 10’ x 13’ 9”. [900/1200] 967 Antique Heriz Carpet, 7’ 6” x 17’ 8”. Provenance: By tradition, descended in the maritime and lumbertrading Olsen/Strigel family of Denmark and New Orleans, until sold in these galleries in May 2014. [5000/8000] Illustrated 968 Nineteenth-Century Persian Kashan Silk Prayer Rug, 4’ 6” x 7’ 3”. [3000/5000] Illustrated

967

965

278

968

969 Semi-Antique Heriz Carpet, 8’ 10” x 10’ 8”. [1500/2500] Illustrated 970 Antique Persian Shiraz Carpet, 7’ x 10’ 1”. [900/1200] 971 Semi-Antique Lilihan Runner, 2’ 7” x 9’ 5”. [600/900] Illustrated

969

971

279

974

972

973

975

972 Kitagawa Utamaro (1753‑1806), “Untitled”, woodblock print on paper, depicting two women painting a mustache on a sleeping man’s face, later mounted and framed, h. 13‑3/4”, w. 9‑3/4”. [700/1000] Illustrated 973 Chinese Rosewood Altar Table, second half 19th century, with a single panel rectangular-form top, set within a thick frame with slightly rounded edges, over a carved and pierced frieze in a stylized cloud design, raised on four square-section legs terminating in a neat inward facing foot, h. 41”, w. 71‑3/4”, d. 16‑1/4”. [600/900] Illustrated

280

974 Pair of Japanese Porcelain Gourd Vases, early 20th century and later, now converted to lamps, each of elongated gourd form, decorated in the Kutani style with opposing upper and lower panels enclosing figural scenes and floral designs, the surround with various floating medallions with floral motifs and stylized waves, all on a copper red ground with a simple climbing vine pattern, both mounted with bronze-tone twin-light fixtures in the French style, with later fixtures, h. 39‑1/2”, dia. 8”. [500/800] Illustrated 975 Japanese Kutani Charger, late Meiji period, of circular form with a slightly everted lip, the interior painted with a figural scene centered by two children holding a scroll painting of a mountainous landscape, depicted in blue, green, yellow and copper red enamels, all within a broad border composed of geometric patterns and floral flourishes, the reverse painted with auspicious symbols, the base with a two-character mark in copper red within a square reserve, dia. 19”. [800/1200] Illustrated

976 Japanese Kutani Vase, 20th century, of elongated baluster form, with a short narrow neck decorated with a compact swirl design over a body painted with a repeating blossoming peony motif in lilac, blue and green with foliate sprays in yellow, all on a copper red ground, with “Fuku” mark to the base, h. 25”, dia. 5‑1/2”. [700/1000] Illustrated 977 Pair of Chinese Cloisonne Horse Heads with Associated Bases, second half 20th century, each modeled with an arched neck and open mouth, decorated with a dragon amongst clouds designs in blue, yellow, red and green enamels on a sky-blue ground, together with a short plinth base, of rectangular form with rounded corners and galleried rim, pierced with dragons chasing a flaming pearl, h. 13‑1/4”, w. 10”, d. 6‑1/4”. [800/1200] Illustrated

978 Very Large Chinese Cloisonne Incense Burner and Cover, early 20th century, of quatrefoil form with a broad flared lip, the body decorated with a dragon and floral design in blue, red, green, yellow and pink enamels, flanked by two bird’s-headform handles and raised on four unusual lion-dog legs, the cover similarly enameled, with a pierced metalwork band of scrolling floral design, surmounted by a horse-form finial, h. 25”, w. 25‑1/4”, d. 18‑1/2”. [1000/1500] Illustrated 979 Chinese Bronze Zun-Form Vessel, first half 20th century, the drum-form body raised on a straight-sided foot, supported by three sitting foo dogs, with a broad trumpet neck with tao-tie mask details encircling the base, the neck with opposing panels containing inscriptions, flanked by qilin-form handles, the flared lip with repeating blade motif enclosing geometric designs, h. 12‑3/4”, dia. 11”. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [600/900] Illustrated

977

979

978 976

281

980 Boston Four-Piece Coin (.900) Silver Tea and Coffee Set, third quarter 19th century, by Vincent Laforme (1823‑1893) for Bigelow Brothers & Kennard (fl. 1845‑1863), including a coffeepot, h. 8‑1/2”, a teapot, h. 7‑1/4”, a covered sugar bowl, h. 5‑3/4”, and a tea caddy, h. 5‑1/2”, the first three with pearshaped bodies, acanthus-mounted handles and quatrefoillobed feet, the caddy of oval section, all decorated on the lid with repousse acanthus leaves surrounding an acanthus bud finial, monogrammed “MLE”, 78.71 total t. oz. [2000/4000] Illustrated

981 Good American Expansionist Era Five-Piece Coin (.900) Silver Coffee and Tea Set, second quarter 19th century, by Gerardus Boyce (1795‑1880), New York, New York, including a coffeepot, h. 12‑1/2”, a teapot, h. 11‑3/4”, a covered sugar bowl, h. 9‑3/4”, a cream jug, h. 7‑3/4”, and a waste bowl, h. 5‑5/8”, each with an inverted toupie-shaped body below a serpentinelobed everted rim, with crested “S”-scroll handles, “gooseneck” spouts, steeply domed gadrooned lids with floriform finials and raised on a wasted foot with gadrooned knop and lobed en suite, monogrammed “BL”, 163.95 total t. oz. [2500/4000] Illustrated A hot water urn in this popular pattern by Boyce is in the permanent collection of the Art Institute of Chicago.

980

981

282

982 Antebellum Virginia Coin (.900) Silver Cream and Sugar Set, third quarter 19th century, by Mitchell & Tyler, active 1845‑1866, Richmond, Virginia, including a cream jug with hinged lid, crested handle and duck’s beak spout, h. 7‑1/2”, l. 7‑1/2”, w. 4”, and an open sugar bowl, h. 4‑1/4”, w. 5‑1/2”, each with a tapering body of rounded square section with serpentine-caned corners, decorated with repousse rose bouquets and rococo scroll cartouches, raised on four cast openwork scroll-mantled shell feet, monogrammed “CSW” opposing “JMW”, 23.70 total t. oz. [600/900] Illustrated

983 Rare Aesthetic Silverplate Parlor Fountain, fourth quarter 19th century, probably James W. Tufts, Boston, handsomely decorated with molded, pierced Aesthetic side supports terminating in eagles, originally fitted with an upper glass basin under the centered nozzle, as water would spray into the basin, the upper tank drained and the tanks reversed position, h. 21‑1/2”, dia. 11”. [2000/4000] Illustrated 984 Good Shreve & Co. Sterling Silver and Engraved Glass Center Bowl, first quarter 20th century, San Francisco, California, the shaped navette base decorated with acanthus scrolls and mounted at the sides and corners with applied figures of Bacchic putti among grapevines, fitted with a conforming fluted glass bowl with scalloped rim and wheel-engraved with rococo fans and lattice, overall h. 5‑1/2”, l. 16‑1/4”, w. 10‑1/2”, 77.32 t. oz. (silver base only). [1400/1800] Illustrated

982

984

983

283

985

985 Pair of American Sterling Silver Tazze, first quarter 20th century, by Black, Starr and Frost, New York, New York, each of shaped circular form with wide reticulated rim with applied rocaille edge and medallions, raised on a domed foot en suite, monogrammed “HP”, h. 3‑1/2”, dia. 8”, 11.01 total t. oz. [500/800] Illustrated 986 Rare 19th-Century Whiting Sterling Silver “Oval Twist” ThreePiece Presentation Salad Set, the pattern introduced in 1880, Providence, Rhode Island, including a rectangular dish with gilt interior and shaped edge, l. 10‑1/4”, w. 7‑1/4”, and a salad serving fork and spoon, l. 9‑1/4”, the bowl engraved with a 25th anniversary inscription and monogram “JN / 1867‑1892 / Carlisle, Pa.”, the dates repeated on the bowls of the serving pieces, 18.06 total t. oz. [500/800] Illustrated

