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Neal Auction Important Estates Auction February 4 & 5, 2012

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Front Cover (detail): A Very Fine Antique Napoleon III Carved and Gilded Mirror, late 19th c., stenciled label en verso “A. TEXIER... Nantes;” height 83 in., width 47 in. Back Cover (detail): An American Renaissance Ebonized, Inlaid and Bronze-Mounted Rosewood Parlor Cabinet, c. 1865, attributed to Alexander Roux, NY, height 45 1/2 in., width 58 1/2 in., depth 19 in. This Page Edward Hopper (American, 1882-1967), “Yachting Scene,” c. 1905, watercolor, unsigned, Kennedy Galleries, NY label, 5 in. x 6 3/4 in.


LOUISIANA WINTER ESTATES PURCHASE AUCTION AUCTION October February64 & & 7, 5, 2012 2007 On Our Premises 4038 Magazine Street & 3923 Carondelet Street • FEATURING: • Part I, Estate of Renowned Architect and Artist, James R. Lamantia, Jr., New Orleans and New York, featuring an extensive collection of important architectural, old master, European and American drawings, folios, prints and maps • Part II, Succession of Harry T. Howard III, New Orleans • Part II, Estate of Richard Godchaux Hirsch, New Orleans • Part III, Property from the Collection of Texas Antiquarians Jack and Kate Wheeler • Estate of Dr. Paul W. Thompson, Baton Rouge, LA • Property Sold for the Benefit of the Dominican Sisters of Peace • Property from the Collection of a Natchez, MS Lady • Property of a Distinguished Gentleman Antiquarian

EXHIBITION beginning Monday, January 23, 10 a.m. to 5 p.m. Special Saturday Preview, January 28, 10 a.m. to 5 p.m. Evening Preview Reception, Thursday, February 2, 5 to 7 p.m. AUCTION SCHEDULE Saturday, February 4, 10 a.m., 4038 Magazine Street Sunday, February 5, 10 a.m., 3923 Carondelet Street

Neal Auction Company Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 • 504-899-5329

1-800-467-5329 • Fax: 504-897-3808 • La. Auc. Lic. , Neal Auction Co. #AB-107, Alford #797, LeBlanc # 1514, Hinshelwood #1715


James R. Lamantia, Jr. James R. Lamantia, Jr. (1923-2011) was Emeritus Professor of Architecture at Tulane University, an architect and an artist. Lamantia received a degree in architecture from Tulane, a master’s degree from the Graduate School of Design, Harvard University, the Prix de Rome from the American Academy in Rome and a Fulbright Fellowship. In addition to his longtime association with Tulane (he was appointed full professor in 1974), he was a visiting professor at Harvard, Yale and Columbia Universities and served as a Fulbright Professor at the University of Jordan, Amman. Throughout his career, Lamantia was actively engaged in professional practice, working in New York as well as New Orleans. Notable projects include the renovation of the historic Presbytere, renovation of the U.S. Consulate in Madras, India, several renovations in Central Park and the James R. Lamantia, Jr. design of restaurant facilities in the World Trade Center and Lincoln Center. His design work reaped a multitude of honors and awards. An accomplished painter, Lamantia exhibited his work in the Metropolitan Museum, the Whitney Museum, the Art Institute of Chicago, and in one-man shows in major U.S. cities. Neal Auction Company is pleased to offer this important estate collection.

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Session One Saturday, February 4, 10 am 4038 Magazine Street

4. A William IV Mahogany Gentleman’s Campaign Chest, c. 1830, two short over three long drawers, on turned legs, height 42 1/4 in., width 36 in., depth 19 1/2 in. $800/1200



5. A George III Mahogany and Ebony Inlaid Writing Table, c. 1800, inset tooled leather top, three frieze drawers, turned tapered legs, height 29 7/8 in., width 39 in., depth 23 3/4 in. $800/1200



1. A Pair of American Classical BronzeMounted Carved Mahogany Side Chairs, early 19th c., Boston, tablet crest, reeded uprights, seat rail and saber legs. $500/800 2. An American Federal Carved Mahogany Washstand, c. 18151820, New York, arched backsplash with shaped returns, two drawers over two paneled doors, turned legs, ball feet, height 39 7/8 in., width 34 in., depth 17 1/2 in. $700/1000


6 (2 of 4) W 3. A George III Carved Walnut Armchair, mid-

18th c., shaped crest, vasiform pierced splat, shaped arms, trapezoidal slip seat, cabriole legs, pad feet. $200/400 Provenance: Henry Stern, New Orleans.

6. Eugene Berman (Russian/New York, 18991972), four works on paper, “Set Design for Act IV, Rigoletto”, watercolor and ink on paper, on grey paper mount, initialed and dated lower center, initialed, dated and inscribed “Rigoletto” and “act IV” on mount, 8 3/8 in. x 10 7/8 in.; “Architectural Sketch”, 1946, ink on paper, signed and dated lower center and inscribed, 9 1/2 in. x 7 3/4 in.; “Leptis Magna”, 1969, sepia wash and sepia on paper, initialed and dated lower center, inscribed, initialed and dated on mount, 11 in. x 9 1/8 in.; “Icarus”, ink on Julien Levy Gallery envelope, inscribed to art dealer Alexander Iolas, 7 1/2 in. x 10 1/2 in., all unframed. $1500/2500


7. American or English School, late 19th c., two designs for ceilings, “Hall” and “Dining Room”, watercolor and pencil on cardstock, titled on original mats, sheet 10 in. x 19 1/4 in. and 6 1/4 in. x 17 in., matted together. $400/600 8. George Wesley Bellows (American, 1882-1925), “The Death of Gold”, 1922, Conte crayon and pencil on paper, signed and titled lower center, H.V. Allison and Co., NY label en verso, sheet 22 in. x 22 in., image 21 in. x 21 in., framed.


$3000/4000 Note: In 1922, Hearst International Magazines commissioned George Bellows to illustrate H.G. Wells’ novel Men Like Gods in serial form. The Utopian story gave Bellows the opportunity to create a fantasy world, far different from the harsh realities of life reflected in his Ashcan School roots. Bellows completed 27 drawings for the project and later created lithographs from 10 of the drawings. The three drawings here are recorded in Bellows’ personal Record Book B in the collection of the Columbus Museum of Art in Bellows’ hometown of Columbus, OH.


9. George Wesley Bellows (American, 1882-1925), “Crystal”, 1922, Conte crayon and pencil on paper, titled lower center, H.V. Allison & Co., New York label en verso, sheet 29 in. x 23 in., image 21 1/2 in. x 15 in., framed. $3000/4000


10. George Wesley Bellows (American, 1882-1925), “The Rescue”, 1922, Conte crayon, pencil and ink wash on paper, signed lower right, titled lower center, titled and dated en verso, Santa Fe Festival of Arts label and Frederick Keppel & Son, New York labels en verso, sheet size 20 3/4 in. x 16 1/2 in., image size 18 1/8 in. x 14 5/8 in., framed. $2000/3000 W denotes the lot is illustrated at


13. James Barry (Irish, active in Italy and England, 1741-1806), “A Group of Recumbent Figures Huddled Among Blankets”, 1792, ink and wash on laid paper, with all corners missing but made up on backing card, dated in English “March 1792” at lower left, 6 5/8 x 8 1/8 in., perhaps signed or inscribed en verso(?); laid down on card stock, 7 1/8 x 8 7/8 in., the latter inscribed en verso in 20th c. black ink, “Master of the Giants—James (Burry) / -Barry / Byrny”, and in mid-20th c. red pencil, “Fuseli [sic] / Christie’s Auction / April 1961”. $1000/1500 Provenance: Christie’s, London (1961); purchased there by James R. Lamantia Jr., New Orleans and New York.


W 11. W.C. Crymer (American or

British, active late 19th c.), “Orientalist Outdoor Bazaar”, 1885, watercolor and gouache, signed and dated “W.C. Crymer 1885” lower right, sight 9 in. x 12 1/4 in., matted and framed. $200/400


Note: Though Lamantia bought this impressive drawing as a “Fuseli” (at a Christie’s auction that he attended personally in April 1961, per his note on the outer mount), his question-mark preceding that name indicates that he (correctly) did not fully endorse Christie’s attribution. The alternative ascriptions entered in black ink at the top of the verso—though mutually contradictory—are respectively equally mistaken, and right on the mark. This fine drawing actually has nothing whatever to do with the so-called “Master of the Giants,” a gifted amateur artist working in transparent black and grey washes in Rome in 1779, as recorded on various sheets of a now-dismembered notebook which suggested his name (purchased 1949, exhibited London 1952, separate sheets at the Fogg Art Museum, Harvard University [1964] and recently [2002] with Lowell Libson, London). The three alternate readings of the name of James Barry, however, do plausibly indicate that an inscription or signature was formerly visible (perhaps on the reverse of the pasted-down sheet), and that those various options were observed in its lettering. James Barry was born in Cork, and trained in Dublin (1763), London (1764), Paris (1765), Rome (1766-70), and Bologna (1771). In London he was elected to the Royal Academy in 1773, and became its Professor of Painting in 1782. His masterpiece was a series of huge canvases representing The Progress of Human Culture, which he executed for the Society of Arts in 1777-84; he was expelled from the R. A. in 1799 as a result of his eccentricity and irascibility, though at the end he was awarded a funeral and burial in St. Paul’s Cathedral. This rare dated drawing is emblematic of Barry’s later work, with its heavy, jagged lines, its idiosyncratic shading, and its 13 compression of emotionally charged forms—in “a coagulation of bodies” (as Tomory observed), or “a fantasy 12. Continental School, early 19th c., of intertwining shapes…achieving an “Ruins; the Castle Keep”, oil on canvas, expressionistic power rare in British art” unsigned, 29 in. x 37 in., in a carved wood (Cummings). frame. References: William L. Pressly, “Barry,” Grove Dictionary of Art, $1500/2500

Jane Turner, ed., London, 1996, 34 vols., vol. 3, pp. 284-287; Frederick Cummings and Allen Staley, Romantic Art in Britain: Paintings and Drawings 1760-1860, Philadelphia, 1968, pp. 114118; Peter Tomory, The Life and Art of Henry Fuseli, New York, 1972, p. 210, and passim.

14. Jean Battiste Arnout (French, 17881865), “Neoclassical Building, Paris Manufactury”, sepia ink and wash on paper, unsigned, 5 7/8 in. x 6 3/4 in., matted. $800/1200 Provenance: James R. Lamantia Jr., New Orleans and New York.


Note: Arnout, a painter and lithographer, is known for his illustrations of Continental buildings and views. This beautifully compact drawing may have been prepared for an engraving. The unidentified subject, probably Parisian, is strongly suggestive of architect Claude-Nicolas Ledoux in its simple geometric massing. 15. French School, mid-19th c., “Design for a Renaissance Revival Coffered Ceiling”, c. 1850, gouache on cardstock, unsigned, sheet 16 3/4 in. x 12 1/2 in., matted.


17. [Egyptian Views], a group of 16 engravings from the first and second editions of Descriptions de l’Egypte ou Recuiel des Observations et des Recherches... l’Expedition de l’Armee Française, Paris, 1815 & 1828, comprising First Edition plates; Denderah (41 in. x 30 1/2 in.), Thebes (24 1/2 in. x 49 in.) and 5 others (28 in. x 19 1/2 in.); Second Edition plates include the Sphinx, Karnak, Denderah, Cleopatra’s Needle and others (all 18 3/4 in. x 24 1/2 in.) $700/1000

$500/700 16. Francesco Bartolozzi (Italian, 1727-1815), “Virgin and Child with St. John the Baptist”, watercolor and ink on paper, sight 9 in. x 13 in., framed. $1000/1500 Provenance: Sold in these rooms December 8, 2000 as lot #445.


18. Jules Frederic Bouchet (French, 1799-1860), a group of 12 hand-colored engravings (including title page) from Pompei Choix des Monuments Inedits, Maison du Poete Tragique, 1828, Paris, sheet size approx. 12 1/2 in. x 16 1/2 in. $500/700 17 (2 of 16)

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19 20 19. Nikolai-Ivanovich Lieberich, (Russian, 1828-1883), “The Wolf Hunt”, late 19th c., bronze, inscribed “Sculp. Lieberich” on front of self-base and “C.F. Woerffel/fabb./St Petersburg”, foundry marks on left front corner of base and dated “1884” on central mark, edition stamp of “17/100” on right rear corner, height 10 3/4 in., width 15 3/4 in., depth 11 1/2 in. $1200/1800 20. A Russian Bronze of a “Rearing Siberian Grizzly”, early 20th c., after Nikolai Ivanovich Liberich (Russian, 1828-1883), cast signature on front of base, cast inscription and date “1865” in Cyrillic at edge of base, on a black marble plinth, height 24 in. $800/1200


21. Antonio Frilli (Italian, late 19th/early 20th c.), “Don and Sly”, early 20th c., marble group of two whippets with jeweled collars, inscribed with artist’s signature on top of base, dogs’ names on fascia below base, height 19 1/2 in., width 22 1/2 in., depth 11 in. $2500/3500 22. A Fine Italian Bronze Figure of “The Diana from Gabii”, after the marble discovered in 1792 at Gabii in the Italian Campagna, now in the Louvre, Paris, height 38 in. $2500/3500 Reference: Haskell and Penny, Taste and the Antique, Yale Univ. Press, 1981, fig. 113.



23. A Fine Italian Bronze of “Aristides (or Aeschines)”, after the early Roman marble copy of a 4th c. BC Hellenistic bronze, marble discovered in 1779, and now in The Naples Museum, height 34 1/2 in. $2500/3500 Reference: Haskell and Penny, Taste and the Antique, Yale Univ. Press, 1981, fig. 79.

24. An Antique Louis XVI-Style Carved Giltwood Mirror, flared pierced crest flanked by phoenix birds atop volutes, pierced acanthus scroll surround, cabochon cartouche drop, antique mirror plate, height 56 in., width 41 in., depth 9 in.



$2500/3500 25. A Fine Second Empire Bronze Doré Mantel Clock, mid-19th c., the enameled dial marked “Susse Freres...Paris”, works signed, the trapezoidal case with scene of Sol driving the chariot of the day, the hours dancing below around a term of Janus, the upper corners with ram’s heads, the lower as seated eagles above a plinth base, height 14 1/2 in., width 11 1/2 in., depth 7 1/2 in.



$1500/2500 26. A French Pâte-sur-Pâte and Ormolu-Mounted Mantel Clock, c. 1880, the arched case surmounted by a floral urn and flanked by female masks and fruit swags, on toupie feet, striking bell movement by Japy Freres, height 14 in., width 11 in., depth 5 in. Note: Lacking pendulum. $700/1000 W denotes the lot is illustrated at



27. An American Late Classical Carved Mahogany Library Armchair, scrolled padded back, scrolled arm supports with concentric boss carving, serpentine seat rail, cabriole legs, casters. $1200/1800



28. A Pair of American Federal Carved Mahogany Games Tables, c. 1820, School of Haines & Connelly, Philadelphia, shaped foldover top with reeded edge above conforming frieze, ring turned reeded tapered legs ending in toupie feet, height 30 in., width 36 in. depth 17 in.

29. An American Late Classical Carved Walnut Bookcase, mid-19th c., cove-molded cornice, three arched glazed doors, adjustable shelves, lower case with three shaped paneled doors, molded arched base, bracket feet, height 98 in., width 73 1/4 in., depth 23 1/8 in.




30. An American Classical Carved Mahogany Sofa, early 19th c., New York, tubular crest rail with acanthus scroll terminals, scrolled arms, paneled seat rail with paterae, paw feet with fruiting brackets, casters, height 33 1/4 in., length 87 in., depth 22 in. $1500/2500



32. Attributed to Luigi Valadier I or a Follower (Italian, 1726-1785), “Design for a Reliquary or Monstrance”, c. 1775/1800, layout in geometric strokes of very light graphite, execution in ink and ink wash, on cream-colored paper with highly elaborate watermark of a shield (with letters V & K / W in superimposed X’s), as well as a countermark (of letters B v K & A I W), positioned on the vertical axis at 90º to the design; unsigned, 16 7/8 in. x 9 1/16 in., in a modern mount, numbered 29046. $1000/1500

31. An American Classical Mahogany Mixing Table, early 19th c., Philadelphia, marble top above a cove-molded frieze, distinctively scrolled drawer, Gothic arch paneled door, pylon case, beveled plinth base on half-round feet, height 38 in., width 31 7/8 in., depth 18 in. $2000/3000 Note: This mixing table form was used and modified by a number of noted Philadelphia and Baltimore cabinet makers, including Anthony Quervelle. The use of the trapezoidal “Egyptian” case of this cabinet shows the influence of Regency designs. A cabinet attributed to Anthony Quervelle also using an “Egyptian” trapezoidal panel and demilune feet in the manner to that seen here was sold in these rooms as lot 49, December 1, 2007, for $8,225. Reference: See Robert Smith, “The Furniture of Anthony Quervelle, Part IV, Some Case Pieces”, The Magazine Antiques, page 189, pl. 11. For a sideboard design using “Egyptian” panels, see Ackerman’s Regency and Interiors reprinted by Agius (1984) p. 142, pl. 197.

Provenance: James R. Lamantia Jr., New Orleans and New York. Note: Andrea Valadier (16951759), his sons Luigi I and Giovanni Valadier (17321805), and their respective sons (of Luigi I) Giuseppe Valadier (1762-1839), and— 32 of Giovanni—Filippo (b. 1770), Tommaso (b. 1772), and Luigi II Valadier (b. 1781) were seven goldsmiths in three generations, who ran Rome’s most prominent orificio under their own names from 1714 to 1817, and which has continued under other directors till the present day. This very beautiful drawing, though unsigned, is documented by its watermark to the late 18th c.; its rich combination of Rococo curves and massive Classical ornament is highly characteristic of the Valadier shop in that best period of its personal supervision. Luigi I, for example, made a silver and lapis lazuli chalice which Pope Pius VI presented to Prince Stanisław Poniatowski (now in the Louvre, Paris), as well as a spectacular gold- and silver-plated bronze altar for the Cathedral at Monreale in Sicily (made at Rome, 1770-73). The present design, in which the flatly-shaded apertures were intended to be filled with plaques of rock crystal, epitomizes the gilded bronze table - and altar - fittings, inset with hardstones, that most successfully characterized Luigi’s style. His expertise was particularly embodied in the final member of the family dynasty, Luigi II (b. 1781), whose technical mastery of an eclectic and original manner assimilated many historicizing styles into the mainstream of the Neo-Classical movement. Reference: Angela Catello, “Valadier,” Grove Dictionary of Art, Jane Turner, ed., London, 1996, 34 vols., vol. 31, p. 799.

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33. Attributed to Charles-Louis Clérisseau (French, worked in Italy, 1721-1820), “A Chimneypiece in the NeoClassical Style”, c. 1770s/1780s, ink and two tones of gray wash, on cream-colored laid paper (perhaps with an even paler uniform gray wash), unsigned; watermark(s) partially obscured by repair tapes applied to verso, but with letters “...M A...” and “O...M” visible; inscribed on bottom margin with scale representing 6 “Palmi di Genova” (in which 1 Genoese oncia [inch] = 2 Genoese palmi; 1 palmo = 248 mm.); above it in the mouth of the fireplace another scale in different units. $1500/2500 Provenance: Roman art market, mid-20th century; James R. Lamantia Jr., New Orleans and New York. Note: This extremely beautiful and historically important drawing is a precocious and diagnostic precursor of the Neo-Classical movement. Its principal frieze (in fictive bas-relief) represents Apollo and Minerva at the center, with the flanking figures of the Nine Muses carrying their identifying attributes; Juno and Jupiter confront each other in the upper right-hand square panel, and two other divinities occupy the left; Mercury and a sister goddess crown the tall reliefs to the sides. This design is strikingly notable for its purity, simplicity, and sobriety: it displays no other ornaments at all, apart from the chaste moldings of a large egg-and-dart and a small bead-and-reel around the mouth of the fireplace, a simple beading around the side panels, a brief leaf-and-tongue under the square elements, and a foliated ovolo and smaller cove (separated by another small bead, and by a blank frieze) in the crowning entablature of the mantel shelf. Such conspicuous restraint,


coupled with such paramount reliance on delicately detailed sculptural forms alone, mark this design as a truly startling contrast, for example, with the Rococo exuberance and Classical complexity of the most celebrated engravings of chimneypieces to be engraved in the preceding decade, the Camini of G. B. Piranesi (1720-1778)—issued as 70 etched plates in 1769. Clérisseau, a Parisian, won the Prix de Rome in 1749, and stayed in the Eternal City for almost twenty years, returning to Paris only in 1767 to become a member of the Académie Royale. While in Italy he became a close friend of Piranesi’s; he was also tutor to a variety of Northern architects, most importantly to Robert (1728-1792) and James Adam (1734-1794), on whose famous—even epochal—style Clérisseau had a fundamental and all-pervasive influence (as witnessed profoundly in this drawing). Clérisseau himself is best known in the United States as the co-designer with Thomas Jefferson of the Virginia State Capitol at Richmond (1785-99), based on the “Maison Carrée” at Nîmes. Clérisseau had become the preeminent authority on such Provençal structures with his Antiquités de la France: Monumens de Nismes (1778); and his long experience of southern France provides a plausible reason whereby his drawings (some 1100 of which are concentrated in the Hermitage, St. Petersburg) might have included this sheet, measured as it is in Genoese units. Genoa only officially adopted the metric system as of 1 March 1847, so this drawing’s citation of Genoese palmi is at once appropriate, and unhelpful with regard to dating (for which its watermark is also inconclusive). What can be said is that it very perfectly epitomizes the dawn of Neo-Classicism in Europe, and as such it is an artifact of the highest importance. References: Thomas J. McCormick, “Clérisseau,” Grove Dictionary of Art, Jane Turner, ed., London, 1996, 34 vols., vol. 7, pp. 415-417; Dora Wiebenson and Claire Baines, The Mark J. Millard Architectural Collection: vol. I, French Books, Washington and New York, 1993, 118-121, nos. 52-53; Angelo Martini, Manuale di Metrologia, Rome, 1976, s.v. “Genova,” pp. 222-226 (for the measures).


34. French School, 18th c., “Male Nude Dragging a Fallen Figure by the Feet”, red chalk or sanguine crayon on creamcolored paper, fully watermarked and countermarked with untranslated French maker’s marks (crowned shield bearing flower, and 4-line phrase FIN DE / M...IO &[?] ANNOT / D ANNONA / [?]...) at 90º to central axis, unsigned, but inscribed en verso in sepia ink in a late 18th or early 19th c. hand, “tradling d’après Lertorupe”, 19 1/2 x 14 1/4 in. $800/1200 Provenance: James R. Lamantia Jr., New Orleans and New York. Note: These two figures are involved in a studio pose during a life-class or “academy,” a name which has been applied to the entire genre of life studies made directly from models. The fine, regular, and unblemished paper (bearing only tiny punctures for suspension), as well as the classic sanguine medium, clearly demonstrate the origin of this sheet in the Académie Royale de Peinture et de Sculpture at Paris (or, though less plausibly because of the paper, at the Académie Française in Rome). Red

chalk or crayon had been the favored medium of life-class studies in both French academies at least since the time of the famous sculptor Edme Bouchardon (1698-1762), whose more masterly style this drawing somewhat reflects. Bouchardon was a pensionnaire of the French Academy in Rome from 1723 to 1733, where he executed a very large series of red chalk drawings after antique sculptures, and many sculptural commissions for local as well as traveling English and German clients. Back in Paris Bouchardon was elected a member of the Académie Royale (where he became a professor in 1747), and also of that of Belles-Lettres et Inscriptions, where from 1736 he made very many red chalk drawings for the Royal Mint. One of his most typical “academy” drawings, of about 1750—and one whose pose is most comparable to the present sheet—is in the Santa Barbara Museum of Art (inv. no. 1969.41): it well exemplifies his clearly defined contours and long strokes of regular shading, both elements of which are more tentatively emulated here. References: Colin Harrison, “Edme Bouchardon,” Grove Dictionary of Art, Jane Turner, ed., London, 1996, 34 vols., vol. 4, pp. 508-511; Alfred Moir, European Drawings in the Collection of the Santa Barbara Museum of Art, Santa Barbara, CA, 1976, pp. 20-21.

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35. Pio Panfili (Italian/Bologna, 1732-1812), “Quarter Design for a Quadratura Ceiling” (recto), with architectural sketches (verso), c. 1755, ink and bistre wash on buff paper, unsigned (but numbered “90A in circle and “IV” en verso), 9 3/8 in. x 15 3/8 in., in a modern mount (numbered R91A). $1000/2000 Provenance: Art Market, Great Britain; James R. Lamantia, Jr., New Orleans and New York. Note: This exuberant design for an illusionistic architectural perspective “al di sotto in sù” (from below looking up) is a brilliant product of Panfili’s training in the 1740s at the Academia Clementine in Bologna, under Petronio della Volpe. In the 1750s he apparently collaborated with Alfonso Torreggiani (1682-1764) in the decoration of a monastery at Rimini, and further worked at Palazzo Comunale in his native Fermo; Panfili was also a noted printmaker specializing in views of Bologna. He developed this classic Bolognese manner from a series of pioneer compatriots: Girolamo Curit (1575-1632), who first established the technique of ceiling decoration in Bologna; Agostinio Mitelli (1609-1660), whose many drawings at the Kunstbibliothek, Berlin, are direct precursors of this splendid sheet; a little-known Bolognese quadratista draftsman of the early 18th c. named Bernasconi, represented at the Royal Institute of British Architects; Giovanni Antonio Torricelli (1716-1781), whose drawing from the Janos Scholz collection at the Metropolitan Museum in New York is one of this sheet’s closest cognates; and possibly as well from his almost exact contemporary Flaminio Minozzi (1735-1817), whose highly colored and finished drawing (again at the Metropolitan Museum) features the same trophies, banners, flags, and urns. Behind all these masters stands the dominant dynasty of the Galli-Bibiena, extending from the 1650s to the 1780s: their multi-generational talents for quadratura and stage design were nurtured in Bologna, but were exported by many family members to virtually all the capitals of Europe. References: Ebria Feinblatt, Agostino Mitelli Drawings from the Kunstbibliothek, Berlin, Los Angeles, 1965, esp. no. 18; Italian Architectural Drawings [from]the R.I.B.A., London, Washington, 1966, esp. no. 24; Mary L. Myers, Architecture and Ornament Drawings [at] The Metropolitan Museum of Art, New York, 1975, esp. no. 59; Daniel Rabreau, Architectural Drawings of the 18th C., Paris, 2001, esp. no. 4; Christie, Manson & Woods, Fine Architectural and Decorative Drawings, London, Sale 2335, 24 March 1982, Lot 42: Stage Set by Pio Panfili.


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36. Alessandro Sanquirico (Italian, 17771849), three set designs for operas, each ink and ink washes on paper, approx. 8 1/4 in. x 11 1/2 in. each, matted. $1000/1500

37. Francesco Borromini, his Studio, or a Follower (Italian, 1599-1667), “Section of Spire, for the Church of San Ivo della Sapienza, Rome”, 1642/1720, ink and gray wash on cream-colored laid paper, with reddish sepia paint applied to verso, laid down on old mount; unsigned; 19 5/8 x 8 3/4 in. $1500/2500 Provenance: James R. Lamantia Jr., New Orleans and New York. Note: These very rare drawings are preparatory works for plates XXI (Drum Elevation) and XXVIII (Spire Section) of the publisher Sebastiano Giannini’s lavish masterwork, printed almost 75 years after the construction of Borromini’s chapel (1642-1660) for the University of Rome: Opera del Caval[iere] Francesco Borromini…cioè La Chiesa…della Sapienza (1st ed., Rome, 1720; enlarged 2nd ed. with the same plates, as Opus Architectonicum, Rome, 1725; folio size of 1720 ed., 533 x 393 mm., or 21 x 15 7/16 in.). Borromini, the most important architect of the Roman Baroque, had himself prepared exactly such large-scale drawings of the Sapienza, and commissioned them to be engraved by Dominique Barrière in 1660 for a publication that was projected but never realized. Giannini purchased Barrière’s copper plates from Borromini’s heirs, and plates II through IX of the 1720 edition of the Sapienza were based directly on those plates of 1660. The remainder came from a variety of sources: from other original drawings by Borromini himself, or by his assistant Francesco Righi, also acquired from the Borromini estate; from Giannini’s eventual expansion and updating of the Barrière plates, long after the fact; or (in rare cases) from the actual appearance of the building itself in 1720. Since these two drawings for plates XXI and XXVIII postdate the core group prepared by Barrière under the personal supervision of Borromini, the only way to be absolutely certain of their date (and thus of their potential status as autographs by one of the three greatest giants—with Bernini and Cortona—of Baroque architecture) would be by the scientific study of the watermarks in their papers: but unfortunately these two sheets bear no such detectable traces. There is therefore no evident way to assign these drawings to the personal hand of Borromini himself, or to Righi as his contemporaneous collaborator; or, alternatively, to Giannini’s 18th-century commissions for the plates (following number IX) to be published in his great folio of 1720. The Spire is mute on these two options; but the tantalizing clues in the Elevation are afforded by its half-dozen incidents of ornament. Their careful comparison with the façade of the church as it was actually built reveals some striking discrepancies: the right-hand twin of the many-pointed stars freestanding above the Chigi monti forward of the drum is added on a separate disk of paper; those same elements, in the full arms of Pope Alexander VII Chigi—who reigned 1655-1667, while the church was being finished—are eliminated, and replaced on the balustrade before the great west window with a simple dedicatory plaque; and most tellingly of all, the sculptured relief of the Agnus Dei (the Lamb of God) is omitted altogether, while the round-headed tops of each of the drum’s six major windows are abandoned, in favor of the disproportionately tall square-headed apertures now visible on the exterior (even though Borromini indeed designed their interior lintels as curves or cusps). Thus the graphic evidence, while ambiguous, offers at least the possibility that the Elevation may have been drawn c. 1642-1660 by Borromini himself, or by Francesco Righi to Borromini’s express intention; and that the ornaments shown here may represent a preliminary idea for the façade embellishment, not executed in its entirety. References: Martha Pollak, The Mark J. Millard Collection: Vol. IV, Italian and Spanish Books, Washington and New York, 2000, pp. 73-76, no. 22; Anthony Blunt, Borromini, Cambridge, MA, 1979, esp. chap. 5, pp. 111-128, and fig. 79 (S. Ivo façade).


38. Francesco Borromini, his Studio, or a Follower (Italian, 1599-1667), “Southwest Quadrant of Drum Elevation for the Church of San Ivo della Sapienza, Rome”, 1642/1720, ink and gray wash on cream-colored laid paper, with reddish sepia paint applied to verso, laid down on old mount; unsigned; 13 in. x 15 1/2 in. $1500/2500 Provenance: James R. Lamantia Jr., New Orleans and New York.

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41. A Regency Carved Mahogany Writing Table, c. 1820, galleried top, kneehole configuration of drawers, turned tapered legs, height 30 3/4 in., width 37 3/4 in., depth 19 1/4 in. $700/900

39 41 39. A Biedermeier Inlaid Mahogany Urn-Form Commode, c. 1830, segmented top centered with a sunburst inlay, tapered circular body with door and small drawer, tapered stem, plinth base, height 37 1/2 in., diameter 16 in. $1200/1800 40. An Empire Ormolu Mounted Mahogany Bureau Plat, 19th c., inset tooled leather top, two conforming writing slides, kneehole configuration of drawers, Egyptianesque caryatid legs, height 31 in., width 64 in., depth 32 in.; together with an associated bronze-mounted carved mahogany bergère, swivel seat, green upholstery, square tapered legs ending in cuffs.


$2000/3000 42


42. An Antique Directoire-Style Carved Mahogany Bouillotte Table, inset Gris de St. Anne marble top, frieze fitted with drawers and candle slides; tapered fluted legs, incurvate stretcher centered by a circular shelf, brass cuffs, height 28 in., diameter 35 1/2 in.

43. An Antique Louis XVStyle Kingwood Parquetry and Bronze-Mounted Vitrine, 19th c., the glazed case with a domed top and two doors, table base with scalloped frieze drawer, cabriole legs, shaped stretcher shelf, height 46 1/2 in., width 30 1/2 in., depth 19 1/2 in. $1200/1800 44. An Antique Italian Carved Fruitwood Gondola Chair, 19th c., arched crest rail, padded swan’s neck and anthemion arms, carved seat rail, scrolled bellflower tapered legs, volute feet. Note: Traces of old green paint. $500/700 44



45. A Good Antique French Enameled Mercantile Sign, late 19th c., enameled surface on a curved iron sheet, with mounting flanges, the sign is promoting the midwife services of mesdames Cognard & Buzenet, height 25 1/4 in., width 20 in., depth in center 3 1/2 in. $800/1200 46. A Louis XVI-Style Gilt Bronze-Mounted Marble Vase, 19th c., beribboned floral swags, circular base, now mounted as a lamp, vase height 22 in., diameter 9 1/2 in.



47. An Antique Continental Gilt and Silverplate-Mounted Nautilus Cup, late 18th/early 19th c., probably German or Austrian, unmarked, strap and pin construction, the shell strap mounts elaborately chased with grotesque masks, fanciful animals, and foliate designs, surmounted by a crusader, the dolphin standard spouting and surrounded by water-form metal-work, the base encircled with grotesque masks, fruit clusters and shells, height 15 1/2 in., width 7 in., depth 6 1/4 in. $1800/2500

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51. A Pair of Continental Black Marble Figures of Bastet, probably mid20th c., each Egyptian feline goddess of protection depicted in seated position, height 15 1/2 in. $500/1000

49 48



48. A Louis XVI-Style Gilt and Patinated Bronze Jardinière, lobed rim, frieze depicting a satyress with putti, serpent handles surmounted by young satyrs, fluted base with garland surround, height 14 1/8 in., width 17 3/4 in., depth 12 3/4 in. $700/1000 49. An Italian Grand Tour Patinated Bronze “Askos” Claret Jug, late 18th/early 19th c., after the Roman antique excavated at the Maison Carree in Nimes, France, lip with recumbent oxen, scrolled handle, height 6 3/4 in. $500/700 52 50. A Pair of Continental Bronze “Grand Tour” Cabinet Vases in the Classical Taste, 19th c., on pedestal bases, with acorn and Greek key decorated bodies and composite boar’s head and Janus face handles, height 8 in., width 5 1/2 in.

52. A Hardwood and Tortoiseshell Inlaid Coffer, probably East Indian, hinged top opening to void interior, brass handles, bracket feet, height 22 1/2 in., width 43 in., depth 22 in.





53. A Fine Continental Patinated Bronze and Marble Athénienne, 19th c., after the Antique, circular copper lined basin, swagged garlands, winged sphinx supports, zoomorphic legs ending in paw feet, incurvate plinth, conforming marble base, height 57 1/2 in., width 27 in.


$2000/3000 53

54. An English Carved and Burl Walnut Canterbury, mid-19th c., rectangular form with three bays, fitted drawer, turned legs, height 22 in., width 26 1/2 in., depth 16 1/2 in. $600/900 55. A French First Standard Silver Coffee and Tea Service in the Empire Taste, Paul Tallois, Paris, late 19th/early 20th c., comprised of a coffee pot, teapot, sugar and creamer; pineapple finials, eagle’s head spouts, tall legs headed by palmettes, paw feet, coffee pot height 11 3/4 in., total weight 83.10 troy ozs. $1500/2500 56. A Continental Chased Silver Snuff Box With Gilded Interior, unmarked, oblong form, the hinged cover centered with an enamel oval depicting frolicking putti in a landscape, height 3/4 in., width 3 1/4 in., depth 2 in. $800/1200


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63. A Fine Pair of Georgian Sheffield Plate CampagnaForm Wine Coolers, T. & J. Creswick, Sheffield, early 19th c., with inset silver shield and engraved armorial crest, grape and grapeleaf rim, mask handles, egg and dart foot, height 10 5/8 in., width 8 3/4 in.

W 57. A Group of

Five Continental Neoclassical Silver Pieces, consisting of a pair of casters, lidded mustard and a pair of salts; all with cobalt liners, reticulated frames, caster heights 5 7/8 in., combined weight 19.80 troy ozs.

$800/1200 W 64. An Antique Sheffield


Plate Candlestick, Matthew Boulton, baluster shaft with foliate decoration, height 12 1/4 in.

W 58. An Imperial

Russian Sugar Tongs, decorated in the Aesthetic style, marked in inner curve of the handle, length 4 3/4 in.; together with a Russian lacquer box, c. 1900, the hinged cover handpainted by Pavlova, inspired by a Russian fairy tale, height 5 in., width 3 3/4 in., (2 pcs.) $250/350 W 59. A French

Vermeil Sugar Tongs with Twelve Matching Teaspoons, hallmark indistinct, possibly Delacquis, tongs length 5 3/8 in. $200/400

$200/400 W 65. An Antique Sheffield

Plate Tray, oval with gadroon border, loop handles and central armorial, tin back, length 24 7/8 in.

66. A French Gilt and Patinated Bronze Sinumbra Lamp, early 19th c., columnar standard, scrolled feet, incurvate plinth, period cut and etched blown glass shade, electrified, overall height 28 1/2 in.

W 60. A French Silverplate

Lidded Butter Dish, reticulated body, opaline glass liner, recumbent cow finial, cow masque and ring handles, paw feet, height 5 1/4 in., diameter 7 1/2 in.


$300/500 67 61. A Silverplate Figural Epergne in the Regency Taste, the bright work center bowl with gilt interior above three classical caryatids, foliate arms supported conforming bowls, incurvate triangular base on anthemion and scroll paw feet, height 15 1/4 in., width 28 in. $1500/2500




W 62. A Regency Sterling

Silver Wine Funnel, maker SA, London, 1804, reeded edge, pierced detachable strainer, flared spout, fully marked, length 5 1/2 in., weight 3.40 troy ozs. $500/700

67. An Italian Bronze of “Lorenzo, Duke of Urbino”, early 20th c., after Michelangelo (Italian, 1475-1564), a reduction of the life-size tomb marble of 1526/34 in The Medici Chapel, S. Lorenzo, Florence, foundry mark of “Societé Anonyme/ des Bronzes/ Bruxelles” on bottom of reverse, height 20 1/2 in.; together with a carved wood pedestal, height 35 in., overall height 55 1/2 in. $1000/1500

68. An American Late Classical Carved Rosewood Center Table, early 19th c., probably Duncan Phyfe, New York, later inset serpentine leather top, shaped apron centered by leaf and scroll, tapered fluted acanthus carved supports, turned, leaf carved and reeded medial stretcher, scroll feet, height 27 1/2 in., width 48 in., depth 26 1/2 in. $1500/2000 69. An American Gothic Carved Walnut Sofa, c. 1845, arched crocketed tripartite back with pierced trefoils, shaped arms, paneled seat rail, turned and faceted tapered legs, height 58 3/8 in., width 84 1/2 in., depth 24 1/2 in. $2500/3500 Note: The crests, reticulation, seat rail incising and legs on this sofa are identical to those on a walnut side chair descended in the family of Amos Lum (Newark, New Jersey, 1792-1862) included in the seminal 1976 Museum of Fine Arts, Houston exhibition The Gothic Revival Style in America.


Reference: Howe and Warren. The Gothic Revival Style in America 1830-1870, fig 31.

70. A Fine American Renaissance Gilt BronzeMounted, Ebonized and Marquetry Center Table, c. 1860, attributed to Alexander Roux, New York, shaped top with outset corners inlaid with quatrefoils and centered by a bookmatched “C” and “S” scrolled acanthus medallion, molded paneled frieze, scrolled supports centered by turned stem on octagonal plinth, molded legs, scrolled toes, casters, height 28 1/4 in., width 33 1/2 in., depth 37 1/2 in. $2000/3000 Note: The bold use of marquetry and the proliferation of bronze mounts on this table are indicative of the workshop of Alexander Roux. Roux’s sizable workshop (employing 120 workers in 1855) had several sources for mounts including his brother Frederic Roux (active Paris, 18371880) and Pierre E. Guerin (New York, 1843-1911) who established his New York foundry in 1864 and provided mounts for renowned cabinet makers such as Leon Marcotte, Pottier and Stymus and Roux.


An inlaid ebonized and gilt bronze mounted table of nearly identical form to the lot here is illustrated in Dubrow. Styles of American Furniture, 1860-1960 p. 67. Reference: d’Ambrosio. Masterpieces of American Furniture from the Munson Williams Proctor Institute. p. 106 and Laux. “The Furniture Mounts of P.E. Guerin,” Magazine Antiques (May 2002) p. 140-149.

70 (top detail)

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71. An Associated Pair of American Classical Carved Mahogany Games Tables, 19th c., Boston, foldover top with canted corners, cove-molded skirt; one with cased lyre support, the other open, incurvate plinth on acanthus-carved saber legs, brass paw feet, casters, height 30 in., width 35 5/8 in., depth 18 3/4 in. $5000/7000 Note: The distinctive carved supports on these tables relate to a number of similar examples from Boston cabinet shops and are related to the work of London-trained carver, Thomas Wightman, 72 whose work was incorporated by Boston cabinetmakers such as William Fisk and Thomas Seymour. A card table labeled from the shop of William Fisk and signed by Thomas Wightman with a nearly identical carved base to that seen here is conserved in the Historic New England Collection, Boston. Reference: Zimmerman and Jorgensen. “A Grecian Card Table by William Fisk and Thomas Wightman of Boston,” Magazine Antiques (May 2006), pp. 146-147, figs. 1-3.

72. An American Classical Gilt-Decorated Faux Bois Fancy Chair, early 19th c., Baltimore, shaped crest rail with gilt decoration, shaped splat and uprights, trapezoidal caned seat, decorated rail, pin striped saber legs, stretchers.