986

284

987 Fine Gorham Martele .958 Silver Coffee Set and Tray, 1919, designed by William Christmas Codman (1839‑1923), made by Nels Olai Nelson Haarklow (1873‑1944), including a coffeepot, h. 10‑3/4”, an open sugar bowl, h. 4‑7/8”, a cream jug, h. 5‑3/4”, and a tray, 15‑1/4” x 12‑1/2”, of baluster form with “whiplash” framed panels and decorated with prunus blossoms, the tray of shaped rectangular form with integral handles and decorated en suite, the tray inscribed on the underside “Annie Gordon Murdock 1919”, 91.78 total t. oz. Provenance: Property from the Collection of Carl Desantis, Sotheby’s New York, November 4, 2011, lot 38; also, Sotheby’s New York, June 17, 1999, lot 242. [15000/25000] Illustrated Gorham records show that this set - which bears the signature of Gorham’s head of design William C. Codman - was finished on June 7, 1919. The maker of the tray and the name of the chaser(s) are not recorded, but the maker of the set was Nels Olai Nelson Harklow. (The name appears variously as Neilsen/NelsenNeilson Haarklou/Harklou/Haarklow, but he himself seems to have settled on the anglicized Nels Nelson Harklow in most of the documentation of his adult life.) He was born in Bergen, Norway on February 2, 1873, the son of Andreas Neilsen and Ragnide Rognaldsen, and was baptized twenty-six days later at Korskirken (Cross Church) in Bergen. (Around the time of his birth, the family discontinued the traditional Scandinavian patronymic and adopted the surname Haarklou after the lands inherited by his grandmother and made famous by his uncle, composer Johannes Haarklou (1847‑1925).) He is listed as a goldsmith at the time of his marriage on December 8, 1893 to Anna Andreas Johannesen and in the 1900 Bergen census, but as there is no record of his having received a trade license, he was very likely still working as a journeyman. Emigration records show that he arrived in New York on September 6, 1902, and he is listed in Brooklyn directories as a silversmith in 1904. He soon moved to Providence, Rhode Island, first appearing in Gorham’s pay rosters in April of 1905, and the birth of his daughter, Ingeborg, is recorded in Providence on August 29, 1905. (Her mother, however, is not Anna Johannesen, but Marie Rasmussen. Anna remained in Bergen, where she is listed as divorced by 1910 and remarried to Ludvig Larsen in 1918. Whether she and Haarklow divorced before his emigration, or on account of it, is not known.) He was naturalized as a U.S. citizen in 1917, by which time he had settled in Pawtuxet Village, Warwick, Kent County, Rhode Island. He was still working for Gorham until at least 1920, and very probably long after. He died in Pawtuxet on January 23, 1944.

987 detail

987

285

988 989

990

988 Tiffany & Co. Sterling Silver Gilt Fruit Bowl, the pattern introduced in 1900, New York, New York, of oval form, the deeply everted quarter-lobed rim decorated with pierced fleursde-lis and floral scroll rim, raised on four floral acanthus feet en suite, h. 3”, l. 13‑3/4”, w. 10‑1/4”, 26.68 t. oz. [1200/1800] Illustrated 989 Tiffany & Co. Sterling Silver Fruit Basket, the pattern introduced in 1904, New York, New York, of oval form with lobed rim, decorated with pierced and engraved gooseberries, the interior gilt, with swing handle en suite, the whole raised on four acanthus-crested pad feet, h. 6” (10‑5/8” with handle), l. 13”, w. 8‑3/4”, 26.02 t. oz. [1000/1500] Illustrated

286

991

990 Pair of Tiffany-Retailed German Sterling Silver Graduated Stirrup Cups, first quarter 20th century, probably J. D. Schleissner Sohne, Hanau, each in the form of a stag’s head, the interiors gilt, the smaller h. 5‑1/2”, dia. 3”, the larger h. 6‑3/4”, dia. 3‑1/4”, 21.98 total t. oz. [800/1200] Illustrated 991 Pair of American Sterling Silver Tazze, third quarter 20th century, by the Durham Silver Co., New York, New York, each with an everted rim decorated with cast openwork scrolls with demi-putti and lion’s masques, raised on a domed foot en suite, h. 3‑3/4”, dia. 9‑1/4”, 44.99 total t. oz. [900/1200] Illustrated

992 Three-Piece Reed & Barton “Francis I” Sterling Silver Coffee Set, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, this set 1950‑1952, including a coffeepot, h. 10‑1/2”, l. 10‑1/4”, a covered sugar bowl, h. 6‑1/2”, w. 8‑1/4”, and a cream jug, h. 6”, l. 6”, 84.12 total t. oz. [3500/5000] Illustrated 993 Fifteen Reed & Barton “Francis I” Sterling Silver Serving Pieces, the pattern introduced in 1907 by Ernest Meyers, Taunton, Massachusetts, no monograms, 16.72 total t. oz. (weighable silver). Detailed list of pieces available on request. [700/1000] Illustrated

993

992

994 Set of Twelve Reed & Barton “Francis I” Sterling Silver Service Plates, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 10‑3/4”, 199.03 total t. oz. [4000/7000] Illustrated 995 Twenty Wallace “Sir Christopher” Sterling Silver Serving Pieces, the pattern designed in 1936 by William S. Warren (1888‑1965), Wallingford, Connecticut, no monograms, 41.66 total t. oz. (weighable silver). Detailed list of pieces available on request. [700/1000]

994

287

998

996

997

996 Sixty-Seven-Piece Set of Wallace “Grand Baroque” Sterling Silver Flatware, the pattern designed in 1941 by William S. Warren (1888‑1865), Wallingford, Connecticut, including eight seven-piece place settings, with an additional eight teaspoons and three serving pieces, no monograms, 80.86 total t. oz. (weighable silver). Detailed list of pieces available on request. [1500/2500] Illustrated 997 Six-Piece American Sterling Silver Coffee and Tea Set, 1905, by Dominick & Haff, New York, New York, including a kettle-on-stand, h. 14‑1/4”, a coffeepot, h. 11”, a teapot, h. 7‑1/4”, a covered sugar bowl, h. 6‑1/4”, a cream jug, h. 5”, and a waste bowl, h. 4”, each with a pear-shaped body decorated with repousse rococo scrolls and cartouches and with gadrooned rims, monogrammed “SEH”, 181.37 total t. oz. [2500/4000] Illustrated

288

998 Fifty Assorted Pieces of Gorham “Strasbourg” Sterling Silver Flatware, the pattern designed in 1897 by William Christmas Codman (1839‑1923), Providence, Rhode Island, including thirty-eight place pieces and twelve serving pieces, no monograms, 37.34 total t. oz. (weighable silver). Detailed list of pieces available on request. [700/1000] Illustrated