73. A William IV Carved Mahogany Serving Table, c. 1840, pedimented backsplash with scroll terminals, turned vasiform supports, stretcher shelf on turned feet, height 36 1/2 in., width 53 in., depth 20 in. $800/1200 74. A Coromandel and Mother-ofPearl Inlaid Lap Desk, mid-19th c., lift top inlaid with a wreath and shield cartouche, fitted interior, tooled leather writing surface, height 6 1/2 in., width 15 in., depth 10 in., now on a later stand, overall height 32 in. $300/500

$500/700 74





75. A George IV Carved Mahogany Rent Table, c. 1825, revolving top with inset green tooled leather, frieze drawers, ring-turned columnar supports, incurvate triangular plinth, sabre legs, brass cuffs, casters, height 29 in., diameter 45 in.


$3000/5000 76. A Set of Four Regency BrassMounted Rosewood Faux Bois Side Chairs, early 19th c., ivory suede slip seats over caning, saber legs, height 32 in., width 18 1/2 in., depth 20 in.

78. A French Gilt and Patinated Bronze Figural Encrier, 19th c., figure of Athena Giustiniani flanked by two lidded urns with figural finials, lidded cut glass inkwell, all atop shaped marble plinth with pen tray, height 12 3/4 in., width 13 in., depth 8 1/4 in.

$1200/1800 78 77. A Pair of Large Italian Renaissance Revival Patinated Bronze Figural Andirons, 19th c., each tapering standard with busts of maidens, lion mask with garland, flanked by cherubs sitting on scrolled legs, height 37 1/2 in., width 17 in., depth 10 3/4 in.

$600/900 79. A Pair of Neoclassical-Style Malachite Obelisks, square plinths, height 29 in., width 6 in., depth 6 in. $2000/3000

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82. A Regency Gilt and Patinated Bronze Sinumbra Lamp, early 19th c., foliate and columnar standard atop three griffins, molded circular plinth, paired paw feet, chimney, cut and etched glass shade, overall height 31 1/2 in.


$2500/3500 83. Owen Jones, The Grammar of Ornament, 1856, first edition, large folio (22 in. x 14 1/2 in.), published by Day and Son, London, 100 chromolithographs, plus decorative title page, original three-quarter morocco, with decorative gilt-stamped morocco title panel mounted on cover, conforming decorative spine. $1800/2500 Provenance: First pastedown bears the ex-libris of Edward Montagu Stuart Granville, Earl of Wharncliffe. 84. Owen Jones, Details and Ornaments from the Alhambra, 1845, large folio (21 in. x 14 in.), published by the author, London, with 50 plates of chromolithographs, list of plates in French and English, decorative title page, now loose, with original marbled boards.


80. A Pair of Italian Baroque or Spanish Colonial Carved and Polychromed Figures, probably late 18th c., of architectural form, height 54 in., width 12 in., depth 8 1/2 in.


$2500/3500 82


81. A George III Inlaid Mahogany Document Box, c. 1790, domed lid with central reserve depicting Venus atop a dolphin, beribboned bellflowers and foliage, on talon and ball feet, height 7 1/8 in., width 19 1/2 in., depth 11 1/2 in. $1200/1800



85. George Taylor and Edward Cresy, The Architectural Antiquities of Rome; Measured and Delineated..., 1821-1822, published by the authors, Holborn, folios, two volumes (21 in. x 14 in.), three-quarter leather, with raised bands, bound by Worrall, Birmingham (one spine replaced), with 128 plates (of 130), many foldout, including map, complete with text. $800/1200 86. Auguste Racinet, L’Ornement Polychrome, Cent Planches en Couleurs, Or et Argent, c. 1880, 3rd ed., Firmin-Didot, Paris, folio (16 in. x 11 1/2 in.), title page, preface, index, 60 pgs. text, 100 chromolithographs, loose as issued, original boards (spine broken); together with Aime Chenavard Album de l’Ornemaniste Recueil d’Ornements..., 1845, Lenoir, Paris, folio (18 1/4 in. x 12 1/4 in.), paper boards, title page, preface, index, 72 engravings.

85 (detail)

86 (detail)

$600/900 87. [Architecture], A Monograph of the Work of McKim, Mead & White, 1879-1915, c. 1914, The Architectural Book Publishing Co., New York, Vol. III (lacking 6 plates) and Vol. IV (lacking 8 plates), loose as issued in original portfolios, with 186 photographic plates and plans, together with another 50 plates from earlier volumes, plates size 20 in. x 14 in. $600/900 88. Charles Percier & Pierre Francois Leonard Fontaine, Recueil de Decorations Interieures, Comprenant Tout ce qui a Rapport a l’Ameublement, 1812, folio (18 in. x 12 in.), printed by Didot, Paris, second edition, half-title, titlepage, introduction with vignette (19 pgs.), title page from 1801 ed., 72 plates, and 43 pgs. text, old boards, Fowler 244.


$800/1200 Note: This lot represents the second and best edition of a work that is considered an important influence on the development of the Empire style in America.


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93 98

93. A Gilt and Patinated BronzeFramed Bisque Plaque of Wellington, early 19th c., the borders with fine engine-turned decoration, convex glass, diameter 6 7/8 in.





90. A Pair of Antique Sheffield Plate Candlesticks, Matthew Boulton, baluster shaft with foliate decoration, height 12 1/4 in. $500/700 91. A Pair of Regency Sheffield Plate Candlesticks, third quarter 18th c., bobêche marked “HT & Co” for Henry Tudor & Co., standards in the form of fluted Corinthian columns, on stepped and gadrooned square bases, molded edge, height 12 1/2 in. $300/500 Provenance: Christie’s On-Premises Auction of the contents of Craig & Tarlton, Inc., Raleigh, NC, November 6, 1985, lot 87.


94. A Pair of English Bronze Figural Lusters, c. 1820, the figures of Arabs posed under palm trees, prism hung, with spiral-lobed and engine turned pedestal, weighted base, height 8 1/2 in., diameter 3 1/2 in. $600/900 W 95. A Pair of Antique English Brass Candlesticks Fashioned from Sword Hilts, 19th c., pierced heraldry of crowned phoenix, reticulated base, height 10 1/2 in.

$400/600 W 96. An English or Dutch Pewter-Clad

Iron Box, early 18th c., octagonal body on four brass bun feet, incised decoration throughout, one panel reading “Free Trade” above a ship, monogrammed “WB”, associated lid, height 5 1/4 in., width 3 in., depth 2 5/8 in. $200/300 W 97. A Regency-Style Carved Mahogany

and Brass Folio Stand, adjustable slatted supports with turned stretchers, brass cuffs, casters, height 40 in., width 27 in., depth 29 in. $500/750

W 92. An Old Sheffield Plate

89. An American Patinated Bronze Hanging Hall Lantern, retains original candle holder, cut and etched blown glass shade and smoke bell, height 24 1/2 in.

Desk Stand, rectangular tray fitted with three bottles and pen compartments, ornate cast border and winged paw supports, height 4 in., tray 7 5/8 in. x 6 1/8 in.




98. A Charles X Fruitwood Fauteuil à Oreilles, 19th c., winged back with arched crest, S-scrolled arms, turned and reeded legs, height 40 1/2 in., width 25 in., depth 23 in. $800/1200


99. Three Fine American Classical Carved Mahogany Side Chairs, early 19th c., attributed to Anthony Quervelle, Philadelphia, each with inlaid tablet crest rail, leaf and volute medial rail centered by a fruit filled basket, trapezoidal slip seat, saber legs.




$600/900 100. A Louis XVI-Style Ebonized and BronzeMounted Bureau Plat, late 19th c., possibly Russian, retaining period inset gilttooled leather writing surface, paneled drawers, tapered fluted legs, the whole with bronze moldings, height 31 in., width 27 1/4 in., depth 57 in. $2000/3000 101. A Finely Decorated Chinoiserie Lacquered Table, c. 1920, top with painted landscape reserve, cabriole legs, molded base, bracket feet, height 22 1/2 in., width 38 in., depth 26 in. $800/1200 102. A Neoclassical-Style Carved, Ebonized and Gilt Decorated Bench, late 19th/early 20th c., lion head mounts, curule supports, turned stretchers, hoof feet, height 27 1/2 in., width 34 in., depth 18 in.



103. A Fine Pair of Bronze Jardinières Inspired by the Classical Medici and Borghese Vases, 19th c., each large bellshaped krater encircled by a bas-relief frieze of deities or martial figures, on fluted stems and with satyr mask handles, original tin liners, height 20 in., diameter 15 in.

104. An Antique Greek or Roman Pottery Wine or Oil Amphora, as found, with shell and barnacle encrustation, height 18 in., diameter 12 in. $800/1200


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105. Charles-André, called Carle, Van Loo (French, 1705-1765), “A Sleeping Shepherd”, probably c. early 1760s, red chalk (and graphite sketches of a left hand, and a head, at top right), inscribed in umber ink by a mid-18th c. hand “VanLoo Père” at bottom, on cream-colored laid paper with untranslated watermark in four lines (beneath right arm), and countermark of a symbol (above left knee), with punctures for stitching on right edge, 12 1/2 in. x 17 in., in a modern mount, extensively numbered and inscribed. $2000/3000 Provenance: Art Market, New York; James R. Lamantia, Jr., New Orleans and New York. Note: The most illustrious member of a famous five-generation dynasty of French draftsmen and painters originally from Flanders, Carle Van Loo is here contemporaneously labeled as “Père” to distinguish him from his son Jules-César-Denis Van Loo (1743-1821, then in his twenties), who emigrated to Turin—like his father—and painted at the Piedmontese court. Carle, born at Nice, was trained at Turin from 1712 and Rome from 1714, where he studied with the sculptor Pierre Legros II (1666-1719), who was particularly celebrated for his fine drawings. Upon moving to Paris in 1719, Carle himself won a first prize in drawing from the Académie Royale in 1723, and was awarded the coveted Prix de Rome in 1724. Another of his drawings took first prize at the Accademia di San Luca in 1728, and he began to demonstrate the stylistic eclecticism which distinguished his career, varying from the refined classicism of Raphael and Carlo Maratta to the dramatic dynamism of his own best contemporaries, of whom François Boucher was his particular friend. After another highly creative stay in Turin (1732-34), Van Loo began a brilliant career in Paris in the following year, when his 1735 admission to the Académie Royale was immediately followed by a host of official, religious, and royal commissions. He was ennobled in 1751, and appointed First Painter to the King in 1762; Baron von Grimm called him “the greatest painter in Europe.” This very splendid sheet (despite its evidence of having been removed from an album) seems too regular and finished to be merely a preparatory sketch for a painting: rather it shows every evidence of being a presentation drawing in its own right, exemplifying the precise, technically perfect mastery which has made Van Loo’s drawings conspicuously rare on the market. References: Laurie G. Winters, “Carle Vanloo,” Grove Dictionary of Art, Jane Turner, ed., London, 1996, 34 vols., vol. 19, 645-647; Annamaria Petrioli Tofani et alia, Disegni dell’Europa Occidentale dall’Ermitage, Florence, 1982, p. 86, no. 99, fig. 95 (dynamic style, with inscription very similar to this); Pierre Rosenberg and François Bergot, French Master Drawings from the Rouen Museum, Washington, 1981, pp. 88-89, no. 114, pl. 74 (sculptural style: this technique).



108 (1 of 2)

106. Antonio Basoli (Italian, 1774-1848), “A Stage Set Showing a Hall or Court in the Romanesque Style”, c. 1810, ink and ink wash with white gouache (image bordered in black ink) on gray laid paper, without watermark, unsigned, 13 1/8 x 18 7/8 in., on modern gray mount. $800/1200 Provenance: James R. Lamantia Jr., New Orleans and New York. Note: This is either a preparatory drawing for (or closely related to) the plates of Basoli’s major work, Raccolta di Prospettive (Bologna, 1810), which presents 102 etched plates closely resembling this sheet. Basoli—the last disciple of the Galli-Bibiena school of illusionistic perspectives—could boast of his personal responsibility for some 74 students, 633 engravings, 636 paintings, 397 drawings, 155 stage sets, and the decoration of at least 285 rooms. Based in Bologna (and a pupil of Gaetano Gandolfi at the Accademia Clementina there, where he became a professor in 1803), Basoli made work and study trips to Ravenna, Rome, Florence, Milan, and Trieste; he was eventually elected a member of the academies in Florence (1816), Rome (1822), Turin (1825), and Venice (1836). This drawing (which, needless to say, is quite imaginary in its fantastical medievalizing motifs) is fully representative of his acquisitive, eclectic personality: his invented architectures combine oriental and Northern European forms— particularly in wood, one of his specialties—with endless variations on the classical repertory of all the Mediterranean cultures, extending also to a lifelong fascination with Egyptian imagery. Reference: Martha Pollak, The Mark J. Millard Architectural Collection: vol. IV, Italian and Spanish Books, Washington and New York, 2000, pp. 47-49, no. 15.

W 107. Italian School, 16th c., “Bowman”, 1579,

etching, inscribed and dated lower center, image 8 5/8 in. x 5 3/8 in., laid paper, left and right edges widened with same paperstock, with a detailed article rejecting an attribution to Cornelius Cort and posing the idea of an attribution to Lelio Orsi (Italian, 1511-1587). $500/700


108. Johannes Wiericx (Flemish, 1549-1618), “Melencolia I”, 1602, engraving, after the Dürer work of 1514, 9 3/8 in. x 7 3/8 in., trimmed just outside image, matted; together with “Knight, Death and the Devil”, 1563, after Dürer, dated and monogrammed, by monogrammist H.R. (German, active 15591563), engraving, trimmed to plate, slightly nicking image top edge, 9 1/2 in. x 7 3/4 in. $800/1200 109. Giovanni Battista Piranesi (Italian, 1720-1778), “The Pier with a Lamp”, c. 1760, etching, from Carceri d’invenzione, WE 40, R 41, sheet 18 3/4 in. x 24 3/8 in. $3000/5000

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111. Giovanni Battista Piranesi (Italian, 17201778), Le Antichita Romane, 1756, Rome, Stamperia di Angelo Rotili, volumes 1 and 4 (of 4), folio (22 1/2 in. x 14 1/4 in.), 89 full-sheet, full-page, or half-page engraved plates (these last placed two on a sheet but numbered as one), including titles and dedication, 6 historiated initials, and 2 text vignettes; vol. 1 lacking plates 24, 33 and 36, vol. 4 lacking plates 2-4, 8, 12, 16-18, 21, 44, 45 and 57, disbound, vol. 1 in half-linen portfolio, vol. 4 in old boards, bookplates of John Adam Architect, John Adam and William Patrick Adam, and fragments of the original binding preserved.


110. Giovanni Battista Piranesi (Italian, 1720-1778), “Veduta del prospetto principale della Colonna Trajana”, c. 1800, first Paris edition, engravings, six sheets, unjoined; first five sheets, central fold, 22 1/2 in. x 32 in., top sheet trimmed, 11 3/4 in. x 17 in., watermarks Robison 78, 80 & 85, WE 687; together with a later edition of the same print, 20th c., six sheets, (5 sheets 24 in. x 21 in. and top sheet 11 1/2 in. x 21 1/2 in.), one sheet with possible Calcografia blindstamp. $2000/3000

$5000/7000 Provenance: John Adam (brother of Robert, armorial bookplate designating him “Architect”); to John Adam (son of the preceding); to William Patrick Adam; Blair Adam Library. Note: A fine selection of engravings from the first ed. of Piranesi’s masterwork, with distinguished provenance, having belonged to one of the fraternal triumvirate of architects who established the neoclassical canon in 18th century England. 112. Giovanni Battista Piranesi (Italian, 1720-1778), a group of 127 plates contained on 113 sheets, bound in three large-folio volumes (19 3/4 in. x 28 in.), with watermarks dating from 1770s-1780s, containing sixteen plates from Trofei... (WE 270278, 7 by Francesco); seventeen plates from Della Magnificenza... (WE 767, 770-780, 798); ninety-three plates from Vasi, Candelabri, Cippi, Sarcofagi (including frontispiece) and one plate from Osservazioni (WE 808), in period three-quarter vellum bindings. $8000/12000


113. Giovanni Battista Piranesi (Italian, 17201778), Antichita d’Albano e di Castel Gandalfo..., bound together with Descrizione e Disegno dell’Emissario del Lago Albano..., c. 1800, large folio, first Paris edition, with 51 plates (includes frontispieces), many folding or double-page, no text, birdcage watermark, full calf with gilt tooling by Tessier, Paris, the first pastedown with manuscript list of plates in old hand. $4000/6000 Reference: Wilton-Ely, pgs. 668-727, watermark, pg. 1178.


114. Giovanni Battista Piranesi (Italian, 17201778), “Pianta di Roma e del Campo Marzio”, c. 1774, Rome, engraved map on three joined sheets, folded, 53 in. x 30 3/8 in., WE 1008, watermark Robison 36.


$2000/3000 115. Giacomo Barozzio da Vignola (15071573), Regola de’ Cinque Ordini d’Architettura... Con la nuova aggionta di Michael-Angelo Buonaroti, 1642, printed by Ian Iansz, Amsterdam, folio (16 in. x 10 1/2 in.), old calf, with restored spine, raised bands, gilt title, in two parts; first part with title and preface in 5 languages, portrait frontispiece, 42 plates; second part with 70 plates with engraved title page showing five architects. $1200/1800



116. Niccola Zabaglia (1664-1750), Castelli e ponti...con alcune ingegnose pratiche, e con la descrizione del trasporto dell’obelisco Vaticano, 1743, first edition, folio (19 in. x 14 in.), full vellum, title and dedication in Latin and Italian, portrait of Zabaglia, with 54 engraved plates, many fold-out (4 double-page), by Vasi, Specchi and others after Rostagni and Fontana. $2000/3000 Provenance: Henry Southeran Limited, Antiquarian Booksellers, London, 1994. Note: A fundamental work both in the building history of St. Peter’s and more generally, for the study of early engineering. Showing the restoration of buildings and of engineering in the 18th century, the volume is one of few to give an aspect to the technical construction of the great buildings of Rome. It also depicts the moving of the obelisk of Augustus. W denotes the lot is illustrated at



120 (1 of 27)

117. Giambattista Nolli (Italian, 1692-1756), Nuova Pianta di Roma Data in Luce, 1748, first edition second issue, folio (19 3/8 in. x 14 1/2 in.), marbled boards, calf, with engraved title, Avviso al Lettore, 4 leaves of street indices, plan of Rome on 12 double-page, numbered sheets, and 4 more leaves of street indices, lacking 2 reduced maps. $4000/6000 Provenance: First pastedown with two bookplates with arms, one name rubbed, the other of “George Cockburn.”


Note: Nolli, a surveyor already renowned in Milan, came to Rome in the early 1730s and spent close to twelve years surveying and measuring the city’s monuments in preparation for this map. The plan, if joined together, would measure nearly six by seven feet. 118. Giovanni Battista Piranesi (Italian, 17201778) and Franceso Piranesi (Italian, 17561810), Differentes vues de quelques Restes de trois Edifices qui subsistent encore dans le milieu de l’ancienne Ville de Pesto (Paestum)..., first Paris Edition, wove paper, with 21 double-page engravings, three signed by Francesco sheet 21 1/4 in. x 28 3/4 in., with custom, green cloth-covered portfolio, with ties, WE 717737. $5000/7000


119 (2 of 20)

119. Giovanni Battista Piranesi (Italian, 17201778), a fine group of 20 etchings from Vedute di Roma, various watermarks through the 1780s, including; the title page, the frontispiece with Minerva, “Veduta della Vaticano”, “Veduta interna della Basilica” (2 copies), “Veduta del Campidoglio di fianco”, “Veduta del tempio della Sibilla”, and others, loose, WE 134, 135, 136, 137 (2), 140, 165, 176, 181, 186, 189, 194, 195, 207, 210, 214, 215, 222, 223 and 235.

120. Giovanni Battista Piranesi (Italian, 1720-1778), a fine group of 27 plates from Le Antichita Romaine, 17561800, various editions, with 14 full page plates, and 13 double or fold-out plates, sold with some text pages and various cut plates; large plates include; WE 352, 360, 366, 367, 373, 394, 471, 474, 477, 478, 484, 487 and 491.



121. Giovanni Battista Piranesi (Italian, 17201778), a group of 6 fine engravings depicting Trajan’s Column from Trofeo o sia Magnifica Coclide, c. 1780, Rome, including HE 697701 (29 1/2 in. x 40 1/4 in.) and HE 705 (20 in. x 29 7/8 in.), watermarks Robison 61 & 64.

121 (1 of 6)

$1000/1500 122. Giuseppe Vasi (Italian, 1710-1782), two fine engravings of St. Peter’s Basilica and the Vatican; “Il Prospetto principale del Tempio e Piazza di S. Pietro”, and “L’Interno della Basilica Vaticana...”, 1774 & 1775, engravings, center folds, watermark of double-circle in fleur-de-lis, sheets 30 1/2 in. x 41 1/2 in.


$800/1200 123. After Francesco Panini (Italian, 1745-1812), “Veduta del Giardino di Belvedere...”, “Prospetto del Portico...della Villa Albani”, “Prospetto degli Orti Farnesiani sul Monte Palatino”, “Veduta Interiore della Chiesa di St. Maria...” and “Veduta della Facciata della Chiesa del Gesu...”, 17651780, five engravings, sheets 19 3/4 in. x 30 in. $700/1000

125 122 124. A Pair of Continental Polychrome and Carved Giltwood Blackamoor Pedestals, 19th c., each serpentine gadrooned top with stippled decoration, conforming apron, figural standard atop scrolled acanthus. $1500/2500 125. A Good Antique Régence-Style Carved Walnut and Needlepoint Fauteuil à la Reine, square back with padded arms, shaped seat rail, cabriole legs ending in hoof feet, height 43 1/2 in., width 29 in., depth 25 in. $1500/2500 123 (1 of 5) W denotes the lot is illustrated at


128. A Good Italian Inlaid Walnut and Fruitwood Table, late 18th/ early 19th c., molded top with outset corners centering an inlaid game board, molded cabriole legs, height 30 in., width 37 in., depth 25 in. $1500/2500




W 126. Arthur Waagen (French/

Germany, 1869-1910), pair of bronzes, late 19th/early 20th c., one of “A Whippet and Spaniel Fighting Over the Master’s Hat”, height 11 in., the other “A Whippet and Large Cat Overturning a Stool”, height 11 1/2 in. $500/700 127. A Rare Pair of Neoclassical Carved Mahogany, Parcel Gilt and Painted Torchères, early 19th c., probably Baltic, each with a later faux marbre top, tripodal supports and carved eagle capitals, centering domical urns, pencil inscription to one reading: “pair of Danish torchères, made for (?)Copenhagen c. 1810, tops original (Norwegian Marble g.... marble)” and possibly monogrammed “NB”, height 42 in., diameter 15 in. $3000/5000



129. A Good Charles X Scagliola and Mahogany Center Table, c. 1825, scenic top variously rubbed within leafage and acorn border, height 29 1/2 in., diameter 33 in. $3000/5000 130. A Good Pair of Antique Continental Renaissance-Style Carved Fruitwood Curule Benches, 19th c., probably Italian, shaped rectangular seats, foliate carved X-shaped supports, centered by a sunburst roundel, volute carved stretchers, height 18 1/2 in., width 23 in., depth 18 1/2 in. $600/900



131. A Fine Spanish Ivory and Inlaid Walnut Vargueño, probably early 18th c., central prospect door above small drawer, paired banks of three drawers to each side; on a later stand with turned legs joined by iron stretcher, height 53 in., width 40 1/2 in., depth 21 1/ 2in. $3000/5000 132. Russian School, 19th c., pair of opposing paintings, each oil on tin and depicting mounted Imperial officers meeting two mounted Cossacks; figures facing and gesturing toward each other; each 19 1/2 in. x 15 1/2 in., in period ebonized wood frames.


$5000/7000 133. Continen­ tal School, early 19th c, “Landscape with Figures Beside an Idyllic Classical Town”, oil on canvas, unsigned, 22 1/8 in. x 43 3/4 in., in a carved giltwood frame. $2500/3500



134. Dutch School, late 18th/early 19th c., in the manner of Jan Steen (Dutch, 1626-1679), “A Tavern Scene”, oil on cradled wood panel, 20 1/4 in. x 25 in., framed.

135. Italian School, early 19th c., Possibly Giovanni Paglia (1766-1846), “Set Design for an Elaborate Tomb”, ink and ink wash on paper, unsigned, sheet 16 1/2 in. x 16 1/2 in., unframed.



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137. Italian School, late 18th c., “Set Design for a Prison Interior”, ink wash on paper, unsigned, 8 in. x 12 in., matted. $400/600



138. An Antique Biscuit Porcelain Portrait Bust of Napoleon, mid19th c., after JeanAntoine Houdon (French, 17411828), cast signature “Houdon” and inscription “Buste Officiel/ Napoleon/Empereur/1805” at back of neck; impressed and underglaze blue “Sevres” marks, cobalt socle on bronze pedestal, height 27 1/4 in. $4000/6000 Provenance: Said to be from a private collection in Versailles, France.



136. Marco Capinucchi (Italian, known active 1825-1845), “NeoClassical Design for the Ceiling of a Square Room”, 1841, with graphite sketch plan of a theatre en verso, watercolor and gouache on cream wove paper, unsigned, but with the following attestation on the reverse: “Rimini 13 Agosto 1841 / Il retro comparto è lavoro del Sig.r Marco Capinucchi / Professore di Disegno in questo Ginnasio Conele(?) / Il Gonfaloniere / Luigi Pasú [seal];” image area 14 1/2 in. square, on sheet of 16 3/8 in. square. $800/1200 Provenance: James R. Lamantia Jr., New Orleans and New York. Note: A companion to this sheet, another ceiling design by Capinucchi dated 17 January 1826, was published by William R. Cullison III and James Lamantia, An Eye for Architecture, Tulane University Library (Southeastern Architectural Archive), 16 September-31 October 1984, p. 8, no. 7. The painted panels in the published drawing of 1826 depicted the medieval story (popularized by Dante) of Paolo and Francesca da Rimini. Those in the figured tondi on the present sheet of 1841 present two scenes from the mythological deeds of Mars: his encounter with Venus and her husband Vulcan, and the latter’s discovery of the dalliance of Mars and Venus. They surround a small gilt-and-rose-patterned fictive dome, and are interspersed with gilt roundels bearing trophies of arms; in the remaining spaces are compartments of green and rose tinted foliate ornament with fantastical creatures and musical instruments.


Note: Although Houdon had consolidated his enormous reputation before the French Revolution with busts of the royal family as well as French (and American) sitters of wealth and prominence, his skill was so preeminent that he remained in favor during all the upheavals of the Terror, the Consulate, the Empire, and the Restauration. The present bust is an illustration of the esteem in which he was held by Napoleon: Houdon did in fact execute an “official” portrait of the Emperor, whose terracotta original, signed and dated 1806, is in the Musée de Beaux-Arts at Dijon. The much-later inscription on this biscuit copy is thus incorrect in its dating by one year—a minor mistake which was in fact quite frequent in such long-delayed inscriptions (this one dates from the time this bust copy was made, doubtless during the reign of Emperor Napoleon III in the 1850s or 60s). The characterization here is unusually forceful, representing le grand Empereur as a paragon of strength and vitality, even as the slight diminution of size (the so-called “petite nature”) makes this portrait especially appealing to today’s smaller interiors. Reference: Guilhem Scherf, “Houdon,” Grove Dictionary of Art, Jane Turner, ed., London, 1996, 34 vols., vol. 14, pp. 796-799.

139. A French Bronze Bust of “Jean de Torrou”, 19th c., after the 1783 marble by Jean-Jacques Caffierie (French, 1725-1792), inscribed “Jean de Torrou né a Dreux en 1609 mort dans la même village 1650, fait par J. Caffieri 1783”, height 37 in. $3000/5000

140. [Map of France], “Carte de la France, Divisee en 85 Departments et subdivisee en Districts avec les Chefs-lieux de Cantons, Presentee a l’Assemblee Nationale”, 1791, by Pierre de Belleyme, engraved, segmented map, on linen, with original outline color, in four marbleized slipcases, with large decorative title cartouche, total size 48 in. x 64, together with a large 16 sheet chromolithograph map of Paris by L. Wuhrer, c. 1900, lacking 12th arrondisement, each sheet 24 in. x 28 in.


$400/600 141. [Rome Map], Giuseppe Vasi (Italian, 1710-1782), “Nuova Pianta di Roma in Prospettira Dedicata...”, 1781, engraved, folding, segmented map, on course linen, the papier-mâché slipcase mounted with large retailer’s label of “Alexandre Angeletti et Compagnie...Rome”, 26 in. x 36 in.


$600/900 Provenance: Slipcase signed “Carl Arfwedson”, a Swedish grand tourist and person of note.


142. A German Carved Ivory Figure of Kneeling Angel, late 17th c., figure with downcast eyes and hands raised in blessing, height 5 in., width 3 in., depth 1 1/2 in. $1500/2500 143. A Continental Carved Ivory of a Nymph, early 20th c., the voluptuous figure partially draped on a faceted rosewood base, height 10 in., width 3 1/2 in., depth 3 1/2 in.


$1200/1800 144. Luigi Rossini (Italian, 17901857), Le Antichita Romane, 181923, Volume I only, large folio, with 51 plates, some folding includes frontispiece, in period three quarter leather, sheets 27 1/2 in. x 19 in. $5000/7000 144

Provenance: Sotheby’s, June 17, 1982, lot 246. W denotes the lot is illustrated at


145. Jacques Courtois (Giacomo Cortese), called Il Borgognone (French, working in Italy, 1621-1676), “The Battle of Podhajce”, 1667/1676, oil on 17th-c. canvas, retaining conspicuous impasto, unsigned, with name of the battle (“Perdhacy”, evidently a misspelling during very early relining) in 18th-c. painted script, and an unmarked 18th-c. red wax seal, en verso of 18th-c. herringbone-weave canvas; former owner’s name “Monsieur Raymond Sancery” typed—and in a second instance handwritten—on 19th-c. printed paper labels en verso of stretcher; each rail of stretcher separately inscribed (as are others of the printed paper labels) “No. 18” in early 19th-c. calligraphy; two standard mid19th-c. French Customs marks stamped in black ink en verso of stretcher and frame; 37 1/2 in. x 62 3/4 in., in a more recent carved, gessoed, and giltwood frame.

late 1630s, he was influenced by the respective styles of Salvator Rosa, Pieter van Laer (“Bamboccio”), and especially Pietro da Cortona, who in the 1640s facilitated his introduction to the Roman nobility. His military training and singleness of purpose made him the preeminent battle painter of his day: he was prominent in the collections of Doge Niccolò Sagredo in Venice, was pursued by the Duke of Modena in the 1660s, and by King Charles II as well as King Philip V of Spain (whose respective Battle Scenes are now in the Prado). From 1651 to 1655 he worked in Tuscany for Prince Mattias de’ Medici, brother of the Grand Duke Ferdinando II. As a fellow soldier who had also served in the Thirty Years’ War, Prince Mattias is said to have delighted in the vivid realism of Borgognone’s four great canvases of the War of Castro (1641-44) of which the Prince had been the victor (apart from those exceptional pictures, the present painting is one of the very few among Borgognone’s generic Battles to be specifically localized). A very similar canvas, a “vast and lively battle,” is preserved at Palazzo Pitti; later, he executed four similar frescoes $20000/30000 for the Prince’s villa at Provenance: A European Lappeggi. Borgognone joined noble collection (wax seal); the Jesuits in 1657, intending Raymond Sancery, Paris; to give up painting exported legally from France. altogether; but the great Note: This very striking Padre Oliva, General of the panorama depicts Polish and Order, persuaded him to Lithuanian troops under the continue his calling, and command of John III Sobieski indeed gave the artist (wearing red; after 1674 King conspicuous commissions. A of Poland) in the act of fresco cycle of Scenes from repulsing an advance of Tatar, the Life of St. Ignatius was Cossack, and Turkish forces executed for the Gesù, and under the joint leadership of Borgognone was also Adil Giray, khan of Crimea, commissioned to fresco the and Petro Doroshenko, chief apse of the church itself (but of the Ukrainian Cossacks died before that project could (with blue insignia and flag), be undertaken). He did whom a recent treaty with provide the high altar Istanbul had confirmed as paintings for Bernini’s recognized vassals of the churches at Ariccia and S. Ottoman Empire. The latter’s Andrea al Quirinale, as well as objective was nothing less for S. Carlo al Corso. Most of than the subjugation of the picture galleries in Rome Europe, as the ultimate goal have impressive examples of of the Great Turkish War; but his work, perhaps most the heroic brilliance of Jan memorably the Museo Sobieski as a field commander Capitolino, Accademia di S. thwarted this aim, not only in Luca, Galleria Doria-Pamphili, his ten-day campaign around Palazzo Spada, and 145 (detail) Podhajce (6-16 October 1667, Pinacoteca of the Vatican, which earned him the title of where a splendid Battle Scene commander-in-chief), but (1650s) from the Ferrieri most memorably in his Collection is only slightly smaller than the present canvas. Notwithstanding his miraculous repulse of the three-month Turkish siege of Vienna, on 12 September fame as “the Raphael of Battles,” his paintings appear to be rare in American 1683. The Galician town of Podhajce is only separated from the Hungarian and collections: some have however appeared on the market, notably a Christian and Romanian heartlands by the great chain of the Carpathians; it lies some 60 miles Turkish Battle of almost exactly this same size, at Hampel Kunstauktion in Munich southeast of Lvov (the Lemberg of the Austro-Hungarian Empire) and the same on 17 September 2010 (lot 2556), another at the Dorotheum in Vienna on 21 distance northwest of Kamienetz, the fortress key to southern Poland, bordering a April 2010 (lot 178), and one still larger at Christie’s London on 7 July 2009 (lot neighboring district called Podolia, classically disputed between the Western 27). On account of its scale, its vivid handling, its apparently unique inscribed powers, Russia and Ukraine. Its fortified walls rise here above the smoke of battle, localization, and its status as a great late work (it was necessarily painted between and a long perspective opens out to the left over the valley of the River Dniester, the date of the battle in 1667 and Borgognone’s death in Rome on 14 November and the mountains that bound the Sarmatian plain. 1675), this is a most exceptional offering. Jacques Courtois, called Il Borgognone from his birthplace in the French / Swiss References: Robert N. Bain, “John III (Sobieski),” Encyclopedia Britannica, 11th ed., Cambridge, 1911, vol. 15, pp. 442-443; ibid., “Lemberg,” vol. 16, pp. 409-410; William R. Shepherd, Historical Atlas, 9th ed., border town of St. Hippolyte in 1621, went to Italy when he was only 15, and New York, 1969, pp. 125-167; Ann Sutherland Harris, “Giacomo Cortese [il Borgognone],” Grove spent the next three years as a soldier/painter with the Spanish army around Dictionary of Art, Jane Turner, ed., 34 vols., London, 1996, vol. 7, pp. 902-903; Francis Haskell, Patrons and Painters, London, 1963, pp. 78-79; Carlo Pietrangeli, Paintings in the Vatican, Boston, 1996, pp. 508, Milan; in travels through Bologna, Florence, Siena, and eventually Rome, in the 568; A. J. Onieva, Complete Guide to the Prado, Madrid, 1966, p.128-129.



145 (detail)

145 (detail)

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148. Giovanni Battista Piranesi (Italian, 1720-1778), Lapides Capitolni sive Fasti Consulares Triumphalesq. Romanorum..., c. 1762, engravings, loose, no binding, title page, frontispiece, preface and 61 pgs. text,, includes WE 553-557, no other plates. $500/700 W 149. Giovanni



Battista Piranesi (Italian, 1720-1778), Le Rovine del Castello dell’Acqua Giulia situato in Roma..., 1761, Rome, folio (21 in. x 15 3/4 in.), half-title, title page, text, 19 plates, disbound, modern green, clothcovered portfolio with ties, WE 529-552, watermark Robison 35. $600/900 150. Giovanni Battista Piranesi (Italian, 1720-1778), “Veduta dell’Antiteatro Flavio detto il Colosseo”, c. 1800, first Paris Edition, sheet 21 1/8 in. x 29 1/4 in., WE 259; together with “Veduta del Palazzo Stopani”, first state, sheet 21 in. x 30 in., WE 261, Robison 40.

147 (1 of 19)


147. Francesco Piranesi (Italian, 1756-1810), Raccolta de’ Tempi Antichi, 1780, Rome, Part One, with title, frontispiece, preface, text, with 19 (of 21) plates, lacking 3 & 5, ten are double-page, includes the famous view of the Temple of Sibyl, along with the similarly large view of the capital and entablature of that structure, loose, in a modern green, clothcovered portfolio with ties.

151. Giovanni Battista Montano (1534-1621), a group of 40 bound architectural engravings, c. 1624, 4to (13 3/4 in. x 9 1/2 in.), full vellum, the plates are early variations that correspond to plates in Raccolta de tempii e sepolri, Scielta d. varii tempietti antichi, and Architettura con diversi ornamenti cavati dall’ antico.



Note: Francesco Piranesi, eldest son and heir of Giovanni was but 20 years old at the time of his father’s death in 1778. He produced this first part of a projected volume on temples quickly to assure his position. The plates on the temple of Sibyl are brilliantly conceived and project the son’s considerable talent.

Provenance: Bears armorial bookplate of Fuerstlich Auerspergsche Fideicommisbibliothek Zu Laybach, Prince of Augsburg.


150 (1 of 2)

146. Augostino Veneziano (de Musi) (Italian, c. 14901540), “The Climbers”, engraving after Michelangelo’s drawing for the Palazzo Vecchio, monogrammed and dated 1524, published c. 1773 by Carlo Losi, Rome, laid paper, with fleur-de-lis in double-circle watermark, collector’s stamp “VC”, and old inscription, verso, plate 13 in. x 17 1/8 in. $600/900


152. Aloisio Giovannoli (Italian, c. 1550-1618), Vedute Degli Antichi Vestigi di Roma, c. 1750, oblong folio (10 1/2 in. x 16 1/2 in.), in fine, tooled, 3/4 leather 19th c. binding, with 106 engravings, including fold-out map (21 in. x 16 1/2 in.), with a file containing, in Italian, showing comparisons with these prints to their 17th c. counterparts.



$800/1200 Provenance: Purchased at Muttonchop Manuscripts, Horsham, Sussex, England, 2003, for £1850. 153. A George III Satinwood and Inlaid Beau Brummel Dressing Table, top with oval anthemion and bellflower inlaid panels, string inlaid interior fitted with six covered compartments, adjustable mirror, and four Edwardian cut glass and silver jars, faceted square legs with incurvate stretcher, height 33 1/2 in., width 26 in., depth 20 in.



155. A Regency Inlaid Mahogany and Calamander Banded Games Table, early 19th c., foldover top with canted corners, baize-lined playing surface, vasiform stem on a circular plinth, hipped sabre legs with brass paw feet, casters, height 29 1/4 in., width 35 1/4 in., depth 17 3/4 in.

$500/750 Provenance: Estate of Julia Badger, Grand Rivers, KY.

$1200/1800 154. A Regency Mother-of-Pearl and Silver-Inlaid Rosewood Nécessaire, c. 1820, sarcophagus form beaded lid opening to vellumlined tray above a pair of doors enclosing two drawers over a writing drawer, melon feet, height 12 in., width 12 in. $1000/1500


156. A Regency Carved and Inlaid Mahogany Work Table, c. 1820, foldover swivel top opening to a satinwood and rosewood gameboard, drawer and work bag below, supports with pierced fretwork, turned medial stretcher, trestle base, disc feet, casters. $800/1200

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160. An Antique Egyptian Revival Specimen Marble and Patinated Bronze Pedestal, mid-19th c., stepped square swivel top with bronze moldings, lotus-carved column with collars, square plinth, the whole in rouge, breccia, and maruin green marbles, height 43 in., width 14 in., depth 14 in. $2500/3500 161. A Pair of Antique Bronze Figural Chenets, each opposing Classical figure atop complex urn standard with paired putti, base with female figures in the Renaissance style, height 46 in., width 20 in., depth 14 in. $2500/3500 157

159 158 157. A Fine Set of Eight Regency Carved Mahogany Dining Chairs, early 19th c., closely related to the designs of George Bullock, London, curved tablet crest, incurvate seat rail, turned and faceted legs, height 33 1/2 in., width 20 in., depth 18 in. $2500/3500 158. An English Carved and Inlaid Mahogany Telescoping Dumbwaiter, c. 1910, molded top, three tiers, trestle supports, scrolled legs, casters, height 28 in., width 35 in., depth 20 in. $700/1000 159. A Regency Ebonized and Parcel Gilt Decorated Sofa, c. 1800-1810, crest with paneled musical trophée decoration, carved arms with turned uprights, seat rail with paneled tracery, turned legs, brass cup casters, height 36 in., width 71 1.2 in., depth 21 1/2 in. $1500/2500




W 162. A Gilt

Bronze Fireplace Group, comprising a Charles X fire guard, and a Louis XVI-style fire screen, screen height 30 1/2 in., width 28 1/2 in., depth 7 in.; guard height 11 1/2 in., width 34 in., depth 4 in. $500/750 163. A George III Chinoiserie Tall Case Clock, green ground with gilt decoration, bonnet with broken arch pediment surmounted by brass ball finials, the dial engraved “William Webb London”, flanked by columns, molded plinth base, height 85 in., width 19 1/2 in., depth 10 in.