999 Forty-Nine Pieces of Gorham “Strasbourg” Sterling Silver Flatware, the pattern designed in 1897 by William Christmas Codman (1839‑1923), Providence, Rhode Island, including eight five-piece place settings (two cream soup spoons lacking), with an additional eight teaspoons and three serving pieces, no monograms, 57.98 total t. oz. (weighable silver), presented in a blue Pacific cloth-covered fitted drawer insert with zippered top. Detailed list of pieces available on request. [1400/1800] Illustrated 1000 Two Gorham “Plymouth” Sterling Silver Water Pitchers, 1903 and 1927, Providence, Rhode Island, of shaped navette section with reeded rim and crested handle, the later example monogrammed “GBJ”, h. 9‑3/4”, l. 9‑3/4”, w. 4‑1/2”, 51.42 total t. oz. [1000/1500] Illustrated

999

1001 Sixty-Two Pieces of Lunt “Chateau” Sterling Silver Flatware, the pattern designed in 1919 by George Colby Lunt (1864‑1952), Greenfield, Massachusetts, including eight six-piece place settings (one bouillon spoon lacking), with an additional three place pieces and twelve serving pieces, three pieces monogrammed, 53.9 total t. oz. (weighable silver), presented in a russet velvet and cream satin-lined fitted wooden case with lift top, 3‑3/4” x 14‑1/2” x 12”. [600/900] Illustrated

1001 detail

999 detail

1001

1000

289

1002 Set of Twelve Sterling Silver Water Goblets, third quarter 20th century, by M. Fred Hirsch, Jersey City, New Jersey, each with an inverted bell-form bowl and baluster stem, no monograms, h. 7”, dia. 3‑3/8”, 49.99 total t. oz. [700/1000] Illustrated 1003 Eighty-One-Piece Set of Wallace “Rose Point” Sterling Silver Flatware, the pattern designed in 1934 by William S. Warren (1888‑1965), Wallingford, Connecticut, including a dozen six-piece place settings and nine serving pieces, no monograms, 74.7 total t. oz. (weighable silver). Detailed list of pieces available on request. [1400/1800] Illustrated 1004 Large South American .830 Silver Fruit Bowl, second half 20th century, decorated with a central flower surrounded by repousse grapes, strawberries, apples and pears, with applied oak branch and acorn rim, raised on four acanthus scroll supports above a domed base en suite with four acanthus scroll feet, h. 9”, dia. 18‑1/2”, 78.52 t. oz. [900/1200] Illustrated

1003

1002

1004

290

1005 South American .833 Silver Tray, mid-20th century, of rectangular form with pierced “vintage” gallery, the plateau engraved with conforming acanthus scroll bands, with stirrup handles and raised on four acanthus-crested paw feet, l. 22‑1/2”, w. 13‑1/4”, 83.59 t. oz. [1500/2500] Illustrated 1006 Pair of South Asian Silver Candlesticks, mid-20th century, each with a spiral column standard and Corinthian capital nozzle, raised above a domed base decorated with three tiger pelts separated by three figural angel legs above tiger paw feet, h. 6‑3/4”, 35.34 total t. oz. [700/1000] Illustrated 1007 Large Silver Figure of a Recumbent Lion, mid-20th century, probably West or South Asian the realistically detailed figure with glass eyes, h. 12‑1/4”, l. 22”, 140.50 t. oz. [2000/4000] Illustrated 1006

1005

1007

291

1009 one of two

1011 1008

1010 1009 two of two

1008 American Brass Solar Lamp, mid-19th century, Philadelphia, on a double stepped base, with a caryatid standard, the burner retaining its original deflector and other elements, set with a Colonial Revival frosted and cut glass shade, h. 25”, dia. 6‑1/2”. [500/800] Illustrated

1010 American Rococo Revival Rosewood and Marble-Top Center Table, third quarter 19th century, with foliate-carved aprons and pierced legs with scroll and foliate carvings, joined by a carved stretcher with a turned and reeded finial, h. 28‑1/2”, w. 30”, l. 48”. [800/1200] Illustrated

1009 British School (Mid-19th Century), “Pair of Pendant Portraits of a Gentleman and a Lady”, oils on canvas laid down on canvas-backed boards, 29” x 23‑1/2” and 30” x 23‑3/4”. Framed alike. [1000/1500] Illustrated

1011 Pair of Bohemian Cased Glass Trumpet Vases, third quarter 19th century, composed of cranberry glass cased with opaline, cut with quatrefoils and Gothic panels, trimmed with gilt scrollwork, h. 12‑1/2”, dia. 5‑1/2”. [800/1200] Illustrated

292

1012 Rare Pair of American Rococo Revival Carved Walnut Library Chairs, mid-19th century, attributed to Charles White, Philadelphia, one bearing a stamp on the inner rear leg, “C.W. PAT.”, each with a padded crest rail above a carved back depicting intertwined dolphins and carved griffin-arm fronts, ending in large paw feet, covered in simulated ostrich leather upholstery, h. 33”, w. 24”, d. 22”. [3000/5000] Illustrated The vintage photograph shown on the right is of William Vanderbilt sitting in the same chair. This chair also appears in a drawing in Mr. Vanderbilt’s House and Collection, by George Barrie, Boston. 1013 American Brass Solar Lamp, mid-19th century, probably New York, with a double step marble base, retaining a rich gilt-lacquer finish, hung with prisms and set with a period frosted and cut glass shade, electrified, h. 22”, dia. 7‑1/2”. [500/800] Illustrated

1013

1012 detail

1012

293

1014 American Rococo Revival Rosewood Armoire, third quarter 19th century, the bonnet top over a single glazed door, flanked by canted corners with foliate- and floral-carved brackets, the interior with finished figured birch veneers, on a base with a single drawer, h. 98”, w. 52‑3/4”, d. 25‑1/4”. [1000/1500] Illustrated

1016 American Rococo Revival Walnut and Marble-Top Center Table, third quarter 19th century, the tortoise-form marble top over a conforming apron centered by cabochons flanked by foliage, raised on cabriole legs joined by pierced serpentine stretchers with a tiered finial, h. 30”, w. 43”, d. 28‑1/2”. [500/800] Illustrated

1015 Bohemian Enameled Overlay Glass Vase, first quarter 20th century, composed of opaline-plated glass cut to emerald green and decorated with floral enameled panels in both the upper and lower portions, h. 16”, dia. 7”. [600/900] Illustrated

1017 Ten-Piece Collection of Anneau d’Or Paris Porcelain, mid19th century, French, including an unusual lobed centerpiece/ fruit bowl, h. 6”, dia. 10‑1/2”, six dinner plates, dia. 9‑1/4”, a silver-form covered vegetable dish, dia. 9‑3/4”, a punchbowl inscribed “Souvenir Amabilite”, h. 3‑3/4”, and a veilleuse, h. 10‑1/4”. [500/800] Illustrated

1017

1015

1016 1014

294

1018 Four-Piece Victorian-Style Cast Iron Garden Suite in the “Gothic Arch and Rose” Pattern, including a pair of armchairs, h. 32‑1/2”, a garden bench, h. 17‑3/4”, w. 55”, d. 16‑1/2”, and a backed bench, h. 35”, w. 58‑1/4”, d. 20”, all featured in the Rose Garden, The White House, Washington, D.C. [1500/2500] Illustrated

1020 Burmese Rosewood Prie-Dieu in the Rococo Taste, second half 19th century, the upholstered back on a carved base in foliate and scroll decor, raised on turned legs, upholstered in needlepoint plush, h. 34‑1/4”, w. 17”, d. 16”. [600/900] Illustrated 1021 French Gilt-Bronze and Cut Glass Banquet Lamp, third quarter 19th century, now electrified, with a Rococo Revival giltbronze base decorated with scroll and rocaille work, set with a Russian pattern cranberry-plated cut glass font, mounted with a Wild and Wessel “Kosmos” burner, h. 27”, dia. 7”. [600/900] Illustrated

1019 American Rococo Revival Rosewood Armoire, third quarter 19th century, New York, possibly Alexander Roux and made for the Southern market, with a molded cornice and applied carving to the frieze below, a single mirrored door above a long drawer in the base, and a satinwood interior, h. 93”, w. 53”, d. 23”. [800/1200] Illustrated

1018

1020

1021 1019

295

1024

1022

1023

1022 Pair of French Patinated Metal Figures of Muses, fourth quarter 19th century, now mounted as lamps, on turned ebonized bases, each figure classically draped, one with a tambourine and the other with a lyre, mounted with shades, h. 32‑1/2”, dia. 16‑1/2”. [800/1200] Illustrated 1023 American Neo-Grec Inlaid Rosewood Cabinet, ca. 1866, probably by Pottier and Stymus, New York, the top with a shaped plinth with leaf and urn inlay, the case with a single door centered by a copper-clad electroform plaque depicting a classical maiden with amphora, flanked by stepped-back canted ends, each with an inlaid panel in the Renaissance Revival taste, the door opening to reveal an interior in carefully selected birdseye maple veneers, with a pair of like shelves, h. 47‑1/2”, w. 61”, d. 25”. [2000/4000] Illustrated

296

1025

1024 Joseph G. Beitl (American/New Jersey, 1841‑1929), “Landscape with a Hunter and His Dog”, oil on canvas, signed and dated “1892” lower left, 15” x 30”. Framed. [1000/1500] Illustrated 1025 Pair of French Marble, Bronze and Glass Banquet Lamps, fourth quarter 19th century, on red griotte marble bases, set with gilt and silvered bronze vasiform standards decorated with frolicking putti and mounted with horned masque handles, the lead glass fonts cut with bull’s eyes and fluting, electrified, h. 26‑1/2”, w. 6‑1/2”, d. 5‑3/4”. [1500/2500] Illustrated

1026 Pair of Paris Porcelain Hand-Painted Vases, third quarter 19th century, now mounted as lamps, the Middle Easterninspired lobed vases with Persian-inspired pierced handles and elaborate green, gilt and blue Persian borders around the painted panels, hand-painted with figures in Renaissance dress, against a periwinkle blue ground with gilt flourishes, base h. 23‑1/2”, overall h. 38‑36/4”, w. 7‑3/4”, d. 5‑1/2”. [500/800] Illustrated 1027 Handsome Pair of Paris Porcelain Vases, fourth quarter 19th century, formerly mounted as lamps, with biscuit and gilt caryatid-molded handles, the vases decorated with carefully painted birds, flowers and butterflies trimmed in bleu celeste, on platinum grounds, with painted wood bases on the lower cylindrical portion, made to conceal electrical fittings, h. 17”, w. 8‑1/2”, d. 4‑1/4”. [1000/1500] Illustrated

1028 American Neo-Grec Marquetry-Inlaid and Bronze-Mounted Rosewood Cabinet, attributed to Pottier & Stymus, New York, ca. 1869‑1870, the top centered by a raised plinth with incised lambrequins beneath the top, the case with an inlaid frieze over a door with an inlaid panel centered by a masque of a mythological personage, the concave sides with bronze plaques, the fluted pilasters with gilt decor, the verso numbered “3332” and with the letters presumably for the party that commissioned the piece “H.K.O.”, h. 52‑3/4”, w. 61”, d. 22”. [2500/4000] Illustrated Pottier and Stymus employed a consecutive numbering system on their pieces starting about 1869. The number on this piece suggests origins around 1869‑1870. In 1869, the U.S. Treasury Department also purchased a suite of Renaissance Revival furniture from Pottier and Stymus.

1026

1027

1028

297

1032

1031

1029

1029 Pair of Franco Bohemian Opaline Vases, third quarter 19th century, the ring-blown clambroth vases decorated with gilt rings and a cobalt top edge, with a polished pontil on the base, h. 11”, dia. 5‑3/4”. [500/800] Illustrated 1030 Three Pieces of American Garden Furniture, including a pair of cast iron “Fern” pattern armchairs, late 19th/early 20th century, decorated with molded ferns, the seats with strapwork, made in the Northeastern United States, h. 35‑1/2”, and an aluminum and marble-top table, of circular form and pierced in the rococo style, h. 27”, dia. 24”. [1000/1500] Illustrated

298

1030

1031 Pair of Asian-Inspired Black Metal Tree Tubs, with tapered bodies resting on ball feet, the sides mounted with ring pulls, h. 20”, w. 19‑1/2”, d. 19‑1/2”. [500/800] Illustrated 1032 American Arts and Crafts Brass and Slag Glass SevenLight Chandelier, first quarter 20th century, set with canary and white mottled glass, the muntins decorated with raised scroll and strapwork, trimmed with spiral fluting, the upper portion in the form of a pierced crown, h. 16”, dia. 26”. [1200/1800] Illustrated

1033 American School (Fourth Quarter 19th Century), “Mountain River Valley with Native American Procession”, 1883, oil on canvas, inscribed “H. Geyer & G. S. Collis/1883” for Herman Geyer (American/New York, 19th Century) and George S. Collis (American/Illinois, b. 1858), 36” x 52”. Presented in a carved giltwood frame. [1500/2500] Illustrated

1036 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 689/1,000, this number for Mrs. S. E. Trout, Frankfurt, Philadelphia, cream paper-covered boards, 19‑1/4” x 13‑3/4”. [700/1000]

1034 Colonial Revival Mahogany Tall Case Clock, early 20th century, retailed by Tiffany & Co., New York, the bonnet-top hood with carved details, the case with full fluted columns and ending in paw feet, the movement with time and strike on five spring chimes, h. 101”, w. 25”, d. 17”. [2000/4000] Illustrated

1037 Pair of French Porcelain, Bronze and Glass Moderator Lamps, third quarter 19th century, resting on pierced bronze bases, the ivory-ground vases decorated with raised enamel cornflowers and set with blue-gray coin spot-type glass ball shades, h. 19‑3/4”, dia. 5‑1/4”. [700/1000] Illustrated

1035 Pair of Monumental Continental Brilliant-Style Cut Glass Vases, cut with hobstars, buzzstars and panels of Russian cut, signed “Guver”, h. 33”, dia. 9”. [500/800] Illustrated

1033

1035

1037

1034

299

1038

1040

1038 Meissen Porcelain Reticulated Oval Basket, late 19th century, German, decorated with hand-painted flowers and applied roses, the sides formed of pierced interlocking ovals, both the handles and feet with pierced Greek frets, a crossed sword mark on the bottom of one foot, h. 6‑1/2”, w. 12‑1/2”, d. 9‑1/2”. [700/1000] Illustrated 1039 Steinway and Sons Ebonized Baby Grand Piano and Bench, bearing the serial #S2708, and stamped “Steinway accelerated action”, piano h. 38‑1/2”, w. 57‑1/2”, l. 67”. [5000/8000] Illustrated

300

1039

1040 American Classical Revival Mahogany Nine-Tube Chiming Case Clock, ca. 1900, with an arched cornice, the beveled and glazed door flanked by columns, on scroll feet, the movement by J. J. Eliot, London, and the face so marked, h. 92‑1/2”, w. 25‑1/2”, d. 18”. [1500/2500] Illustrated