$2000/3000 164. A Rare English Needlepoint, late 18th c., depicting figures at various pursuits, now mounted within a two panel carved oak screen, height 70 1/2 in., width of each panel 30 in. $1000/1500 163


165. An English Carved Oak Valuables Chest, early 18th c., molded lift top, wrought iron hinges, interior till, molded base, height 11 in., width 23 1/2 in., depth 15 1/2 in. $400/600


166. An Associated Pair of Antique Regency-Style Painted Armchairs, black ground with gilt decoration, cane seats, height 32 in., width 20 in., depth 19 in. $1000/1500 W denotes the lot is illustrated at


167. Attributed to Michael Dahl (Swedish/British, 16561743), “A Lady, three-quarter length, Seated with her Head on her Right Hand”, c. 1700, oil on canvas, unsigned, 50 in. x 40 1/4 in., in an antique carved and gessoed wood frame. $5000/7000 Provenance: A New York City town house, c. 1940; descended in a Mississippi family. Note: This impressive and well-preserved painting shows a young woman seated languidly before a large fringed drapery, her right elbow on a stone balustrade, and her dreamily tilted head propped on her right hand. Its size of 50 x 40 inches is identical with many portraits that Dahl painted in England, where he worked for almost sixty years (and rarely signed his pictures). For the sixth Duke of Somerset he painted in the 1690s a celebrated series of seven notable contemporary beauties—commissioned for full-lengths, but in the event painted as three-quarter lengths—in emulation of Sir Godfrey Kneller’s famous “Hampton Court Beauties.” This picture is almost identical in pose (apart from the raised right hand, and the leg positions) with Dahl’s Lady, Seated, in a Golden Satin Dress—at 50 x 40 ½ in.—sold at Christie’s New York, 2 June 2005; even the stone balustrade and the darker drapery falling across her right shoulder, to be held in her lap, are the same.

life-class drawings had already been assembled into a small collection, as recorded on a note attached to one of the group (“set by Wm. Chas. Landseer, March 1847”). The set was sold intact at Christie’s in 1966: one of the five sheets was acquired by Shepherd Gallery Associates in New York, and published in their English 19th Century catalogue of 1983 (no. 60, the source of the citation above); another was acquired by St. Jude Gallery, London, and published by Edward Lucie-Smith, Life Class, 1989, p. 20. Prof. Malcolm Warner, Senior Curator of Paintings and Sculpture at the Yale Center for British Art in New Haven, wrote to James Lamantia in 1999 that on the basis of the “convincing inscription” quoted above, and compelling evidence that it is “securely attributed,” he planned to include the sheet in his forthcoming catalogue raisonné on Millais.

As is certainly apparent from these early masterpieces, Millais was a highly precocious prodigy. He was taken up to London (from Southampton) in 1838, and accepted into the Royal Academy 167 Schools as its youngest-ever student in 1840, at the age of eleven. He won a silver medal there in 1843 for a drawing After the Antique, and in the Royal Academy exhibition of 1846 he showed his first painting; a second in 1847 won a gold medal (making it clear why Landseer was motivated to collect his drawings). Reference: Richard Jeffree, At the Academy “Dahl, Michael,” Grove Schools Millais Dictionary of Art, Jane became a close friend Turner, ed., London, 1996, 34 vols., vol. 8, pp. 453-455. of William Holman Hunt (1827-1910); together with Dante 168. Sir John Gabriel Rossetti Everett Millais, (1828-1882) they P.R.A. (English, resolved to form the 1829-1896), 168 (recto) 168 (verso) renowned “Pre“Reclining Female Raphaelite Nude” (recto) and Brotherhood” at “Standing Male Millais’s house in Nude” (verso), two life studies, c. 1845, black, brown and white chalk September 1848. For ten or a dozen years he painted some of the best-known on buff-colored wove paper, signed with given-name initials J[ohn] Pre-Raphaelite pictures; from the 1860s he developed several (ever more lucrative) E[verett] at right center on male image, and later inscribed with the changes of style, and by 1878 had become the wealthiest and most celebrated artist’s full name on repair tape, showing at upper left on the male artist of his time. He was created a Baronet in 1885—the first artist to be elevated figure; sides of sheet irregularly trimmed, but averaging 17 3/8 in. x to the peerage—and was successively an Associate (1853), a Member (1863) and 12 1/4 in. between deckled top and bottom edges. the President (1895) of the Royal Academy. This hauntingly beautiful sheet, $2000/3000 distantly and selectively recalling the fashionable style of William Etty (1787-1849), is one of the finest examples of his earliest manner. Provenance: William Charles Landseer, by 1847; Christie’s London, 1966; James References: Malcolm Warner, “Millais, Sir John Everett,” Grove Dictionary of Art, Jane Turner, ed., 34 R. Lamantiat, Jr., New Orleans and New York. Note: The two spectacular nude studies on this two-sided sheet were drawn when Millais was only sixteen: by the time he was seventeen this and four of his other


vols., London 1996, vol. 21, pp. 601-604; idem, letter to James Lamantia, 10 September 1999; Christopher Wood, The Pre-Raphaelites, London 1981, New York 1994, pp. 30-39; Millais, monographic exhibition at Tate Britain, 26 September 2007-13 January 2008.

169. Frederick Goodall, R.A. (British, 18221904), “The Way to the Tomb”, 1894, oil on board, monogrammed and dated lower right, 13 1/2 in. x 22 in., in a gilt frame. $2000/3000 Provenance: Morton’s Auction Exchange, New Orleans, March, 1979, lot 79. Note: English painter Frederick Goodall, R.A. first gained notoriety when he won a silver medal at the Society of Arts in 1937 at the age of 14. Two years later he exhibited at the Royal Academy, the first of many exhibitions at that institution. In the early years, Goodall painted mostly peasant and genre scenes which brought him much acclaim and he was made an Associate of the Royal Academy in 1852 and a full member of that body in 1863. His world view changed greatly in 1858 when he took the first of two trips to Egypt. These trips and the work he produced helped to cement his legacy as an Orientalist painter. In this example, the, the body of a notable Egyptian is being carried by six men to the tomb through topography reminiscent of the Valley of the Kings. The body is most probably that of an important leader and quite possibly a Pharaoh based on the size of the funeral procession that appears far away on the ridge in the center of the painting. Goodall’s career flourished in his lifetime. He became one of the most sought-after painters in Britain and his name helped establish two of his children Frederick T. and Herbert as artists.



170. Benjamin West, P. R. A. (British, 1738-1820), “Seated Female Figure (Probably Study for a Portrait)”, probably c. late 1770s/early 1780s, graphite on buff laid paper, unsigned, 7 5/8 in. x 8 1/2 in., in a composite dealer’s mount inscribed “from his studio/ D23 917C/ 6 [in a circle]”. $2500/3500 Provenance: Colnaghi’s, London, 1961; James R. Lamantia, Jr., New Orleans and New York. Note: This unusually clear and handsome sketch is a highly characteristic work by West (as its provenance from one of the world’s foremost dealerships in old master drawings would suggest). Its head is a marvel of economy, with its few pencil strokes establishing the basic profile and cranial structure: its uplifted pose and loose hair, in addition to its concentration on the shadows of the eyelids, below the nose and mouth, and in the shaded neck, are very closely paralleled (for example)

on a sheet of studies by West at the Friends Historical Library, Swarthmore College. West’s trademark gown with its high waist and clinging skirt is similar to that in his Design for a Pediment at the Huntington Library in San Marino, CA; the fall of the bodice across the right breast, and the shape of the girdle, match West’s drawing The Destroying Angel at the Royal Academy; while the gestures here of the right arm, hand, and sleeve are identical to those in his Belisarius of 1784 at the Philadelphia Museum. The handling throughout is closely reflected in the Raising of Lazarus at the Pierpont Morgan Library in New York (which now holds the largest collection of West’s drawings). The head here has an almost exact cognate in another sheet of sketches for an Ascension at the Morgan, while the general composition, the supporting block, and especially the summary, shorthand feet appearing beneath the gown are repeated in the same collection’s Seated Sibyl. This figure’s overall attitude, and specifically the almost automatic parallel strokes around its contours, find close cognates in the Morgan’s Seated Male Nude; and the basic compositional type is exactly paralleled in their Seated Woman with a Musical Instrument, which is fully developed as a study for West’s famous painting of Mrs. William Beckford (now at the National Gallery of Art in Washington), for that family’s celebrated site at Fonthill Abbey, Wiltshire. References: Ruth S. Kraemer, Drawings by Benjamin West, Pierpont Morgan Library, New York, 1975, pp. 11-12, no. 15, pl. 7; 16-18, no. 23, fig. 10 and pl. 12; 38-39, no. 63, pl. 37; 39-40, no. 66, fig. 26; 63-64, no. 120, pl. 77; and 71-72, no. 158, pls. 86-87. Frederick Cummings and Allen Staley, Romantic Art in Britain: Paintings and Drawings 1760-1860, Philadelphia, 1968, pp. 99-100, no. & fig. 50; Hans Fletcher, [T]he Royal Academy, Washington, 1982, no.10.

W denotes the lot is illustrated at


171. Simeon Solomon (British, 1840-1905), “Memory”, 1890, red chalk on cream-colored wove paper without watermark, signed in monogram and dated lower right, 14 1/4 x 12 1/8 in., in modern corner-mounts. $4000/6000 Provenance: Durlacher Brothers, New York; Robert L. Isaacson, 1963; James R. Lamantia Jr., New Orleans and New York. Published: Curtis G. Coley, ed., The Pre-Raphaelites: A Loan Exhibition of Paintings and Drawings by Members of the Pre-Raphaelite Brotherhood and Their Associates, Herron Museum of Art, Indianapolis, 16 February-22 March 1964, and Gallery of Modern Art, New York, 27 April-31 May 1964, no. 83, illustrated.

172. Simeon Solomon (British, 1840-1905), “Profile Head of a Saint or Angel”, 1905, black chalk and pastel, signed in monogram and dated lower right, inscribed “Simeon Solomon” en verso, on beige wove paper, watermarked by J. What[man], 13 15/16 in. x 20 1/2 in., with small mended tear at left center. $2000/3000 Provenance: James R. Lamantia, Jr. New Orleans and New York.

Note: The artist of this fine sheet was unusually precocious, taking his first academic training at age twelve, and entering the Royal Academy Schools at sixteen. Through the influence of Dante Gabriel Rossetti (1828-1882), Solomon became enamored of the fashionable Pre-Raphaelite style. His Note: As noted apropos of the artist sister Rebecca Solomon other drawing by Solomon in this (1832-1886) encouraged his deep catalogue, the Profile Head of Hebraic spirituality. In the mid1905, this precocious artist met 1860s he came under the profound Dante Gabriel Rossetti (1828-1882) influence of Sir Edward Coley in 1858, and Algernon Charles Burne-Jones (1833-1898), who 171 Swinburne (1837-1909) shortly particularly affected after; their combined his technique of influence led Solomon drawing; he began into increasingly painting seductive dangerous dissolution, mythological subjects and a personal crisis in from the classical 1873 from which he repertory, which never fully recovered enjoyed an enormous (though Burne-Jones success. He became later called him “the intimately associated greatest artist of us with Algernon Charles all”). This fine Swinburne, Walter drawing does clearly Pater, Albert Moore, demonstrate, though, and William Morris; the tenderness and but personal problems subtlety which he beginning in 1873 could occasionally caused his work and command, even in the his health to second phase of his deteriorate, and much life. His dreamy, of his later work does introspective not match the quality personification of of his earlier output. “Memory” is rendered This imposing sheet— in delicate, evanescent drawn in the last year red chalk, in which of his troubled life—is the pensive head is 172 clearly an exception, outlined against twin testifying that in this sprigs of laurel, as a haunting image symbol of her Solomon had more impressionistic technique to that of an exact contemporary of Solomon’s in France, Odilon Redon (1840-1916); victorious, and than regained his but in actual fact the closer analogy for this particularly personal use of red chalk is in the drawings of Pierre ultimately triumphant, original power and Puvis de Chavannes (1824-1898), especially in such a haunting image as his Portrait of Marguerite of c. 1870. retrospection. James inspiration. Notes: Christopher Wood, The Pre-Raphaelites, New York, 1994, pp. 130-134; Margaret Morgan Grasselli and Judith Brodie, Drawings from the Lamantia, in his commentary to the publication of this beautiful sheet in 1964, compared its


O’Neal Collection, Washington, 1993, cover, and pp. 84-85, no. 53; Elisabeth Kashey, 19th C. European Paintings, Watercolors, Drawings and Sculpture, summer exhibition, Shepherd & Derom Galleries, New York, 2001, no. 17 (Marguerite), illustrated.

Reference: Simon Reynolds, “Simeon Solomon,” Grove Dictionary of Art, Jane Turner, ed., London, 1996, 34 vols., vol. 29, pp. 47-48.

173. John Ruskin (British, 1819-1900), “A Cave Seen in Sunlight”, and “A Cave Seen in Shade”: a pair of drawings, probably c. 1830s, graphite, watercolor, and gouache on light buff wove papers (both sheets laid down), unsigned, each 7 x 9 7/8 in. (both inscribed in a later hand en verso “17M”).

174. John Ruskin (British, 1819-1900), “The Roman Arch at Susa in Piedmont”, c. 1830s/40s or later, traces of graphite with black and white gouache on gray paper, unsigned, 6 1/4 in. x 6 1/2 in., on a decorated French mat, hinged to a modern mount.


Provenance: George Dicks; Durlacher, New York, 1956; James R. Lamantia, Jr., New Orleans and New York.


Provenance: Joseph Arthur Palliser Severn (1842-1931), Brantwood, Cumbria, by 1900; Christie’s London, 24 October 1967, lot 13 (to Lamantia); James R. Lamantia Jr., New Orleans and New York.

Note: The Arch at Susa (9-8 B. C.), in the Piedmontese foothills of the Mont-Cenis Pass, was erected early in the sequence of Imperial arches to commemorate the alliance between Augustus and Julius Cottius, for whom the surrounding Cottian Alps are named—and which press close on this tiny town in Ruskin’s sketch. The structure’s simple, basic form is well represented in Ruskin’s admirable (and very dramatic) drawing: the uncompromisingly plain arch with its undecorated vault is framed on each façade only by a pair of engaged Corinthian columns, supporting a simple entablature with a continuous frieze, below an attic that is perhaps disproportionately low (and which Ruskin tactfully allows to run off the top of his sheet, thus implying its greater height). The arch’s one embellishment is the celebrated frieze that memorably marks Augustus’ early alliance: Ruskin beautifully catches its tribal warriors and sacrificial animals with strong highlights only on their lower anatomies, thus minimizing the damage to the weathered modillions above. The young artist probably crossed the Mont-Cenis with his parents in 1835, en route to his first experience of Venice; several other Continental journeys followed in quick succession, especially a Italian long sojourn in 1840-1841. This fine sheet may date at any time in those early decades, or even later— concentrating as it does on his two principal passions, those of monumental architecture and unusual topography.

Cave in Sunlight Published: William R. Cullison III and James Lamantia, An Eye for Architecture, Tulane University Library (Southeastern Architectural Archive), New Orleans, 1984, p. 25, no. 23. Note: One of the most important and influential critics of the entire 19th c., Ruskin was also a highly accomplished artist, having been trained as a youth— especially in watercolor—by Copley Fielding (1787-1855) and James Duffield Harding (1798-1863; the latter had been a pupil of Samuel Prout [1783-1852], a near neighbor and lifelong idol of Ruskin’s). The theme doubly presented here, of grottos presented at different times of the day, had been pioneered in various versions by Joseph Wright of Derby (1734-1797), showing Italian examples, and following the precedent of such painters as Pietro Fabris (known active in Naples c. 1756-1779). These two dramatic and impressive sheets, with their didactic aim of illustrating a similar but evidently landlocked natural feature in contrasting lights, emphasize the fact that young Ruskin was an eager student of natural science, especially of geology (and they were probably drawn in the English Lake District, the northwestern home of the Fielding family). His watercolor studies of rock formations have always been judged particularly fine; and as Anne Lyles has remarked, “Ruskin’s drawings of mountains attempt something more than an intelligent grasp of geology…they seek to show the inner construction, rhythms, and tensions of form—to reveal, in fact, the underlying structural order of the natural world.” After an enormously active lifetime of drawing and writing, Ruskin withdrew in the late 1880s to his own Lake Country home at Brantwood, on Coniston Water, just a few miles from Windermere. There he was cared for by his cousin Joan Agnew Ruskin, who in 1871 married the artist Arthur Severn; the Severns became the heirs of Brantwood, and the owners of these



drawings—which thus have an unbroken provenance, directly from the artist himself.

References: Guido A. Mansuelli et alia, Studi sull’Arco Onorario Romano, Rome, 1979, pp. 90, 120-122, 139, pls. 7, 12, and 13; Dinah Birch, “Ruskin,” Grove Dictionary of Art, Jane Turner, ed., London, 1996, 34 vols., vol. 27, pp. 350-356.

References: Anne Lyles and Andrew Wilton, The Great Age of British Watercolours, London and Washington, 1993, pp. 85, 138, 308, 320-321, pl. 164; Dinah Birch, “Ruskin,” Grove Dictionary of Art, Jane Turner, ed., 34 vols., London, 1996, vol. 27, pp. 350-356; Marcia Pointon, “Fielding,” ibid., vol. 11, pp. 59-61; David Cordingly, “Harding,” ibid., vol. 14, p. 166; Scott Wilcox, “Prout,” ibid., vol. 25, pp. 661-662; Frederick Cummings and Allen Staley, Romantic Art in Britain, Philadelphia, 1968, pp. 71-72, no. 30.

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175. John Ruskin (English, 1819-1900), “A Weathered Dressed Stone in a Minimal Landscape”, c. late 1830s/early 1840s, graphite and white gouache on buff wove paper, initialed “J.R.” at right center, 3 15/16 in x 6 3/4 in., (right edge irregular, though with uniform traces of attachment: probably a page from a notebook); hinged to cream-colored mount, 7 1/4 in. x 10 3/8 in. $1200/1800 Provenance: James R. Lamantia Jr., New Orleans and New York.


Exhibited: James Lamantia, Drawing and Architecture, Art Department, Sophie Newcomb College, Tulane University, New Orleans, 15-26 March 1965, no. 26. Note: This is manifestly an early drawing by Ruskin, whose lifelong credo it was to examine meticulously every element of “Nature,” by which he meant both the human and the natural environments. This sheet, evidently from a small notebook of regular size, may even have been a study for a finished drawing (fully signed, with the initials in the same form as here, and dated 1841) now in the Nelson-Atkins Museum of Art, Kansas City. That big sheet, some three times larger in each direction, depicts a distant view of the Aventine Hill in Rome, from the Ponte Rotto on the Tiber; and—in Ruskin’s panorama—the remnant of a Papal monument on the near shore is composed of dressed ashlar blocks, some dozen of which are exactly synchronous with the one studied here, and are even shown in the same perspective. (After an ill-fated Papal restoration in 1575, the Ponte Rotto finally collapsed in 1598, a date which accords well with the weathering of the block sketched here.) Even if Ruskin did not encounter this block in Rome— though a hint of the herbage around the base of the ruined Papal feature, in the Kansas City drawing, may well be the reason for the grass or weeds around the stone in this sketch—the date inscribed on the larger sheet, when the artist was twenty-two years old, accords remarkably well with the early drawing presented here. References: Roger Ward and Mark Weil, Master Drawings from The Nelson-Atkins Museum of Art, St. Louis, 1989, p. and pl. 56; Guida d’Italia, Roma e dintorni, Milan, 1977, p. 464.



176. Very probably John Ruskin (British, 1819-1900), “Bones of a Female Foot”, 1844, graphite, watercolor, and gouache, on gray wove paper, laid down; unsigned, 7 1/16 x 12 in., in a modern mount; inscribed in a later hand en verso, “156-22-62”. $2000/3000 Provenance: Sir Henry Acland (1815-1900), Surgeon, Regius Professor of Medicine at Oxford University, 1844; Sir Henry Wentworth Dyke Acland; Sir William Henry Dyke Acland, Baronet, by 1965; his sale, Christie’s London, 22 March 1966, lot 62, sold to Alister Matthews, Bournemouth and Poole; purchased from the latter by James R. Lamantia Jr., New Orleans and New York. Published: William R. Cullison III and James Lamantia, An Eye for Architecture, Tulane University Library (Southeastern Architectural Archive), New Orleans, 1984, p. 24, no. 22. Note: This drawing has been somewhat ambiguous of attribution from its very inception. On 27 November 1844 the young Ruskin wrote to the Oxford surgeon Dr. Henry Acland (who had loaned Ruskin a box of human bones, purportedly but not accurately containing a full skeleton) that “[George] Richmond has lent me a lady’s foot—the contours of which are exquisite—finished to perfection—I am drawing it for the book—tried to foreshorten it twice and couldn’t[;] but the profile is finest, luckily” (Oxford, Bodleian Library, MSS. Acland d. 72, folio 4 c). The book to which Ruskin refers was a volume containing anatomical drawings as well as very early and valuable vintage photographs, being compiled by Dr. Acland (the invention of photography had only been announced by William Henry Fox Talbot in 1839). That album was given to the Bodleian in 1983 (MS. Photogr. b. 34) by his descendant Mrs. Peter Tabor, after her father Sir William Henry Dyke Acland had removed the non-photographic items from it, and sold them at

Christie’s as recorded above. Since this sheet thus has both an unbroken chain of ownership and a clear statement by Ruskin himself, not only that he drew it but that he drew it in the profile view we see here, there should certainly be no question as to his documented authorship. But ironically Ruskin had also given drawing lessons to Dr. Acland himself; and a suspicion lingers that this sheet, precisely though it may match its description in Ruskin’s letter, might possibly have been executed instead by that very Dr. Henry Acland (whose sketchbooks surviving at the Ashmolean Museum, Oxford, unfortunately offer no useful testimony as to this question). The reasons for which such a suspicion is probably not warranted are the very fact that the foot in question did not belong to Acland himself, but rather to George Richmond in London, who loaned it directly to Ruskin. Second, the young artist’s self-avowed difficulties of rendering the foot in foreshortened views could very well have occasioned the heavy un-Ruskinian crosshatching behind it—so effective as an obliteration—that has engendered the uncertainty (albeit expressed only verbally) of such critics as Tim Hilton (Ruskin, The Early Years, London, 1985). Certainly this sheet was always recognized to be an autograph drawing of Ruskin’s by the Acland family, and confirmed as such when it was offered in the Acland sale in 1966: it was paired there with a Rhine Landscape inscribed by Ruskin to “Dear Acland,” and the two sheets even at that early date fetched 100 guineas (£105). It should also be said that no less a luminary (and fellow early photographer) than Professor Charles Lutwidge Dodgson of Oxford University—the immortal Lewis Carroll, 1832-1898—noted in his diary (Thursday 12 November 1857, published by The Lewis Carroll Society, 1993) that he had attended “an evening party at Dr. Acland’s,” where he had been shown what seems to be this same skeletal image, and judged it to be “an exquisite drawing by Ruskin.” Documentation: Dossier of 2000-2005 compiled for The Maas Gallery Ltd., London, by Rupert Maas, Jeremy Maas, Stephen Wildman, Colin Harrison and Giles Hudson, annotated by James R. Lamantia.

177. Augustus Welby Northmore Pugin (British, 1812-1852), “The Eschenheim Tower, City Gate of Frankfurt”, c. 1833/34, graphite on light cream-colored laid paper, very faintly signed “Aug. Pugin” (and possibly dated?) lower left, paper watermarked “[18]33” behind upper right, edge-bordered in thin black ink, 9 7/8 in. x 7 in., in modern mount. $1000/1500 Provenance: James R. Lamantia, Jr., New Orleans and New York. Note: This is an early example of Pugin’s architectural—or more properly topographical— studies, being a view from the north of the famous old watchtower (1400-1428) on the northwest line of the former city walls at Frankfurt-am-Main, Germany. The Eschenheim Gate is now restored to its Medieval form, as Pugin meticulously drew it; like all the monuments of Frankfurt, it was substantially reconstructed after World War II. The twin turrets a third of the way up now have new windows, roof spires, and machiolations; there are two more windows (distinguished by their more modern stonework) to light intermediate floors in the tower itself; and the machiolations, battlements, and spires of the crowning ring of turrets have all been rebuilt. Pugin probably owed his deep acquaintance with this tower to the constant series of travels that he undertook to study Medieval architecture on the Continent (principally in France, Belgium and Germany) beginning in May 1832, when his first wife died in childbirth; and his father, his mother, and his aunt—from whom he inherited financial independence—all followed her within a few months. The paper of this drawing is dated “[18]33” on what is almost certainly a remnant of a John Whatman watermark: there is no reason to assume that Pugin would have availed himself of such a prestigious paper in any later year than 1833/34, and we may confidently take that internal evidence as the date of this fine drawing. Pugin’s later career, as perhaps the finest Gothic Revival architect of the first half of the 19th c., is here given a very significant impetus.


city in Sweden, however, with a modern population of some half-million, it seems an unlikely place for Pugin to have sketched the very rustic bell platform in cross-braced timberwork that we see in this fine drawing. On the other hand, that town’s Neo-Gothic church dates only from 1856-59; and since Pugin died in Kent in 1852, it is perhaps conceivable that he might have found Gothenburg’s ecclesiastical foundation (still evidently lacking an up-to-date building during his lifetime) to be relying on what seems clearly a temporary structure for its bell, whose works look more physically suited to a high tower. The setting is less problematic: Gothenburg’s city walls were dismantled in the first decade of the 19th c., and the areas beyond the former moat were landscaped as a park—thus perhaps accounting for the surprising amount of greenery in this drawing. Pugin is recorded as having made more than annual visits to the Continent from the early 1830s; and although Sweden is not specifically mentioned in the summaries of his itineraries, Scottish and English merchants had thronged to Gothenburg’s harbor for over a century and a half, drawn by the Canton trade of its East India Company. From the mid-1840s Gothenburg’s monumental buildings were dominated by the historicist movement, which itself may have tempted Pugin—the archetypal historicist architect—to make the journey to see the town, and perhaps to submit a project for its buildings. References: Gunilla Linde, “Göteborg [Gothenburg],” Grove Dictionary of Art, Jane Turner, ed., London, 1996, 34 vols., vol. 13, pp. 30-31; Alexandra Wedgwood, “A. W. N. Pugin,” ibid., vol. 25, pp. 711-716.

179. George Daniel Stevenson (British, 1845-1931), “View of Jermyn Street Turkish Bath, London, Showing the Brick Domed Steam Room with a View Beyond the Tile Pool”, ink and watercolor on paper, unsigned, sheet 23 3/8 in. x 19 1/4 in., unframed. $800/1200 178

Reference: Alexandra Wedgwood, “A. W. N. Pugin,” Grove Dictionary of Art, Jane Turner, ed., London, 1996, 34 vols., vol. 25, pp. 711-716; Baedeker’s Germany, New York, 1986, p. 126.

178. Augustus Welby Northmore Pugin (British, 1812-1852), “The Belfry, Godenberg”, perhaps 1840s, traces of graphite under sepia watercolor, on creamcolored wove paper, titled at bottom center but unsigned, 7 7/8 in. x 5 3/4 in., in a modern mount. $1000/1500 Provenance: James R. Lamantia, Jr., New Orleans and New York.

Provenance: James R. Lamantia Jr., New Orleans and New York. Note: The Jermyn Street Turkish Baths, built in 1862 and destroyed by a Nazi bomb in World War II, are indicative of the 19th-century fascination with the Orient, particularly the Arab world with its mosques, sheiks, and souks. The architect for the baths, George Somers Clarke (1825-1882), trained with Sir Charles Barry and later became an important exponent of Ruskinian Gothic. Stevenson, a draftsman, detailed much of the Tower Bridge in London for Sir Horace Jones. After Jones’ death, Stevenson took over work on the bridge. These two drawings, elaborately detailed and handsomely executed were probably prepared for presentation purposes. Exhibited: William R. Cullison and James Lamantia, An Eye for Architecture: Architectural and Decorative Drawings from the Collection of James Lamantia, Southeastern Architectural Archive, Tulane University, New Orleans, 16 September to 31 October 1984, no. 26 A & B. Also illustrated in catalogue.

Note: This is a somewhat puzzling drawing, since the town name (in the same sepia ink as the image, and thus presumably inscribed by the artist) seems possibly to be a misspelling for “Göteborg” the city on the southwest coast of Sweden that is often anglicized as “Gothenburg”. As the second-largest 179

W denotes the lot is illustrated at


W 180. Sir David Wilkie, R.A.

(British, 1785-1841), “Garden Bench”, graphite, unsigned, collector’s stamp reading “SCIPIO” en verso, 4 3/8 in. x 2 3/4 in., matted. $400/600 W 181. George Daniel

Stevenson (British, 1845-1931), “Interior View of the Cooling Room, Jermyn Street Turkish Baths”, c. 1862, ink, watercolor and gouache on paper, 23 3/8 in. x 19 1/8 in., unframed.




183. An American Aesthetic Carved and Inlaid Mahogany Étagère, c. 1880, attributed to Associated Artists New York, stepped pedimented top with reticulated brass gallery, frieze with bands of scrolled bellflowers, the whole with arched niches, turned supports, blocked base, height 52 3/4 in., width 54 3/4 in., depth 13 1/2 in. $4000/6000 Provenance: This étagère was part of a suite of furniture given as a wedding present in 1882 to Emily M. Whitney and Amory Leland residents of 692 Park Avenue, New York. Descended in the family. Acquired by the present collector from the Leland’s granddaughter. Note: An aesthetic Leland center table, inspired by the designs of E.W. Godwin was sold by Neal Auction Company as lot 417, September 10, 2011. 183

182. John Ruskin (British, 1819-1900), “Coastal Towns Below Cliffs”, July 1852, graphite and sepia wash, with blue and white gouache on heavily toned buff paper, stamped “158” in black ink at upper right, inscribed in pencil en verso in a bold mid-19th c. hand “John Ruskin” and “A 20399” in back ink, 5 x 3 1/2 in., partially torn across upper left corner. $600/800 Provenance: James R. Lamantia Jr., New Orleans and New York. Exhibited: James Lamantia, Drawing and Architecture, Art Department, Sophie Newcomb College, Tulane University, New Orleans, 15-26 March, 1965, no. 27C. Note: This very charming tiny drawing shows the famous critic John Ruskin in a moment of acute and sympathetic environmental observation. Its view is a coastal scene recorded in the artist’s sketchbook from the summer of 1852, of which James Lamantia in 1965 exhibited the sheets numbered 154, 157, and 158: the torn upper left corner confirms this sheet’s quick removal from that matrix. The abraded traces of adhesive at left, and the associated holes for binding, bear out such an everyday origin. The thin line of lighter paper at the very top is perhaps the relic of a mat which may once have overlapped the sheet; but since the same color change also extends irregularly beneath the abrasions on the left edge, the greater likelihood is that Ruskin may have toned the sheet with a bistre wash, as a naturalistic ground better calculated to show up the bi-chromatic gouache that he later applied to the skyline and water.


The étagère offered here has inlay identical to that on the Leland center table. Reference: Soros. The Secular Furniture of E.W. Godwin, pp. 149-151. Another Godwin table is conserved by the Victoria and Albert Museum (acc. W54.1980). The Magazine Antiques (January/February 2012), p. 80.

184. An American ClassicalStyle Verde Antico Marble Pedestal, 19th c., swivel top, fluted tapered column, stepped octagonal base, in three parts. $1000/1500

185. An Important Pair of American Aesthetic Carved Mahogany Side Chairs, c. 1875-1880, attributed to Herter Bros., New York, each with tall tapering finials, incurvate incised crest rail, spindle splat in a square framework, ring-turned stiles, tapering legs joined by stretchers. $5000/7000 Note: These chairs are identical to a chair pictured in the library of landscape painter and Associated Artists designer Samuel Colman’s Rhode Island cottage. The supports, ring turnings and spindles in the chairs are nearly identical to those on ebonized and inlaid chairs by Herter Brothers in the Metropolitan Museum of Art (acc. 93.15), the Houston Museum of Fine Arts and the Philadelphia Museum of Art (acc. 1928.121-1) respectively. Light and linear in form, the Herter chairs are influenced by Japanese aesthetics and relate closely to oak dining chairs designed in 1869 by E.W. Godwin for Dromore Castle, Limerick County, Ireland and published in William Watts. Art Furniture from Designs by E.W. Godwin, F.S.A. and Others, 1877. Reference: Howe, et. al. Herter Brothers, Furniture and Interiors for a Gilded Age, p. 193-4, fig. 33.




186. An American Renaissance Ebonized, Inlaid and Bronze-Mounted Rosewood Parlor Cabinet, c. 1865, possibly Alexander Roux, New York, shaped top, floral frieze above a paneled door with reserve depicting a child leading a goat, flanked by incurvate sides with agrarian trophées, conforming shaped base, height 45 1/2 in., width 58 1/2 in., depth 19 in.

187. An American Aesthetic Carved Walnut Dressing Table, c. 1870-80, Herter Bros., New York, rectangular molded lift top enclosing beveled mirror plate and satinwood fitted compartments, over long drawer, ring-turned and blocked legs, conforming stretchers, outswept brass feet, height 28 1/2 in., width 26 in., depth 18 in.


Note: Several elements on this dressing table relate to known Herter examples. The escutcheons are identical to one on a desk made for Jay Gould with Herter’s 1882 bill of sale, at the Metropolitan Museum of Art (acc. 69.146.3). The turned supports and stretchers are nearly identical to those on a side chair bearing the Herter impressed mark “4430”, also at the Met (acc. 93.15). The incised stiles, drawer fronts and returns relate closely to those on a walnut dresser bearing the Herter stamp sold in these rooms December 4, 1993.

Note: The high quality and attention to detail expressed in the present lot, both in the inlay and bronze mounts, bespeaks an accomplished New York City maker working in the manner of Alexander Roux.


187 (open)

Reference: Howe, et. al. Herter Brothers, Furniture and Interiors for a Gilded Age. pp. 193 and 196-197, figs. 33 and 35.

W denotes the lot is illustrated at





188. An American Rococo Carved and Laminated Rosewood Slipper Chair, mid-19th c., attributed to John Henry Belter, New York, arched crest with floral bouquet, stylized scroll pierced back, serpentine floral carved seat rail, cabriole legs, casters.

$5000/7000 Note: The use of distinctive “Egyptian” term supports on this cabinet recalls those on a sideboard attributed to John Needles (Baltimore, 1786-1878) in the Colonial Williamsburg collection and a cylinder desk attributed to Joseph Barry (Philadelphia 1757-1838) in the Hollander collection.


The interpretive use of Egyptian figures is distinctive to certain high style Baltimore cabinet makers such as Needles or William Camp (fl. 1801-1822) and Edward Priestly (1778-1834). However, the lack of embellishment along the columnar bodies and the carving on the faces of the figures on this cabinet are most closely related to those on a Baltimore sideboard believed to be owned by Thomas Courtney Jenkins (Baltimore, 1802-1881) and exhibited at the Maryland Historical Society in 1993.

Note: A laminated rosewood chair with crest and silhouette similar to that seen here is illustrated in Schwartz, Stanek and True. The Furniture of John Henry Belter and the Rococo Revival. fig. 26, p. 56. 189. An American Rococo Carved and Laminated Rosewood Slipper Chair, mid-19th c., attributed to John Henry Belter, New York, arched floral crest, molded frame enclosing oak leaf pierced back, floral carved serpentine seat rail, cabriole legs, casters. $1200/1800 Note: This slipper chair is identical to the chair attributed to Belter illustrated in Otto. American Furniture of the 19th c. fig. 304.


Reference: examples of Philadelphia and Baltimore case furniture with figural supports are illustrated in: Hurst and Prown, Southern Furniture 1860-1830, pp. 525-529, pl. 159; Weidman, Furniture in Maryland 1790-1840 pp. 140-141, pl 100 (cylinder desk) and p. 159 pl. 120 (sideboard); Feld and Feld, In Pointed Style, p. 36-37, pl. 4 (sideboard); Howe and Warren The Gothic Revival Style in America, p. 44, pl. 78 (desk); Fennimore and Trump, “Joseph B. Barry, Philadelphia Cabinet Maker,” Magazine Antiques, May 1989, p. 1218, pl. VIII; Trump, “Joseph B. Barry, Philadelphia Cabinet Maker,” Magazine Antiques, January, 1975, p. 161; Cooper, Classical Taste in America 1800-1840, p. 132, pl. 92; Baltimore Gazette, February 9, 1803. The Jenkins sideboard is illustrated in Weidman and Goldsborough. Classical Maryland 1815-1845, Fine and Decorative Arts from the Gilded Age. p. 133, fig. 163.

191. An American Aesthetic Inlaid Cherrywood Table, late 19th c., attributed to Herter Bros., New York, octagonal top, beaded skirt, turned supports, cruciform stretcher shelf with drawers, outswept brass paw feet, height 30 1/4 in., width 28 3/8 in. $500/750


190. An American Classical Carved Mahogany Pedestal Cabinet, c. 1825, Baltimore, frieze drawer above a Gothic arch paneled door, “Egyptian” caryatid pilasters, blocked base, incised suppressed bun feet, in “estate” condition, height 44 1/2 in., width 25 in., depth 28 in.

192. An Anglo/Colonial Carved Mahogany Bookcase, mid-19th c., stamped “Currie & Co. Calcutta”, crenellated crest with steeple finials, arched glazed doors enclosing adjustable shelves, base with molded top, the frieze with a series of arches above a pair of paneled doors, “Roman” feet, height 97 in., width 52 in., depth 22 1/2 in. $1500/2500 Note: Gothic style was especially resonant for decorating libraries and studies in the mid-19th c., as evidenced by the bookcase here. Interestingly, the “Roman” feet on this example are identical to those on a mahogany pier table bearing the J. & J.W. Meeks label and included in the Museum of Fine Arts, Houston exhibition, The Gothic revival Style in America 1830-1870.


Reference: Howe and Warren. The Gothic Revival Style in America 1830-1870. pp. 36-37, fig. 64.

193. Josef Hoffmann (Austrian, 1870-1956), “Etruscan Design”, 1928, ink and watercolor, initialed lower right, stamp and pencil calculations en verso, 16 1/4 in. x 11 1/2 in., unframed.


$1500/2500 Provenance: Ex-Collection of Mrs. Hoffmann, wife of the artist.

195 (1 of 3)

Exhibited: “Klimt & Vienna: Drawings of Gustav Klimt: Glass, Textile, Furniture and Designs of the Wiener Werkstätte”, 1989, Fischer Fine Art, London. 194. Edgar Degas (French, 1834-1917), “Loges d’Actrices”, etching and aquatint, final state, from the cancelled plate, image 6 3/8 in. x 8 3/8 in.

W 196. Mariano Jose Maria Bernardo

Fortuny y Carbo (Catalan, 18381874), four etchings including “Meditation”, 1878, signed lower right, 2nd state of 5, image 8 1/2 in. x 6 1/4 in.; “Master of Ceremonies”, 1875, signed lower right, 2nd state of 5, image 8 1/2 in. x 6 1/4 in.; “Admiring the Vase”, 1870, signed and dated in plate, “F.B. Eprouve Certifié” blindstamp, image 10 1/2 in. x 7 1/4 in. and “Kabyle Mort”, signed lower right, titled in plate, Arches paper, image 7 3/4 in. x 15 1/2 in.



$700/1000 195. After Joan Blaeu (Dutch, 1599-1673), “Obeliscus olim Veranus”, “Obeliscus Flaminus” and “Obeliscus qui olim Ramessus”, c. 1690, three engravings, from Citta del Vaticano, Roma and Napoli, sheets, approx. 28 in. x 23 in. $600/900

W 197. François Bonvin (French, 1817-1887), “Graveur, Effet

de Lampe”, 1861, etching, 3rd. state, signed and dated in plate, pencil inscribed “gravant a l’eau forte par lui-meme” lower right, image 8 1/2 in. x 6 1/4 in., matted. $400/600 W denotes the lot is illustrated at


W 201. [Architecture &


Design books, 20th c.], 10 books including; Papadaki, Le Corbusier, Architect, Painter, Writer, 1948; Le Corbusier et Pierre Jeanneret Oeuvre Complete, 1910-46, 1946-47, four volumes, later editions, cloth; Lawrence Grant White Sketches and Designs by Stanford White, 1920, Architectural Book Publishing, NY, folio (17 in. x 12 1/2 in.); Paul Frankl New Dimensions, 1928, 2nd printing, Payson & Clarke, NY; Karl Blossfeldt Urformen der Kunst, 1935, Wasmuth; and two issues of Moderne Bauformen, March and August, 1933. $600/900 W 202. John Ruskin, Examples of the


Architecture of Venice..., 1851, published by Smith, Elder & Co., Cornhill and Colnaghi, London, in three parts, folio (21 in. x 15 in.), loose, in modern, green cloth-covered folio, with 15 engravings, aquatints and mezzotints after Ruskin. $500/700



199. [Frank Lloyd Wright, Wasmuth Portfolio], Ausgefuhrte Bauten und Entwurfe, 1924, Ernst Wasmuth, Berlin, folio (19 in. x 12 1/2 in.), second edition (first 1910), 100 plates, with text and list of plates, loose, as issued, with original boards, with contemporary custom clamshell case, together with Plate XIII, “Prairie-Haus...”, from the 1910 edition, 15 1/2 in. x 24 1/2 in, blindstamped, also with Architectural Forum, Jan., 1948, and House Beautiful, Nov., 1955.

198. John Soane, Plans, Elevations, and Sections of Buildings; Executed in the Counties of Norfolk, Suffolk, Yorkshire, Staffordshire, Warwickshire, Hertfordshire, etc, 1788, published by Messrs. Taylor at the Architectural Library, Holborn, folio (22 in. x 14 1/2 in.), loose, no binding, now in modern cloth folio, with advertisement, title, dedication, list of subscribers, introduction, table of contents and 47 engraved plates.