1041 Ornate Wrought Iron and Brass Overlay Slag Glass Floor Lamp, early 20th century, probably Bradley and Hubbard, with a five pull-chain socket system, the shade with pierced brass overlay and multicolored glass panels, h. 73”, dia. 22”. [700/1000] Illustrated 1042 Pair of Victorian-Style Cast Iron Garden Benches in the Manner of Coalbrookdale, each with an arched back with foliate and geometrically modeled decor, scroll arms and saber-form legs with hoof feet, h. 41‑1/2”, w. 57‑1/2”, d. 22‑1/2”. [700/1000] Illustrated 1043 French Patinated Bronze of “Baigneuse; Venus au Bain”, ca. 1900, after the 1757 marble by Etienne Maurice Falconet (French, 1716‑1791) exhibited at the Paris Salon and now conserved at the Musee du Louvre, on a marbre rouge and bronze stepped plinth, overall h. 20‑1/4”, w. 8‑3/4”, d. 8‑3/4”. [700/1000] Illustrated

1043

1041

1042

301

1046

1044

1047 1045

1044 Peter Lanz Hohnstedt (American/Texas, 1871/2‑1957), “French Quarter Courtyard”, oil on canvas board, signed lower right, 16‑3/4” x 13‑3/4”. Framed. [1000/1500] Illustrated 1045 Alexander John Drysdale (American/Louisiana, 1870‑1934), “Dusk Over the Bayou”, oil wash on paper board, signed lower right, 14” x 19”. Glazed, matted and framed. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [2000/4000] Illustrated

302

1046 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Summer Afternoon on the Bayou”, oil wash on paper board, signed lower right, sheet 20” x 30”. Glazed and framed. [2500/4000] Illustrated 1047 Newcomb College Art Pottery Vase, 1918, decorated by Sadie Irvine with trees at dawn, matte glaze with pink, blue and green underglaze, the base marked with Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, reg. no. JT12 and shape no. 245, h. 7‑1/2”, w. 4‑1/2”. Provenance: Private collection, Texas. [2000/4000] Illustrated

1048 Rare Newcomb College Art Pottery Vase, 1914, decorated by Alice Moise with daffodils, matte glaze with yellow, green and blue underglaze, the base marked with the Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, reg. no. GR12, shape no. 237 and clay mark “C” for buff clay body, h. 5‑1/4”, dia. 3‑1/4”. Provenance: Private collection, Texas. [1500/2500] Illustrated

1050 Pair of Newcomb College Art Pottery Candlesticks, 1925, decorated by Anna Frances Simpson with jasmine flowers, matte glaze with yellow, green and blue underglaze, the base marked with Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, reg. no. OX6 and shape no. 232, the base on one candlestick retains its original Newcomb label, h. 7”, dia. 4”. Provenance: Private collection, Texas. [1500/2500] Illustrated

1049 Newcomb College Art Pottery Bowl, 1923, decorated by Sadie Irvine with rice hulls, matte glaze with blue, green and pink underglaze, the base marked with Newcomb cipher, decorator’s mark, reg. no. NC96 and shape no. 6, h. 3”, dia. 4‑1/2”. [700/1000] Illustrated

1051 Marcus Waterman (American, 1834‑1914), “Rural River Landscape”, oil on canvas, signed lower right, 16” x 28”. Presented in a period giltwood frame. [1000/1500] Illustrated

1048

1050

1051

1049

303

1052 Martha Walter (American, 1875‑1976), “Figure in Front of a Cathedral”, watercolor on paper, signed lower right, sight 8‑1/2” x 6‑3/4”. Glazed, matted and framed. [1500/2500] Illustrated 1053 George Ohr “Joe Jefferson” Vase-Shaped Mug, ca. 1896, Biloxi, Mississippi, inscribed “Here’s Your Good Health and Your Family’s and May They All Live Long and Prosper, J. Jefferson”, made to commemorate actor/comedian Joe Jefferson’s visit to Ohr in 1896, h. 7‑3/4”, w. 5”. [800/1200] Illustrated

1054 Three-Piece Collection of Signed George Ohr Art Pottery, ca. 1895‑1905, Biloxi, Mississippi, including a mottled greenglazed mug with a script mark, h. 3‑3/4”, dia. 3‑1/4”, a brown vase with an “alligatored” dark glaze over a lighter glaze, stamped “G. E. Ohr, Biloxi, Miss.”, h. 4‑1/2”, dia. 2‑1/2”, and a mottled aubergine vase stamped “G. E. Ohr, Biloxi, h. 3‑1/2”, dia. 3”. [800/1200] Illustrated 1055 Howard Logan Hildebrandt (American, 1872‑1958), “Mother and Daughters”, oil on canvas, signed lower right, inscribed on the stretcher “Painted by Howard Logan Hildebrandt / From the Estate Sale”, 38” x 36”. Framed. [3000/5000] Illustrated

1052

1055

1054 1053

304

1057 Louise Guidry (American/Louisiana, b. 1930), “The Live Oak”, acrylic on canvas, signed lower right, 28” x 22”. Framed. [1500/2500] Illustrated 1058 Helen Thomas Dranga (British/American, 1866‑1940), “Bay View, Hawaii, Possibly Near Honolulu”, oil on canvas board, signed lower right, 17‑3/4” x 22”. Framed. [3000/5000] Illustrated

1056

1056 Follower of Porfirio Salinas (American/Texas, 1910‑1973), “Texas Landscape with Bluebonnets”, oil on canvas, signed lower left “Salinas”, “Nunnery’s Gallery, Jackson, Mississippi” label en verso, 9” x 12”. Framed. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1000/1500] Illustrated

1058

Helen Dranga, a native of Oxford, England, studied at the Kensington College of Art (Royal Art College) before moving to Hilo, Hawaii with her husband and young son in 1901. For the next 27 years, Dranga devoted her life to recording the rich diversity of the Hawaiian shores, flora and inhabitants with a sensitivity and meditative quiescence that appealed to fellow denizens. In the 1920s and 1930s, Dranga’s paintings were regularly featured on the cover of Paradise of the Pacific - a prominent Honolulu magazine in circulation since 1888. In the painting offered here, another rare view of Hawaii is disclosed - white sandy beaches nestled amid a sun-drenched cove lined by volcanic rock on the horizon. White beaches, rare as they are, dot the Hawaiian terrain, making it difficult to pinpoint the inlet or bay from where this oeuvre was painted, since Dranga did travel throughout the islands. Hilo is not known for its white beaches, so this view may have been painted near Honolulu where Dranga spent the last few years of her life.

1057

305

1061 George Schmidt (American/Louisiana, b. 1944), “Wrestlers”, 1980, oil on canvas, signed and dated lower right, 22” x 24”. Framed. [1000/1500] Illustrated 1062 Bruce (Robert) Crane (American, 1857‑1937), “New England Farm”, oil on canvas, signed lower right “Bruce Crane, N.A.”, 16” x 18”. Presented in a period frame. [1500/2500] Illustrated

1059

1061

1060

1059 Carl Sammons (American/California, 1883‑1968), “California Ghost Town”, mixed media on paper, signed lower right, sight 9‑3/8” x 13‑1/4”. Glazed, matted and framed. [1000/1500] Illustrated 1060 Glenna Goodacre (American/New Mexico, b. 1939), “Head of a Brave”, 1994, patinated bronze, cast signature, dated, copyright marked and numbered “11/50” along proper right edge, h. 16‑1/4”, w. 15”, d. 8”. Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico; Estate of Carolyn G. Fay, Houston, Texas. Together with letter of authentication and appraisal from Nedra Matteucci Galleries. [700/1000] Illustrated

1062

306

1063 Marie Atkinson Hull (American/ Mississippi, 1890‑1980), “Landscape”, oil on canvasboard, signed lower left, 12” x 16”. Framed. [1500/2500] Illustrated 1064 Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Street Scene with a Woman Wearing a Black Scarf”, watercolor and graphite on paper, signed lower left, sight 11” x 8‑1/2”. Glazed, matted and framed. [1000/1500] Illustrated 1065 Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Red Apple”, oil on canvas, signed lower right, 8” x 10”. Framed. [1000/1500] Illustrated