200. [Russian Ballet], W.A. Propert, The Russian Ballet in Western Europe, 1921, pub. by John Lane, London, 4to (12 3/4 in. x 10 in.), #134 of a limited edition of 500, with over 60, mostly colored, tipped-in illustrations by Picasso, Derain, Matisse, Sert, Bakst, Goncharova, Benois, Fedorovskiy and others. Provenance: The Petersfield Bookshop, Petersfield, Hampshire, England.


203. [Vienna Secession], Joseph Maria Olbrich, Architektur von Olbrich, 1904, Band I and Band II (vols. 1 & 2), published by Ernst Wasmuth, Berlin, with plates numbered 1-150, some colored, loose as issued in original maroon, cloth-backed portfolios, with ties, gilt title and decorative vignette to upper board, sheets 19 in. x 12 3/4 in. $600/900 Note: In 1897, Olbrich (1867-1908), along with Gustav Klimt, Josef Hoffman and Koloman Moser, founded the Vienna Succession artistic group. The plates offered here show Olbrich’s designs for houses, furniture, decorative arts and jewelry. W 204. Giovanni Battista Piranesi

(Italian, 1720-1778), two engravings of lighting fixtures, “Le Lucerne” and “Lucerna antica di Bronzo”, each inscribed in plate “Cav. Pirane F.” lower right, each sheet 19 in. x 25 in., framed alike. $400/600

205. George Wesley Bellows (American, 18821925), “Man on His Back, Nude”, 1916, lithograph on paper, pencil signed, noted “Study” and numbered “6”, H.V. Allison & Co label en verso, sheet 9 3/4 in. x 13 in., image 8 1/2 in. x 11 3/4 in., matted. $800/1200 Reference: George W. Bellows: His Lithographs, Alfred A. Knopf, New York, 1927, plate 119 and noted in index “An early lithograph made by transferring the drawing to the stone. This method of transference was used only in the artist’s earliest essays. All subsequent works were drawn directly on the stone.”


W 206. George Wesley

Bellows (American, 18821925), “The Change”, 1918, lithograph, numbered “Null” and pencil signed “Geo. Bellows, E.S.B.” by his wife Emma S. Bellows, H.V. Allison & Co., New York label en verso, sheet 13 1/2 in. x 19 1/4 in., image 10 in. x 16 in., matted.

208 (1 of 5)

$300/500 Reference: George W. Bellows: His Lithographs, Alfred A. Knopf, New York, 1927, plate 30.

209 W 207. Rockwell Kent

(American, 1882-1971), “Hero”, 1931, lithograph, pencil-signed and titled, sheet 17 1/2 in. x 13 in., image 12 1/8 in. x 9 1/8 in., matted. $300/500 208. Leon-Charles Libonis (French, 1847-1901), five drawings illustrating Orientalist architecture and design, “Alhambra”, “Cairo Grilles”, “Mosque, Cairo”, “Greek” and “Persian”, c. 1865, ink on cardstock, each signed lower left, each approx. 16 in. x 11 in., matted. $800/1200 210

209. Guillame Regamey (French, 1837-1875), “Study - Man in Military Dress”, charcoal and conte on paper, unsigned, 12 1/4 in. x 18 1/4 in., matted.

W 212. Henry Ernest Schnakenberg

$400/600 210. Victor Émile Prouvé (French, 1858-1943), “Seated Black Man”, c. 1880, black chalk on paper, initialed lower right, sheet 25 in. x 16 1/4 in., unframed. $500/700


211. Elihu Vedder (American, 18361923), “Pensive Female on Rock”, charcoal and chalk on paper, signed lower right, 19 1/4 in. x 13 in., matted.

(American, 1892-1970), five drawings of Central Park, c. 1934-36, three graphite and two charcoal on paper, all signed, various sizes, largest sheet 16 7/8 in. x 14 in., unframed; together with two photographs of a Schnakenberg oils of Central Park and an exhibition catalogue of Schnakenberg’s show of Central Park paintings at Kraushaar Galleries in New York, 1943. $600/800


W denotes the lot is illustrated at


W 219. Roland

Freart, A Parallel of the Antient Architecture with the Modern..., 1694, London, folio, translated by John Evelyn, disbound, lacks page 57, together with another copy, 1733, fourth edition, rebound. 215

$500/700 W 220.

Alexandri Donati (Italian, 1584-1640), Roma vetus ac Recens utriusque aeadificiis illustrata, 1694, first Amsterdam edition, in Latin, octavo, full calf, with numerous plates and maps, some fold-out, of Rome and environs.


$500/700 221

215. Paul Tchelitchew (Russian/New York, 1898-1957), “Clown Recumbent”, gouache and ink wash on paper, initialed lower right, inscribed en verso, 8 3/4 in. x 16 1/2 in., unframed. $1000/1500 W 216. Gustave Adolphe Chassevent-


213. Joseph Henry Sharp (American, 1859-1953), “Man Posing”, graphite on paper, signed lower left, inscribed en verso, 25 1/8 in. x 17 1/8 in., unframed. $500/800 W 214. Rockwell Kent (American,

1882-1971), “Young Lady Looking for Trouble: an illustration from Salamina”, 1934, pencil on tracing paper, estate stamp, sheet 8 3/4 in. x 6 3/8 in., matted; together with Rockwell Kent, Salamina, Harcourt, Brace and Co., 1935, drawing illustrated on p. 325. $500/700 Provenance: Purchased from Park Bernet sale #207, May 1972, lot 584.


Bacques (French, 1818-1901), “Drapery Study”, black and white chalk on paper, unsigned, 23 1/4 in. x 14 in., unframed. $200/400 W 217. Merry-Joseph Blondel (French,

1781-1853), “Seated Youth, Academic Male Nude”, black chalk on paper, signed twice en verso, sheet 22 1/2 in. x 16 3/4 in., unframed. $600/800 W 218. Fely-Mouttet (French, 1893-1953),

“Academic Seated Female Nude”, black chalk and graphite on paper, signed lower left, 24 3/4 in. x 18 1/2 in.; together with French School, 20th c., “Academic Female Nude Covering Breasts”, 1927, charcoal and graphite on paper, signed and dated lower right, 24 3/4 in. x 19 in., both unframed, (2 pcs.) $400/600

221. Giovanni Giacomo Rossi, Insignium Romae templorum prospectus esteriores interesque a celebrioribus architectis inventi..., 1683, Rome, the editor, oblong folio (13 3/4 in. x 18 1/2 in.), with 71 engraved plates, including title and frontispiece (the first 7 leaves with smaller dimensions), with 19th c. 1/4 vellum and paper binding, Berlin Cat. 2672. $800/1200 Note: These engravings are virtually a corpus of Roman renaissance and baroque church architecture. Included is the work of Michelangelo, Bernini, Fontana, Borromini, Vignola, and others. 222. Bernard Picart (France, 1673-1733), “The Circumcision of Isaac: Gen. 21:4”, 1714, watercolor and ink on paper, signed and dated lower left, numbered “N927” en verso of paper, 12 1/2 in. x 8 1/4 in., matted and in a later frame. $1000/1500

W 223. Auguste

François Gorguet (France, 1862-1927), “Hercules Wearing the Skin of The Nemean Lion”, ink and pencil on paper, signed bottom center, inscribed “à Madame Lenoir...” lower left and “Christian. Ce... nouveau-né madame, este un petit...Hercule. Cyrano de Bergereac” [Act 3 Scene 7 of the play Cyrano de Bergerac] lower left, sight 9 3/4 in. x 11 3/4 in., matted and framed.


$200/300 224. Barbizon School, 19th c., a pair of landscape paintings of “Fontainebleau Forest”, each oil on board, 9 1/4 in. x 12 1/2 in., framed alike. $1500/2500 225. A Paris Porcelain Gilt and Polychrome Corbeille, mid-19th c., navette form, reticulated body, on spreading socle, plinth base, height 10 1/2 in., width 13 1/2 in., depth 8 in.




226. A Large Pair of Paris Porcelain Gilt and Polychrome Figural Censers, mid-19th c., depicting Ferdinand and Isabella of Spain, each standing on scrolled self bases, floral reserves, height 20 in.

W 229. A Vintage 14 kt. Yellow Gold and

Jewel-Mounted Cameo Brooch/Pendant, 19th c., having a delicate anthemion border mounted with 12 yellow tourmaline stones, the high relief shell cameo of a Classical maiden with headdress, 2 1/2 in. x 2 1/4 in.


$800/1200 Provenance: Collection of late antiquarian, Charles String.

227. An Antique Bronze Bust in the Style of Archaic Greece, finely drawn features with slight smile, wearing a headband with applied curls in front and braids to the shoulder, heavily patinated with some pitting and holes, height 11 in., width 6 in.

W 230. An Antique Italian Mixed Metals

and Ivory-Inlaid Wood Crest, late 18th/early 19th c., arched pediment, central figure of a knight flanked by griffin brackets on carved ivory balustrade, overall lozenge inlay, height 12 in., width 26 in., diameter 4 3/4 in. Note: Lacking finials.


$700/1000 W 228. A Good Aesthetic Movement

Carved and Painted Picture Frame, late 19th/early 20th c., presented with “Portrait of a Gentleman with a large Moustache”, vintage silver gelatin print affixed to board, 9 1/2 in. x 7 3/4 in., in a gilt mat.

$300/500 W 231. A Continental Silver and Ivory

Lion-Form Letter Opener, marked “.900”, “FS”, and “875”, length 11 in. $300/500

$150/250 W denotes the lot is illustrated at


W 237. A

George III Sterling Silver Sugar Castor, Thomas Wallis, London, 18081809, height 4 1/2 in., weight 3 ozs. $300/500 W 238. Two



234 240



233. A George III Sterling Silver Teapot and Teapot Stand, Charles Aldridge, London, 1795; in the neoclassical taste, shield-shaped reserve with period monogram, on conforming stand with tapered feet; teapot height 6 in., stand length 7 5/8 in., weight 20.40 troy ozs.

240. An 18 kt. White Gold and Diamond Ring, set with 5 stones totalling 2.10 cts. $5000/7000

$2500/3500 234. A George III Sterling Silver Teapot, 1803, Newcastle, probably Thomas Watson, with acanthine handle and spout, height 6 1/4 in., weight 22.65 troy ozs. $700/900 239 W 235. A Late Georgian Sterling


W 236. A George III Sterling Silver Sugar Bowl,

London, 1801, maker’s mark rubbed, reeded rim and handles, floral scroll decoration, gilt wash interior, height 4 1/2 in., width 7 3/4 in., weight 10.20 troy ozs. $400/600


$400/600 239. A Pair of French Patinated and Gilt Bronze Six-Light Candelabra, 19th c., fluted acanthine standard, incurvate plinth, height 27 in., diameter 12 in.

232. A Continental Carved Ivory Crucifix, 19th c., probably Italian, original frame, height 23 in., width 17 in., depth 3 1/2 in.

Silver and Ivory Fruit or Dessert Set, George Unite, Birmingham, c. 1829, comprised of 6 forks and 6 knives, (12 pcs.)

Georgian Crested Sterling Silver Meat Skewers and One Marrow Scoop, the skewers, London, William Ely and William Fearn, one 1801, the other 1812; the marrow scoop London, 1772, probably John Carter; length 8 3/8 in., the skewers 12 in. and 13 in., combined weight 7.15 troy ozs.

241. A Chinese Jadeite, Diamond and 18 kt. White Gold Gourd Pendant, translucent apple green jadeite well carved to each side with lingzhi sprays set in a delicate white gold mount of scrolling, leafy vine form set with approx. 100 round micro-pavé diamonds, jadeite approx. 35.0 x 20.0 x 5.2 mm., total diamonds approx. 1 cts., overall height 1 1/4 in. $12000/18000 242. A Chinese Jadeite, Diamond and 18 kt. White Gold Ring, translucent apple green oval jadeite cabochon raised within four prongs mounted in a white gold oval gallery set with round brilliantcut diamonds extending down the split shoulders, cabochon closed underneath, cabochon approx. 12 1/2 ct., approx. 14.9 x 12.2 x 8.5 mm (respective of base), collection quality diamonds approx. 1.15 cts., size 6 1/2.




$25000/35000 243. A White and Pastel South Sea Pearl Necklace, 11 1/2 mm.- 12 1/2 mm., 14 kt. white gold and diamond roundels and catch, total length 18 1/2 in. $5000/7000 244 244. A Pair of 18 kt. White Gold, South Sea Pearl and Diamond and Earrings, 13 mm. pearls, marquise cut diamonds. $3000/5000 245. A Strand of Thirty-One White South Sea Pearls, 14 1/2 mm., length 15 1/2 in.


246. A 14 kt. Gold, Sapphire, Ruby and Emerald Diamond Harem Ring, comprising stacked bands. 246


$5000/7000 W denotes the lot is illustrated at




247. An Antiique Continental Carved Ivory Allegorical Depiction of Maternal Love, delicately entwined figures with downcast eyes, on spherical base above turned conforming pedestal, height 7 1/4 in., diameter 2 1/4 in. Note: Angel lacking wings. $1500/2500 248. Giuseppe Gambogi (Italian, 19th/early 20th c.), “Seated Lady”, early 20th c., finely carved alabaster figure seated in a bronze framed chair, signed in script on back of chair, marble cushion, height 28 in., width 18 in., depth 10 in. Note: Losses. $9000/12000 249. An Antique Napoleon III Mahogany and Bronze-Mounted Regulateur, pedestal form, circular dial surrounded by various putti dancing within rockwork; base of tapering form, extensively ornamented and centering sunburst mount of Louis XIV, on paw feet, the whole on incurvate plinth, toupie feet, height 87 in., width 19 1/2 in., depth 12 1/2 in. $8000/12000


250. A Chinese Ming-Style Blue and White Porcelain Meiping Vase, Qing Dynasty (1644-1911), high shouldered broad body tapering to a slightly splayed foot, decorated with six fruiting and flowering branch sprays: lychee, peach, pomegranate, peony, prunus and lotus, above a band of stiff upright leaves, the sloping broad shoulder with a radiating band of stylized petal panels, the waisted neck with floral sprays, height 12 1/4 in. $4000/6000 Provenance: Minneapolis, MN Estate; acquired by current owner 1997.



251. A Chinese Pottery Figure of a Young Foreign Rider on a Kneeling Bactrian Camel, Tang Dynasty (618-907), modeled in three parts: rider and saddle blanket, saddle, and camel; the turbaned foreign male rider rendered straddling an arched saddle blanket, one leg bent to secure his position; the saddle modeled with two apertures for the camel’s humps flanked by flanges and pole braces; the camel rendered crouching, its front legs neatly tucked beneath its body and its back legs bent in a kneeling stance, its long, arched neck supporting a raised braying head, height 14 1/2 in., length 18 1/2 in., accompanied by an Oxford Authentication Thermoluminescence Analysis Report no. C104w61, dated October 2004.



$3000/5000 Provenance: Acquired Hong Kong, 2004. Note: The result of the Oxford Authentication Ltd. thermoluminescence test no. C104w61 is consistent with the dating of this lot. During the Tang Dynasty the trade route known as the Silk Road flourished. Most of the overland trade between China and the West was carried out by Central Asian and Near Eastern merchants. Indicative of the trade route’s incredible breadth, two-hump Bactrian camels were preferred to the single-hump Arabian camels as they were more capable of traveling father distances. Figures of these camels were likely modeled for persons of rank and means. Given its choice as the primary method of transporting goods along the Silk Road, the camel’s presence both in life and in the afterlife connoted abundance and prosperity.


252. A Chinese Painted Cizhou Ware Dragon and Phoenix Jar, probably Yuan Dynasty (1271-1368), the tapering globular body with a short neck, painted around the exterior in shades of brown with two large shaped panels enclosing a large scaly dragon rising from a sea of waves and a phoenix in flight amid cloud scrolls, separated by pendant and upright leaf tips, height 8 3/4 in.


253. A Chinese Blue and White Porcelain Pear Form Vase, Yuhuchunping, Guangxu mark and probably of the Period (1875-1908), the globular body with sloping flared neck raised on a slightly splayed foot ring, decorated with plantain, bamboo and tall rocks set in a fenced garden, between bands of pendant ruyi, scrolling vine, and stiff upright leaves around the sloping shoulder and upright stylized petal panels above the foot, base with six character Guangxu mark, height 11 1/4 in. $6000/8000

$3000/5000 Provenance: Richfield Antiques, New York, NY; acquired 1974. Note: For a similarly decorated Cizhou jar with phoenix and dragon design, see New Orleans Museum of Art, acc. # 2000.400, illustrated Rotondo-McCord, Lisa, Five Thousand Years of Chinese Ceramics from the Robin and R. Randolph Richmond, Jr. Collection, New Orleans Museum of Art, p. 122, pl. 97.

254. A Pair of Chinese Polychrome Enameled Blue and White Porcelain Urns, probably late 19th c., tapering shouldered bodies with short flared necks decorated in underglaze blue and overglaze enamels with a profusion of flowering branches and rocks, each marked to side, base of one marked, height 24 1/8 in. Note: Restoration to one at base and neck. $1500/2500 W denotes the lot is illustrated at


257. A George III Carved Mahogany Pole Screen, late 18th c., possibly Irish, original needlework screen, molded mahogany frame, punchwork and acanthus-carved baluster stem, raised on arched cabriole legs, vine and acanthus pad feet, height 52 in., width 19 in., depth 17 in. $400/600 255

255. A Fine Irish Highly Carved Mahogany Console Table, mid-19th c., after a design by Matthias Lock (English, 17101765), rectangular verde antico marble top, central masque of Hercules wearing the skin of the Nemean lion amid heavy swags, massive foliate embellished cabriole legs, hairy paw feet, height 36 1/2 in., width 79 in., depth 30 in. $8000/12000 Note. Design elements from this table relate to a pencil drawing by Matthias Lock now at the Victoria and Albert Museum. Lock is credited as the first to publish Rococo designs in England; of these his A New Book of Ornament, 1752 was the most encompassing publication prior to Thomas Chippendale’s The Gentleman and Cabinet Maker’s Director, 1754. 256. An Antique Georgian-Style Carved Walnut Carlton House Desk, 19th c., superstructure of drawers, oyster veneered prospect doors and lift top compartments, sliding inset leather writing surface, chevron banding, kneehole configuration of drawers with banded inlay, cartouche-carved cabriole legs on ball and feet, height 36 in., width 48 in., depth 35 in. $1000/1500




258. A French Bronze-Mounted, Mahogany and Ebonized Guéridon, reticulated brass gallery, grey fossilized marble top, hoof feet, height 29 in., diameter 31 1/2 in. $1200/1800




259. A Good Pair of Louis XV/ XVI Carved Beech Fauteuils, late 18th c., probably Lyon, height 36 1/2 in., width 27 in., depth 21 in. $4000/6000 W 260. An English Olivewood

and Yewwood Mirror in the Georgian Taste, 20th c., beveled molded frame, beveled mirror plate, height 49 in., width 43 in. $500/1000 261. A Fine Napoleon III Bronze Doré and White Marble Mantel Clock, works signed “A Brocot et Delattrez Paris”, reclining female, white enamel dial between a pair of attractive painted oval porcelain plaques, plinth base, scrolled feet, height 17 in., width 17 in., depth 7 1/2 in.


$1200/1800 262. A Pair of Louis XVI-Style Bronze Doré Three-Light Candelabra, each with blueglazed porcelain eagle perched on rock-work, backed by foliate branches with applied flowers, reticulated base, height 16 in., width 9 in., depth 8 in. $1500/2500 263 263. A Fine French Bronze Doré, Sevres Porcelain and Verde Antico Marble Pedestal, square top on Corinthian capital, cylindrical body with vines on cobalt ground, plinth base, height 49 1/2 in., width 10 1/2 in., depth 10 1/2 in.

264. A Pair of Large French Bronze Doré Mounted Rouge Marble Obelisks, square plinth with inset classical relief panel, eagle feet, height 34 1/2 in., width 7 1/2 in., depth 7 1/2 in.


$2000/3000 264 W denotes the lot is illustrated at


266. Marie-Joseph Peyre (French, 1730-1788), Oeuvres d’Architecture de Marie-Joseph Peyre..., 1765, by Prault and Jombert, Paris, folio (20 in. x 13 1/2 in.), loose, original boards, with title, dedication, advertisement, one leaf with approbation and “Privilege du Roi”, 18 engravings (of 19), with text, Berlin Cat. 2417, together with Parallele de l’Architecture Antique et de la Moderne..., 1689, second edition, disbound, boards loose, 100 pgs, with numerous plates. $700/1000 Note: M.J. Peyre, a pupil of Blondel, was one of the earliest and most influential of the French Neo-Classical architects.


267. [Italian Architecture Books], two important volumes incl. Andrea Palladio Trattato di Architettura di A. Palladio Diviso in Quattro Libri..., 1828, by Vignozzi, Rome, Books 3 & 4 (of 4), bound in one volume, paper covered boards, with over 150 engravings, some fold-out, 13 1/2 in. x 9 1/4 in., together with Andrea Puteo/ Andrea Pozzo Perspectivae Pictorum at’que Architectorum..., 1709, Augsburg, engraver, Bodeneer, full calf, with 118 engravings, frontispiece and tailpiece, 12 1/4 in. 7 3/4 in. $700/1000



268. [French Architecture], Eug.-Alex Guillaumot Chateau de Marlyle Roi, construit en 1676 et detruiit en 1798..., (19th c.), nouvelle edition, published by LeplanquaisChedeville, Paris, folio (22 in. x 16 in.), 3/4 leather, title. index of plates, 34 engravings; together with 28 loose engravings (19 1/2 in. x 14 in.), with original boards, by M. Dumont, from Recueil de Plusieurs parties d’Architecture..., c. 1765. $500/700

265. A Good George III Ebony-Inlaid Mahogany Library Table, c. 1800, tooled red leather top, frieze drawers, turned stem on arched legs, brass paw feet, casters, height 30 in., width 36 in., depth 22 in.

269. Bartolomeo 269 Pinelli (Italian, 1781-1835), Raccolta di Cento Costumi Antichi..., 1809, Tomo I, published by Luigi Fabri, Rome, oblong folio (12 3/4 in. x 18 in.), modern maroon cloth, title page, index, 52 engravings, and L’Eneide di Virgilio, Tradotta da Clemente Bondi..., 1811, published by Luigi Fabri, Rome, oblong folio (12 3/4 in. x 18 in.), modern maroon cloth, with 50 engravings, together with, John Flaxman Compositions from the Tragedies of Aeschylus..., 1831, loose boards, 36 plates (1 w/mod. clr).



267 (1 of 2)


270. Marien Vasi, Itineraire Instructif de Rome ou Description Generale des Monuments Antique et Modernes..., 1792, two vols. in one. 12mo, morocco on boards, engraved portrait, 12 plates with two images a plate, 2 folding maps, 41 illustrations in text; together with Le Cose Maravigliose dell’Alma Citta di Roma..., 1595, Guglielmo Facciotto, Rome, 12mo, full vellum; bound with Stationi delle Chiese di Roma..., 1595, Facciotto, Rome.

272 270 (1 of 2)

$500/700 Provenance: Vasi Itineraire..., purchased James Cummins Bookseller, New York, 2004. 271. Sebastiano Serlio (14751554), The Three Books of Architecture, 1553, Antwerp, first Flemish (Dutch) edition, published by Makyken Verhuls, widow of Pieter Coaecke van Aelst, rebound in three-quarter leather, book two lacking 4 leaves, book three lacking 6 leaves, 13 3/4 in. x 9 in.


273. Thomas Malton, A Compleat Treatise of Perspective..., second ed., 1778, London, folio 14 1/2 in. x 9 1/2 in., with frontispiece and 48 plates, most fold-out, some with moveable overslips, three-quarter calf, marbled boards, with ex-libris from Metropolitan Borough of Chester Public Library.



272. Germain Boffrand, Description de ce qui a ete Pratiquepour Fondre en Bronze... la Figure Equestre de Louis XIV, Elevee par la Ville de Paris..., 1743, Guillaume Cavelier, Paris, folio (18 in. x 11 1/2 in.), title and text in French and Latin, with 18 engravings, including the frontispiece, many double-page, by Blondel and Tardieu, disbound, in modern green, cloth-covered folio, with ties, together with 7 engravings of duplicates and different versions of the plates.

274. Richard Worsley, The History of the Isle of Wight, 1781, by Hamilton, London, first ed., quarto (12 in. x 9 1/2 in.), full calf with gilt lettering, with fine folding map, numerous folding and single plates.



$500/700 W 275. [History of Incas in Peru],

Historia General del Peru... and Primera Parte de los Commentarios Reale.. de el Origen de los Incas..., 1722 and 1723, by “the Inca” de la Vega, published by Nicolas Rodriguez Franco, Madrid, folio (11 1/4 in. x 7 1/2 in.), bound alike in full red calf, elaborate gilt tooling, silk end papers.


W 276. A Tiffany & Co. Sterling Silver and

Yellow Gold Necklace and Matching Sterling Silver and Pearl Earring Set, stamped “1987 Tiffany & Co.”, the necklace with 20 leaf-form links, one gold, the earrings set with pearls in a leaf-form mount, necklace length 17 1/4 in. $500/700

$600/900 W denotes the lot is illustrated at




W 277. A 14 kt. Yellow Gold and Diamond Watch Bracelet, mid-

20th c., double rope-twist bracelet supporting watch marked “Geneve/ 17 Jewels Incabloc”, surmounted by a rosette-form mount set with a central round brilliant cut diamond surrounded by 8 round brilliant cut diamonds. $700/900 W 278. An Antique Spanish Silver Columbus Commemorative

Medal, 1892, by Bartolome Maura, Madrid, commemorating the 400th anniversary of the landing and return of Columbus, the obverse showing the sight of land, the reverse showing the navigator and Arawak Indians being received by Fernando and Isabella, presented in original leather and gilt case from Madrid retailer Jose Gil, diameter 2 3/4 in., weight 5.7 troy ozs. $500/700 279. A Good Pair of Monumental Baccarat-Style Cut Glass Vases, each of flared and waisted form, height 30 1/2 in., diameter 18 in. $1500/2500 280. Salvador Dali (Spanish, 1904-1989), “Die Gottliche Komodie”, 1974, three volume portfolio of Dante’s Divine Comedy with complete text in German, 100 individually matted color woodcuts, 1959-63 (published 1974), each sheet 13 in. x 10 3/8 in., with full margins, on Rives paper, original linen portfolios, edition mentioned in Albert Field’s Official Catalog of the Graphic World of Salvador Dali.

280 (detail)

$5000/8000 281. Gaston Sébire (French, 1920-2001), “Figure on a Beach; Bay of Biscay”, oil on canvas, signed lower right, signed and titled “Petite Plage”, a Wally Findlay Galleries label en verso, 7 3/4 in. x 18 3/4 in., in the original giltwood frame. $1500/2500 282. Paul Renard (French, 1941-1997), “Parisian Street Scene”, oil on canvas, signed lower right, 31 3/4 in. x 39 1/2 in., framed. $2500/3500 281




285. Robert Lewis Reid (American, 18621929), “Portrait of Elise Mason Smith, later Mrs. Harry Turner Howard, Jr. (1896-1990)”, 1921, oil on canvas, signed and dated upper left, 36 in. x 24 in., framed. $5000/7000 Provenance: Succession of Harry T. Howard III, New Orleans, LA.



283. English School, early 20th c., “At the Inn: Waiting for a Carriage”, 1902, oil on canvas, signed “P. Mich” and dated lower left, an R.G. Reichert Fine Arts/ Peoria, IL stamp and a 1941 American Union Made stamp en verso of frame, 20 in. x 29 3/4 in., framed. $1500/2500 284. Dedrick Brandes Stuber (California, 1878-1954), “Trees in Twilight”, oil on board, signed lower right, 20 in. x 24 in., framed. $1800/2500

Exhibited: Isaac Delgado Museum of Art, New Orleans, LA, “The Twenty-First Annual Exhibition”, March 4th-April 1st, 1922, catalogue no. 27.

Note: Impressionist painter Robert Reid was a founding member of the Ten American Painters. His work from the late 1890s and into the 20th century often depicts idealized young women set in landscapes holding flowers. In 1920 Reid moved to Colorado Springs where he joined the faculty of Broadmoor Academy and taught until 1927. During these years he concentrated more on portraiture, creating what he called “portrait impressions” by quickly painting essential forms and features in broad, vigorous brush strokes. The portrait of Elise Mason Smith offered here is a fine example of this style. Reid depicts her very demurely, seated and holding a bouquet of columbines, a flower closely identified to Colorado. Elise Mason Smith was the daughter of William Mason Smith, the proprietor of the Mason Smith & Co. cotton firm, who also served as the president of the New Orleans Cotton Exchange in the early 1900s. The Mason Smith family resided at 4534 St. Charles Avenue, a Mediterranean-style villa designed by Frank Gravely in 1906. Elise, depicted here in 1921, reigned as queen of the Mistick Krewe of Comus in 1917 and was a founding member of the Junior League of New Orleans in 1924. In 1927, she married prominent New Orleanian Harry Turner Howard, Jr. 286. Randall Vernon Davey (American, 1887-1964), “The Lavender Dress”, oil on panel, signed and inscribed en verso, D. Wigmore Fine Art, Inc., New York, NY label en verso, 6 in. x 4 7/8 in., framed. $1200/1800 W denotes the lot is illustrated at



287. Edward Hopper (American, 18821967), “Yachting Scene”, c. 1905, watercolor, unsigned, Kennedy Galleries, New York, NY label en verso, 5 in. x 6 3/4 in., attractive gilt frame. $15000/25000 Provenance: Collection of the artist; to his widow, Josephine Hopper, 1967; to the Reverend Arthayer R. Sanborn, Nyack,1968; to Kennedy Galleries, NY; to Richard Gottschalk Hirsch, New Orleans, 1992.


288. Attributed to Alexander John Drysdale (American/New Orleans, 1870-1934), “Fishing at Twilight”, oil on canvas, signed en verso on stretcher, 15 in. x 21 3/4 in., attractively framed. $2500/3500 289. William S. Robinson (American/Mississippi, 1861-1945), “Biloxi Ferry”, 1937, oil on canvas, signed lower right, monogrammed, inscribed “Biloxi, Miss” and dated en verso, 18 in. x 24 in., framed. $10000/15000 Note: William S. Robinson moved to Biloxi, MS in 1937 following the closing of the Old Lyme Art Colony in Connecticut where he had spent the previous decades. A true American Impressionist, Robinson applied his skills to the depiction of the environs of the Gulf Coast and produced a notable body of work in and around Biloxi. In the 1930s, the waterfront and back bay of Biloxi were very active places, with shrimp boats, canneries, and yacht clubs on the Gulf of Mexico. The work offered here depicts a ferry boat moored at the dock. The buildings visible on the horizon in the background indicate that this is a scene on the back bay of Biloxi.


290. Jane Peterson (American, 1876-1965), “Beach at Gloucester”, 1915, gouache on board, signed lower left, D. Wigmore, Fine Art, Inc., New York, NY label en verso, 9 in. x 11 in., framed. $1000/1500



291. Achille Peretti (American, c. 1857-1923, active New Orleans 18841923), “Pirates Alley” and “Cabildo Alley”, pair of oils on canvas, one signed lower right, the other signed upper left, 29 in. x 20 in., framed. $8000/12000 Provenance: Sold for the Benefit of the Dominican Sisters of Peace. Note: Achille Peretti was from a family of artists in Piedmont, Italy. He studied art extensively throughout Italy and came to New Orleans in 1884. Peretti received many commissions for frescoes and paintings for buildings and churches including the Pickwick Club, New Orleans Opera Company, St. Patrick’s Church and St. Louis Cathedral. Perhaps it was during his time working on St. Louis Cathedral that he painted the alleys by this building, presently known as Pirate’s Alley and Cabildo Alley. Peretti lived around the corner at 632 St. Peter Street, so he would have seen these places often. The view down Cabildo Alley may capture part of his residence in the background. These large canvases depict the architecture of the Vieux Carré with great chiaroscuro effect of light and shadow, a technique he would have mastered during his studies in Italy. Painted with fine accuracy, Peretti documents the facades of the buildings on these historic streets.



292. John Marin (American, 1870-1953), “Wall Street”, graphite on paper, signed lower left, sheet 10 3/4 in. x 8 3/8 in., attractively matted and framed. $3000/5000 Provenance: Estate of John Marin to D. Wigmore Fine Art to Richard Godchaux Hirsch, New Orleans.


293. Ralston Crawford (American, 19061978), “New Orleans Tomb #2”, 1954, lithograph, pencil signed, titled, numbered “6/11” and dated, sheet 25 3/4 in. x 19 3/4 in., image 22 1/2 in. x 17 in., unframed. $800/1200 W denotes the lot is illustrated at


295. James Lamantia (American/New Orleans, 19232011), “Turn in the Road”, 1987, acrylic on canvas, signed lower left, signed and dated en verso, Galerie Simonne Stern label en verso, 16 in. x 20 in. (oval), unframed.



$700/900 296. Ida Rittenberg Kohlmeyer (American/New Orleans, 19121997), “Trio”, 1955, woodblock print on paper, signed, dated and numbered “2/9”, sight 28 in. x 20 in., framed.




297. Alfred Heber Hutty (American/ Charleston, 1877-1954), “My Charleston Studio”, etching on paper, pencilsigned, plate 7 1/2 in. x 9 in., matted. $800/1200

Note: A founding member of the Charleston Etchers Club, one of Alfred Hutty’s favorite subjects was the area and the people around his South of Broad home. Depicted here is his studio, a simple brick kitchen house which still sits behind his former residence at 46 Tradd St. 297

294. Ralston Crawford (American, 1906-1978), “St. Louis Cemetery, New Orleans”, lithograph, pencil signed, titled, numbered “13/15” and noted as “2nd state”, sheet 22 in. x 29 1/2 in., image 19 1/2 in. x 25 1/2 in., unframed. $800/1200


298. Alfred Hutty (American/Charleston, 1877-1954), “St. Philip’s Church, Charleston”, etching, pencil-signed and inscribed, sheet 17 in. x 13 1/4 in., image 13 in. x 10 in., framed. $1200/1800

299. A Newcomb College Art Pottery Matte Glaze Vase, 1926, decorated by Anna Frances Simpson in reliefcarved “Moon and Moss” design, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, shape no. 49 and reg. no. PF85, retaining the original paper label, height 5 3/4 in., diameter 7 3/4 in. $3000/5000 299 300. A Newcomb College Art Pottery High Glaze Jardinière, 1909, decorated by Leona Nicholson with an incised band of persimmons, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no CU34, and Q for buff clay body, height 5 3/4 in., diameter 7 1/2 in.


302. A Newcomb College Art Pottery Semi-Matte Glaze Vase, 1922, decorated by Sadie Irvine in a relief carved “Moon and Moss” design, base marked with Newcomb cipher, decorator’s mark and reg. no. MP15, height 11 3/4 in.


$5000/7500 300



301. A Newcomb College Art Pottery Matte Glaze Vase, 1916, decorated by Sadie Irvine, with a waterside landscape of mossladen live oak trees, blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. IM14, and shape no. 49, height 6 in., diameter 8 3/8 in.

303. A Newcomb College Art Pottery Matte Glaze Bowl, 1922, decorated by Anna Frances Simpson with a relief-carved daffodils motif, the reserve of the bowl also decorated with a roundel of daffodils, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, shape no. 105 and reg. no. MU73, height 2 3/4 in., diameter 8 3/4 in. $1500/2500

$6000/8000 W denotes the lot is illustrated at


305. A Fine George Ohr Art Pottery Pitcher, c. 1883-1898, pinched body with speckled black glaze, impressed mark, height 4 3/4 in. $1200/1800 W 306. A George Ohr

Art Pottery Vase, c. 1899-1906, gunmetal glaze, mottled green and amber interior, signed “G.E. Ohr”, height 4 1/2 in.


$800/1200 307. A Shearwater Art Pottery Beanpot, 1991, thrown by James “Jim” Anderson and decorated by James McConnell “Mac” Anderson with a face and dancing figures on the lid, height 5 1/8 in., width 9 3/4 in.



$3000/5000 Illustrated: Stewart, Dod. Shearwater Pottery. p. 262. 308. A Rare George Ohr Art Pottery Teapot, c. 1883-1898, mustard glaze with mottled green, berry and cobalt slip, inverted lid, base stamped “G.E. Ohr, Biloxi, Miss.”, height 4 1/2 in., width 8 1/2 in. $15000/25000



304. A Newcomb College Art Pottery Matte Glaze Vase, 1929, decorated by Anna Frances Simpson with a relief-carved motif of freesia, base marked with Newcomb cipher, decorator’s mark, Jonathan Hunt’s potter’s mark, shape no. 33 and reg. no. RO75, height 6 in. $1500/2500 310


309. A Newcomb College Art Pottery High Glaze Trivet, 1909, decorated by Alma Florence Mason with a relief-carved wreath of freesia, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, “W” for white clay body, and reg. no. DA74, diameter 5 3/4 in. $1200/1800 310. A Shearwater Art Pottery Mug, c. 1940, decorated by Walter Anderson with a design of ducks, base inscribed “SHEARWATER” in sgraffito, height 4 in. $1000/1500

311. A Shearwater Art Pottery Bowl, c. 1950, decorated by Walter Anderson with a sgraffito design of a duck, impressed mark, height 1 3/4 in., diameter 5 1/4 in. $800/1200 312. James McConnell “Mac” Anderson (New Orleans/Mississippi, 19071998), “Tonging for Oysters”, 1994, acrylic on board, initialed and dated lower right, Eddie’s Frame Shop, Ocean Springs, Mississippi label en verso, 16 in. x 24 in., framed. $2000/3000


313. James McConnell “Mac” Anderson (New Orleans/Mississippi, 1907-1998), “Peppers and Pitcher Plants”, 1993, acrylic on board, initialed and dated lower right, Eddie’s Frame Shop, Ocean Springs, Mississippi label en verso, 24 in. x 16 in., attractively framed.


$1500/2500 314. Paul Ninas (American/New Orleans, 1903-1964), “The Dancer”, 1945, ink, watercolor and graphite, signed and dated lower right, Ninas’ obituary and inscription en verso, 10 1/2 in. x 8 in., framed.



$900/1200 Provenance: The en verso inscription states “The Dancer” was purchased by William March, author of the Bad Seed while he was living on Dumaine Street in the French Quarter. March gave the work of art to F.L. and Winona McKennon in 1954. 315. Paul Ninas (Louisiana, 19031964), “Two Women”, pastel on paper, signed lower right, sight 17 1/2 in. x 23 1/4 in., framed. $2000/3000 Provenance: Purchased from the artist; thence by descent.


316. Gardner Reed (American/New Orleans, 1906-1972), “Waiting for the Ferry, Bayou Lafourche”, oil on canvas, signed lower right, titled en verso on stretcher, 30 in. x 26 in., period frame. $1500/2500

316 W denotes the lot is illustrated at


319. A Shearwater Art Pottery “Magnolia” Bowl, c. 1945, thrown by Peter Anderson and carved by James Mc Connell Anderson, white enamel glaze, impressed shearwater mark signed and dated “MA ‘45”, height 3 4/8 in., diameter 7 3/4 in.


$1500/2500 Reference: Illustrated in Dod Stewart, Shearwater Pottery, (Bristol Publishing, 2005), p. 98.

320. A Shearwater Art Pottery Vase, c. 1930-1935, thrown by Peter Anderson, old double glaze, signed by the artist, height 4 1/4in., diameter 5 1/4 in.


$800/1200 Reference: Illustrated in Dod Stewart, Shearwater Pottery, (Bristol Publishing, 2005), p. 32.

321. A Shearwater Art Pottery “Tennis Player” Vase, c. 1930, cast by Walter Anderson, overfired mulberry and lavender glaze, impressed mark, height 9 5/8 in. $2500/3500


Reference: Illustrated in Dod Stewart, Shearwater Pottery, (Bristol Publishing, 2005), p. 65.



322 (3 of 7)

317. Alberta Kinsey (New Orleans, 1875-1952), “French Quarter Doorway”, oil on canvas board, signed lower left, Jean Bragg Gallery of Southern Art, New Orleans label en verso, 16 1/4 in. x 12 1/2 in., in an Arts and Crafts-style framed.

318. Alexander John Drysdale (American/New Orleans, 1870-1834), “Louisiana Landscape with Live Oak Trees”, 1915, oil wash on board, signed and dated lower right, sight 17 1/2 in. x 23 1/2 in., matted and framed.


Being sold to benefit the Dominican Sisters of Peace.



322. A Group of Seven Newcomb Art Pottery Tiles, all hand built and decorated by Leona Fischer Nicholson (1875-1966), various designs including the Green Shutter Shop, a Paul Morphy Chess Player, St. Louis Cathedral, “The Church/The Crusader', Little Bo Peep, a fielding frog and magnolia blossoms, sizes from 3 3/4 x 3 1/2 in. to 4 3/4 x 4 3/4 in. $2000/3000

W 323. A George Ohr Art

Pottery “Scrottle” Tile, c. 1900, wavy beaded edge, inscribed “Biloxi”, 3 in. x 6 1/2 in; together with a 1904 postcard sent from The Biloxi Pottery. $500/700 W 324. A Shearwater Art

Pottery Vase, c. 1930, cast by Peter Anderson, mottled antique green glaze, impressed mark, height 9 1/2 in. $500/700 332 325. A Newcomb College Art Pottery Matte Glaze Vase, 1915, decorated by Cynthia Littlejohn with a reliefcarved motif of oleander blossoms, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark and reg. no. HE91, height 4 in.

W 331. A Large Art Pottery Floor Vase, early 20th c.,

collar with geometric and floral design, the tapering body with concave front and back, encircled with a flock of birds, height 33 3/4 in., diameter 13 1/2 in. 326

$500/700 332. Anna Heywood Taylor (American/South Carolina, 1879-1956), “Harvesting Rice”, 1937, linocut on paper, pencil-signed, dated and numbered “7”, image 9 1/2 in. x 12 1/2 in., sheet 12 1/2 in. x 16 1/2 in., framed.

$800/1200 326. A Newcomb College Art Pottery Matte Glaze Cylindrical Vase, 1926, decorated by Sadie Irvine with a relief-carved design of wild rice, base marked with Newcomb cipher, decorator’s mark, shape no. 318 and reg. no. PU24, height 6 3/4 in., diameter 2 3/4 in.

$1000/1500 Note: Born to a prominent Columbia, South Carolina family, Anna Heyward Taylor first studied under William Merritt Chase in 1900. After traveling many years including stints in Japan working with Helen Hyde, and in Provincetown studying with other prominent printmakers, she settled back in Charleston in the late 1920s. It was there she undertook illustrating This Our Land by Chalmers Murray. The book told the history of the Agricultural Society of South Carolina and its historic cash crops: indigo, rice, tobacco and cotton. This scene, retold in the distinctive white-line of her linocut, Taylor illustrates the rice harvest.

$2500/3500 W 327. A Newcomb

College Art Pottery Experimental Vase, c. 1900-10, oxblood over blue glaze liner design faintly visible, copper red vase, base marked with Newcomb cipher and Joseph Meyer’s potter’s mark, height 7 1/2 in., accompanied by a 1922 Newcomb College tuition receipt. $500/700 W 328. A Shearwater Art

Pottery Covered Vessel, the cover surmounted by a bust of a “mammy”, sgraffito decoration of African-American figures, impressed mark, height 13 1/2 in. $500/700

W 333. Elizabeth O’Neill Verner (American/


South Carolina, 1883-1979), “A Bit of Legare Street, Charleston”, etching, pencil-signed and titled, image 5 in. x 3 1/4 in., framed. $600/900

W 329. A Newcomb College Art

Pottery Hand-Built Nursery Rhyme Tile, 1930s, decorated by Leona Fischer Nicholson, illustrating “Peter Peter Pumpkin Eater”, verso with incised Newcomb cipher, decorator’s mark, “HB” for hand-built and “M”, 5 in. x 4 3/4 in. $500/750 W 330. A San Ildefonso Black-on-

Black Pottery Vase, the globular form with scalloped decoration, base signed “Maria & Julian”, height 3 in., diameter 4 7/8 in.

W 334. Elizabeth O’Neill Verner (American/

South Carolina, 1883-1979), “In Old Charleston”, etching, pencil-signed lower right, pencil-titled lower left, image 2 1/2 in. x 2 in., framed. $300/500 W 335. Elizabeth O’Neill Verner (American/

South Carolina, 1883-1979), “Old Gateway, Charleston”, etching, pencil-signed and titled, image 2 1/2 in. x 2 in., framed. $300/500

$700/1000 W denotes the lot is illustrated at


W 337.



Theodore “Fonville” Winans (American/ Louisiana, 1911-1992), “Ferry Landing/ Port Allen”, silver gelatin print laid down on board, signed and dated “1938” lower right, printed titled label with file number “121A” and print no. “14” and copyright 1988 en verso, 16 in. x 20 in., unframed. $800/1200

338. Philippe Regis Denis de Trobriand (American, 1816-1897, active New Orleans, 1875-1897), “Bayou Castaing, Mandeville, Louisiana”, 1878, oil on canvas, monogrammed and dated lower left, titled on period label affixed en verso, 10 in. x 8 in., framed. $2500/3500 Provenance: Descended in the family of the artist. Note: Philippe Regis de Trobriand, an amateur painter and member of a wealthy French family, emigrated to the United States in 1841. When the Civil War broke out, he became a colonel of the Union French-American forces, the Gardes Lafayette and was brevetted General. After the war, de Trobriand commanded forces in North Dakota; his painting skills were further honed at this time by his exposure to contemporary artists such as John James Audubon and George Catlin. In 1875, General de Trobriand was sent to New Orleans to command the occupation forces. After his retirement in 1878, he kept a winter home in New Orleans and was involved in the New Orleans arts community. He served on the Art Commission for the 1884 World’s Industrial and Cotton Centennial Exposition. 339. Philippe Regis Denis de Trobriand (American, 1816-1897, active New Orleans, 1875-1897), “Batture Cypress Trees, (perhaps) Algiers, Louisiana”, 1878, oil on canvas, monogrammed and dated lower left, 10 in. x 8 in., framed. $2500/3500 Provenance: Descended in the family of the artist.


W 336. Ernest J. Bellocq (American/New Orleans,

1873-1949), “Untitled, c. 1912 Storyville Woman Seated by Dresser, Effaced”, silver gelatin print, unsigned, 13 7/8 in. x 11 in., unframed. $1200/1800 Provenance: Estate of Al Rose from Larry Borenstein, New Orleans. Note: Printed from a glass plate negative by Dan Leyrer in the early 1960s.


340. Achille Perelli (American/New Orleans, 1822-1891), “Wine Corkscrew”, watercolor and gouache on paper, signed lower right and inscribed “N.O.”, sight 13 3/8 in. x 9 1/2 in., in an ebonized and incised period frame. $2000/3000 Provenance: Succession of Harry T. Howard III, New Orleans.


341. Richard Clague (French/New Orleans, 1821-1873), “Louisiana Drilling Rigs”, oil on canvas, signed lower right, 16 1/8 in. x 24 in., in an antique frame. $80000/120000 Provenance: Collection of Elise Meisen Smith Howard; Succession of Harry T. Howard III, New Orleans. Note: The landscape offered here perfectly exemplifies the artistic precepts of Richard Clague.  His landscape compositions usually have a “central view” and feature a road or water in the foreground, wedging toward a horizontal screen of trees, often with a vernacular building and rural figures (people or livestock) below an expanse of sky. Clague’s luminist tendencies are exemplified by the vivid blue Louisiana sky streaked with clouds. The handling of light as seen in the reflection on the bayou ties the landscape to the sky above. The marshes in southern Louisiana were sites of salt production by Native peoples for 500 years well in advance of later production by European settlers and American entrepreneurs. The marsh landscape and figure at center wielding a long handled trowel  seen here are indicative of an evaporation pool for brine salt production. With brine works and the discovery of a salt dome at Avery Island in 1862, salt production was essential to the Confederate cause; the Avery Island mine produced 10,000 metric tons of rock salt until Union Colonel W.K. Kimball destroyed the mine’s infrastructure in 1863.  The two towers depicted in this late 19th c. canvas are perhaps the earliest precursor of the technology that would drive Louisiana mineral/oil and gas production decades  later. The pipes centering each tower work together to create a siphon extracting underground  reservoirs. Oil, gas, and sulphur drilling occurred on a large scale near Lake Charles, Louisiana after 1900, though exploratory wells certainly would have appeared earlier. The scene here is a more modest production than the Avery Island Salt Dome or later oil patches, the wells are integrated with agricultural pursuits, vine stakes are shown in the field on the left.   The scene is significant. A mere “curiosity” would have been presented in sketch form by Clague. This canvas, large and meticulously rendered, indicates the importance of the site to the artist and his patrons and evidences the importance of mineral production in southern Louisiana after 1850. Thanks to Dr. and Mrs. Jack Holden for their thoughtful examination of this canvas.

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342. William Henry Buck (American/New Orleans, 18401880), “School House by the Shore, Louisiana Bayou”, oil on canvas, initialed “W.H.B.” lower right, “Seth L. Baldwin” on handwritten label and H.W. Gear & Co., New York canvas stamp en verso, 14 in. x 20 in., in a period giltwood frame with brass plaque. $80000/120000 Provenance: Private collection, New Orleans, LA. Note: While the focal point of William Henry Buck’s Louisiana landscapes are often moss-laden live oak trees, he frequently incorporates an example of regional architecture into the paintings. They may be buildings related to plantation life or shanties found along the lakeshore. In rare examples, they are of documented known locales. In the painting offered here, Buck depicts a charming schoolhouse on the edge of the bayou. The graceful arched doorway and illuminated windows provide an insightful view of regional architecture. There is a bridge across the bayou on the right side of the composition, with a sailboat plying the waters beyond. Buck portrays a vivid blue Louisiana sky and lush green live oak trees which are softly reflected in the shimmering water.






343. Alexander John Drysdale (American/Louisiana, 1870-1934), “Bayou Evening”, oil wash on board, signed lower left, sight 19 5/8 in. x 29 5/8 in.

345. Bror Anders Wikstrom (American/Louisiana, 1854-1909), “Sailing at Dusk”, 1909, oil on canvas, signed and dated lower left, 12 in. x 17 in., original gilt frame.


Note: Bror Anders Wikstrom spent his youth in the merchant marine before studying art in his native Stockholm. Coming to New Orleans in the early 1880s, he was very active in the local art scene. He was one of the organizers of the Artists Association of New Orleans and the most prolific Carnival designer of the 1880s and 1890s. Wikstrom painted Louisiana and Florida landscapes and portraits, but is best known for his marine paintings, many of which depict sailing scenes on Lake Ponchartrain and along the Gulf Coast of Florida. In addition to the time spent at sea as a boy, he also frequently traveled to Europe and the Caribbean, providing additional inspiration for his work. The painting offered depicts a consistent theme in Wikstrom’s oeuvre: a schooner at full sail on the open water, with a dramatic gray sky over mauve purple seas.

344. Joseph Rusling Meeker (American, 1827-1889), “Arcadia Valley, Missouri”, 1881, oil on canvas, monogrammed and dated lower left, monogrammed, titled and dated en verso, 11 in. x 9 1/8 in., attractively framed. $6000/9000


346. Knute Heldner (Swedish/New Orleans, 1877-1952), “Shrimp Boats at the Canal”, oil on canvas, signed lower right, 14 in. x 16 1/4 in., period frame. $5000/7000

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347. Cornelius Haly Hankins (American/ Tennessee, 1863-1946), “Cumberland Plateau, Tennessee”, oil on board, signed lower right, titled on old typewritten label affixed en verso, 10 1/2 in. x 15 1/2 in., framed. $2500/3500 Note: Cornelius Hankins studied art in St. Louis with Robert Henri and at the New York School of Fine Art with William Merritt Chase. Prior to this, in 1883, he studied in Nashville with Professor E.M. Gardner who founded the Nashville Art Association. He permanently settled in Nashville in 1904 and supported himself primarily as a portrait artist. Hankins’ talent, however, is best illustrated in his bucolic landscapes and well composed still life paintings. The work offered here depicts a lush wooded river landscape of the Cumberland plateau. With its visible brushwork, the influence of his Impressionist teachers Chase and Henri is evident. 347


349. An American Classical BrassMounted Carved Mahogany Games Table, early 19th c., Boston, stenciled “Rufus Pierce Furniture ... Boston”, foldover top, frieze with classical mounts, tapered columnar stem with circular plinth, hipped saber legs, brass paw feet, casters, height 28 1/2 in., width 35 in., depth 17 1/4 in. $1500/2500 Note: The label on this table is from 18281829, the short period that Rufus Pierce had sole proprietorship of a furniture warehouse at 17 Market Street in Boston. Pierce was partnered with Isaac Allen in 1827 and then with Nathaniel Messer from 1829-1830. In 1830 Pierce had relocated to New York when creditors sold the 17 Market (renamed Cornhill) Street inventories. Reference: Talbott. “Boston Empire Furniture”, Magazine Antiques (May 1976), p. 1008, figs. 8-10.


348. An American Carved Mahogany Secretary Desk in the Gothic Taste, c. 1835, beaded flared cornice above a pair of arched and molded glazed doors, adjustable shelves; lower case with three drawers, foldover writing surface, fitted desk interior of cubbyholes and drawers, beaded long drawer over beaded doors, scalloped base, bracket feet, height 98 in., width 44 1/2 in., depth 21 3/8 in. $2500/3500


350. An American Federal Carved Mahogany Tilt-Top Candlestand, c. 1815, Boston, rectangular top with rounded corners, boldly turned stem, molded arched legs on scroll feet, height 27 1/2 in., width 24 1/2 in., depth 17 in. $500/750


351. An American Late Classical Carved Mahogany Drum Table, 19th c., segmented top above two frieze drawers, columnar stem, circular plinth, molded sabre legs, brass paw feet, casters, height 30 1/2 in., diameter 35 3/4 in. $1200/1800 352. An American Federal Mahogany Wing Chair in the Sheraton Taste, c. 1800, arched back with shaped wings, scroll arms, straight seat rail above turned legs, casters. $1500/2500 531


353. Attributed to Rembrandt Peale (American, 1778-1860), “Portrait of Mary Davenport Kimball”, oil on canvas, inscribed label en verso, 21 in. x 17 in., unframed.

354. Conrad Wise Chapman (American, 1842-1910), “River Landscape”, 1882, oil on canvas, signed and dated lower right, 24 in. x 41 in., period frame.

$6000/8000 Note: Working in the Neoclassical style of artists such as Jacques-Louis David, Rembrandt Peale followed in his father’s footsteps as a portraitist. Among his sitters are such notable figures as George Washington, Thomas Jefferson, and John Marshall; however, his main clientele were wealthy patrons from Philadelphia, Baltimore, Washington D.C., and the surrounding areas. In his portraits of our nation’s leaders and its citizens, Peale infuses dignity, emotion, and a sense of gravitas, which can be noted in the current lot, a portrait of Mary Davenport Kimball (1814-1868), wife of Stephen Kimball (1807-1870). The Kimballs were a wealthy Philadelphia family with three children, George Peabody Kimball, Edward Stephen Kimball, and Anna Harper Kimball; in the 1870 United States Federal Census, the Kimball children, having inherited their father’s estate, are listed as living in the 24th district of Philadelphia. Edward Kimball is known to have enrolled at the University of Pennsylvania in 1860, although he left during his first year (most likely to join the war effort). This lovely portrait of their mother, Mary, illustrates many of Peale’s strongest qualities in portrait painting. The indistinct background with a halo of light around the sitter’s head, the emotional expression in the eyes, and the red, heart-shaped lips all bear a resemblance to Peale’s portrait of his daughters Rosalba and Eleanor in his 1826 painting The Sisters.



Note: The son of American artist John Gatsby Chapman in 1842, Conrad Wise Chapman was exposed to art and culture at an early age. When Conrad was young his father moved the family to Italy to paint. Chapman returned to America in 1861 to fight on the side of his native Virginia during the Civil War. Some of Chapman’s most important works were created during this time, including a series of thirty-one paintings of the war as he witnessed it while stationed in Charleston Harbor. Now in the collection of the Museum of the Confederacy in Richmond, Virginia, this important group of paintings give us a glimpse of the war’s destruction as well as a rare view of the Confederate submarine H.L. Hunley. The rugged terrain of the landscape depicted here with its bustling boat traffic and moody clouds shows Chapman’s adeptness in handling large scale panoramic scenes. While the location of the painting is unidentified, Chapman traveled widely in his post-war years, including Mexico, France, Italy and Northern Virginia.


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357. John James Audubon (American, 1785-1851), “Telltale Godwit or Snipe”, Plate 308, hand-colored aquatint engraving from Birds of America, Havell edition, sheet 26 1/4 in. x 38 in., attractively float mounted and framed.





355. John James Audubon (American, 17851851), “Hutchin’s Barnacle Goose”, Plate 277, handcolored aquatint engraving from Birds of America, Havell edition, sheet 37 1/4 in. x 25 1/4 in., attractively float mounted and framed. $6000/9000


356. John James Audubon (American, 17851851), “Mangrove Humming Bird”, Plate 184, handcolored aquatint engraving from Birds of America, Havell edition, sheet 38 in. x 25 1/4 in., attractively float mounted and framed. $5000/7000

358. John James Audubon (American, 1785-1851), “Le Petit Caporal”, Plate 75, handcolored aquatint engraving from Birds of America, Havell edition, sheet 38 1/2 in. x 26 1/2 in., attractively float mounted and framed. $4000/6000

359. John James Audubon (American, 1785-1851), “Carbonated Warbler”, Plate 60, hand-colored aquatint engraving from Birds of America, Havell edition, sheet 38 in. x 26 1/4 in., attractively float mounted and framed. $2500/3500 360. John James Audubon (American, 1785-1851), “Hudson’s Bay Titmouse”, Plate 194 (var. 2), hand-colored aquatint engraving from Birds of America, Havell edition, sheet 37 1/2 in. x 25 1/4 in., attractively float mounted and framed. $1200/1800



362 361 362. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Dixie Belles”, silver gelatin print, signed and dated “1938” on ink lower left, 20 in. x 24 in. 361. John James Audubon (American, 1785-1851), “Lark Finch, Prairie Finch, Brown Long Sparrow”, Plate 390, hand-colored aquatint engraving from Birds of America, Havell edition, sheet 38 1/2 in. x 26 in., attractively float mounted and framed. $1200/1800

$10000/15000 Note: The image of two young women dressed in their Sunday clothes, staring at the camera with intensity, has become an iconic example of Fonville photography. The 1938 image depicts Fonville’s familiarity with capturing the various expressions on the faces of native Louisianians. Although the mood greatly differs from the jovial expression on the face of the oyster shucker in The Oysterman or the rough nature of Pierre Lombas in Native Shrimpman, the similarities between these three famed images are displayed through Fonville’s ability to see into his sitter’s emotional state of mind and capture it through the camera. W denotes the lot is illustrated at




363. Clementine Hunter (American/Louisiana, 1886-1988), “Melrose Plantation, Africa House and Grounds”, c. 1955, cotton stitched and appliquéd quilt with brown paper backing, 78 in. x 55 1/2 in.; accompanied by a letter written to the present owner on behalf of Clementine Hunter, postmarked Oct. 17, 1955, Melrose, LA. $8000/12000 Provenance: Purchased from the artist, 1955. Note: Clementine Hunter created quilt tops and wall-hangings, the most impressive of which depict the buildings and people of Melrose Plantation. The quilt offered here shows the “Big House” of Melrose in the center of the work with the Africa House placed in the upper right. Several other outbuildings are depicted, as are two female figures and a man fishing in a boat. The man fishing is a distinct figure sometimes seen in Hunter’s paintings. The collection of Melrose Plantation includes a quilt top with a similar color block background which also depicts vignettes of life there. Illustrated in Painting by Heart: The Life and Art of Clementine Hunter on page 72 is yet another large quilt showing the “Big House” in the center, the Africa House to the upper right and many of the same female figures and men fishing. Hunter’s large quilts are exceedingly rare. The bold colors and strong geometry and design of the work offered here place it within the highest order of the textiles she created. This quilt was commissioned by the current owner c. 1955 directly from Clementine Hunter. Reference: Gilley, Shelby, Painting by Heart: The Life and Art of Clementine Hunter, Baton Rouge: St. Emma Press, 2000.

364. William Woodward (American/Louisiana, 1859-1939), “Still Life with Pineapple”, 1900, oil on canvas, monogrammed and dated lower right, 10 in. x 14 in., original frame. $3000/5000 Provenance: Descended in a New Orleans family.



365. Colette Pope Heldner (American/New Orleans, 19021990), “Napoleon House, French Quarter, New Orleans - Bastille Day”, oil on canvas, signed and titled lower left and en verso, 40 in. x 34 in., framed. $6000/8000 Note: Colette Pope Heldner depicts one of the most iconic corners in the French Quarter in this lively Bastille Day scene. The Napoleon House and Pierro Maspero’s provide the backdrop for a wide variety of “characters”, including a Lucky Dog vendor, street musician, performers with a monkey, French sailors with a lady, and two nuns. The artist even includes herself in the composition, in the lower right corner, carrying her canvas and easel. The large number of people in the painting, who are reveling, dancing and drinking, convey the conviviality of this French holiday, celebrated with great joie de vivre in New Orleans.



366. Ellsworth Woodward (American/New Orleans, 1861-1939), “French Market, New Orleans, Louisiana”, 1886, watercolor and gouache en grisaille on paper, signed and dated lower left, titled lower center, handwritten inscription with extensive family provenance en verso, 12 7/8 in. x 17 3/4 in., framed.

367. Robert Rucker (Louisiana, 19322001), “Rooster in Acadian Barnyard”, 1971, oil on canvas, signed and dated lower right, inscribed en verso, 24 in. x 30 in., framed.


368. Luis Graner y Arrufi (Spanish, 1862-1929, active New Orleans c. 19141922), “Young Girl in a Verdant Garden”, 1911, oil on canvas, signed and dated lower left, 50 in. x 40 in., framed.

Note: Ellsworth Woodward came to New Orleans in 1885 to take the position of Assistant Professor of Painting & Drawing at Tulane University under his brother William Woodward. That same year he created an etching of the French Market in addition to prints of other locales around the city. The work offered here is dated Jan. 1, 1886 and presents a realistic, detailed view of the French Market rendered en grisaille. This grey scale tonality often indicates that an artist has created a work with the intention that it be used as an illustration. The activities and energy of the French Market certainly provided inspiration for many 19th century artists. Located at its current site since 1790, only some of the original early 19th century structures that form the French Market remain today. Around the year 1833 several buildings, known collectively as the Red Stores, were built in the space between the Vegetable Market and the levee. With the organization of the French Market Corporation in 1932 came some redevelopment and modernization of the market, with several structures, including the Red Stores, being lost.


$15000/25000 Note: A native of Barcelona, Spain, Luis Graner y Arrufi studied art in his hometown and in Paris where he was welcomed into the art circles and remained for five years. Graner exhibited at the Paris Salon from 1895 to 1910 and won exhibition medals in Barcelona, Madrid, Berlin and Paris. Graner came to New York in 1910. He also traveled 368 to California and spent the winters in New Orleans from 1914 to 1922. The work offered here is dated 1911 and was likely a portrait commission. The grand scale of the painting and sensitive treatment of the sitter relate it to the work of his European contemporaries John Singer Sargent and Joaquin Sorolla y Bastida. The lush verdant background with its dappled sunlight reflects the influence of the American Impressionists whose work he would have seen during these first years in the U.S. The marrying of these artistic sensibilities results in a beautifully painted composition which transcends strict portraiture.

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372. An American Sterling Silver Seven-Piece Tea and Coffee Service, Dominick & Haff, New York, wc. 1868-1928, pattern no. 1103/87, comprising a coffee pot, teapot, hot water kettle-on-stand, lidded sugar, creamer, wastebowl and tray, each with applied stylized monogram “EGT”, tray length 24 1/2 in., total weight 245.25 troy ozs. $6000/8000




374 (1 of 6)


369. Alexander John Drysdale (American/New Orleans, 18701934), “Live Oak on the Louisiana Bayou”, 1915, oil wash on board, signed and dated lower right, sight 8 3/4 in. x 22 3/4 in., framed. $3000/5000

373. A New Orleans Coin Silver Fiddle Typt Flatware Service for Six, c. 1840, Hyde & Goodrich, wc. 1828-1861; including 6 forks, 6 soup spoons and 6 teaspoons, period script monogram “EG”, fork length 7 5/8 in., soup spoon length 8 1/2 in., combined weight 24.70 troy ozs. $1500/2500

370. An American Sterling Silver Tea Set, Whiting Mfg. Co., wc. 1866-1926, c. 1926, in the Regency taste, comprised of a coffee pot, teapot, sugar, creamer and waste bowl; coffee pot height 6 1/2 in., combined weight 95.10 troy ozs. $3000/5000 W 371. A Group of American Coin Silver Flatware, 19th c.,

including 3 tablespoons by Brower & Rusher, New York, NY, c. 1834; 3 serving spoons by T. Richard, c. 1800; a pair of serving spoons by P. Garrett, Philadelphia, c. 1811; and a “basket of flowers” tongs by N.C. Platt, New York, c. 1816-1820, combined weight 18.20 troy ozs. $600/800


Provenance: Descended in an East Texas Family. 374. A Rare Set of Six Hyde & Goodrich Knives, New Orleans, wc. 1828-1861, each with high carbon steel blade marked “HYDE & GOODRICH/ NEW ORLEANS”, and ivory handle, length 9 3/4 in.; together with six other carbon steel knives, length 9 1/4 in., and a later tôle strongbox; found en suite with preceding lot. Note: “estate” condition. $100/200 Provenance: Descended in an East Texas Family.



W 382. An American

Coin Silver Pitcher, Jones, Ball & Poor, Boston, 1846, reeded vase form with scroll handle, height 9 1/2 in., weight 10.20 troy ozs. $400/600 W 383. An Alabama

385 377 W 378. A Set of Twelve American Sterling Silver

375. An American Coin Silver Ladle, Chaudron’s & Rasch, Philadelphia, 1798-1820, fiddle handle, length 13 in., weight 6.25 troy ozs.

Bread and Butter Plates, A.G. Schultz, Baltimore, wc. 1899-1950, with reeded border, diameter 6 in., weight 35.80 troy ozs.

Flatware, Dominick & Haff, New York, wc. 1868-1928 in the “Cupid” pattern, 1891, including a serving spoon, 5 dinner forks, 3 dessert spoons and 4 teaspoons; weight 27.85 troy ozs.

384. A Handsome American Coin Silver Coffee and Tea Service, Gelston & Treadwell, New York, NY, wc. 1843-1850, comprised of a coffee pot, teapot, sugar, creamer and waste bowl, each with paneled repoussé body on scroll feet, combined weight 119.90 troy ozs.



W 381. An American Coin Silver Cream Pitcher,

385. A Pair of English Silverplate and Cut Crystal Tazzas, Roberts & Briggs, Sheffield, wc. 1859-1863, cast winged griffin supports, height 12 1/2 in., diameter 10 in.

W 379. A Boxed Set of Eight Cartier Sterling

Silver Flatware, 19th c., various makers, including a fork by Henry Hebbard in the “Grecian” pattern, pat. 1852, ret. E.A. Tyler, New Orleans; a soup spoon, Joseph Rafel, New Orleans, 1852-1861; a soup spoon, Louis Muh, New Orleans, 1822-1870; a dessert spoon, Gale & Hayden, ret. J. Veal, Georgia or South Carolina; a dessert spoon, Duhme, Cincinnati, c. 1839; 2 soup spoons, Willard & Hawley, Syracuse, NY, c. 18441851; a dessert spoon, Benjamin Dexter, New Bedford, MA, c. 1830; 3 dessert spoons and 1 soup spoon, marks rubbed; and 1 soup spoon, 84 kokoshnik mark, assayer Ivan Yefimovich, Moscow, 1877; total weight 19.10 troy ozs. $400/600 377. An American Sterling Silver Coffee Pot, M. Fred Hirsch Co., Jersey City, New Jersey, wc. 1930-1945, St. James pattern, hand chased decoration, height 11 1/2 in., weight 29.90 troy ozs.



$400/600 W 376. A Miscellaneous Group of Coin

Coin Silver Ladle, Walter Pearce & Co., Mobile, wc. 1850-1867, in the fiddlethread pattern, engraved “Sturges”, length 12 1/2 in., weight 6.15 troy ozs.

Silver Castors; together with 3 sterling silver cigarette urns and 24 sterling handled corn on the cob picks, total weight (weighable) 5.80 troy ozs. $250/350 W 380. A Group of American Sterling Silver

Gale & Hayden, New York and Charleston, 1848, pear shape on molded foot with scroll handle, period script monogram, height 6 in., weight 8 troy ozs. $250/350


$500/750 W denotes the lot is illustrated at


390 392


388. An American Gilt Lacquered Brass Hanging Sinumbra Lamp, c. 1859, attributed to Hooper & Co., Boston, retains original E.F. Jones patented kerosene burner, period chimney, shade and smoke bell, cut and etched prisms, original condition, height 24 in.

391. An Antique Bohemian PewterMounted Etched Glass Commemorative Tankard, late 17th c., the hinged cover inset with a commemorative portrait medallion of Joseph I, the reverse depicting his coronation, dated 1690, the thick-walled glass with everted footrim and applied strap handle, engraved with a portrait of a saint holding a child, inscribed “S. Josephus”, flanked by foliate scroll, the base cut with a rosette, height 7 1/2 in., diameter 4 7/8 in.



$700/1000 389. An American Patinated Bronze Sinumbra Lamp, early 19th c., Hooper & Co., Boston, labeled, cluster column support, stepped pedestal base, period chimney and shade, overall height 29 in. $3000/5000 389

W 386. A George III Sheffield

Plate Sugar Bowl, c. 1780, maker R untraced, vase form with loop handles. $250/350 W 387. A Group of Coin Silver

Knives in Variant Olive Patterns, 19th c., including 6 by Ball, Black & Co., New York, c. 18511876; 4 unmarked and one by Rogers and Brother, lengths 7 1/2 in. to 8 1/4 in., total weight 15.90 troy ozs. $400/600


390. A Pair of Classical Gilt Lacquered Bronze Three-Light Figural Girandoles, mid-19th c., candlecups on scrolled acanthus arms, figural standard with round plinth, ending in weighted square base, hung with prisms, height 23 1/4 in., width 14 in., depth 6 in. $800/1200 Note: The figure depicted closely resembles a standard identified as No. 412 in the 1850 H.N. Hooper & Co. Catalogue. The same figure is seen on French and English candelabra which indicates the connection between American and European manufacturers and the customers they were supplying. Reference: Gowitt, Gerald 19th Century Elegant Lighting, 2002, pp. 39 & 97.

Provenance: Sotheby’s Amsterdam, “An Important Private Collection from Hanover”, March 27, 2007, lot # 905. Note: Joseph I (1678-1711), King of Hungary and Bohemia, was crowned Emperor of the Romans in 1690. 392. A Bohemian Polychrome Enameled Glass Reichsadlerhumpen, 1609(?), cylindrical body of greenish tint, imperial double-headed eagle with outstretched wings, over the titled shields of the provinces, inscribed “Dasheiligeromische/Reich Mitsampt/Seineu/ Guedern/1609”, applied footring, height 11 1/2 in., diameter 5 1/4 in. Note: Heavily restored. $500/700 Provenance: Sotheby’s, An Important Private Collection from Hanover, March 27, 2007, Amsterdam, sold for 2,160 euros. Reference: Vose, The Connoisseur Illustrated Guides, Glass, 1975, p. 121; Gardner, Glass, The Smithsonian Illustrated Library of Antiques, 1975, pp. 40-41.

393. An American Chippendale Inlaid and Carved Mahogany Tall Case Clock, c. 1760, Baltimore, the broken arch fretwork crest centered by eagle medallion and inlaid rosettes, urn finial, bonnet with bellflower pendants, tôle painted face flanked by inlaid columns, the case with engaged fluted columns, on ogee bracket feet, height 104 1/4 in., width 23 1/4 in., depth 11 1/2 in.


$25000/35000 Provenance: The well-known antiquarian Kelly Kinzle, Pennsylvania. 394. An American Federal Carved Mahogany Breakfast Table, early 19th c., New York, in the manner of Duncan Phyfe, shaped drop leaves above a plain skirt, spiral turned supports, rectangular plinth, acanthus carved legs on paw feet, casters, height 28 1/2 in., length 36 in., width 25 in.

395. An American Federal Carved Mahogany FourPost Bed, c. 1820, in the Sheraton taste, broken arch crest centered by a plinth with urn, paneled headboard, fine vasiform tapered posts with medial ring turnings, chamfered and blocked below, pegged rails, turned tapered legs, height 103 1/2 in., length 76 1/2 in., width 60 in.





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398. An American Chippendale Carved Mahogany Chest-on-Chest, c. 1760, probably Delaware Valley, the molded broken arch crest centered by a shell, turned finials; upper case with three drawers over four graduated drawers; lower case with two short drawers over two long drawers; ogee bracket feet, height 95 1/2 in., width 45 3/4 in., depth 24 5/8 in..





396. An American Classical Carved Mahogany Center Table, c. 1825, Philadelphia, circular tilt top, columnar support on incurvate triangular plinth, volute scrolled feet with rosettes, casters, height 29 3/8 in., diameter 41 1/4 in. $2000/3000

397. An American Federal Brass-Mounted Carved Mahogany Dressing Chest, early 19th c., attributed to Thomas Seymour, Boston, rectangular mirror with shaped crest centered by eagle wing and arrow mount, reeded uprights with spherule finials, scrolled supports; bowfront superstructure fitted with three drawers; conforming lower case with outset corners, two over three graduated drawers flanked by segmented reeded columns, tapered legs, height 79 1/4 in., width 46 3/4 in., depth 24 in. $4000/6000 Note: Various elements of this mirrored dresser relate to known examples by Boston makers. The distinctive carved reeded columns relate closely to those on a chest made by Thomas Seymour (1771-1848) for Elizabeth Derby in 1809, now at the Museum of Fine Arts, Boston (acc.1927.428). The mirror supports and case form are nearly identical to a chest bearing the label of Levi Ruggles (Boston, wc. 1833-1855) at Winterthur (acc. 57.567). Reference: Mussey. The Furniture Masterworks of John and Thomas Seymour; http://www.mfa. org/collections/object/dressing-table-with-looking-glass-44462; Montgomery. American Furniture of the Federal Period 1788-1825. p. 187, fig. 144


Provenance: The present lot sold Christie’s November 5 and 6, 1985 auction of The Contents of Craig & Tarlton, Inc., Raleigh, NC, as lot 220. W 399. George

Cochran Lambdin (American, 1830-1896), “Still Life with Roses”, 1881, oil on panel, signed and dated lower right, Janentzky & Co., Philadelphia label en verso, 24 in. x 14 1/8 in., framed. $1200/1800



400. William Thompson Russell Smith (American, 1812-1896), “Hudson River Landscape”, oil on canvas, unsigned, 12 1/8 in. x 18 1/8 in., framed.

402. Robert M. Rucker (New Orleans, 1932-2001), “Steamer Black Hawk on the Louisiana Bayou”, oil on canvas, signed lower right, 8 in. x 10 in., attractively framed.



401. William Aiken Walker (American/ South Carolina, 1839-1921), “Man in Cotton Field” and “Woman in Cotton Field”, two oils on academy board, male with partial signature lower right, and Marx Art Store New Orleans label en verso, female signed lower left, 7 3/4 in. x 4 in. and 8 1/2 in. x 4 1/8 in. respectively, both in period frames. $8000/12000 Provenance: Acquired by present collector from Jean Bragg Gallery, New Orleans, LA. Note: To be included in John Fowler’s forthcoming catalogue raisonne on the artist.

401 W denotes the lot is illustrated at



405. An Antique Continental Carved Hardwood and Brass Bound Spice Chest, case have sixteen carved drawers, molded base with two long drawers, turned feet, height 41 in., width 19 in., depth 34 in. $600/900


403. A Southern Faux Bois Corner Cupboard, mid-19th c., molded cornice with inset scalloped frieze, glazed door enclosing three shaped shelves, flanked by turned pilasters; base with two torus-molded drawers over a pair of raised panel doors, conforming pilasters, blocked and turned ball feet, original paint surface, height 90 1/2 in., width 51 in., depth 29 1/2 in.




Note: Interestingly, a Hirschl & Adler Folk advertisement in The Magazine Antiques presented a strikingly similar painted corner cupboard featuring scalloped molding, shaped shelves, halfround turned pilasters, and raised panel cabinet doors relating closely to those on the present lot.

Provenance: The Estate of Samuel Doyle Riddle (18611951). A successful racehorse owner and breeder, Riddle’s most well-known horses are Man o’ War and U.S. Triple Crown winner War Admiral. This lowboy was auctioned in the June 1951 estate sale, on the premises of Glen Riddle Farms, Berlin, MD. The present lot is accompanied by an original catalogue from this sale, conducted by Samuel T. Freeman & Co.

404. An American Southern Carved Mahogany Daybed, early 19th c., lower Mississippi River Valley, massive ring turned crest rails above beaded paneled headboards, vasiform uprights, plain rails, bulbous turned feet ending in gilt spherules. $1000/2000 Provenance: Succession of Harry T. Howard III. 406


406. An American Cherrywood Lowboy in the Chippendale Taste, 18th c., molded top with notched corners above a long drawer over two short drawers flanking a shell carved center drawer, notched skirt, cabriole legs, pad feet, height 29 1/2 in., width 31 in., depth 20 3/4 in.

407. A West Indies Carved Courbaril Armoire in the Louis XV Taste, early 19th c., Martinique, associated cornice, shaped paneled doors enclosing later shelves, scrolled skirt, cabriole legs, scrolled toes, hoof feet, height 81 in., width 58 in., depth 23 in. $4000/6000 Note: Courbaril, also known as West Indian Locust, is a highly durable hardwood with an appearance similar to mahogany and favored in the French West Indies to the point of exhausting the source. Other known courbaril armoires very closely related in form and proportion to that seen here include one illustrated in Sturm. West Indian Antique Furniture of the Lesser Antilles p. 89.; one at Habitation, Trianon on Martinique, and one descended in the Sheele Family of New Orleans, now part of the collection at Winterthur (acc. 1988.0215).



Reference: An overview of the use of courbaril in Caribbean furniture can be found in Sturm. West Indian Antique Furniture of the Lesser Antilles p. 75; see also Connors. French Island Elegance. p. 78; and Holden, et. al. Furnishing Louisiana, Creole and Acadian Furniture, 1735-1835. p. 132, fig. 4.


409. An American Classical Carved Mahogany Armchair, early 19th c., New York, rectangular back with tablet crest, shaped arms, swan’s neck supports, serpentine seat rail, saber legs ending in paw feet, height 34 1/4 in., width 20 1/2 in. depth 24 in.



408. An American Rosewood and Gilt-Stenciled Pier Table, c. 1830, probably New York, white marble top of later date, frieze fitted with blind drawer, scroll supports, mirrored back, plinth with white marble slab, blocked paw feet, height 40 1/2 in., width 43 7/8 in., depth 19 in. $2000/3000

410. An American Classical Carved Mahogany Work Table, early 19th c., Baltimore, with D-end hinged compartments, three center drawers, reeded urn-shaped stem on reeded saber legs, brass paw feet, casters, height 29 in., width 26 1/2 in., depth 14 in. $3000/500 Provenance: Woldman & Woldman.

W denotes the lot is illustrated at



411. A Fine American Classical Paint and Gilt-Decorated Sofa, c. 1815-1825, Baltimore, “cupid’s bow” crest, “Pompeii” red ground with gilt anthemia and scrolls, scrolled arms and seat rail with fruiting garlands, saber legs, brass paw feet, casters, height 39 1/2 in., width 97 1/2 in., depth 25 in. $7000/9000 Illustrated: Boor. Philadelphia Empire Furniture, fig. 240. p. 386. Note: Though painted sofas by Baltimore cabinet makers such as the lot offer here are rare, several other known examples also with a serpentine rail centered by a tablet, and scroll arms and legs, include the sofa from Beechwood, the Water’s family home in Somerset County, Maryland (now conserved by the Maryland Historic Society, acc. 79.51.4). The elongated anthemion motif on the crest and legs of this sofa are similar to those on a number of painted pieces from the shop of Hugh Finlay (fl. 1803-1830) including a couch and a games table ordered by Humberton Skipworth from Finlay in 1819; the legs on this sofa are identical to those on a sofa attributed to Finlay in the Museum of Fine Arts Boston; and also a sofa made for the Rev. George Morrison (1797-1837). Reference: Weidman. Furniture and Maryland 1740-1940. p. 168, fig. 133; Miller. American Antique Furniture: A Book for Amateurs No. 566. Elder. Baltimore Painted Furniture, 1800-1840, No. 32; all Finlay examples are illustrated in Weidman and Goldsborough. Classical Maryland, Fine and Decorative Arts from the Golden Age, fig. 120-123, pp. 98-101 respectively.




412. An Antique American Classical Carved and Gilded Mirror, blocked cornice with acorn pendants, conforming frieze, applied rosettes, divided mirror plate, split baluster surround, height 38 in., width 23 in.

413. An Antique American Classical Carved Mahogany Pier Mirror, blocked pediment and frieze, divided mirror plate, split baluster surround, height 45 1/2 in., width 23 in.



414. An Antique American Carved and Gilded Birdseye Maple Harp, late 19th c., of Neoclassical inspiration, engraved in the brass “Browne and Buckwell Makers New York”, height 69 in., width 15 1/2 in., depth 34 in. $1200/1800



415. A Fine American Classical Carved Mahogany Secretaire Bookcase, early 19th c., attributed to the workshops of Isaac Vose, Boston, galleried superstructure on scroll and anthemion carved supports over a bank of three drawers; lower case with paneled escritoire drawer, fitted interior, over anthemion carved mirrored doors flanked by pilasters with scroll carved terminals, lotus carved tapering turned feet, height 53 1/2 in., width 34 in., depth 21 in. $3000/5000 416. An American Rococo Carved and Laminated Rosewood Étagère, mid-19th c., attributed to John Henry Belter, New York, the arched molded crest with floral and scroll carving, tripartite arched mirrored back with half-round shelves to the sides, fretwork galleries and brackets, marble top shelves below with scrolled supports, conforming plinth base with scalloped skirt. $4000/6000 Note: The crest silhouette, the mirror arches, and proportionate shelves on this etagere relate closely to those on the noted “Cupid” etagere by Belter in the Service Collection. Each of these etageres incorporate small marble shelves supported from the base. Reference: Dubrow. American Furniture of the 19th c. 1840-1880. pp. 148-149.

416 W denotes the lot is illustrated at




418. A William IV Mahogany Tilt-Top Center Table, c. 1840, circular molded top with plain skirt, bulbous faceted stem and foliate collar on an incurvate triangular plinth, paw feet, height 28 1/4 in., diameter 47 3/8 in. $1500/2500 419. A William IV Carved Mahogany Child’s Chair on Stand, mid-19th c., caned barrel back and seat, scroll arms, turned legs, turned X stretcher, the stand with turned tapered legs.