1063

1064

1065

307

1066 Alberta Kinsey (American/Louisiana, 1875‑1952), “Magnolias in a Vase”, oil on canvas board, signed lower left, 13” x 10”. Framed. [1000/1500] Illustrated 1067 Mildred Nungester Wolfe (American/Mississippi, 1912‑2009), “Chrysanthemums”, oil on canvas, signed and dated “76” lower right, titled and further inscribed en verso stretcher, 20” x 24”. Framed. [1000/1500] Illustrated 1068 Karl Wolfe (American/Mississippi, 1904‑1985), “Jonquils”, oil on canvas, signed lower right, titled and further inscribed en verso stretcher, 16” x 20”. Framed. [1000/1500] Illustrated

1066

1067

308

1068

1069 Qum Carpet, 6’ 7” x 10’ 6”. [1000/1500] 1070 Peshawar Heriz Carpet, 12’ x 14’. [1200/1800] Illustrated 1071 Semi-Antique Bakhtiari Carpet, 10’ 4” x 12’ 7”. [1500/2500] Illustrated 1072 Louis XV-Style Needlepoint Carpet, 14’ x 19’ 4”. [1200/1800] 1073 Turkish Angora Oushak Carpet, 9’ 9” x 13’ 7”. [900/1200] Illustrated

309

1074 1077

1074 Semi-Antique Tabriz Carpet, 3’ 7” x 5” 2”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [500/800] Illustrated 1075 Tabriz Carpet, 11’ 7” x 23’ 2”. [1500/2500] Illustrated 1076 Peshawar Sultanabad Runner, 2’ 6” x 11’ 7”. [600/900] 1077 Semi-Antique Heriz Carpet, 6’ 11” x 9’ 5”. [2000/4000] Illustrated

1075

310

1079

1078

1081

1080

1078 Nicolas Jiminez Caballero Navarro Alperiz (Spanish, 1865‑1928), “Turkish Rifleman in a Red Fez”, oil on panel, signed lower left “Alperiz”, 7‑3/4” x 5”. Presented in a fine carved giltwood bronze- and black-painted frame. [2000/4000] Illustrated 1079 Russian School (Fourth Quarter 19th Century), “Caravan”, 1891, oil on canvas, illegibly signed and dated lower right, titled, dated and illegibly signed en verso, 9‑3/4” x 12‑1/4”. Framed. [1500/2500] Illustrated

1080 Continental Vienna-Style Cold-Painted Bronze Camel, the large bronze figure resting on a fruitwood base, h. 18‑3/4”, w. 19‑1/2”, d. 9‑1/2”. [800/1200] Illustrated 1081 Cold-Painted Bronze and Marble Figural Desk Set, first quarter 20th century, probably Bergman, Vienna, Austria, comprised of an encrier and a paperweight, both mounted on Portoro marble bases, the encrier depicting a Moorish teacher with three boys at their lessons, on an oriental carpet, a bronze tabouret with a book concealing a blown glass inkpot, and a carved pen tray insert in front of the marble, h. 5‑3/4”, w. 9‑3/4”, d. 8”, and the paperweight decorated with a single school boy on a carpet, h. 2‑1/2”, w. 4‑1/2”, d. 2‑3/4”. [1200/1800] Illustrated

311

1082

1083

1084

1082 Mughal Carved Jade and Gold-Damascened Wootz Dagger, ca. 1900, the reeded and waisted hilt topped with carved flowers, the wootz blade with gold damascene decoration surrounding the fuller on both sides, blade l. 11‑1/4”, overall l. 15‑3/4”. [1000/1500] Illustrated 1083 Mughal Gold-Damascened Iron Pesh-Kabz Dagger, late18th century, the hilt with full gold damascene decoration, the single edge blade with a gold damascene medallion inscription, fitted with a passementerie-trimmed claret velvet-covered wood scabbard, blade l. 10‑7/8”, overall l. 15‑1/2”. [700/1000] Illustrated

312

1084 Mughal Carved Jade and Wootz Dagger, early 19th century, the “gathered” dark green jade hilt issuing flowers with a floral-carved pelmet and scroll guard, the wootz blade fitted with a later passementerie-trimmed green velvet-covered wood scabbard, blade l. 8‑3/4”, overall l. 14‑1/4”. [1000/1500] Illustrated

1085 Chinese Export Lacquered and Gilt-Stenciled Games Table, second half 19th century, the reversible top with a checkerboard on the underside and opening to an internal backgammon game board on the inside, one side fitted with a drawer and raised on a pedestal standard with faux bamboo legs, h. 26‑1/2”, w. 33‑1/2”, d. 29‑1/2”. [1200/1800] Illustrated 1086 Handsome Pair of French Bronze Dore et Patine Chinoiserie Three-Light Candelabra, ca. 1900, on pierced bases draped with laurel swags, each supporting a gilt-bronze dais decorated with carefully executed details and holding a patinated bronze figure of a Chinese musician, one playing a lute and the other a pan pipe, under a raised bronze frame with laurel swags supporting the urn-form, swag-molded candle cups, h. 21‑1/2”, w. 17”, d. 6‑3/4”. Provenance: M.S. Rau Antiques, New Orleans, Louisiana. [1500/2500] Illustrated

1087 Chinese Export Ebonized Center Table, mid-19th century, the circular top with an elaborate gilt figural Asian landscape, raised on a columnar standard to a concave tripartite base on casters, h. 28”, dia. 31”. [1000/1500] Illustrated 1088 Chinese Four-Panel Room Divider, mid-20th century, each panel depicting scenes of figures at leisure on garden terraces to the upper section, and flowers, fruit and vegetables to the lower section, with details in hardstone, bone and resin on lacquer boards, the reverse painted with birds amid branches, fruit and foliage, h. 71‑3/4”, w. 72”. [500/800] Illustrated

1087 1086

1085 1088

313

1092

1089

1091 1090

1089 Handsome Japanese Pierced Satsuma Vase, fourth quarter 19th century, decorated with pots of orange and blue flowers, and trimmed in gilt on a blue and gilt ground, with circular and lozenge-form piercings, the base with circular and lozenge-form panels decorated with birds and lotus flowers, h. 12”, dia. 6‑3/4”. [500/800] Illustrated 1090 Four Chinese Porcelain Plaques, 20th century, each of the finely painted porcelain panels depicting a scene of birds and flowers, each in a pierced and carved frame decorated with auspicious symbols, inscribed and marked “Liu Yucen” (1904‑1969), plaque h. 28‑5/8”, w. 8‑1/4”, overall h. 47”, w. 14”. [1000/1500] Illustrated

314

1091 Associated Pair of Chinese Famille Rose Vases, early/mid20th century, now mounted as lamps, each of baluster form, one example decorated with a peach tree design, and the other with a pomegranate tree with blossoming peonies and rockwork, each mounted with a brass twin-light fixture surmounted with a Shou character motif, on a circular hardwood base, h. 33”, dia. 8”. [500/800] Illustrated 1092 Pair of Chinese Famille Verte Vases, 20th century, each of eight-sided baluster form, decorated with opposing side panels depicting mountainous landscapes, with floral and foliate designs and auspicious symbols to the shoulders and neck, the foot and neck painted with floral bands, the bases unmarked, h. 18”, dia. 9”. [700/1000] Illustrated

1093 Chinese Carved Coral Figural Group, Qing Dynasty, 19th century, carved to represent the seven immortals, each holding their traditional attribute and standing on rockwork, on a hardwood stand carved with arching waves, h. 5‑3/4”, w. 9‑1/4”, without stand. [3000/5000] Illustrated 1094 Chinese Lacquered Cabinet, early 20th century, with two doors over two smaller doors, and eight convex panels with figures in palace scenes in gold lacquer on a black ground, with a floral-carved crest, h. 88”, w. 34‑1/2”, d. 19”. [1500/2500] Illustrated 1095 Important Chinese Rosewood and Mother-ofPearl-Inlaid Tilt-Top Table, early 19th century, the top, pedestal and legs profusely inlaid with flowers, people, birds and seal characters, h. 28”, dia. 33”. This table is illustrated in Erich Bruggemann’s, Kunst und Technik der Intarsien” (Art and Technique of Inlay Works), Munich, 1988, pp. 134‑135. [2000/4000] Illustrated

1093

1095

1094

315

1096 Exceptional Worcester Aesthetic Moon Flask, ca. 1872, English, depicting the making of ceramics, the lower portion made to mimic an Asian wood stand, the ground resembling a stone flask and decorated with roundels on the front and back made to resemble wood, ivory and jade, one depicting workers turning bowls on a wheel and one depicting workers with beehive kilns, a puce printed “72” date mark below, h. 10‑1/4”, w. 8”, d. 3‑1/4”. [500/800] Illustrated

1096

1096 detail

1097 detail

1097 Minton’s Glazed Terracotta Pilgrim Flask, post-1873, English, decorated on a terracotta ground trimmed in black, one side depicting a bird on a branch, the other with a butterfly and blossoms, decorator-signed by William Mussill (English, 1828‑1906), h. 13‑1/4”, w. 10‑1/4”, d. 2‑1/4”. [500/800] Illustrated

1097

316

The flask, Minton’s shape 1498, is recorded in Minton’s pattern book as “564, Pilgrim Flask, flowers and butterfly” and “565, Pilgrim Flask, bird on branch”.

1098 Thai Folding Book, late 19th/early 20th century, with ninety-two leaves containing a Buddhist manuscript, possibly in Sanskrit, written in black ink on cream paper, with twenty-two religious and narrative paintings in gouache flanking certain sections, all between two black leather boards, together with an associated table of small proportions, the rectangular top raised on carved and pierced panel supports with a pierced frieze depicting bats flying amid stylized clouds, h. 45’ 1”, w. 20‑1/4”. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [1500/2500] Illustrated

1098 detail

1098

317

1099 Chinese Inscribed Lingbi Scholar’s Rock, Qing Dynasty (1644‑1911), the dark gray stone with brown areas and inclusions, of mountainous form with a distinct point above a flat face with two inscriptions, each with a different seal mark, separated by an arched gap in the rock creating two “legs”, the reverse with a rugged finish and two deep grooves running on either side, with a fitted two-piece hardwood stand, with an Arthur J. Harris Collection label to the base, h. 9‑3/4”, w. 7‑1/2”, d. 4”, without stand. [2500/4000] Illustrated

1101 Two Chinese Carved and Polychrome Wood Figures of Guanyin, probably 19th century, each modeled standing on a stylized rockwork base, one example holding her flowing robes and the other with a spray of lingzhi in one hand, both with remnants of painted decoration visible, h. 18‑3/4”. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [600/900] Illustrated

1100 Thai Wooden Scroll Box and Cover, possibly early/midAyutthaya period (1350‑1767), the body of four-sided, slightly tapering form, with metalwork drop handles to either side, and circular-form hinges to the back, with a coiled metal catch to the front, the exterior decorated with cinnabar lacquer, now worn, overlaid with a gilt design of female Bodhisattvas amid a dense scrolling floral pattern and multiple borders, the cover of curved, stepped form, with slightly upturned corners, similarly decorated, covering a vacant interior; accompanied by the certificate of authenticity, dated 1964, h. 27‑1/4”, w. 29‑1/4”, d. 18‑3/4”. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [1000/1500] Illustrated

1100

1099 1101

318

1103 Chinese Jadeite Figure of a Woman, 20th century, the standing figure holding a fan in one hand and a basket of peaches in the other, with flowing robes and hair traditionally styled, on a fitted pierced wooden stand, h. 7‑1/2”, w. 4”, d. 2‑1/2”, without stand. Provenance: Purchased from the Jade Room of Manheim Galleries, New Orleans, Louisiana. [800/1200] Illustrated

1103 1104 Chinese Jadeite Covered Tripod Censer, 20th century, the speckled spinach-toned jade with pale celadon areas, the body with carved and pierced dragon-head ring handles, raised on three short lion’s head legs, terminating in pad feet, the circular cover with tapering sides, surmounted with a coiled dragon design, on a fitted hardwood stand, h. 6‑1/2”, w. 6‑1/2”, d. 3‑3/4”, without stand. Provenance: Purchased from the Jade Room of Manheim Galleries, New Orleans, Louisiana. [600/900] Illustrated

1102

1102 Chinese School (Second Half 19th Century), ink and color on paper, laid down on board, the complex scene with Buddhist themes, centered by the Monkey King, the surround depicting the wheel of Dharma, with figures dressed in robes looking down from above, as a demon throws a naked figure into the turning wheel, above other groups of people suffering at the hands of demons and officials, the lower section with a variety of fish, animals, birds and insects, with an indistinct seal mark to the upper left-hand corner, h. 62”, w. 35”. Provenance: Estate of Carolyn G. Fay, Houston, Texas. [1500/2500] Illustrated

1104

319

1105 Chinese Jadeite Covered Vase, 20th century, the body of flattened baluster form, with a carved and pierced dragon design to one side and a phoenix amid blossoming peonies on the other, the cover with a single bloom, arching to link to the body, on a fitted hardwood stand, h. 8”, w. 6”, d. 2”, without stand. Provenance: Purchased from the Jade Room at Manheim Galleries, New Orleans, Louisiana. [800/1200] Illustrated 1106 Chinese Covered Censer, 20th century, the cloudy celadontoned jade with a spectrum of green inclusions throughout, the body of squat goblet form with two handles of floral design with hanging rings, the dome-form cover carved and pierced with a scrolling foliate band, surmounted with a stylized pomegranate finial with four hanging rings, on a pierced hardwood stand, h. 5‑1/4”, w. 6‑1/4”, d. 4”, without stand. [600/900] Illustrated

1106

1107

1105

320

1107 Chinese Celadon Jade Belt Hook, Qing Dynasty, 19th century, the slightly arched and tapering body with a carved dragon-head terminal, curving to face a pierced design of a smaller bearded dragon lying flat amid stylized foliage, with a rounded square knop to the reverse, h. 5‑1/2”, w. 1”, d. 1”. [1000/1500] Illustrated

1108 Chinese Longquan Celadon Molded Dish, Ming Dynasty (1368‑1644), heavily potted, of shallow, circular form, with ribs to the cavetto, the interior centered with a floral spray, the reverse with a repeating blade motif encircling the foot rim, with an even celadon glaze throughout, dia. 13‑3/4”. [1500/2500] Illustrated 1109 Group of Three Chinese Celadon Glazed Dishes, including an example with a ribbed interior, the well centered by a floral motif, another example with a slightly flared lip, the interior with a central molded floral medallion within a single band, and a further example of “twin-fish” design, with an everted rim and ribbed exterior, dia. 8‑3/4” to 13‑1/4”. [800/1200] Illustrated

1110

1110 Chinese Longquan Celadon “Twin-Fish” Dish, in the Song Dynasty style, of circular form, the everted rim molded with a gentle groove, the interior centered with a “twin-fish” motif within a double band, dia. 7‑3/4”. [1000/1500] Illustrated