$700/900 419 420. A Charles X Carved Mahogany Center Table, early 19th c., dished Breccia marble top, faceted pedestal, scrolled supports, paw feet, height 27 in., diameter 38 in.

417. An American Classical Carved Mahogany Games Table, early 19th c., Baltimore, foldover top with reeded edge, figured frieze, lobed urn stem, outswept reeded legs, brass paw feet, casters, height 29 1/2 in., width 37 in., depth 18 1/4 in.

$1500/2500 421. A Fine Paris Porcelain Vase, c. 1818, possibly Darte Frères, opposing reserves depicting a trio of rogues committing robbery, signed “halbedel pinxit, 1818”; the other with magenta ground, painted with Empire designs from Percier & Fontaine, flanked by acanthus, scrolled handles, centered by rosettes, spreading socle, plinth base, height 18 in., width 9 in., depth 5 3/4 in.

$1200/1800 Note: The melon support with turnings and boldly reeded legs on this table are identical to those on two noted Baltimore tables: the first a writing table attributed to William Camp (active 1801-1822), descended in the family of Baltimore mayor Sheppard Church Leakin (1790-1867), and now conserved by the Maryland Historical Society (acc. 23.17.11); the second a work table signed by Ralph Forrester (active 1814-1829) at the Baltimore Museum of Art (acc.1967.1). Reference: Weidman. Furniture in Maryland 1740-19404. fig. 159, p. 186.




422. A Sèvres Blue and Blanc Jasper Portrait Roundel of Napoleon, inscribed Bertrand Andrieu (French, 1761-1822), “Sevres/M. Imp 1810” en verso marked in script, brass hanging frame marked “LE CHAUVE”, diameter 5 1/8 in. $800/1200 423. A Pair of Classical Revival Bronze Figural Candlesticks, late 19th c., modeled as elaborately draped figures holding aloft torch-form candlecups, on square slate bases, height 18 1/2 in., width 5 1/2 in. Note: Small chips on one base.



$1000/1500 424. An American Gilt and Patinated Bronze SixLight Gasolier, c. 1870, probably Philadelphia, vasiform standard, mounted with seated cherubs, issuing scrolled foliate supports, height 32 in., diameter 31 in.


$2000/3000 425. An American Gilt Lacquered Bronze Solar Wall Sconce, mid-19th c., New York or Boston, period shade and chimney, original condition, overall height 17 1/8 in.


426. A Pair of Antique Continental Rococo-Style Carved Giltwood Mirrored Sconces, carved with foliage and C scrolls, gilt metal support, electrified, height 33 in., width 20 in., depth 7 1/2 in. $1000/1500

$500/750 426 W denotes the lot is illustrated at



428. A Pair of Spanish Colonial Silverplate Repoussé Wall Sconces, late 18th/early 19th c., each with cartouche reserve amid putto, surmounted by a crown, single scrolled caryatid candlearm, height 24 in., width 16 in., depth 7 in.

429. A Louis XVI Provincial Carved Pine Side Table, late 18th/early 19th c., fitted with single frieze drawer, tapering fluted legs, height 30 in., width 28 in., depth 21 1/2 in. $1000/1500



427. An EmpireStyle Tôle and Gilt Bronze Twelve-Light Chandelier, standard with acanthus collars, bell-form body with acanthus and rosette mounts, foliate pendant, height 60 in., diameter 24 in. $700/1000 428 429

430. A Spanish Carved Walnut Table, 18th/19th c., rectangular top on scrolled trestle supports joined by wrought iron stretcher, height 30 1/2 in., width 57 1/2 in., depth 25 in. $1500/2500 431. A Set of Eight Portuguese Walnut and Tooled Leather Side Chairs , height 43 in., width 18 in., depth 16 in. $1500/2500



432. A North Italian/Austrian Neoclassical Burled Walnut and Inlaid Cabinet Desk, late 18th/early 19th c., upper case with a stepped plinth fitted with a drawer, above a door enclosing small drawers, four serpentine drawers on each side and two center drawers; lower case with fall front writing surface and fitted drawers flanked by short drawers, three serpentine long drawers below, bun feet, the whole with dragon inlay, ebony and light wood banded panels, height 84 in., width 22 in., depth 50 in.


434. Attributed to Conrad Kiesel (German, 1846-1921), “A Young Maiden”, oil on an embossed leather floral motif background, unsigned, Christie’s New York label en verso, 31 1/2 in. x 23 3/4 in., in a later frame. $1500/2500


Provenance: Christie’s, New York, lot 345, February 26, 1997.




433. Adolf Schreyer (German, 1828-1899), “Cossack and Sleigh”, oil on canvas, monogrammed lower right, Deforge & Carpentier/ Paris stencil en verso of canvas, old handwritten labels en verso including one in English stating “...this picture was left for Mr. Harold Winter in my husband’s estate, as his father died to whom this picture was promised./ Mary Schreyer née Andreas/ May 28, 1912” and the other in German stating same, 10 3/4 in. x 19 in., in a giltwood frame. $3000/5000

435. Ferdinand Lepié (Czech, 1824-1883), “The Austrian Village of Gmuden, with View of Lake Traunsee in the Background”, oil on canvas, faintly signed and dated “184(?)” lower left, 21 3/4 in. x 27 in., in a covemolded carved and giltwood frame. $3000/5000

Provenance: Estate of Artist to Harold Winter; New York Estate; present owner. W denotes the lot is illustrated at




436. A Fine Pair of Empire-Style Gilt and Patinated Bronze Candelabra, c. 1880, Ferdinand Levillain (French, 18371905) and Ferdinand Barbedienne (French, 1837-1905), marked “F. Levillain” and “F. Barbedienne”, avian finials, six scrolled arms, amphora standard, tripod supports, rouge royale stepped marble plinths, height 32 in., diameter 12 in. $4000/6000 Note: Levillain exhibited at the Paris Salon beginning in 1861. Barbedienne started a foundry in Paris in 1839, later establishing the 30 Boulevard Poissonniere main gallery in 1847. Barbedienne produced works of his own design as well as from other leading artists such as the esteemed Levillain. 437. A Fine Pair of NeoclassicalStyle Carved Granite Architectural Urns, flared rim, socle base; stepped and paneled pedestals, height 51 1/2 in., diameter 31 1/2 in. $8000/12000 438. A Carrara Marble Bust of David, 20th c., after the 1501-04 sculpture by Michelangelo (Italian, 1475-1564) now at The Galleria dell’Accademia, Florence. $4000/6000



439. A Very Fine Antique Napoleon III Carved and Gilded Mirror, late 19th c., stencilled label en verso “A. TEXIER... Nantes”; arched crest centered by acanthus leaf, divided mirror plate, scrolled ornamentation, height 83 in., width 47 in. $8000/12000 440. A Fine Monumental French Provincial Carved Walnut Tall Case Clock, 19th c., height 98 in., width 23 in., depth 15 1/2 in. $3000/5000 439


441. A Set of Twelve George II-Style Carved Mahogany Dining Chairs, early 20th c., possibly Schmieg & Kotzian, New York, comprised of two arm and ten side chairs, each with scrolled crest, vasiform splat, armchairs with shepherd’s crook arms, shaped slip seats, shell carved cabriole legs, ball and claw feet. $2500/3500 441 W denotes the lot is illustrated at


444. A Georgian Carved and Inlaid Oak Mule Chest, late 18th c., banded lift top opening to void interior, shaped paneled front, two banded drawers, bracket feet, height 31 3/4 in., width 48 1/2 in., depth 21 in. $800/1200







443. A William IV Brass Bound Mahogany Campaign Chest, mid-19th c., two short and three long drawers, turned feet, original hardware throughout. $1500/2500

442. An Antique George II-Style Oyster Walnut Chest, molded top, two short over two long drawers, molded base, ogee bracket feet, height 33 3/8 in., width 35 1/8 in., depth 19 1/2 in. $1200/1800


445. A Fine George III Inlaid Mahogany Secretary Bookcase, c. 1780, dentil molded cornice above a blind fretwork carved frieze, mullion glazed doors enclosing fitted interior, slant front desk opening to a tooled leather writing surface and fitted interior above two short over three long graduated drawers, shaped bracket feet, height 89 in., width 46 1/8 in., depth 24 7/8 in.

446. A Regency Brass-Mounted Mahogany Sofa Table, 19th c., reeded top, drop leaves, frieze drawers, lyre support trestle base on rosette mounted scroll feet, casters, height 29 in., width 35 1/2 in., depth 22 1/2 in. $1000/1500

447. A Georgian-Style Red Lacquered Chinoiserie Games Table, 19th c., foldover top opening to later tooled leather playing surface, shaped frieze with figures in a landscape, cabriole legs, height 29 1/2 in., width 32 1/2 in., depth 15 1/2 in. $800/1200 448. A Good English Tôle Peinte Tray, 19th c., now on a faux bambooturned stand, height 17 in., width 30 in., depth 24 in. $500/700



450. Edwin Cooper (British, 1785-1833), “Richard Ward, Esq. on his Favorite Hunter ‘Innocence’”, 1831, oil on canvas, signed and dated lower left, horse’s pedigree and painting’s exhibition history en verso on stretcher, 25 1/8 in. x 32 in., in a giltwood frame. $2000/3000 Note: Exhibited Norwich, England, 1832.

449. A Pair of Charles X-Style Carved Mahogany Fauteuils, 19th c., height 37 1/2 in., width 23 in., depth 19 in.

451. Haynes King R.B.A. (English, 1831-1904), “Helping Papa Read the Morning Gazette”, oil on canvas, signed lower left, 18 1/4 in. x 16 3/4 in., in a carved and gessoed giltwood frame. $2500/3500 449


450 451 W denotes the lot is illustrated at


W 457. A Regency

Cut Glass Water Pitcher, early 19th c., hand blown lead glass with wheel cut decoration, original loop handle, height 6 3/8 in. $250/350 W 458. An Anglo Irish

Campana-Form Cut Glass Centerbowl, 19th c., diamond and fan cut body, square faceted base, height 9 3/4 in., diameter 9 3/4 in. $400/600



W 459. An

American Carved and Giltwood Spreadwinged Eagle, early 20th c., perched on a sphere, atop a fluted and turned mahogany pedestal, height 50 in., width 31 1/2 in.; base diameter 13 1/2 in. $500/750 460

460. A French Bronze of a “Cockfight”, 20th c., after Georges Lucien Vacossin (French, 1870-1942), cast signature, height 15 in., width 27 in., depth 9 in.

452. Flemish School, 18th c., “Unfinished Study of a Still Life with Apples and Golden Grapes”, oil on canvas, unsigned, 29 in. x 24 in., in a period gilt, gessoed and carved wood frame. $500/750 453. An Achievement of Arms, Emblem of Spain, probably late 18th/early 19th c., oil on panel, signed “C.A. Omeganck” lower right, probably Dutch or Flemish, 23 1/4 in. x 28 1/8 in. $1800/2500 W 454. Jacob Henry Studer/Publisher, “Long-Tailed Duck”, “Gyr

Falcon”, “Cormorant” and “Pinnated Grouse”, chromolithographs from The Birds of America, 1903, sight 12 in. x 9 in., matted and framed. (4 pcs) $500/700 W 455. An English Print of “Joan and Muriel, Celebrated

Greyhounds”, c. 1830, published J. Armstrong, Aglionby, Carlisle, England, sight 18 3/4 in. x 23 1/4 in., in the original carved rosewood frame. $500/700



W 456. A Pair of English Hand-

Colored Stipple Engravings of Scenes from Shakespeare, c. 1800, “Macbeth and the Murderers” and “Falstaff at Herne’s Oak”, published by Thomas Macklin (English, 1752/3-1800), each sight 13 1/4 in. x 17 1/4 in., each with black and gilt églomisé mat and in antique giltwood frame. Note: engravings may have been trimmed. $400/600

$1500/2500 461. A French Terracotta Bust of an 18th c. Noblewoman, late 19th c., after Augustin Pajou (French, 17301809), signed “PAJOU” at back, partial old label en verso, height 30 1/2 in. $1500/2500

462. A French Terracotta Group of “A Satyr Feeding Grapes to a Nymph”, late 19th/early 20th c., in the style of Clodion (French, 1738-1814), the fluted oval base gilt decorated and with portrait medallion of putti, height 16 in., width 13 in., depth 10 in. $700/900 463. A Monumental Neoclassical-Style Carved, Gilded and Painted Mirror, of concentric oval form, center beveled plate contained by carved shells within an outer mirror band, height 76 in., width 50 in.



$3000/5000 464. A French Provincial Carved Oak Side Table, early 19th c, the top with period ceramic tiles, height 30 in., width 36 in., depth 26 in. $1200/1800 465. An Antique Italian Baroque Laca Povera Secretary Desk, 19th c., upper case with molded shaped cornice, central door flanked by drawers; lower case with fall front, three drawers below, molded plinth, height 77 in., width 41 in., depth 20 in.



$3000/5000 466. An Antique Louis XV Provincial Carved Walnut and Gilt Tooled Leather Table de Jeu, scrolled frieze with drawers, on cabriole legs, height 27 1/2 in., width 28 1/2 in., depth 32 in.


$2500/3500 W denotes the lot is illustrated at


471. A Fine English Exotic Woods and Inlaid Table Top Collector’s Cabinet, c. 1860, labeled “A Natural­ ist’s Cabinet”, having hinged Greek key banded lift top, double sided intricately inlaid case of small fitted drawers and cubbyholes, sliding glass panels, plinth base, height 24 in., width 34 in., depth 11 1/2 in.


$700/1000 Provenance: Estate of Julia Badger, Grand Rivers, KY.



467. A Continental Painted Console Table, 19th c., demilune top centering a musical trophée, height 32 1/2 in., width 48 in., depth 24 1/2 in. $1000/2000


468. A German or Austrian Carved and Figured Walnut Commode, 19th c., molded top, outset drawer over three long drawers, square tapering legs, height 39 in., width 48 in., depth 22 in. $1000/1500 469. A French Carved and Inlaid Mahogany Innovative Library Chair, mid-19th c., shaped crest rail, padded arms with hinged shelves, reclining back, adjustable foot rest, arched supports, paw feet, casters, height 40 1/2 in., width 26 1/2 in., depth 36 in. $1200/1800 470. A Pair of Neoclassical Carved Mahogany and Burlwood Fauteuils, 19th c., probably Continental, tablet crest, carved medial rail, scrolled arms, saber legs. Note: repairs at each end of crests. $1000/1500 471


472. A French Walnut Wine Tasting Table, 19th c., oval tilt top, uprights with a V-shaped medial support, stretcher, trestle base, height 43 in., width 43 in., depth 32 in. $500/750 473. A George III Carved Mahogany Miniature Chest of Drawers, 19th c., rectangular top above three graduated drawers, original pulls, scalloped skirt, “French” bracket feet, height 12 1/2 in., width 11 7/8 in., depth 7 3/4 in.





$800/1200 474. A George III Bowfront Side Table, c. 1790, long drawer, square tapered legs, brass ferrules, casters, height 36 1/2 in., width 41 1/8 in., depth 19 1/2 in. $500/700 475. A George III Carved Mahogany Chest, c. 1780, serpentine case having a fitted escritoire drawer with tooled leather slide, three drawers below, molded base, ogee bracket feet, the whole with blind fretwork, height 32 in., width 38 1/2 in., depth 23 5/8 in. $2000/3000 476. A George III Carved Mahogany Games Table, 18th c., foldover top above a shaped apron, tapering round legs, pad feet. $1000/2000


477. An English Carved and Inlaid Yewwood Wellington Chest, c. 1870, five graduated drawers, chamfered corners, bracket feet, height 55 1/2 in., width 28 1/4 in., depth 21 1/2 in.


$800/1200 W denotes the lot is illustrated at


479. A Pair of Antique Georgian-Style Carved and Burl Walnut Armchairs , height 41 in., width 23 in., depth 20 in. $1000/1500 478




480. A George II Carved Walnut Wing Chair, shaped winged back with scroll arms, rounded seat rail, acanthus carved cabriole legs, shell carved pad feet. $600/900 481. A Regency-Style Carved Mahogany Writing Table, 20th c., probably Anglo-Colonial, molded top above three frieze drawers, turned reeded tapered legs, height 29 1/2 in., width 53 in., depth 29 1/4 in. $700/1000


478. A Georgian Carved Mahogany Sideboard, c. 1790, top with brass gallery above a bottle drawer and cutlery drawer with lift out fitted tray flanking center drawer above an inset reeded drawer, square tapered legs, spade feet, height 50 3/4 in., width 54 7/8 in., depth 20 5/8 in. $1500/2500


482. A Fine American Chippendale Carved and Inlaid Walnut Chest, c. 1780, probably Winchester, Virginia, molded top with strapwork hinges, interior till, front panel with string inlay, reserve monogrammed “SU R”, over two drawers, ogee bracket feet, height 30 in., width 51 in., depth 23 1/2 in. $4000/6000

483. An American Late Classical Mahogany Dining Table, New York, dropleaf swivel top, paneled frieze, acanthus-carved stem and collar, rectangular plinth, acanthine scrolled legs ending in hairy paw feet, casters, height 29 1/4 in., width 51 in., depth 25 in.



$1500/2500 Provenance: Ex-Collection Thomas L. Jordan (19031993), New Orleans. Conserved by Ruppert Kohlmeier. 484. An American Chippendale Carved Mahogany Games Table, c. 1770-1780, MidAtlantic, foldover top with bullnose edge, conforming skirt with beaded edge, square molded and chamfered legs, height 28 7/8 in., width 34 in., depth 16 7/8 in.

484 485

$1200/1800 485. An American Chippendale Carved Walnut Chest, late 18th c., molded top above four graduated drawers, gadrooned base, ogee molded bracket feet, height 37 in., width 41 in., depth 21 in. $1000/1500 486. A Georgian-Style Mahogany Brass-Bound Wine Cooler, 19th c., octagonal, conforming molded base, tapered legs on spade feet, height 21 1/2 in., width 17 in., depth 17 in. $800/1200



487. A Regency Mahogany Bedsteps, c. 1810, three tooled leather steps, two with lift tops and a fitted commode, square tapered legs, height 25 3/8 in., width 32 7/8 in., depth 19 3/4 in. $700/900

488. A Rare Louis XV-Style Carved Giltwood Child’s Bergere, early 20th c., stenciled “Jansen Paris”, shaped, foliate and floral crest rail, sloping serpentine arms and floral seat rail, cabriole legs. Note: Original hand blocked upholstery depicting Mughal Indian themes. $1500/2500

W denotes the lot is illustrated at





491. An American Late Classical Mahogany Chest, early 19th c., four graduated drawers, molded base, bulbous turned legs, height 32 3/4 in., width 30 1/2 in., depth 17 3/4 in. $1200/1800 492. A Contin­ ental Carved Mahogany Footstool, 19th c., rectangular upholstered frame, volute carved cabriole legs, height 20 in., width 30 in., depth 20 5/8 in. $200/400


489. A Directoire PaintDecorated Canopy Bed, early 19th c., canopy supported by iron rods, pedimented head and footboard with swagged and beribboned figural pendants, turned tapered uprights, molded rails, vasiform turned legs, height 89 in., width 41 in., length 72 in. $600/900



490. An American Classical Mahogany Work Table, early 19th c., New York, fold-over top opening to baize-lined writing surface, frieze drawer and barrel shaped work drawer, scrolled curule supports, incurvate stretcher, scrolled feet, casters, illegible pencil script on drawer underside, height 32 in., width 23 1/4 in., depth 23 in. $2000/3000 Note: The sophisticated curule supports, massive geometric forms, and finely figured veneers of this worktable are indicative of a New York cabinet maker with a bold interpretation of “Grecian Style” seen in the pattern books of architect John Hall. Reference: Smith. John Hall and the Grecian Style In America. pp. 17 and 33.

493. An Edwardian Mahogany Ottoman, c. 1900, button tufted leather top enclosing storage compartment, shaped paneled sides, molded base, bun feet, height 21 in., width 39 1/2 in., depth 21 1/2 in. $500/750

494. A George III-Style Carved Mahogany Side Chair, Gothicized reticulated back, cabriole legs, scrolled feet, height 38 in., width 22 in., depth 23 in. $200/400 495. A Pair of Edwardian Carved and Painted Satinwood Bergères, c. 1910, in the style of Robert Adam, caned backs and seats, height 36 in., width 25 in., depth 18 in. $1500/2500





496. An Antique Louis XV Kingwood and Marquetry Bombé Bureau à Pente, slant lid opening to tooled leather writing surface, bank of drawers and shelves, shaped skirt with two drawers, cabriole legs ending in sabots, height 39 in., width 38 in., depth 20 1/2 in.

W 498. An Aesthetic

Movement Incised and Lacquered Tabouret, early 20th c., hexagonal top with abstract wave and sawtooth carving, arched bracketed frieze, stick and ball stretchers, round legs, height 22 in., width 23 1/2 in., depth 23 1/2 in.

$2000/3000 497. A Rare Italian Lacca Contraffatta Server, late 18th c., probably Venetian, elliptical lift off tray top revealing an open interior well in blue paint, serpentine skirt, cabriole legs, the whole with overlaid pictorial papers and faux marbre paint decoration, height 31 in., width 26 in., depth 17 1/2 in. $2500/3500 Reference: Florence de Dampiere. Best of Painted Furniture, pp. 55 & 59.



499. Italian School, 18th c., “Harbor Scene with Ships and a Ruined Tower”, in the manner of Salvator Rosa (Italian, 1615-1673), oil on canvas, unsigned, 32 1/2 in. x 44 1/4 in., framed. $700/900 W denotes the lot is illustrated at


503. Hunt Slonem (American/Louisiana, c. 1951), “Hitchcock”, 2006, oil on canvas, signed, titled and dated en verso, 40 in. x 30 in., framed. $2000/3000


504. A Pair of Aesthetic Brass Figural Andirons, 19th c., in the style of Christopher Dresser, the beaded shaft on an arched reeded foot, sphinx head finials; together with a matching firetool set, height 19 in. $800/1200 505. A Pair of Imperial Russian Hammered Brass Pitchers, late 19th c., tapering ovoid bodies with loop handles, marked on base with Imperial Russian double-headed eagle with Cyrillic characters including “Tula” or “Tuya”, an important center for brass work, height 13 1/2 in., width 9 1/2 in.


500. American School, 19th c., “Tropical Landscape”, oil on canvas, unsigned, 22 in. x 10 in., original period giltwood frame.

$400/600 505

$1000/1500 W 501.

Attributed to Mary Russell Smith (American, 1842-1878), “Chicks”, oil on canvas, unsigned, 9 in. x 14 in., in a period frame. $500/750 502. English School, 19th c., “The Harvest, Baling Hay”, oil on canvas, signed “N. Yates” lower left, 30 1/8 in. x 50 1/8 in., in a fine period carved, gessoed and giltwood frame. $2000/3000




506. A Pair of Continental Gilt Bronze-Mounted Malachite Censers, urn form, pierced top with pineapple finial, flared lip with grape clusters and leaves, frieze depicting classically draped maidens amid burning braziers, rams head handles, square plinth with griffin mounts and relief portrait busts. $1500/2500 507. A NeoclassicalStyle Gilt Bronze Centerpiece, 19th c., cut glass bowl atop openwork basket, caryatid standard, stepped tripartite base, scrolled feet, height 17 in., diameter 10 1/4 in.



$1500/2500 508. A Pair of French Rouge Marble Bronze-Mounted Urns, in the Louis XVI taste, domical lids with pineapple finials, baluster form, foliate cast scroll handles, height 18 1/2 in., width 9 1/2 in. Note: Good patina, some oxidation. $1000/2000 509. A French Bronze Doré Group, allegorical of spring, the maiden posed amid dancing putti, height 25 in., diameter 10 in.


$2500/3500 510. A Pair of Antique Continental Brass Pricket Candlesticks, probably German, turned standards with tooled lines, large candlecup for pillar candles, height 16 1/4 in., depth 7 3/4 in.



W 511. An Austrian Silverplate-


Mounted Presentation Horn, 1935, marked “WMF” (Württembergische Metallwarenfabrik), lobed cap surmounted by a cavalier with horn, presentation plaque amid scrolls topped by cherub masque, the whole atop figural standard, height 24 1/4 in. $500/700 W denotes the lot is illustrated at


513. A Rare Pair of Austrian Polychrome and Patinated Metal Figural Urns in the Egyptian Revival Style, early-to-mid 20th c., each with pair of Nubians above the opposing male and female figures, height 46 in., width 20 1/2 in, depth 17 in. $4000/6000 514. An American Renaissance Carved Walnut Bedroom Suite, late 19th c., Mitchell and Rammelsberg, Cincinnati, the bedstead hardware stamped “M R”; comprised of a bedstead and dresser; bed with arched pedimented strapwork crest, paneled headboard with finials, arched rounded low foot board and shaped rails; dresser with conforming crest and shaped bracketed sides, marble top drop center with two drawers and a bank of four drawers on each side, molded base, retains original pulls; bed height 92 in., length 77 in., width 60 in.; dresser height 91 in., width 58 in., depth 21 1/2 in. $3000/5000 Note: Scholar Ulysses Dietz noted the “flamboyance” and “larger than life” qualities of Mitchell and Rammelsberg pieces when compared to restrained East Coast examples, positing that large scale and bold ornament may have been the product of the less-tradition bound society of Midwestern cities. Mitchell and Rammelsberg began their partnership in 1847 and built a vast Cincinnati manufacturing complex with warerooms in St. Louis (1855), Kentucky (1862) and on Royal Street in New Orleans (1865).


Reference: Dietz, A Century of Revivals, p. 37, pl. 29. and Dubrow. American Furniture of the 19th c. 1840-1880, p 210.

W 512. A Continental Boullework Box, early 19th c., foliate

decoration, containing three original scent bottles in a restored moiré silk-lined and fitted interior, height 4 in., width 6 in. $500/750





515. An American Late Classical Mahogany Cylinder Commode, c. 1830, attributed to J. & J.W. Meeks, New York, original marble top, ripple molding, single door, height 28 5/8 in., diameter 16 in. $500/750 516. An American Classical Carved Mahogany Sofa, 19th c., Philadelphia, scrolled tablet crest with acanthine terminals, acanthus scroll arms, molded seat rail, gadrooned cornucopia bracket paw feet, height 33 in., width 83 in., depth 28 in.

517. An American Rococo Carved Mahogany Telescoping Dumbwaiter, mid-19th c., graduated bead molded triple top, Gothicized shaft with mechanical action, outswept legs, scrolled toes, height 29 in., width 27 1/2 in., depth 17 1/2 in. $700/1000 518. A Pair of American Gothic Carved Walnut Hall Chairs, early 19th c., probably Baltimore, pierced backs, barley twist stiles with finials, beaded seat rails, barley twist legs, casters. $500/700




519. Colette Pope Heldner (American/New Orleans, 1902-1990), “Louisiana Bayou Country�, oil on canvas, signed lower left, signed and titled en verso, 24 in. x 48 in., attractively framed. $4000/6000 518 W denotes the lot is illustrated at


522. Simon Gunning (Australian/ New Orleans, b. 1956), “Study for Blue Rigolets”, pen and ink on paper, signed lower right, 34 in. x 46 in., attractively framed. $2000/3000 Provenance: Arthur Roger Gallery, New Orleans.



523. A Fine Antique Persian Serapi Carpet, crimson ground, central radiating floral medallion in blue, rust, cream, and tan, floral écoinçons on a cream ground, geometric vine border, 14 ft. 5 in. x 9 ft. $8000/12000 W 524. A

Persian Heriz Carpet, crimson ground, large radiating central geometric medallion, floral vine border in cream, blue and navy, 13 ft. x 9 ft.


$3500/4500 520. Colette Pope Heldner (Louisiana, 1902-1990), “Orleans Alley, Vieux Carré, New Orleans”, 1935, oil on canvas, signed and dated lower left, signed, titled and inscribed en verso, 16 in. x 10 5/8 in., attractively framed.

W 525. A

Persian Sultanabad Carpet, black ground, central floral motif in cream and pale blue, stylized floral design, floral vine border on crimson ground, 6 ft. 7 in. x 10 ft.

$2000/3000 521. Robert Rucker (American/ Louisiana, 1932-2001), “Passageway to a New Orleans Courtyard”, 1952, oil on canvas, signed and dated lower right, 11 in. x 16 in., framed.


$1000/1500 523


526. A Semi-Antique Fine Esfahan Carpet, cream and crimson ground, central radiating floral medallion, écoinçons of leopards attacking deer, elaborate floral vine border, 8 ft. 6 in. x 13 ft. 6 in. $6000/8000 527. A Fine Persian Serapi Carpet, cream ground, allover geometric design in teal, crimson and salmon, floral geometric vine border. $8000/12000 528. A Persian Tabriz Carpet, crimson and pink ground, central lozenge medallion, triangular écoinçons, floral vine border, 8 ft. 2 in. x 10 ft. 9 in, 10 ft. 9 in. x 8 ft. $3500/4500




529. A Persian Serapi Carpet, cream ground, repeating floral and vining design in rose and salmon, 20 ft. 10 in. x 15 ft.



W denotes the lot is illustrated at





530. An Antique French Aubusson-Style Verdure Tapestry, late 19th c., central scene depicting a stork and frog from the Aesop Fable “The Frogs who Desired a King”, foliate écoinçons, floral motif border, 6 ft. 9 in. x 5 ft. 10 in. $1200/1800 Provenance: Purchased from the estate of Ransom E. Olds, founder of Oldsmobile, Lansing, Michigan, c. 1971. 531. An American Gilt Lacquered Bronze Sinumbra Lamp, late 19th c., fluted columnar shaft, double marble plinth on brass feet, cut and etched glass shade, hung with prisms, electrified, height 30 in., diameter 12 in. $1000/1500 532. An American Gilt Lacquered Bronze Sinumbra Lamp, mid-to-late 19th c., fluted columnar shaft, double marble plinth, cut and etched glass shade hung with prisms, electrified, height 30 in., diameter 12 in.


534. A Pair of American Cast Iron Urns, 19th c., each with foliate decoration, scrolling handles, foliate square plinth.



W 533. An American

or English Patinated Bronze and Cut Glass Banquet Lamp, tripartite paw foot base, cut and etched shade, chimney, overall height 30 1/2 in.

535. An American Cast Iron Bench, back composed of tubular iron rods inter­ spersed with swagged urns, incurvate rod seat, scroll arms, arched curule legs, pad feet, height 28 in., width 56 in., depth 20 in.


$800/1200 535


536. An American Marble Bust of a Woman, 19th c., the foliate-hemmed shift draped by a cloak, truncation decorated with a complete circle of acanthus leaves, hair loosely bound with pearls on a conforming socle base, height 28 1/2 in. $800/1200 W 537. An Italian

Marble of “Niobe and Her Daughter”, late 19th/early 20th c., after the antique, a reduction of the multifigural life sized group now in the Uffizi, Florence, height 14 3/4 in.



$700/900 Reference: Haskell and Penny, Taste and the Antique, New Haven, 1988, pp 274-279.

538. George Bauer Dunbar (American/ New Orleans, b. 1927), “Abstraction”, 1980, encaustic and oil on canvas, signed and dated lower left, signed en verso, 8 in. x 10 in., framed. $400/600 539. George Bauer Dunbar (American/ Louisiana, b. 1927), “Talisheek”, gold leaf and enamel on board, signed lower right, 14 1/4 in. x 12 in., artist frame.



$2000/4000 W 540. George Bauer

Dunbar (American/ Louisiana, b. 1927), “Bonfouca (Abstract Composition with Circles)”, gold leaf and clay on board, signed lower center, 8 1/4 in. x 7 in., framed. $800/1200

541. George Bauer Dunbar (American/New Orleans, b. 1927), “Gold Heart”, red and black clay with gold leaf on board, signed lower center, 17 in. x 15 in., attractively framed. $1500/2500 542. Simon Gunning (Australian/New Orleans, b. 1956), “Jeu de Paume”, pen and ink on paper, signed and titled lower right, 13 1/4 in. x 14 3/4 in., attractively matted and framed. $500/750 542

W denotes the lot is illustrated at


W 545. A Large

Sawfish Rostrum, well preserved with 2 in. long teeth, length 34 in., width 9 in. $800/1200 W 546. An

Italian Alabaster Figural Lamp, 549 19th c., etched globe atop columnar support, flanking figure of a young child reading, molded red onyx base, height 26 in., width 9 1/4 in., depth 11 in. $800/1200 W 547. A Set of Four Continental Silvered Bronze Two-Light Wall

Sconces, early 20th c., backplate with central cabochon flanked by putti holding floral basket and garland, scrolled supports with lobed candle cups, electrified, height 20 in., width 15 1/2 in., diameter 9 in.


$500/750 W 548. A Pair of

Decorative Figural Bronze and Tôle Lamps, Greek key etched shades, standards with playful monkeys, height 37 in., diameter 16 in. $500/800 549. Alphonse Le Gros (French, 18371911), “Wooded Landscape”, wash and ink on paper, initialed lower left, 11 1/8 in. x 15 1/8 in., attractively matted and framed; accompanied by a Shepherd Gallery, New York catalogue.


543. Henry Casselli (American/New Orleans, b. 1946), “Mother and Child”, 1986, graphite on paper, signed lower right, signed, titled and inscribed “Donated to Country Day Metairie Park School, April 1986, fundraiser” en verso, 24 in. x 18 in., unframed.

$800/1200 550

$1800/2500 544. Ernest Fiene (American, 1894-1965), “Southern Neighborhood Scene”, oil on masonite, signed lower left, 20 in. x 24 in., framed. $2500/3500

550. An Italian Marble of “The Callipygian Venus”, 20th c., after the antique, a reduced version of the 1st c. BC Roman copy of a Greek bronze now in the Museo Nazionale, Naples, on a square marble self-base, height 24 1/4 in. $1000/1500


Provenance: Shepherd Gallery, New York NY; Private New York City Collector

551. Ferdinand Pautrot (French, 18321874), “Faisant sur un Rocher”, bronze, late 19th c., cast signature at edge of rocky protrusion, on an elaborate foliate self-base, height 35 in., together with a painted plaster Ionic-order pedestal, pedestal height 37 1/2 in. $800/1200 552

552. Pierre-Jules Mêne (French, 1810-1879), “Dogs Bringing a Fox to Bay”, 19th c., bronze, cast signature and date “1849” on front of base,, height 11 1/4 in., length 20 1/2 in., depth 10 1/4 in. $2000/3000 Reference: Christopher Payne. Animals in Bronze Suffolk, 1986/9 p. 205, illus. D19.



553. An English Gilt and Patinated Bronze of “Two Whippets Under a Palm Tree”, late 19th c., variant of “Two Whippets Playing with a Bay” after Pierre Jules Mêne (French, 1810-1879) hallmarks of Mappin Brothers, London (1851-1880), height 18 in., width 11 in., depth 11 in. $800/1200 554. A Pair of Carved Granite and Inlaid Marble Dalmatians, late 20th c., both in attentive stances, height 38 in., width 17 in., depth 28 in. $4000/6000


W denotes the lot is illustrated at


558. Maurice Millière (French, 18711946), “Come Live with Me and Be My Love”, 1903, oil on canvas, signed and dated lower left, 28 1/4 in. x 35 1/2 in., in a giltwood frame. Note: “estate” condition. 557

$1000/1500 W 559.

Hippolyte François Moreau (French, 18321927), “Hunter with His Dogs”, 20th c., bronze, cast signature at base, height 29 in.

555 (1 of a pair)

$1200/1800 W 560. Peter


555. A Pair of Decorative Gilt Metal and Blue Enamel Mirrors, each having a reticulated crest topped by urn finial, height 47 in., width 27 1/2 in. $1000/1500 556. A Monumental Continental Ebonized and Incised Wall Clock, dated 1889 under dial, probably Austrian, with applied Roman and Arabic numerals, incised foliate decoration, the lower reserve with tree and Latin inscription “Virtus non Stemma”, movement with anchor escapement, height 62 in., width 29 in., depth 9 in. $2000/3000 557. Maurice Millière (French, 1871-1946), “The Passionate Shepherd”, 1903, oil on canvas, signed and dated lower right, 28 1/4 in. x 35 1/2 in., in a giltwood frame. $1000/1500



Note: This and the following painting depict scenes from the popular 16th c. lyric poem “The Passionate Shepherd to His Love” by Christopher Marlowe (English, 1564-1593). The posthumously published work is a pastoral idyll, extolling the delights to be found in the natural world.

Kraemer (German/New York, 18231907), “Fallen Tree, Valepp[sic]”, pencil on paper, signed en verso upper right, inscribed “Vallepp” bottom left, 5 1/8 in. x 8 1/2 in., attractively matted and framed, accompanied by a Shepherd Gallery, New York. $300/500 Provenance: Brooklyn, NY Estate; Shepherd Gallery, New York, NY; Private New York City Collector.





561. A Carrara Marble Bust of Julius Caesar, 20th c., after the antique prototypes, height 18 in., width 10 in., depth 9 in. $1000/1500 562. A Napoleon III Gilt Bronze and Marble Portico Clock, 19th c., with acanthus bezel, Corinthian columns, lyre-form pendulum with rosette bob, on engine-turned pad feet, height 18 1/4 in., width 9 1/2 in., depth 5 in. $600/900


563. A Neoclassical Chinoiserie Lacquered, Gilt and Alabaster Mantel Clock, c. 1825, architectural pedimented crest, enameled dial, columnar supports, plinth base, bun feet, height 25 in., width 14 in., depth 5 in. $800/1200

564. A SinoTibetan Thangka, probably 19th c., the central wheelform roundel with a serpent coiled five-headed, fourarmed deity issuing eight radiating panels enclosing further pairs of figures, all encircled by deities and architectural scenes enclosed within an outer roundel, reserved on a blue ground with deities raised in the clouds above and on the land below, distemper on cloth, 28 in. x 19 in., silk brocade border, attractively framed. $800/1200

565. An English Arts and Crafts Carved Oak and Chased Copper Server, c. 1880, incurvate molded cornice, superstructure with four leaded glass doors, lower case with open niche and two drawers, flanked by two doors with chased lotus and elaborate strapwork hinges, blocked feet, height 63 in., width 75 1/2 in., depth 24 in. $1000/1500

W denotes the lot is illustrated at


566. An American Rococo Carved Rosewood Center Table, mid-19th c., oval string inlaid top, shell and foliate scroll frieze, beaded C scroll legs, stretchers centered by a shell, height 29 1/2 in., width 46 1/2 in., depth 23 in. $1500/2500 566

569 567. An Antique NeoclassicalStyle Carved Maple Extension Library Table, probably English or American, bellflower and rosette carved skirt, fluted tapered square legs, paw feet, incurvate plinth centered by a rosette, height 30 in., width 54 in., depth 29 3/4 in. $1000/1500 568. An Edwardian Inlaid Satinwood and Mahogany Chairback Settee, serpentine crest rail, openwork splats, square tapered legs, spade feet, height 37 1/2 in., width 37 in., depth 18 in. $700/1000


569. A Neoclassical-Style Marble and Iron Guéridon, circular verde antico top, three curved supports with bronze ring drops, medial ring, bronze button feet, height 27 in., diameter 30 in. $600/900 570. A French Mahogany and Marquetry Vide Poche, c. 1820, galleried kidneyshaped top, pierced trestle supports, low shelf, padded stretcher, on scroll feet. $500/750




571. Noel Rockmore (American/New Orleans, 19281995), “Blind Singer/Egyptian Figures”, “Egyptian Figures/Footprints”, “Egyptian Figures/ Footprints II”, “Egyptian Figures on Grid”, “Bird Man on Grid”, five pen and ink drawings on paper, some with watercolor, 8 1/2 in. x 11 in., 11 3/8 in. x 8 1/2 in., 14 1/2 in. x 11 1/2 in., 11 1/2 in. x 9 in., 11 in. x 8 1/2 in. respectively, all framed.

571 (1 of 5)

$1200/1800 572. James Michalopoulos (American/New Orleans, b. 1950), “French Quarter Street Scene”, oil on canvas, signed lower left, 38 in. x 54 in., framed. 572

$5000/7000 W 573. Spanish Colonial School,

late 18th/early 19th c., “Madonna and Child”, oil on canvas, unsigned, 30 in. x 24 in., framed. $400/600 W 574. Spanish Colonial School,

19th c., a group of three retablos: “The Crucifixion, with The Virgin and St. John The Evangelist”, oil on tin, Spanish inscription at bottom center, sight 13 1/2 in. x 9 1/2 in.; “The Crucifixion”, oil on tin, sight 9 1/2 in. x 6 1/2 in.; “The Trinity”, oil on tin, sight 12 3/4 in. x 9 in.; all in carved wood frames. $800/1200 W 575. Spanish Colonial School,

19th c., group of four retablos: “The Trinity”, oil on tin, signed “Fernandez” lower right, sight 13 1/4 in. x 9 in.; “The Madonna”, oil on tin, sight 10 in. x 7 in.; “St. John The Baptist”, oil on tin, sight 13 1/2 in. x 9 1/2 in.; “St. Anthony”, oil on tin, illegibly inscribed upper left, sight 12 in. x 8 1/2 in.; all in matching carved wood frames. $700/900


576. A Pre-Columbian Pottery Female Figure, c. 550-900, Maya, Jaina, mold-made figure modeled standing with her hands clasped together at her chest, wearing a cowl headdress, large ear spools, a long bead necklace with zoomorphic pendant, and a finely incised patterned robe, height 10 1/4 in.; accompanied by a fair market and replacement valuation by Frank Aon, Orenda: Investigation and Analysis of Artifacts and Antiquities, Santa Fe, NM. $2000/3000 Provenance: Sotheby’s, December 5, 1981, lot 204; Sotheby’s, May 15 2003, lot 257; to present owner. Illustrated: von Winning, Hass, The John Platt Collection of PreColumbian Art, Charlottesville, The University of Virginia Art Museum, 1986, p. 67, fig. 125.