1108

1109

321

1111 Kerman Carpet, 7’ 2” x 10’ 4”. [500/800] 1112 Bidjar Carpet, 8’ 4” x 12’ 2”. [1500/2500] Illustrated 1113 Turkish Angora Oushak Carpet, 10’ x 14’ 3”. [1400/1800] Illustrated 1114 Fine Agra Serapi Carpet, 12’ x 14’ 9”. [2000/4000] Illustrated

1112

1114

1113

322

1115

1117

1115 Agra Serapi Carpet, 10’ x 14’ 4”. [1200/1800] Illustrated 1116 Semi-Antique Persian Heriz Carpet, 8’ 1” x 10’ 6”. [1000/1500] 1117 Indo Kashan Carpet, 4’ 6” x 6’ 10”. [700/1000] Illustrated 1118 Semi-Antique Heriz Carpet, 8’ x 11’. [1000/1500] Illustrated 1119 Kazvin Carpet, 10’ x 13’. [1500/2500]

1118

323

INDEX OF ARTISTS

M A R C H 11 - 1 2 , 2 0 1 7

Alperiz, Nicolas 1078

Fleming, Frank 865

American School 1009, 1033

French School 493, 544

Bachmann, Karoly 57

Fried, Pal 41

Barbarini, Emil 46

Frith, William Powell 557

Beck, Rosemarie 864

Garcia, Justin 889

Beitl, Joseph G. 1024

George Ohr Pottery 153, 154

Bela, Chabada 264

Geyer, Herman 1033

Berkes, Antal 539, 540

Gobert, Pierre (after) 157

Bihari, Sandor (attributed) 47

Goodacre, Glenna 1060

Black, Arthur J. 44

Graham, George 572

Bouret, Eutrope (after) 528

Guidry, Louise 886, 887, 1057

Briganti, Nicholas 132

Guillaume, Pierre 845, 863

British School 296, 325, 339, 354

Haines, E. 37

Carlier, Max 162, 855

Hildebrandt, Howard Logan 1055

Carroll, John 901

Hohnstedt, Peter Lanz 1044

Chinese School 1102

Hull, Marie Atkinson 1063, 1064, 1065

Collis, George S. 1033

Italian School 124, 144

Continental School 24, 29, 148

Karssen, Anton 23

Coustou, Guillaume (after) 472

Kinsey, Alberta 1066

Crane, Bruce (Robert) 1062

Kohlmeyer, Ida Rittenberg 897

De Vel, Gaston 906

Lefort, Jean 563

Diederich, William Hunt (attributed) 842

Lequesne, Eugene Louis (after) 108

Dranga, Helen Thomas 1058

Louchet, Charles (after) 515

Drysdale, Alexander John 1045, 1046

Mackenzie, Frederick 288

Durieux, Caroline Wogan 878

Manguno, Jacob Vincent 907

Duteurtre, Pierre Eugene 42

Mears, Herbert Richard 880

Duyk, Francois 74

Miro, Joan 895

Egley, William Maw 575

Morland, George (circle) 271

Falconet, Etienne Maurice (after) 1043

Newcomb College Art Pottery 1047, 1048, 1049, 1050

INDEX OF ARTISTS

M A R C H 11 - 1 2 , 2 0 1 7

Newton, Richard 548, 550

Van der Plas, Niek 35, 36

Peiffer, Auguste Joseph (after) 106

Van Loo, Jean-Baptiste (circle) 174

Petitjean, Edmond Marie 69

Von Foerster, Madeline (attributed) 883

Picasso, Pablo 866, 867, 868, 869, 873, 874, 875

Walter, Martha 1052

Pieron, Henry Joseph Ferdinand 49

Ward, James (attributed) 274

Pinchart, Emile Auguste 399

Waterman, Marcus 1051

Raphael (after) 242

Watson, Robert 281

Raphaeli, Zvi 862

Weenix, Jan (after) 264

Regnault, Alexandre-Georges-Henri 529

Williams, Frederick Dickinson 53

Renard, Paul 22

Wolfe, Karl 1068

Russian School 1079

Wolfe, Midred Nungester 1067

Sala, Paolo 133

Zach, Bruno (after) 265

Salinas, Porfirio (follower) 1056 Sammons, Carl 1059 Schmidt, George 1061 Schouten, Henry 63, 64, 65, 66 Shinoda, Morio 898 Silva, William Posey 905 Siska, Gyula 257 Spanish School 243

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.

Steiner, Michael 877

School of: In our qualified opinion, a work by a follower of the artist.

Stewart, Allison 896

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

Stiha, Vladan 56

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

Takiguchi, Masaru 888

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

Taylor, Rolla Sims 902

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

Traies, William (attributed) 336

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

Uselding, Pierre 232

Dated: In our qualified opinion, is so dated and was executed on or around that date.

Utamaro, Kitagawa 972

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

Vallin, Hugo Golli 131

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. Rev. 01/04/17

(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).

Rev. 01/04/17

(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.

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

(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.

(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 [subject to a $30 fee for domestic wires and a $60 fee for international wires] 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

(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.

(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.

(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.

(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. Rev. 01/04/17

(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.

Rev. 01/04/17

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

R E Q U E S T F O R C O N D I T I O N R E P O RT S Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally.

Name (Please Print): _____________________________________________ Date: ____________ Email Address: _______________________________ Phone: (_______)______________

Fax: (_______)_______________

Lot # Description Special Requests ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________

Please submit this form by 5:00 p.m. two days prior to the first day of the auction.

Rev. 01/04/17

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 [subject to a $30 fee for domestic wires and a $60 fee for international wires], 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 Rev. 01/04/17

absentee/telephone bid form (continued) Name (Please Print):

Lot #

______________________________________

Bid Amount (not including buyerâ&#x20AC;&#x2122;s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $

New Orleans Auction Galleries Susan D. Sarofim CEO

Tessa Steinkamp Director of Auctions

Ashton Thomas President

consignments FINE ART:

DECORATIVE ARTS:

SILVER:

Jelena Restovic James

Ireys Bowman

Charles C. Cage

Nicole Casi, PhD

BOOKS, MANUSCRIPTS & EPHEMERA:

Director of Fine Art Continental and American

Michele M. Carolla

Continental and English

American and Continental

British and American; Sculpture; Textiles

FURNITURE:

Nicole Casi, PhD

Ireys Bowman

American and Continental; Prints and Maps

Asian Arts: Rebecca Moss

Charles C. Cage Jewelry:

Continental and English

Kim Lemon

Greg S. Kowles

FINE CARPETS

American, Continental and English

Thomas Halverson

Sean Ranson

American

a d m ini s t r at ion Charles C. Cage Office Manager

Colleen Ryan

Director of Human Resources

Denise Haik

Office Administration

Leigh Firestone

Burke Grace Connors

Manager of Cakebread Auctions

Nicole Casi, PhD Research

Gary Michael Gittelson Photographer

Administrative Assistant

Designer

Taylor Eichenwald

Marketing & Public Relations

Christa Ougel

Graphic Designer

Justin Gray

Graphic Designer

auctioneers

consultants

ope r at ion s

Tessa Steinkamp #1265

Ellen McKenzie English and Continental Furniture

Cedric Roberts | Sean Ranson

Ira Savoie Independent Certified Gemologist Appraiser

Emmitt Kendrick, Jr.

James Callahan Asian Arts

Sol Carter | Thomas Johnson

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

Bennie Amos | Eddie Daigrepont

Gerald Hampton | Juanita Bazile

David Abney | James Collins