577. A PreColumbian Pottery Figure of a “Pole Placer”, c. 250950, Veracruz, male figure modeled standing upright with arms outstretched gripping a long pole, dressed in elaborate ritual costume and an ornate removable headdress, figure height 7 3/8 in., headdress height 5 1/4 in., overall height 9 1/2 in., accompanied by a 577 fair market and replacement valuation by Frank Aon, Orenda: Investigation and Analysis of Artifacts and Antiquities, Santa Fe, NM. $2000/3000 Provenance: Acquired Bonhams & Butterfields, San Francisco, December 8, 2003, lot 3019.

W denotes the lot is illustrated at



578. A Group of Pre-Columbian Silver Jewelry, c. 900-1400, Lambayeque or Chimu, including a circular crown; a pair of cylindrical ear ornaments; a crescent-form breast plate; and a circular disk, each with repoussé decoration, crown diameter 7 1/4 in., ear ornaments 582 diameter 2 3/8 in., breast plate width 6 2/3 in., disk diameter 4 1/4 in., each display mounted; accompanied by a copy of a Bonhams & Butterfields 2003 invoice.



581. A Large and Impressive Pre-Columbian Pottery Figure of a “Ball Player”, c. 1000, Veracruz, standing male figure modeled with his hands clasped in front of his mouth, wearing a large conical headdress with chin strap, ear spools, a cape tied at the neck, a loin cloth tied around the waist, and sandals, height 25 1/8 in., custom metal stand, overall height 25 1/4 in.; accompanied by the Splendors of the World, Haiku, HI, 2005 invoice; also accompanied by a copy of a thermoluminescence report from Laboratory Ralf Kotalla (No. 07220303) stating the age of the piece as circa 1200 AD with a 20% variable.

$2000/3000 Provenance: Acquired Bonhams & Butterfields, San Francisco, June 9, 2003, lot 5109 (there, sold with additional “plume”). 579. A Pre-Columbian Pottery Jar and Cover, c. 2001500, Sinu, ovoid body with tall neck, domed cover surmounted by a seated female figure holding a bowl, height 30 in., metal display stand, overall height 34 in., accompanied by a copy of a Bonhams & Butterfields, 2003 invoice.



582. A Pre-Columbian Pottery Male Figure, c. 250-950, Veracruz, male figure modeled seated crossed-legged with hands resting on knees, wearing arm bands, chest band, and loin cloth belted around the waist, height 7 3/4 in.

Provenance: Acquired Splendors of the World, Haiku, HI, 2005.

Provenance: Acquired Bonhams & Butterfields, San Francisco, June 9, 2003, lot 5028. 580. A Pre-Columbian Anthropomorphic Stone Figure, c. 3000-300 BC, possibly Valdivia or Chorrera, semiflat stone carved with a rectangular lower section and a domed upper section joined by a waisted neck, deeply incised details to each side, height 15 1/8 in., width 5 3/4 in.


$600/800 Provenance: Acquired Bonhams & Butterfields (as Valdivian), December 8, 2003, lot 3024.



Provenance: Acquired Bonhams & Butterfields, San Francisco, December 8, 2003, lot 3018.

583. A Pre-Columbian Stirrup Spout Pottery Vessel, c. 300600, Moche IV/V, red on buff globular body painted with a procession of two warriors and their neck-tied captives, height 11 1/4 in. $800/1200 Provenance: Stephenson Collection, Hawaii; Sotheby’s, New York, May 15, 2003, lot 270; to present owner. 592 584. A PreColumbian Stirrup Spout Grey Pottery Vessel, c. 700400 BC, Chavin, domed round body with incised and applied facial details, stirrup spout surmount, height 8 3/8 in.

583 589. An Oceanic Carved and Painted Wood Men’s House Post, Papua New Guinea, East Sepik Province, elongated form intricately carved in human, avian and reptilian form, height 90 in. $800/1200 Provenance: Ex-Collection Memphis Brooks Museum of Art; exhibited Art of Oceania: The Henry Easterwood Collection, February 1996-December 1997, Memphis Brooks Museum of Art.

$500/700 Provenance: Acquired Bonhams & Butterfields, San Francisco, December 8, 2003, lot 3035.

W 590. Two Australian Arnhem Land

Region Carved and Painted Wood Dance Spears, Northern Territory, heights 41 3/8 in. and 48 1/2 in. $80/120

W 585. A Pre-Co-

lumbian Stone Female Figure, c. 800-1500, Costa Rica, porous grey stone, possibly volcanic, carved as a seated figure with hands grasping knees and open thighs, height 6 3/8 in.

Provenance: Ex-Collection Memphis Brooks Museum of Art. W 591. An Oceanic Carved Wood



$500/750 W 587. A Pre-Columbian Pottery Figural Vessel, c. 500-1000,


Huari, globular body issuing a flared neck with the raised features of a human visage, the ears forming stylized loop handles, painted “collection” numbers: “432-20-83” to side, height 8 3/4 in.

W 586. A Pre-Co-


lumbian Stone Male Figure, c. 800-1500, Costa Rica, porous grey stone, possibly volcanic, carved as a seated figure with arms resting on upright knees, height 5 7/8 in. $500/700

Shield, Papua New Guinea, Upper Sepik River, deeply carved on a slightly curved plane with two stylized faces, flanked by horizontal geometric banding, height 62 1/2 in., width 17 1/2 in.

Huari, standing female modeled in tubular form with a domed head and arched short legs, the ears, nose and mouth in relief, remaining features and limbs painted, height 8 1/8 in., Note: Old break to head, drilled and refastened with cords.

592. An African Carved Wood Figural Group of a Mother and Child, Yoruba, Nigeria, kneeling female carved holding a bowl, wearing neck rings, wrist bands and having an elaborate ribbed hairstyle, a child attached to her back, raised on an integral base, highlighted with blue and white pigments throughout, height 13 5/8 in., width 8 1/2 in., wood plinth, overall height 15 1/4 in., width 9 1/2 in.



Provenance: Acquired Bonham’s & Butterfields, San Francisco, December 8, 2003, lot 3047.

Provenance: Acquired Thomas D. Slater, Indianapolis, IN.

W 588. A Pre-Columbian Pottery Female Figure, c. 400-1000,

W denotes the lot is illustrated at


W 595. An African Carved Wood

Figural House Post, Toguna, Dogon, Mali, thick Y-form slab relief carved with two breast-like bosses, height 77 in., width 28 3/8 in. $400/600 596. Two African Carved Wood Ibeji Figures in Cowrie Shell Vests, Yoruba, Nigeria, standing male figures cared with arms lowered at sides on an integral circular mound, blue pigment highlights, each wearing a cloth vest with cowrie shells, each with a Bonhams & Butterfields lot tag, height 10 1/2 in. and 10 3/4 in. $300/500


Provenance: Acquired Bonhams & Butterfields, San Francisco, February 16, 2009, lot 5074, designated as from the Estate of Phyllis Weinstein. W 597. An

593 596 593. An African Carved Wood Nweka Mask, Bobo, Burkina Faso, elongated visage with triangular notches, surmounted by an openwork plank pierced with geometric motifs, red and blue pigment, height 54 in.; accompanied by a copy of the Sotheby’s, Paris, December 2003 invoice.

African Carved Wood Shield, Topoke, Democratic Republic of Congo, bent rectangular form, exterior with central raised section, lobed interior, overall rattan detailing, painted collection numbers “AF01539” inside handle, height 39 in., width 16 3/8 in. $400/600 W 598. Four African Carved Wood Ibeji Figures, Yoruba, Nigeria, each male figure carved standing upright with arms lowered at sides raised on an integral circular plinth, three with metal pupils, two with bead jewelry, height 10 in. to 10 1/4 in.

$4000/6000 Provenance: Acquired Sotheby’s, Paris, December 5, 2003, lot 89.


594. An African Carved Wood Shield, Uganda, curved rectangular form with a large central boss surrounded by vertical rattan banding, height 22 5/8 in., width 18 5/8 in. Note: Lacking interior handle.

Provenance: Acquired Greg LaChapelle, Santa Fe, NM. 599. A Chinese Carved Yaozhou Celadon Pottery Bottle Vase, probably Song Dynasty (960-1279), globular body, flared mouth, tall foot ring, olive green crackle glaze, carved around the belly with lingzhi scrolls, unglazed foot, height 5 5/8 in.

$600/800 Provenance: Acquired TAD (Tribal Art & Design), Taylor A. Dale, Santa Fe, NM.

$1000/1500 599


600. A Chinese Carved Xingyao or Dingyao Porcelain Bottle Vase, probably Song Dynasty (9601279), pear form body, flared mouth, short foot ring, overall pale ivorywhite glaze, carved around the midsection with foliate and scroll bands, height 7 1/8 in. Note: Gilt lacquer restoration to rim. $1200/1800 601. A Near Pair of Chinese “Longquan” Celadon Pottery Vases, ovoid bodies with waisted foliate necks, scroll handles and waisted splayed foot rings, relief decorated around the belly with the Eight Immortals between carved scroll and leaf-tip bands, height 18 in.


$800/1200 602. A Chinese Carved Dingyao Porcelain Bowl, probably Song Dynasty (9601279), tapering U-form, straight foot ring, freely carved to the interior with floral sprays, cream ivory glaze, unglazed rim, height 3 1/4 in., diameter 7 1/4 in.



$1000/1500 603. A Pair of Chinese White Glazed Porcelain Vases, ovoid bodies with tall cylindrical necks and mask loop handles, the sides with figural relief panels, height 20 1/2 in.


W 605. A Chinese Blue and White “Kraak”

Porcelain Dish, probably 17th/18th c., central roundel with a star panel enclosing flowers and rocks encircled by radiating flower and fruit panels, base marked, height 1 3/4 in., diameter 8 3/8 in.; together with a Japanese blue and white porcelain lamp, central globular section with phoenix birds contesting a flaming pearl, porcelain, height 8 1/8 in. Note: chips to rim.



$1200/1800 W 604. A Chinese Ge-Type Porcelain Vase, 18th/19th c., baluster body with

mask and faux ring handles, recessed unglazed foot ring, overall wide crackle glaze, height 9 1/4 in. Note: Neck shortened and polished. $300/500

606. A Chinese Blue and White Porcelain Bowl, Wanli mark and probably Period (1573-1619), U-form body, flared rim, slightly tapering foot ring, exterior reserve-painted with four female figures set amid rocks, bamboo and prunus, interior with figural roundel, base with six character Wanli mark, height 2 3/8 in., diameter 4 3/4 in., storage box. $1200/1800 Provenance: Acquired London.

W denotes the lot is illustrated at


W 611. A Chinese Rong

Bao Zhai Hand-Colored Woodblock Print, 20th c., “Ducks Swimming”, after the original by Ma Yuan, ink and color on silk, bearing signature lower left, 10 1/4 in. x 11 in., mounted as a hanging scroll, storage box. $100/150 W 612. A Chinese Hand-

Colored Reproduction Print of an Early Landscape Painting, 20th c., depicting a mountainous landscape with figures and a pavilion, bearing inscription upper right and seals throughout, 34 3/8 in. x 21 in., mounted as a hanging scroll, lacking roller ends.


$300/500 Provenance: Acquired in Asia during the 1960s; thence by descent. 614


608. A Chinese Patinated Bronze Censer, Xuande mark but probably Qing Dynasty (1644-1911), bombé form with mask-tongue handles raised on a splayed foot ring, finely relief decorated around the sides with raised cloud scrolls and incised foliage, base with recessed cartouche bearing raised Xuande six character mark, painted “collection” numbers: “99.10LF.54”, height 3 1/4 in., width 5 1/2 in. $800/1200 609. A Chinese Polished Bronze Tripod Censer, Xuande mark but probably 18th c., globular body with one ram’s head handle (lacking second), raised on three ram’s head feet, base with raised four character Xuande mark within a rectangular cartouche, height 3 3/4 in., width 5 7/8 in.

W 613. A Chinese Mottled

Celadon and Russet Jade Buddhist Lion, probably 18th c., the recumbent beast carved carrying a lingzhi spray in its mouth, the stone with striated russet and black veins, height 1 3/8 in., width 2 3/4 in. $500/700 614. A Chinese White Jade Finger Citron, Peach and Bat Group, carved in an upright position as a finger citron, or “Buddha’s Hand”, with curled tendrils, surmounted by two bats and supported on reticulated fruiting peach branches, height 6 1/4 in., carved wood stand, overall height 7 1/4 in. $1000/1500

$800/1200 W 615. A Collection of Ten


W 610. Two Chinese Bombe-Form

607. A Chinese Polychrome Painted Blue and White “Swatow” Porcelain Dish, late Ming Dynasty, 17th c., interior decorated in overglaze iron red and green enamels around a central underglaze blue roundel, base marked, bearing “Robert McPherson/ London” label, diameter 5 1/2 in., Note: Very small restoration to edge of rim.

Bronze Censers with Mask Handles, Qing Dynasty (1644-1911), the first patinated, raised on three tapering feet, base with apocryphal six character Xuande mark, painted collection numbers: “00. ILF.1”, height 1 7/8 in., width 3 1/2 in.; the second, polished, raised on a circular foot ring, further raised on a matching ruyi footed stand, overall height 3 7/8 in., width 5 5/8 in.




Chinese Hardstone Pendants, 19th/20th c., including carved jade, agate, soapstone, rhodonite, various shapes and sizes; three with chains, one marked “TRIFARI”; one mounted as a pin, marked “STERLING”, heights 1 1/4 in. to 2 1/2 in. $1500/2500


W 621. A Pair of


W 616. A Group of Indian Ivory

and Bone Figural Carvings, including an ivory finial carved as four conjoined lions standing upon a barrel-form base, relief decorated around the sides with pinwheels and various animals, height 2 1/4 in., on a tiered circular stand, overall height 3 3/4 in.; an ivory figure of the fourarmed goddess Lakshmi standing on a lotus flower base, height 6 1/4 in. Note: One arm and a portion of the aureole missing; and a bone or ivory boat carved with a Phoenix bird prow and multiple figures on deck, height 5 5/8 in., width 14 1/4 in. (3 pcs.)


619. A Pair of Antique Chinese Carved Wood Recessed-Leg Benches, rectangular top, over scrolled bracketed aprons, recessed beaded legs, square stretchers, each bearing Sotheby’s New York lot tag, height 29 1/2 in., width 46 1/2 in., depth 13 in. $2500/3500

$500/700 W 620. Chinese Nanyang School, early 20th c., a “pokerwork” or

617. A Chinese Carved Ivory Figure of Luohan, standing bearded figure carved carrying a shoe cradled in his arm, wearing a long robe open at the chest revealing an emaciated frame, height 11 in., wood plinth overall height 12 3/8 in. $800/1200 W 618. A Group of One Hundred

Thirteen Chinese Coral Beads, carved with shou characters and dragon-design, each approx. 10 mm. $500/700

pyrography album consisting of twelve double sheet landscape and birdand-flower roundels, each sealed, inscribed in interior “gift of Hugh W Hubbard/ 3 December 1928” above the Benjamin March collector’s seal, each double sheet 9 3/4 in. x 11 1/2 in., silk bound cover, sealed, further paper cover bearing instructions: “Suggest this be offered to Dept. of Prints & Drawings. Museum of Art”; accompanied by a typed letter dated April 16, 1929 from Benjamin March to Ralph M. Chait stating in part: “This album was given to me by a friend and I know absolutely nothing about the history or practice of the art as this example and yours are the only pieces of the kind I have ever seen”; together with Turn to the East, by Caroline Singer and Cyrus Le Roy Baldridge, Minton, Balch & Company, New York, 1926.

Chinese Blue and White Decorated Celadon Ground Porcelain Vases, 19th c., baluster bodies with pairs of confronting Buddhist lion handles applied to the necks, each decorated in near mirror image with playful Buddhist lions and cubs, height 17 in., wood stands, overall height 17 5/8 in. $500/700 622. A Pair of Chinese Blue and White Porcelain Covered Jars, tapering ovoid bodies and flat covers with metal ring finials, decorated with large shaped flower and rock panels on a dense scroll ground, height 22 1/2 in. $2000/3000

$400/600 Provenance: With Benjamin Franklin March, Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family.

W denotes the lot is illustrated at


624. A Chinese Carved Wood Brush Pot, 19th c., possibly Zitan, cylinder body raised on short circular plinth with five small feet, finely carved around the sides with figures in a landscape amid pine, rocks, deer, and lingzhi, height 5 3/4 in., diameter 4 3/8 in., storage box. $1000/2000 W 625. A Chinese Tixi



Lacquer Circular Box, probably 19th c., the cover and sides deeply carved through the multiple layers of red and black lacquer with a central foliate design surrounded by stylized ruyi scrolls, diameter 3 in. $600/800


626. A Pair of Chinese Apricot Ground Embroidered Silk Banners, Qing Dynasty (1644-1911), probably 18th c., each with two square panels separated by three divided panels and suspending three panels with triangular terminals, each picked out in polychrome satin stitch with couched metallic thread highlights; top square with cranes, waves, and rocks; middle square with cranes, bats, waves, rocks, and a fruiting peach tree, height 59 1/2 in., width 9 1/4 in. Note: Condition. $1200/1800 627. A Chinese Canton Enamel Circular Box, probably 18th c., the cover with a central medallion encircled by 5 conjoined bats, overall “Eight Buddhist Emblem” design amid foliate scrolls, height 4 1/4 in., diameter 12 in. Note: Small surface losses and minor restoration throughout. $1000/1500



623. A Large Chinese Cloisonné Enamel Jardinière, 19th c., bulbous body, waisted flared neck and wasted splayed foot, overall dense leafy vine and chrysanthemum head decoration on a blue ground, height 20 in., diameter 21 in. $2000/3000

628. A Chinese Jadeite PlaqueMounted as a Table Screen, rectangular plaque carved with a phoenix and dragon flanking a large lotus flower contesting a flaming pearl beneath a bat flying overhead, sight 6 in., width 8 1/4 in., set within a reticulated carved wood frame raised on pierced carved wood stand, overall height 16 1/2 in., width 15 in., depth 7 in. $1000/1500


W 629. Chinese

School, 20th c., “Feeding the Chickens”, after Guan Liang (19011986), ink and color on paper, inscribed and sealed lower right, 44 1/8 in. x 26 7/8 in., mounted as a hanging scroll. $300/500 Provenance: San Francisco Collector, acquired Shanghai, 1970s.





‘Beijing’ Glass Cups and Saucers, late 19th/early 20th c., brass-mounted cylinder cups with footed saucer bowls, cup height 1 7/8 in., saucer diameter 3 3/4 in.

632. A Pair of Chinese Yellow ‘Beijing’ Glass Bottle Vases, globular bodies with tall flared cylindrical necks and short foot rings, height 15 in.



631. A Chinese Carved Yellow ‘Beijing’ Glass Covered Jar, 19th c., globular body carved with four geometric roundels between raised bosses, domed cover en suite, height 6 3/4 in.

633. A Chinese Gilt Decorated Red Lacquer Cabinet, probably late 19th c., case with two doors, large circular bronze lock, pair of doors below, square legs, overall gilt decoration, height 67 7/8 in., width 40 in., depth 19 1/2 in.

634. A Chinese Polychrome Porcelain-Mounted Carved Wood Floor Screen, rectangular porcelain plaques painted with mountainous landscapes set within delicately reticulated panels to create a four panel screen, overall height 71 in.



W 630. A Set of Six Chinese Carved Pink


W denotes the lot is illustrated at


W 638. A Chinese Gilt-

Decorated Green Glazed Porcelain Covered Jar, probably 19th c., globular body, domed cover, thick green enamel surrounding gilt floral sprays, bats, pendant ruyi heads and petal lappets, base with double circles in underglaze blue, height 6 1/2 in. Note: Staple repair to cover. $700/900


639. A Large Pair of Chinese Kangxi-Style Famille Noire Porcelain Yen Yen Vases, probably early 20th c., baluster bodies decorated in mirror image in ‘verte’ enamels with scenes of a royal hunting party on a black ground, height 24 in. $1200/1800


Provenance: Acquired Dallas, TX 1980s. 640. A Pair of Chinese Famille Noire Porcelain Vases, Kangxi marks but probably early 20th c., square tapering bodies with flat shoulders, tall cylindrical necks, and flared rims, each facet decorated with bird, flowering branch and rock decoration, bases with apocryphal Kangxi marks within a recessed cartouche, height 18 1/2 in. $1000/2000 W 641. A Pair of Chinese



635. A Chinese Famille Rose Porcelain Bottle Vase, Guangxu mark but later, bulbous body decorated with bats, chrysanthemum and flowering and fruiting branches between pendant ruyi scrolls and foliate scroll bands, flared neck banded at the mouth with a ruyi head border above stiff upright leaves, base with apocryphal iron red Guangxu mark, height 14 in. $400/600

636. A Chinese Gilt-Decorated Porcelain Bottle Vase, Guangxu mark but probably later, globular body and waisted neck decorated with numerous gilt floral, foliate, avian, animal, yinyang, and Buddhist emblem medallions interspersed with florets, the molded shoulder encircled by a wide band of foliate scrolls and shou, with stylized lappets above the foot and pendent ruyi-heads below the mouth rim, base with Guangxu mark in gilt, height 15 in. $800/1200 W 637. A Group of Nine Chinese

Polychrome Porcelain Table Wares, Guangxu marks and probably Period (1875-1908), including 3 bowls, 4 spoons and 2 saucer dishes, vibrantly enameled with dragon and phoenix designs, each with six character Guangxu mark in iron red, bowl height 2 in., diameter 4 1/2 in. $300/500

Famille Verte Porcelain Tea Caddies, Kangxi marks but 20th c., square bodies and covers, overall mythical beast decoration and Buddhist emblem design, bases with apocryphal Kangxi marks, height 13 in., width 7 in., depth 7 in. $1000/1500 W 642. A Group of Seven

Chinese Porcelain Tea Caddies, various forms and sizes with blue and white, famille verte and famille rose decoration, largest height 7 1/2 in., width 4 3/4 in., depth 3 1/8 in. $700/900 W 643. A Monumental Chinese

Green Glazed Pottery Bottle Vase, probably 20th c., globular body with a tall cylindrical neck raised on a splayed foot ring, overall green crackle glaze, height 30 1/4 in. $500/700


W 644. A Pair of

Chinese Turquoise Glazed Buddhist Lions, 20th c., each figure modeled seated on a rectangular plinth, the male with a ball, the female with a cub, height 8 in. $100/150 645. A Pair of Chinese Canton Famille Rose Porcelain Yen Yen Vases, 19th c., globular midsections issuing flared necks with upright rims raised on tall splayed feet, decorated throughout with alternating figural and bird-andflower panels on a gilt ground with vining floral design, now mounted as lamps, porcelain height 13 1/4 in.


W 649. A Pair of Chinese

Polychrome-Decorated Porcelain Planters, U-form bodies with rolled rims above a molded ring, figural and calligraphic decoration throughout, height 7 in., diameter 10 1/2 in.



$500/700 W 646. A Pair of Chinese

Famille Rose Porcelain Hexagonal Vases, Kangxi marks but 20th c., baluster bodies, waisted flared necks raised on molded splayed feet, overall outdoor figural decoration on a pale turquoise blue ground, bases with apocryphal Kangxi marks, height 16 1/2 in. $800/1200 647. A Monumental Pair of Chinese Famille Jaune Baluster Vases, tapering bodies with sloping shoulders, tall cylindrical necks applied with elephant mask-ring handles, and flared upright rims, decorated with outdoor figural scenes, height 44 in.

650. A Pair of Chinese Blue and White Covered Jars, tapering cylinder bodies with sloping shoulders and slightly domed covers, overall figural decoration and character roundels, height 15 in, height 15 in. $1200/1800 W 651. A Chinese Export Gilt

Decorated Brown-Black Lacquer Tea Caddy, 19th c., rectangular form with hinged lid decorated with a central monogram flanked by sword wielding figures beneath flowering bamboo, interior pewter liner incised with figural decoration, ivory pull, height 5 1/8 in., width 10 1/8 in., depth 7 1/8 in.



$4000/6000 W 652. A Monumental Chinese

648. A Pair of Chinese Blue and White Porcelain Faceted Baluster Vases, Kangxi marks but 20th c., each of conjoined square form with tall neck and shaped foot, decorated with playful Buddhist lions amid cloud scrolls, each recessed base with apocryphal Kangxi mark, height 17 1/2 in., width 9 in., depth 6 in.

Cinnabar Lacquer Vase, Yongzheng mark but 20th c., lobed baluster body with waisted flared neck and splayed foot, carved around the belly with large panels enclosing scholarly objects and floral vases, base with apocryphal Yongzheng mark, height 22 in., width 15 in., depth 10 in.


$1000/1500 650

W denotes the lot is illustrated at


W 653. A Chinese Ming-Style Bronze Tripod Censer, probably

W 661. A Large Pair of Chinese Painted Wood Buddhist

early 20th c., U-form body with loop handles raised on three tubular legs, height 6 1/8 in., width 4 1/2 in., custom carved wood domed cover pierced with three ruyi heads and surmounted by a jadeite finial, fitted carved wood tripod stand, overall height 9 1/4 in.

Lions, modern, each figure modeled seated on its haunches upon a rectangular plinth, the male with a brocade ball, the female with a cub, each height 29 1/2 in., width 13 3/4 in., depth 19 1/2 in. $200/400

$300/500 W 662. Chinese School, 20th c., two watercolors on paper

654. Deng Longguan (Chinese, 1896-1979, LieutenantGeneral Kuomintang), “Calligraphy”, ink on paper with two seals lower left, inscribed on paper label “To Dr. Bird/Liang Seto” en verso, 30 in. x 13 5/8 in., mounted as a hanging scroll.

depicting Yangtze village life, including “Spinning Cotton” attributed to Zhu Suzhen, unsigned, sight 20 3/4 in. x 24 in.; and “Preparing for the New Year”, attributed to Cao Jinying, unsigned, sight 19 1/8 in. x 21 in., each framed alike; accompanied by two Certificates of Authenticity identifying the artists from Charlotte Horstmann & Gerald Godfrey, Ltd., 1992.

$400/600 W 655. A Pair of Chinese Cloisonné


Enamel Double Gourd Vases, 19th c., gilt metal wire decoration of pendant ruyi heads, upright stiff leaf tips and fish-scale design on jet black ground, height 6 3/4 in., note: condition.

Provenance: With Charlotte Horstmann & Gerald Godfrey, Ltd., Hong Kong, acquired by the present owner 1992. In 1992, celebrated Hong Kong dealers Horstmann & Godfrey held an exhibition of 20th century artists with an exhibition catalogue title “Weaving, Farming, Fishing, Feasting: Original Watercolors of Yangtze Village Life”.

$400/600 W 656. A Chinese Cloisonné

Embellished Patinated Bronze Vase, late 19th/early 20th c., ovoid body with short flared neck and flat wide rim raised on splayed foot, the shoulder with recessed relief-modeled landscape and figural panels, height 12 in.

W 663. A Group of Five Chinese

Cloisonné Enameled Metal Ware, early 20th c., including a cylinder box, height 3 1/8 in.; a circular box with finial, diameter 4 3/4 in.; a small dish, diameter 3 5/8 in.; a bangle bracelet, diameter 2 3/4 in.; and a bowl, height 2 in., diameter 4 in.; together with a sterling silver and enamel pill box, diameter 1 1/2 in.; and a mosaic cylinder form inkwell (lacking liner) height 1 3/4 in., (7 pcs.) Note: Condition of inkwell.

$300/500 W 657. Two Chinese Cloisonné

Embellished Patinated Bronze Vases, early 20th c., each of baluster form with mask ring handles, height 13 3/4 in. and 11 3/4 in., the smaller drilled and mounted as a lamp.



W 664. A Chinese Spinach Green Jade

W 658. A Pair of Chinese Cloisonné

Snuff Bottle, well hollowed octagonal circular body deeply carved to one side with a pair of song birds perched on a prunus branch within a raised circular roundel, stopper lacking spoon, height 2 7/8 in.

Embellished Patinated Bronze Vases, early 20th c., each of pear form with six mask-ring handles raised on a splayed foot, base of one with apocryphal minyao marks, height 13 in. $300/500 W 659. Three Chinese Cloisonné Embellished Patinated

Bronze Vases, early 20th c., including a pair of baluster vases with stylized scroll handles, height 7 5/8 in.; and a baluster vase with mask-tongue handles, height 11 in. $300/500 W 660. Two Chinese Polychrome Painted Carved Wood

Figures of Guanyin, each figure modeled standing on a waisted “rockwork” pedestal, one with the raised right hand holding a ribbon, the other with the right hand holding a pearl, each wearing necklaces, belted skirt, shawl, celestial scarf and a foliate crown, heights 41 1/4 in. and 40 1/4 in. respectively. $400/600




W 665. A Chinese “Spider Web” Turquoise Snuff Bottle, spade form body with a flared neck raised on an oval foot ring, stopper, height 2 1/4 in.

$400/600 W 666. Two Chinese Blue and White Porcelain Snuff

Bottles, including a “revolving” bottle, probably with later polychrome enameling, outer ovoid body with pierced “windows” and painted figures, the inner cylindrical body painted with an amorous couple, base with apocryphal Qianlong mark, stopper, height 3 5/8 in.; the second globular body decorated with spear wielding figures, stopper, height 2 3/4 in. $300/500

W 667. A Scholar’s

Collection of Reproduction Japanese and Chinese Scrolls, early 20th c., comprised of three hanging and four hand scrolls, including a Japanese Muramachi style bird on a branch, 34 1/2 in. x 12 1/2 in., mounted as a hanging scroll. (5 pcs.)


$200/300 Provenance: With Benjamin Franklin March, Jr. (18991934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family. 668. An Antique Chinese or Japanese Patinated Bronze Lotus Pod, lotus pod form body with pierced top and 10 articulating seeds, pierced circular base, diameter 4 1/4 in., wood stand, overall height 3 in. $1500/2500 669. A Japanese Satsuma Pottery Koro and Cover, Meiji Period (1868-1912), faceted body raised on splayed circular foot with applied scroll handles to shoulder, pierced domed cover with lion-dog finial, decorated with panels depicting ladies at leisure and samurai and their attendants, reserved on a deep blue ground with gilt highlights, height 12 1/2 in., width 9 in.



671. A Monumental Japanese Satsuma Pottery Covered Urn, Meiji Period (18681912), ovoid body with molded sides, a straight neck and domed cover surmounted by a Buddhist lion finial, figural decoration throughout, height 41 1/2 in. $1000/1500 W 672. Two Pairs of Japanese Cloisonné

Enamel Vases, late 19th/early 20th c., each bottle form body with a lobed mid-section, flared rim and splayed foot, decorated along the lobes with flower and butterfly panels on alternating green, blue and black grounds, reserved on a pale blue ground, heights 7 7/8 in. and 9 1/8 in.



W 670. A Japanese Kutani

673. A Pair of Japanese Gilt-Decorated Red Lacquered Shell-Game Boxes, Kaioke, Meiji Period, 19th c., ribbed circular bodies and covers raised on four splayed buttress supports, gilt decorated with scrolling vine design, height 15 in., diameter 14 in.

671 Porcelain Vase and Cover, Meiji Period (1868-1912), baluster body with domed cover surmounted by a playful Chinese lion, decorated throughout with shaped bird and flowering branch panels reserved on a red ground, base marked Kutani Tsukuru, height 16 1/4 in. $200/300

$600/800 Note: Kai-oke boxes are used for storing the 360 painted shells, Kai-awase, of the shell matching game. In the shell matching game, clam shells painted with images or poetry are laid face down on a playing surface. Like “Concentration,” players take turns overturning pairs of shells to find matching designs.

W 674. A Pair of Japanese Cloisonné

Enamel Hexagonal Vases, Meiji Period (1868-1912), faceted ovoid bodies with waisted flared necks, decorated with foliate and phoenix bands above spear-tip panels of alternating phoenix and dragon motifs on a black ground, gold fleck highlights, height 8 1/2 in. $300/500

W denotes the lot is illustrated at




675. A Southeast Asian Embroidered and Appliqué Textile Panel, Kalaga, probably 19th c., pieced cotton panels with applied figural decoration throughout with embroidered and appliquéd jewel and sequins highlights, height 37 1/8 in., width 113 in., later brocade border, overall height 45 1/4 in., width 121 1/2 in., white cotton backing with slips for pole mounts. $700/900 676. A Southeast Asian Carved Wood Sculptural Element, 19th c., possibly for a palanquin, phoenix terminal surmounted by a lion rampant and grasping a fish in its beak, its long “tail” terminating in a dragon head, height 19 in., length 34 3/4 in., custom display mount, overall height 22 1/2 in. $300/500



677. A Tibetan Gilt Bronze Figure of Buddha, modeled seated upon a separately cast lotus pedestal base in vajrasana baring exposed foot soles, his right hand raised in abhaya mudra and his left held above his lap, wearing robes relief detailed with Buddhist emblems and foliate designs, the knotted hair worn high in a finialed top knot, height 15 1/4 in., width 10 1/4 in. $600/800 Provenance: Acquired Hong Kong, mid-1990s.

W 678. An Indian Enameled Brass Brazier,

the squat globular body raised on a short circular foot, enameled with leaves and vining wisteria, the cover of wire mesh basketry, base inscribed “S.B.S/ India”, height 4 3/4 in., diameter 10 in. $200/400 W 679. An Indian Bronze Figure of Radha,

18th/19th c., probably Bengal, voluptuous female modeled standing in a swaying stance upon a waisted lotus base, height 7 1/8 in. $400/600

Session Two Sunday, February 5, 11 am 3923 Carondelet Street

W 683. Nathaniel Cortlandt

Curtis, Jr. (American/New Orleans, 1917-1997), “Views of New Orleans”, four lithographs, each signed and numbered, each 7 1/4 in. x 10 1/2 in., matted and framed alike. $400/600 W 684. Eugene E. Loving

(American/Louisiana, 19081971), “Iron Lace Balconies”, etching on paper, pencil-signed and titled, plate 9 1/2 in. x 7 in., framed. $100/200 685. After Walter Inglis Anderson (Mississippi, 19031965), “Pelicans on a Post”, linocut, hand-colored by M. Konter, label en verso,16 3/4 in. x 8 3/4 in., framed.



$500/700 W 686. An American

Giltwood Portrait Frame, c. 1840s, overall 35 1/2 in. x 30 1/2 in.; together with a giltwood frame, overall 34 in. x 41 in. (2 pcs.) $300/500 687. An Art Deco Plaster Relief Medallion, attributed to “New Art Wares”, pierced design of Diana the Huntress with hound, diameter 33 1/2 in. $600/900 687 688. L. Cannon (American, late 19th/early 20th c.), “Boston Harbor”, 1895, watercolor, signed lower left, 13 1/4 in. x 20 1/4 in., attractively matted and framed.


680. A Russian Icon of a Warrior Saint, late 19th/early 20th c., possibly St. George, tempera on heavy wood panel, 14 7/8 in. x 11 in.; together with a later gilt easel stand.


$600/900 681. Carlos Vazquez (Spanish, 1869-1944), “Flirtation”, oil on canvas board, signed lower right, 36 1/4 in. x 31 in., framed.


$800/1200 W 682. Simon Gunning (American/Louisiana, b.

1956), “Twilight at Barataria”, giclée, pencil signed, titled, and numbered “6/100”, sight 28 in. x 21 in., framed. $200/300


696. Two Wedgwood Lustre Gilt and Polychrome Porcelain Hummingbird Vessels, c. 1920, consisting of a vase and bowl, each with blue exterior and orange-red interior, vase height 13 5/8 in., bowl height 5 3/4 in., diameter 8 7/8 in.

W 689. George Shellbase

(American/Connecticut, 20th c.), “Musicians”, crayon and watercolor, signed and inscribed “Bimini” lower right, sight 12 1/4 in. x 15 in., matted and framed; and “Sailboat”, ink and wash, signed lower right, sight 4 3/4 in. x 7 in., matted and framed. (2 pcs.)



W 697. A Pair of Royal Doulton

Pottery Vases, early 20th c., mottled rust and blue ground, stylized floral decoration, height 9 7/8 in.

W 690. George Shellbase

(American/Connecticut, 20th c.), “Hialeah, Florida”, pencil and watercolor on paper, signed and inscribed lower right, sight 8 3/4 in. x 11 1/2 in.; “Still Life - Fish”, pastel on paper, signed lower left, sight 10 in. x 12 in., both matted and framed. (2 pcs.)

$500/700 696

W 698. Two Pottery

Vessels, including an English black and white figural silhouette pitcher, c. 1860; and a Czechoslovakian amphora Vase, c. 1930.



W 691. Virginia Gruppe

(Dutch/American, 19071980), “Gloucester Harbor”, watercolor on paper, signed lower right, sight 4 7/8 in. x 6 in., matted and framed; together with Emile Gruppe (American, 1896-1978), two lithographs laid down on board of “Gloucester Harbor”, both signed, both 10 in. x 14 in., matted and framed alike, (3 pcs.)

W 699. A Group of Three

English Transferware Vessels, mid-to-late 19th c., including a blue and white bowl, a two-handled vase, marked “Copeland Spode” and a harlequin clown puzzle jug, marked “Elsmore & Forster”, and with painted dedication “Mr. B. Smith/ West Bromwich/ 1859”, height of tallest 8 1/2 in.



$200/400 W 692. Charles Gruppe

(American, b.1928), “Sharpening the Knives”, oil on canvas board, signed lower right, titled en verso, 11 3/8 in. x 13 5/8 in., in a giltwood frame.

700. An Antique French BronzeMounted Marble Three-Piece Clock Garniture, c. 1875, striking bell movement marked “Japy Freres”, porcelain dial, columns with engineturned capitals and bases, conforming three-light candelabra with scrolled supports, clock height 16 in., width 9 in., depth 4 1/2 in.

$500/750 W 693. David Brownlow

(American/Texas, 1915-2008), “Still Life of Roses”, oil on masonite, signed lower left, 10 3/4 in. x 7 3/4 in, in a period frame.



Bronze and Enamel Hand Mirrors, c. 1880-1890, each inset with a portrait miniature, one signed “J. Mill.”, tallest height 15 in.

W 701. Two Antique French Gilt

W 694. Pamela Scholz

(American, 20th c.), “Stalking Butterflies”, c. 1980, oil on canvas, signed lower right, 26 1/8 in. x 38 in., framed.

$200/400 702

$400/600 Provenance: Acquired Nahan Galleries, New Orleans; descended in a New Orleans family.

W 695. Thomas Paquette (American, b. 1958),

“Beginning of Prairie”, oil on paper, initialed lower right, signed and inscribed en verso, 4 in. x 4 in., framed.

702. Two Mettlach Polychrome and Pewter Lidded Steins, c. 1900, each with impressed marks, tallest 16 1/2 in. $600/900

$250/350 W denotes the lot is illustrated at


W 704. A Suite of Four Large Antique

W 708. An English

Continental Carved and Polychromed Tiebacks, c. 1870, rosette center with fruit and leaf decoration, on iron armature, length 18 in., depth 3 1/4 in.

Oak and BrassMounted Nine Drawer Campaign Cabinet, c. 1890, top with silver inset cartouche, engraved with monogram of “WI” and an arm with club, flush finger pulls and handles, height 16 in., width 18 in., depth 12 in.

$250/350 Provenance: Hollingsworth Collection, Baltimore. 705. An Antique English Bamboo and Needlepoint Firescreen, late 19th c., the structure made from various diameter bamboo, inset with a needlepoint coat-of-arms, on outswept legs, height 45 1/2 in., width 30 in.


$600/900 W 706. A Pair of English Patinated Metal

Figures, c. 1890, the conquistador figures holding a sword and a mace, on turned wood base, height 14 in., diameter 5 1/4 in. $250/350

709. A Moser Sculpted Enameled Amethyst and Clear Glass “Eagle” Vase, c. 1885, of cylindrical form, applied high-relief eagle in flight, unsigned, height 13 1/2 in. $800/1200 Note: Vessels with sculpted birds, were highly soughtafter in the period. Formed from a heavy grey enamel that was fired, then coated and refired.


Reference: Gary D. Bladwin, Moser Artistic Glass, Edition Two, 1997, p.69, Illustrated, Fig.71, p.69 and Plate 45, p.95

710. A Continental Enameled Ruby Glass Vase, late 19th/ early 20th c., probably Moser, tapered fluted neck, applied oak branch and acorns, unsigned, height 18 in. $600/900




W 703. A Wedgwood Transfer-Printed and

W 707. An Edwardian Walnut and Brass

Hand-Painted Partial Dinner Service for Twelve, comprising 14 dinner plates (two associated), 12 luncheon plates, 12 bread plates, 12 demitasse cups and 12 saucers, floral border on light-green band, dinner plate diameter 10 1/2 in. (62 pcs).

Presentation Lap Desk, c. 1910, the cartouche engraved “Presented to/ Mr. Richard Howarth/ by his Weavers at Barnbrook Mill, Bury/ May 24th, 1911”, with baize-covered writing surface, and fold-out letter compartment with pen holder and ink well, height 6 1/2 in., width 14 in., depth 8 3/4 in.




711. A Continental Gilt Bronze and Gilt Metal-Mounted Enameled Glass Claret Jug, late 19th/ early 20th c., probably Moser, faceted stopper, applied birds, insects and florals, unsigned, gilded base by Wurttembergische, height 16 1/2 in. $600/900

712. A Moser Enameled Green Glass Ewer, late 19th/early 20th c., horn of plenty form, shaped lip, body with applied scrolling vines and arabesques, stemmed foot, unsigned, height 11 in. $600/900 Note: An almost identical piece is illustrated in Moser Artistic Glass, Edition Two, Gary D. Baldwin, 1997, Illustration: plate 12, p. 84 W 713. A Stevens & Williams

Cranberry Glass Pitcher, late 19th/early 20th c., fully marked, barrel form body, applied branch and berry in blue and yellow, height 9 in., together with two Art Glass vessels, possibly Stevens & Williams, one a vase, the other a handled basket, each with applied florals and feet, each approx. 9 1/4 in. $600/900 W 714. A Moser Enameled Light Blue

Glass Pitcher, late 19th/early 20th c., tapered cylindrical body with extensive applied flora, applied amber handle, signed, height 10 1/4 in.



$500/700 715. A Continental Gilt BronzeMounted Enameled Glass Bowl, late 19th/early 20th c., possibly Val St. Lambert, ovoid form speckled red and white body, applied leaf and branch, scrolled feet, height 5 7/8 in., width 9 in., depth 4 in. $500/700 716. A Rare Moser Enameled Green and Clear Glass Hunting Mug, late 19th/early 20th c., of horn shape, applied cartouche with “C” scrolls, applied handle, unsigned, height 6 1/2 in.


$500/700 Reference: Mural K. Charon, Ludwig (Ludvik) Moser King of Glass, 1984, p. 66. 717. An Art Deco Ruby Glass and Silver-Mounted Cocktail Shaker, c. 1920, chrome-plated cap with strainer, the glass with a silverplate scene of a golfer in mid-swing, a palm tree in the distance, height 8 6/8 in., diameter 3 1/2 in. $400/600


718. A Set of Thirty-Six Bohemian Cut-to-Clear Crystal Stemware, of various colors, all with geometric and foliate design. $700/900 W 719. A Continental Sculpted


and Enameled Amber Glass Ewer, late 19th/early 20th c., probably Moser, body with two high relief fish amid flora, applied handle, unsigned, height 7 7/8 in. $400/600 W denotes the lot is illustrated at


W 720. An American Cut Crystal

W 728. An American Aesthetic

and Silverplate Humidor, the lid in repoussé, marked “The HavanaAmerican Choice Cigars”, the faceted glass marked on bottom “Factory No. 23, 3rd Dist., NY, 50”, height 5 3/4 in., diameter 5 1/2 in.

Silverplate Tea and Coffee Set, c. 1885, Reed & Barton, Taunton, MA, including a coffee pot, 2 teapots, sugar, creamer and waste bowl, coffee pot height 10 1/4 in., (6 pcs.) $300/500

$400/600 W 729. A Group of American W 721. A German Art Deco

Arts and Crafts Sterling Silver Flatware, including an Erickson salad serving fork and spoon, an ONC salad server, an ONC lemon fork and 6 ONC luncheon knives (10 pcs.)

Porcelain and Hammered Silverplate Coffee and Tea Service, c. 1935, Bausher-Weiden, consisting of coffee and tea pot, creamer and covered sugar, tea pot height 7 5/8 in.



$250/350 W 730. An American Aesthetic

Silverplate Card Tray, Derby Silver Co., Derby, CT, wc. 1873-1933, in the shape of a fan on three turtle feet, length 9 3/4 in., width 7 3/4 in.

W 722. An English Brass and

Nickel-Plated Ship’s Clock, c. 1930, with sweeping second hand, base with screws for wall mounting.



Bronze Swinging Skeleton Clock, 20th c., porcelain dial, based on early 19th c. Parisian mystery clocks, on variegated marble base, height 26 1/2 in., width 6 3/8 in., depth 6 2/8 in.

731. A Group of Baltimore Sterling Silver Repoussé Flatware, primarily S. Kirk & Son, including two berry spoons, three cold meat forks, a serving spoon, a flat server, a bottle opener and a teaspoon; weight (weighable) 22.45 troy ozs. (9 pcs.)



W 723. A French Marble and


W 724. A Mixed Metal and

Cabochon Stone Inset Cigar Cutter, probably late 19th c., height 1 3/8, width 5/8, depth 3/16 in. $200/400 Provenance: Ex-Collection Museum of Fine Arts, Houston. W 725. An English Brass

Bar-Mounted Cork Puller, c. 1890, marked “ACME”, with turned wood handle, height 20 in.

732. A Group of American Aesthetic Silver Serving Pieces, including a sterling silver berry spoon, a sterling silver serving spoon, a sterling silver egg spoon, a sterling silver sardine fork, a strawberry motif silverplate berry spoon and a Pairpoint silverplate sugar tongs; together with an English silverplate and celluloid handled stilton scoop; total weight (weighable) 4.95 troy ozs. (7 pcs.) $250/350

$300/500 732

W 726. A Parian Bust of

“Germania”, late 19th c., now mounted as a lamp, wearing helmet, armor and a with flowing hair, marked “Bavaria Germany”, mounted on a black metal cube above a brass base, height to top of harp 34 in.

727. An American Sterling Silver Pitcher, Dominick & Haff, New York, NY, wc. 1868-1928, date mark for 1899, ret. E.P. Roberts & Sons, pear form with scroll rim and handle, period script monogram, height 6 1/2 in., weight 23.35 troy ozs.



W 733. A Continental

Silver Coffee Service, probably Germany, c. 1875, marks rubbed, comprised of a coffee pot, sugar and creamer, tapered bodies with allover surface decoration of scrolling foliage against a punchwork ground, each with a vacant shield; coffee pot height 10 in., combined weight 29.05 troy ozs. $300/500



W 734. A Pair of

Vintage Silverplate Three-Light Candelabra, height 18 1/4 in. $500/750 735. A Gorham Sterling Silver Tea Set, including teapot, open sugar and creamer, teapot height 6 in., combined weight 38.50 troy ozs. $800/1200 736. A Set of Twelve American Sterling Silver Ramekin Frames with Lenox Porcelain Liners, weight (weighable) 40.20 troy ozs. $800/1200



739. A Continental Enameled Cranberry Glass Vase, late 19th/ early 20th c., probably Moser, flared lip, applied flowering vine and scrolled acanthus, unsigned, height 16 1/2 in. $500/700 W 740. A Moser Gilt and

Enameled Cranberry Glass Vase, late 19th/early 20th c., flared scalloped lip, waisted body, applied floral decoration, signed, stemmed base, height 12 1/4 in. $500/700

737. A Continental Silvered BronzeMounted Amethyst Glass Vase, ovoid form, marked with “V, a ship, S”, applied flowering branches, pierced floral sleeve, height 10 3/8 in. $500/700

W 741. A Pair of Continental

Enameled Glass Vases, late 19th/ early 20th c., probably Moser, each with long neck, bun-shaped body, applied “C” scrolled acanthus, unsigned, height 11 in., together with an enameled and cut glass pitcher, probably Moser, unsigned, height 13 in. $500/700

738. A Continental Enameled Amethyst Glass Vase, late 19th/ early 20th c., probably Moser, flared lip, spiral ribbed body, applied scrolled flowering vines, unsigned, height 17 1/4 in.



W 742. A Moser Enameled

Green Glass Vase, late 19th/early 20th c., scalloped lip, applied lizard and flora, scrolled feet, signed, height 6 3/4 in. $400/600

W 743. A Continental Enameled Green Glass Vase, late 19th/

early 20th c., probably Moser, applied floral scrolls centered by geometric design on gilt ground, hemisphere base, unsigned, height 10 in. $400/600


W denotes the lot is illustrated at





749. A Continental Gilt BronzeMounted Enameled Emerald Glass Pitcher, late 19th/early 20th c., hinged top opening to fitted glass ice compartment, eagle spout, body with lyre-form scrolled acanthus centered by crowned eagle, base marked “V S”, handle with impressed “V S”, height 11 3/8 in. $500/700 750. A Continental Gilt BronzeMounted Green Glass Figural Claret Jug, c. 1900, in the form of a parrot, applied blue handle, mounts stamped “B”, height 10 7/8 in. Note: hinge broken, lacking stopper.


744. An Enameled Glass Centerbowl on Pedestal, late 19th/early 20th c., probably Webb, insect and foliate decoration on light blue ground, opaque white interior, unsigned, presented on a silvered metal pedestal, overall height 9 in., bowl height 4 3/8 in., diameter 9 1/2 in.



$400/600 W 745. A Continental Enameled Clear-

over-Violet Bud Vase, late 19th/early 20th c., probably Moser, flared lip, tapered body, applied scrolled branches and flowers, flora-form base, unsigned, height 11 1/2 in. $200/400 746. A Continental Enameled Yellow Glass Centerbowl, late 19th/early 20th c., probably Moser, spherical body, applied birds, insects and branches, blue elephant masque handles and branch feet, unsigned, height 8 1/2 in. $300/500

W 747. A Moser Enameled

Green Glass Vase, late 19th/early 20th c., flared body on hollow stem and base, applied insects and flora, signed, height 7 3/4 in.; together with a cup on stemmed foot, probably Moser, applied bird on branch, unsigned, height 7 1/8 in. (2 pcs.) $300/500 W 748. A Continental Enameled

Amethyst Glass Vase, late 19th/ early 20th c., probably Moser, wavemolded lip, applied flora, gilt bronze base with griffin feet, unsigned, height 9 7/8 in. $300/500


751. A Continental Enameled Iridescent Vase, late 19th/early 20th c., probably Loetz, triangular body, applied stylized design, base marked “H67”, height 7 1/8 in. $600/900 W 752. An Art Glass Blue Cut-to-Clear

Vase, signed Durand, everted rim, height 6 7/8 in., diameter 4 1/4 in. $400/600 W 753. A Cluthra-Style Glass Footed

Bowl, possibly Steuben, unsigned, height 7 1/4 in., diameter 10 3/8 in. $300/500

W 754. A Continental Enameled Cranberry

W 760. A Group of Five Continental

Glass Powder Box, late 19th/early 20th c., probably Moser, hinged lid with putto reserve, overall applied floral vine and “C” scrolls, unsigned, height 3 7/8 in., diameter 6 1/4 in.

Enameled Glass Pieces, late 19th/early 20th c., probably Moser, consisting of three vases of various color and form, a cranberry pitcher and a tea cup with saucer; each with applied decoration, unsigned, tallest height 10 7/8 in.


$300/500 W 755. A Moser Enameled Amber Glass

Cruet Vase, late 19th/early 20th c., double spouted form, each neck fitted with swan stopper, body having divided interior, applied flora and fauna, footed base, signed, height 11 1/4 in.

W 761. A Pair of American Etched Glass

Hurricane Shades, 20th c., star and eagle decoration, height 20 1/4 in., diameter 8 in. $500/700

$150/250 W 762. A Group of Four Antique 14 kt. W 756. A Mold-Blown Cranberry Glass

Gold and Gold Plate Carved Stone Intaglio Rings, comprising: octagonal carnelian in 14 kt. yellow gold; white agate in 14 kt. yellow gold; round carnelian in 14 kt. yellow gold; and moonstone in yellow goldplate.

Bowl, late 19th/early 20th c., lobed body, gilt decoration, height 6 in., diameter 9 1/2 in. $300/500 757. A Legras Mont Joye Enameled Cranberry Glass Vase, late 19th/early 20th c., marked, lobed, ovoid body, applied thistles, height 12 3/8 in.


W 763. A Group of

Antique Indonesian Jewelry, including two bronze bangle bracelets, a carved stone ring, and a carved ivory bracelet; together with an Indonesian stone object, ivory bracelet width 5 in. (5 pcs.)

$200/400 W 758. A Moser

Enameled and Etched Amber Glass Vase, c. 1920, signed “Moser/Karlsbad/Czecho Slovakia”, of faceted baluster form, frieze depicting a GrecoRoman/Amazonian battle, height 10 1/2 in., together with four Moser amber-cut-to-clear saucers, late 19th/early 20th c., each with etched fern leaf surround, signed, diameter 6 in.


$150/250 Provenance: Sold for the benefit of the Museum of Fine Arts, Houston.


764. A Suite of Four Hand-Wrought Iron Garden Chairs in the Empire Taste, mid20th c., New Orleans. $500/750


765. A T.H. RobsjohnGibbings Mid-Century Modern End Table, c. 1950, for Widdicomb, Grand Rapids, MI, labeled, rectangular top, lower shelf, inverted taper supports, espresso finish, height 23 in., width 30 in., depth 30 in.

Reference: Moser Artistic Glass, Edition Two, Gary D. Baldwin, 1997, p. 172. W 759. A Continental

Enameled Emerald Glass Pitcher, late 19th/early 20th c., possibly Moser, applied leaf and berries, height 12 7/8 in.



W 766. A Pair of Widdicomb


Mid-Century Modern End Tables, c. 1950, Grand Rapids, MI, labeled, circular tops, later espresso finish, height 26 1/2 in., width 24 in., depth 24 in. $400/600

W denotes the lot is illustrated at


769. An American Belle Époque Carved Mahogany Partner’s Desk, late 19th/early 20th c., attributed to R.J. Horner, New York, kneehole configuration of drawers with lion’s mask carving, monopod griffin supports, paw feet, casters, paint stamped number “1098”, height 32 in., width 56 in., depth 34 in. $5000/7000 767



767. An Antique American Wicker Photographer’s Chair, late 19th c., possibly Heywood Wakefield, tall shaped tapered back, rounded seat, latticework skirt, spiral twist legs and stiles, stretcher. $200/400 768. An American Aesthetic Carved Oak Breakfront Bookcase, late 19th c., attributed to Kimbel & Cabus, New York, center cabinet with spindled gallery and glazed door, flanked by paneled cupboards set with Minton tiles with birds, bays with shelves, plinth base, decorative plated steel hardware throughout, height 80 1/4 in., width 96 3/8 in., depth 16 1/4 in. $1200/1800 Note: This architectonic bookcase has hinges identical those on No. 244, a cabinet in the Kimbel and Cabus wares catalogue, Furniture designed and sold by the New York Firm of Kimbel & Cabus c. 1875. The Minton tiles with bird and gallery top on this cabinet are also similar to those on the cabinet in the catalogue.


770. An American Belle Époque Carved Mahogany Bookcase, late 19th/early 20th c., attributed to R.J. Horner, New York, molded cornice above scrolling vine frieze centered by a lion’s mask, pair of glazed doors enclosing adjustable shelves, griffin and acanthus-carved stiles, two conforming low drawers, paw feet, casters, stamped number “4800”, height 67 in., width 53 1/2 in., depth 15 1/2 in. $3000/5000 Note: In 1886 Robert J. Horner (New York, d. 1922) established the R.J. Horner firm specializing in finely and exuberantly carved oak and mahogany furniture. The stencilled model numbers on this bookcase, and the desk offered previously, are referenced on other examples from the Horner firm. Reference:



773. A Pair of Empire-Style Gilt Bronze-Mounted Fauteuils, each of generous proportion, scrolled back, sphinx arm supports, legs topped by winged eagles, height 41 1/2 in., width 27 1/2 in., depth 22 in. $1500/2500


771. An Antique English Parquetry and Ebonized Walnut Sideboard, c. 1835, a pair of glazed doors with turreted stiles flanked by glazed doors, adjustable shelves, base with canted corners, four doors enclosing fitted silver drawers, blocked plinth base, height 92 1/4 in., width 60 in., depth 23 3/8 in. $1200/1800 772. A Pair of George IIIStyle Mahogany, Parcel Gilt and Mirrored Consoles, each with triangular pediment centered by Egyptian winged solar disk, tassel moldings, rectangular mirror plate, verde antico marble top, frieze drawer, conforming Egyptian gilt mount flanked by funerary masques, bellflower, acanthus and rosette carved scrolled supports, molded plinths base, height 86 in., width 36 in., depth 17 in. $2000/3000

772 W denotes the lot is illustrated at




776. A William IV Inlaid Mahogany Center Table, c. 1850, banded top above a plain frieze, tall spiral fluted legs, shaped X stretcher, block feet. $700/1000 777. A William IV Carved Mahogany Console Table, c. 1850, associated white marble top, highly figured frieze with two shaped drawers, acanthus carved cabriole legs, height 30 in., width 54 in., depth 22 in. $800/1200



774. A Louis XV-Style Giltwood Console, 19th c., serpentine marble top, acanthus and foliate skirt centered by a pierced shell cartouche, floral carved cabriole legs, shaped stretchers, shell and rocaille cartouche, height 40 5/8 in., width 61 1/2 in., depth 22 3/4 in. $1500/2500 775. A Dutch Marquetry Tall Chest, 19th c., banded top above six drawers, scrolled pilasters, block feet, height 57 in., width 42 1/4 in., depth 21 1/2 in. $1200/1800



778. A George IIIStyle Mahogany Tall Chest, c. 1820, molded top above seven graduated drawers, shaped bracket feet, height 70 in., width 46 in., depth 19 1/2 in. $1200/1800

779. A William IV Rosewood and Mahogany Work Table, c. 1840, later inlaid game board top above a fitted drawer, pull-out work bag, yoke support, turned stem, circular plinth, shaped feet. $400/600 780. A Set of Eight HepplewhiteStyle Carved Mahogany Dining Chairs, c. 1900, comprised of two armchairs and six side chairs; arched foliate backs with pierced splats, trapezoidal slip seats, molded rails, square tapered molded legs.





781. A Napoleon III Mother-of-Pearl Inlaid, Ebonized, Amboyna and Bronze-Mounted Sécrétaire à Abattant, late 19th c., inset marble top, frieze drawer, fall front writing surface and fitted desk interior, three drawers below, plinth base, short toupie feet, height 51 1/4 in., width 28 in., depth 15 in. $700/1000 782. A Pair of Decorative Silverplate Wine Coolers, marked “Royal Castle/ Sheffield/ EP”, lobed melon form body, shell and acanthus border, gadrooned base, openwork handles, height 10 in.


$1800/2500 783. An Antique English Silverplate Hot Water Kettle, James Dixon & Son, Sheffield, wc. 1835-1992, urn form with loop handles, reeding and foliate decoration, plinth base and bun feet, height 17 3/8 in. $400/600

W 785. An Antique English Sterling Silver


W 784. An Antique English

Silverplate and Glass Vase, the thistle form cut glass vase in a naturalistic foliate silverplate stand, marked TR & Co., height 8 1/4 in.

Toast Rack, William Dixon & Son., Sheffield, 1896, ret. Z. Barraclough & Son, Leeds; together with a sterling silver bowl, W. Hutton & Sons, Ltd., Birmingham, with reeded rim and pedestal foot, presentation inscription; toast rack height 4 in., length 3 3/8 in., bowl height 2 7/8 in., diameter 5 in.; combined weight 8.30 troy ozs. $300/500


W denotes the lot is illustrated at


W 791. A Group

of Antique English Silver, including a Georgian soup spoon, dessert spoon and sauce ladle; and an Edwardian ivorine and silverplate stilton scoop. (4 pcs.) $150/250 792

792. A Set of Four English Sterling Silver Candlesticks, maker HF, London, 1915, faceted fluted form with stepped base and beading, weighted base, height 12 1/2 in.


786. An English Victorian Silverplate Epergne, c. 1870, the sinuous scroll frame with removable trumpet vases, height 16 1/2 in.

$500/750 W 793. An

Antique Sheffield Plate Meat Dome, acanthus scroll handle, lobed body, inset silver plaque, height 11 1/2 in., length 21 in.

$300/500 W 787. A Pair of Scottish Sterling

Silver Dressing Spoons, Edinburgh, 1800, Fras. Howden (ent. 1781), downturned Old English pattern with pointed terminal, rounded drop on bowl, engraved crest on the upper face, length 12 7/8 in., weight 5.80 troy ozs.


$250/350 W 794. An

W 788. Two Georgian Sterling Silver

English Silverplate Punch Bowl, marked “W • A / England”, the circular footed bowl with gadrooned rim and chased band, height 8 in., diameter 15 1/2 in. 796

Dressing Spoons, downturned Old English pattern with rounded terminal and drop on egg shaped bowl, one London, 1808, William Eley, William Fearn and William Chawner, engraved script monogram on upper face of handle; the other London, 1828, Randall Chatterton, engraved crest on upper face; length 11 7/8 in. and 11 7/16 in. respectively, combined weight 7 troy ozs.

$400/600 795. A Rare Patinated Cast Iron Architectural Torchère, late 19th c., Paris, urn form over tapered standard on circular plinth, height 84 in., diameter 20 in.

$250/350 W 789. A Group of Antique English

Sterling Silver, including a sugar tongs, William Eley & William Fearn, London, 1801; an egg spoon, London, 1824, maker WS; and a master salt spoon (repaired), marks rubbed. (3 pcs.) $100/200


W 790. Four George III Sterling

Silver Soup Spoons, Thomas Wright, London, 1785, “Old English” pattern, weight 8.35 troy ozs. $150/250


$4000/6000 796. A Pair of Tôle and Wrought Iron Wall Lanterns, glass panels, bracket support, height 68 in., width 18 in., depth 23 in. $1000/1500


800. A Monumental Continental Bronze of “David with the Head of Goliath”, after Marius-JeanAntonin Mercie (French, 1845-1916) cast signature at base, height 71 in. $2000/3000

797. A Pair of Large Louis XVI Carved and Painted Chateau Doors, each with rectangular molded panels with rocaille appliqués, height 108 1/2 in., width 28 1/2 in. each.

801. A Good Antique French Cast Iron Table du Pâstisserie, 19th c., dished white marble top, foliate skirt, scroll legs with boss, height 31 in., width 48 in., depth 29 1/2 in.




798. A Pair of Gothic-Style Cast Iron Garden Benches, pierced back and sides, patterned seat, medial stretcher, height 33 in., width 54 in., depth 16 1/2 in. $800/1200


799. Heinrich (Henry) Manger (German/ Pennsylvania, b. 1833), “Portrait of a Gentleman of Industry”, bronze, inscribed “H. Manger, sp.r/ PHILA.PA/1893/ U.S” at back of neck, height 26 in. $1200/1800

801 799 W denotes the lot is illustrated at


805. A Good Antique Continental Carved Mahogany and Marble Console Table, late 19th c., shaped variegated marble top, three frieze drawers centered by a bellflower swagged panel, scrolled blocked and acanthus carved legs, shaped molded stretchers centered by a scrolled medial support, height 37 in., length 99 3/4 in., width 24 in. $1000/1500 806. An Antique Regency-Style Inlaid and BrassMounted Mahogany Bookcase, stepped cornice above a pair of cross-banded doors with later brass lattice panels, lower case with a pair of paneled doors, disc feet, height 89 in., width 49 in., depth 20 in.






802. An Antique French Burl Walnut Bureau Plat, c. 1890, tooled leather inset top, shaped frieze drawers, foliate cabriole legs, scrolled toes, height 30 in., width 78 1/2 in., depth 43 in. $2500/3500

804. An Italian Rococo Painted Bombé Commode of Generous Size, brescia marble top above two drawers, height 34 1/2 in., width 59 in., depth 25 in. $1500/2500

803. A Pair of Antique Louis XV-Style Carved, Painted and Gilt Fauteuils, each of generous proportion, height 45 in., width 28 in., depth 23 in. $2000/3000



807. A Pair of Antique Gilt Bronze Chenets in the French Taste, each in the form of a ewer atop pedestal on a scrolled bracket and meandering vine and floral garland, height 23 in., length 17 1/2 in. $600/900 808. A Large Pair of Louis XVI-Style Gilt Bronze Sconces, each beribboned backplate issuing three festooned scroll arms, foliate pendant, height 39 in., width 12 1/2 in., depth 8 in.


$2000/3000 809. Émile-Louis Picault (French, 1839-1915), “Perseus Rescuing Andromeda”, late 19th/early 20th c., bronze, cast signature on left rear of base, height 30 in.


$1500/2500 810. A Continental Plaster Bust of Francis II, Emperor of Austria, 19th c., the last Holy Roman Emperor depicted in Classical style with a laurel wreath, breastplate with Hapsburg double eagle motif, height 32 in. $1200/1800 810

W 811. A Large Polychrome

Majolica Baluster Vase, late 19th c., probably English, each reserve with paired love birds perched atop a flaming torch, caryatid handles and applied leaves and Classical decoration, height 22 1/4 in. $500/700



812. A French Patinated Bronze of a “Mounted Huntsman with Hounds”, 20th c., after Pierre-Jules Mêne (French, 1810-1879), cast signature and dated “1869” on front edge of base, height 25 1/4 in., length 30 in., depth 15 3/4 in. $800/1200 W denotes the lot is illustrated at


W 819. C. Thenn

(b. Carl Kauba, Austrian/ American, 1865-1922), “Young Girl Sewing”, early 20th c., bronze, signed “Thenn” at right edge of base, faintly numbered and with copyright mark at back of base, height 5 in. $150/250 Provenance: Estate of Julia Badger, Grand Rivers, KY.


W 820. A

Continental Bronze Plaque of a “Battle Scene”, cast signature “R. Rizzi” lower right, attached to wooden frame, overall 14 in. x 21 1/2 in.


$400/600 W 815. A Continental Sterling

Silver and Carved Bone Figure of a Knight, carrying a standard on a base with encrusted stems, marked 925 sterling, height 6 3/4 in. $600/900 W 816. A French Bronze of “A

Whippet”, after Christophe Fratin (French, 1810-1864), cast signature at front edge of base, height 11 1/2 in. $800/1200 W 817. An Antique Patinated


813. A French Bronze of a “Whippet Looking at a Butterfly”, late 19th c., Leblanc Freres foundry mark inside base, height 11 1/2 in. $600/900 W 814. A Group of Three Antique Continental

Bronzes, including after Christophe Fratin (French, 1810-1864); “Recumbent Whippet”, cast signature at front of base, “Crouching Dog”, unsigned, and “Whippet Standing Guard over Gun And Game-Bag”, unsigned, height range 4 1/2 in. to 6 1/2 in. $600/900


W 821. An Italian Pale Sienna

Marble Tempietto in the Grand Tour Style, with foliate frieze over six Ionic columns, height 24 in., diameter 20 in. $800/1200 W 822. An Antique Continental

Bronze of “Bird Guarding Her Nest”, on an ovoid self base, height 6 1/2 in. $800/1200

Metal Figure of a “Whippet”, late 19th/early 20th c., after JeanJules Bernard Salmson (French, 18231902), height 19 3/4 in., width 18 1/2 in.

823. An Antique Louis XVI-Style Carved and Gilt Mirror, carved crest with love birds, torch and quiver; etched pillow-form panels, acanthine corners, height 69 in., width 42 in.



Reference: Bronze prototype illustrated in Michael Forrest, Art Bronzes, West Chester, PA, 1988.

Provenance: Keil’s Antiques, 325 Royal Street, New Orleans, LA.

W 818. A Pair of Carrara Marble

Feet, sandaled in the Classical style, height 8 1/2 in., width 14 in. $800/1200

824. A French Carved and Giltwood Trumeau Mirror, late 19th c., beribboned foliate crest, roundel depicting seated woman, beveled mirror plate, molded surround, height 50 3/4 in., width 29 1/2 in. $600/900


828. Niek van der Plas (Dutch, b. 1954), “New York”, oil on board, signed lower right, signed and titled en verso, 25 in. x 40 1/8 in., framed.


$1500/2500 829. William Johanes Martens (Dutch, 1838-1895), “Under the Willow Tree”, oil on beveled wood panel, signed lower right, 14 3/4 x 18 1/4 in., in a later frame. 825

$1500/2500 W 830. Continental School, late 19th/early

825. A German Stoneware Ewer and Associated Pedestal, late 19th c., probably Hanke, Germany, salt glazed cobalt relief carved decoration, ewer height 22 in., pedestal height 32 1/8 in. $600/900 826. Two German Stoneware Puzzle Ewers, late 19th c., each with salt glaze cobalt relief designs, one single ring and one double ring, heights 17 5/8 in. and 15 5/8 in., respectively. $500/700 827. A KPM Porcelain Plaque, 19th c., “The Chocolate Girl”, after the painting by Jean-Etienne Liotard”, with impressed mark “KPM” and sceptre, plaque size 9 1/2 in. x 6 1/2 in., original giltwood frame.

20th c., “Portrait of a Hereditary Officer, probably Friedrich Augustus, Grand Duke of Oldenberg”, oil on canvas, 25 in. x 22 in., in the original giltwood frame. $800/1200 Note: Frederick Augustus II was a member of the HolsteinGottorp branch of the House of Oldenburg, and the last ruling Grand Duke of Oldenburg, forced to abdicate his rule at the close of WWI when the German Empire was dissolved.


W 831. An

Austrian Gilt and Tôle Peinte Étagère, 20th c., leaf and floral crest, four graduated glass shelves, scroll feet, the whole with scrolling leaves and flowers, height 52 in., width 18 1/2 in., depth 18 1/2 in. $500/700

$600/900 828 W denotes the lot is illustrated at


834. A Set of Four Antique Italian Painted Side Chairs, arched crest rails, lyre backs, tapered stiles with finals, shaped seats, turned legs, stretchers. $800/1200 W 835. A

Moroccan Carved “Medina” 833 Dower Chest, early 20th c., hinged lid with decorative brass hardware, open interior, overall extensive brass tack and pierced brass decoration, three drawers below, brass handles, height 23 7/8 in., width 49 in., depth 23 1/2 in. $500/700 836. A Syrian Mother-of-Pearl Inlaid Chest of Drawers, late 18th/early 19th c., extensive inlay throughout, shaped top, conforming outset drawer, four graduated drawers, paneled sides, bracket feet, height 56 1/2 in., width 46 in., depth 22 in. Note: Lacking top. 832

832 (open)



832. A Louis XVI Carved Walnut and Fruitwood Lit du Cabinet, late 18th/early 19th c., the paneled front faced as drawers and brasses opening to reveal a foldout bed with iron supports, height 79 1/2 in., width 38 in., depth 25 in. $1500/2500 833. A French Burled Walnut Inlaid Bombé Commode, c. 1890, inlaid top above a cove molded frieze drawer and two shaped drawers, cabriole legs, scrolled toes, height 33 1/2 in., width 48 in., depth 23 in. $1200/1800



W 837. An Indonesian Carved, Polychrome and

Caned Lit de Repos, each end with arched back, turned finials, scalloped skirt, cabriole legs, height 26 1/2 in., width 67 in., depth 26 in. $300/500

838. An Antique Moroccan Carved “Medina” Dower Chest, early 20th c., hinged lid, three drawers below, overall extensive hammer and brass tack decoration, brass handles, height 18 in., width 46 1/2 in., depth 19 3/4 in.


$600/900 839. A Set of Twelve American Renaissance Carved Oak Dining Chairs, late 19th c., leaf and branchwork crest rails, foliate-carved backs with barley-twist stiles, trapezoidal gadrooned seat rails on turned and blocked legs joined by stretchers, height 42 in.


840. An American Rococo Carved Oak Extension Dining Table, 19th c., oval top, splayed legs with winged figures and paw feet, height 29 in., width 57 in., depth 50 in. Note: leaves not present. $1000/1500

$1500/2500 840


841. An American or English Rosewood Slipper Chair, mid-19th c., scallop shell tufted back and seat on cabriole legs, scrolled toes, casters, purple velvet upholstery. $500/750

842. An American Aesthetic Carved Rosewood and Inlaid Side Cabinet in the Japonesque Taste, c. 1880, New York, mirror back superstructure, winged zoomorphic supports; two frieze drawers above a pair of molded doors, arched fretwork skirt, stretcher shelf, blocked legs, hoof feet, the whole inlaid with exotic woods and silver stringing, original brasses, height 77 in., width 60 in., depth 18 in. $1500/2500


W 843. A Faux Bamboo Side Chair, 19th c.,

arched crest rail, reticulated back, bracketed turned legs, “H” stretcher. $300/500

W denotes the lot is illustrated at


847. A French Empire-Style Carved Mahogany and Gilt Metal Bergère, height 36 in., width 23 1/2 in., depth 20 in. $700/1000




844. A Pair of American Rococo Carved and Laminated Rosewood Armchairs, c. 1850-60, attributed to J & J.W. Meeks, New York, height 42 1/2 in., width 27 in., depth 23 in. $3000/5000 845. A William IV-Style Mahogany Dining Table, 20th c., molded edge top opening to receive four leaves, blocked apron on turned tapered lappet carved legs, brass ferrules, casters, height 29 1/4 in., length 74 in., width 47 3/8 in. $1500/2500



846. An English Walnut Marquetry and Ormolu-Mounted Bookcase, c. 1840, bronze-mounted cornice above a pair of doors, lined interior, base with a pair of urn inlaid doors, blocked base, height 85 in., width 48 1/2 in., depth 16 in. $1500/2500


848. English School, “Portrait of Ehrengard Melusine von der Schulenburg, the Countess of Feversham (16671743)”, oil on canvas, titled en verso, 55 1/4 in. x 46 1/2 in., in a carved, gessoed, and giltwood frame. $3000/5000



849. English School, 19th c., “Portrait of a Gentleman” and “Portrait of a Lady”, each oil on canvas, each 36 1/4 in. x 29 in., in original carved and giltwood frames.

W 853. A Set of Ten Arts and Crafts


Doulton Burslem Porcelain Polychrome and Gilt Dessert Plates, early 20th c., each backstamped, the reticulated rim with floral roundels and various floral reserves, diameter 9 3/8 in.

850. Maurice Blum (French, 18321891), “The Troubadour”, oil on cradled wood panel, signed lower right, 14 1/4 in. x 9 1/4 in., in a period gessoed and giltwood frame.



854. A French Tôle Peinte Lidded Coal Bin, scarlet ground with extensive chinoiserie scenery, lion masque ring handles, height 16 1/2 in., width 14 in., depth 10 1/2 in.


$500/750 855. An English Mahogany and Brass Bound Lap Desk, mid-19th c., lid with void cartouche, interior with baize writing surface, pen well and ink pots, concealed side drawer, height 5 3/4 in., width 18 in., depth 9 3/4 in. $500/700 W 856. An English


Mahogany Tea Caddy, mid19th c., two lidded compartments, ivory escutcheon, height 5 3/4 in., width 12 in., depth 6 in.

W 851. A Majolica-Style Stoneware Pedestal, late 19th

c., with impressed “944” and “D”, yellow ground, vine and branch motifs, height 26 in., diameter 12 in.

$200/300 857

$500/700 W 852. A Set of Ten Royal Worcester Polychrome and

Gilt Porcelain Game Plates, 19th c., each with scalloped border, reserve of game birds in a landscape, marked, retailed by Davis Collamore & Co., New York, diameter 9 1/4 in. $400/600

857. An English Silverplate and Art Glass Centerpiece, mid-19th c., ruffled bowl in the manner of Thomas Webb; musical putti above faceted tripartite base, registry mark, height 17 1/2 in., width 13 in., depth 16 in. $800/1200 W denotes the lot is illustrated at


W 863. An American

Silverplate Figural Nut Bowl, Middletown Plate Co., Middletown, CT, wc. 18641899, the nut-form bowl surrounded by oak branches and acorns, surmounted by a squirrel, on quadripartite base, height 12 in., width 12 1/2 in., depth 7 3/4 in. $500/700


W 864. An American

Silverplate Pocket Flask, Meriden Britannia Co., with etched decoration of golfers on a golf course, length 7 1/2 in., width 4 3/4 in. $100/200

858 865. An American Sterling Silver Golf Trophy, J.E. Caldwell and Co., Philadelphia, wc. 1848 to present; the well of the plate etched with a scene of the 6th Green of the Pine Valley Golf Club, the cavetto engraved “Pine Valley Golf Club/ George Arthur Crump Memorial Tournament/ Sept. 12-13-14-1947/ / Third Sixteen”; diameter 7 1/2 in., weight 9 1/5 troy ozs.

858. An Antique English Silverplate and Cut Crystal Decanter Stand, c. 1860, tripartite form, acanthus handle, base with quatrefoil border, scroll feet, height 13 in., diameter 7 1/2 in. $500/700


W 859. Four Staffordshire


Polychrome Pottery Figural Groups, c. 1860, including “Fortune Teller”, “Samuel and Eli”, a harpist, and a pocket watch holder modeled as a couple with dog and lamb, tallest height 12 3/4 in. $500/700 W 860. Four

Antique English Tôle Coffee Bins, late 19th c., maroon ground with gilt decoration, hinged lid with maker’s monogram, each painted with different variety of coffee, height 11 1/4 in., width 11 1/4 in., depth 10 3/4 in. $500/700 861. An English Rosewood and Mother-ofPearl Inlaid Tea Caddy, c. 1835, sarcophagus form, interior lids inlaid with “G” and “B”, cut crystal mixing bowl, height 7 1/4 in., width 13 in., depth 7 1/2 in. $500/700


865, 866, 867

862. An Antique English Oak and Cut Crystal Tantalus, mid-19th c., mirrored back, three stoppered cut glass bottles, hinged lid opening to two compartments, silvered metal mounts and handles, height 13 1/2 in., width 15 in., depth 11 in. $500/700

866. An American Sterling Silver Golf Trophy, J.E. Caldwell & Co., Philadelphia, wc. 1848 to present; the well of the plate etched with a scene of the 2nd Green of the Pine Valley Golf Club, the cavetto engraved “Pine Valley Golf Club/ George Arthur Crump Memorial Tournament/ Sept. 20-21-22-1940/ Eight/ Third Sixteen”; diameter 6 3/4 in., weight 7.05 troy ozs. $150/250 867. An American Sterling Silver Golf Trophy, Manchester Silver Co., Providence, RI, wc. 1914-1985, the well of the plate engraved with a stylized figure of a golfer, the cavetto engraved “1960/ Sandwedge Test/ Pine Valley/ Low Net 18 Holes Special”, diameter 6 in., weight 4.20 troy ozs. $100/200

W 868. An English Apothecary Pill

Roller/Counter, c. 1880, mahogany and brass construction, length 11 in., width 13 in. $150/250 W 869. An English Brass and Steel

Watchmaker’s Lathe, c. 1890, mahogany case with carrying handles, interior having various fittings and tools, height 10 1/2 in., width 19 in., depth 10 in. $500/700 W 870. An Antique English

Mahogany Dentist Case, late 19th c., lid opens to reveal fitted tray, five drawers filled with instruments and supplies, as found, height 10 3/4 in., width 12 in., depth 8 3/4 in.



$500/700 W 877. A Pair of W 871. Two Antique English Medical

Instrument Cases, late 19th c., including an ear and nose scope by Allen & Hanbury’s, Ltd., and a chemist’s kit, with various test tubes, funnels and flasks, in fitted mahogany cases. $500/700 W 872. A Group of Antique English

Medical Instruments, c. 1900, by the Genito-Urinary Mfg. Co. Ltd., three fitted mahogany boxes including cystoscopes and a prostatic punch. $400/600 W 873. An Antique French Gilt

Bronze Figural Group of “Two Boys Fishing”, on a black ovoid base, height 9 1/2 in. $200/400

French Transfer and HandDecorated Chargers, c. 1860, signed “Carl Larsen”, the reserves with classical motifs, foot rim drilled and wired for hanging, diameter 11 3/4 in.


$300/500 W 878. A Pair of

Empire-Style Gilt and Polychrome Porcelain Vases, swan handles, oval classical reserves, socle base, height 16 1/2 in., diameter 6 1/2 in. $800/1200

874. A William IV Mahogany Shaving Mirror, mid-19th c., rectangular frame, scroll supports, on a two drawer base, button feet, height 26 in., width 19 in. $150/250 875. English School, 18th c., “Portrait of a Gentleman”, oil on board, unsigned, 12 in. x 10 in., in a period oval giltwood frame.

W 879. Nine English

Gilt and Polychrome Ironstone Dinner Plates, mid-19th c., John Ridgway & Co., Staffordshire, in the Imari style, marked, diameter 10 3/8 in.



$500/750 W 880. An Antique English

876. A Pair of Continental Porcelain Fruit Coolers, each in three parts, polychrome enamel and transfer floral decoration with gilt and cobalt banding, height 9 in., width 9 3/4 in. $700/1000

Pottery Jardinière on Pedestal, c. 1900, the vessel with floral decoration, the stand with lion handles and Greek key banding, overall height 32 in., diameter 12 1/2 in.

881. An English Walnut Concertina Action Games Table, probably 19th c., in the George II taste, inset gilt tooled leather playing surface, underside fitted with till box, round tapering legs ending in pad feet, height 28 in., width 36 in., depth 18 in. $700/1000 Provenance: Estate of Julia Badger, Grand Rivers, KY.

$600/900 W denotes the lot is illustrated at




884. An Antique George III-Style Mahogany Bureau Bookcase, 19th c., dentil molded cornice above a pair of mullion glazed doors, adjustable shelves, slant front lid opening to a fitted desk interior, four graduated drawers, molded base on bracket feet, height 97 in., width 43 1/2 in., depth 23 in.





882. An Antique George III-Style Mahogany Pedestal Dining Table, reeded edge, turned support, reeded legs, casters, height 27 1/2 in., width 38 3/4 in., depth 58 in. $800/1200


883. A William IV Inlaid Mahogany Server, c. 1840, gadrooned backsplash with shaped returns, top above three banded drawers, arched apron, square tapered legs. $700/1000

885. A Pair of William IV Carved Mahogany Bowfront Corner Cabinets, 19th c., each with molded canted cornice, shell carved frieze, arched paneled door centered by a cartouche and flanked by spiral turned pendants, conforming molded base, shelf interior, height 82 1/2 in., width 42 1/2 in., depth 26 1/2 in. $2000/3000 886. A George III Carved Mahogany Blanket Chest, late 18th c., hinged top opening to void interior, molded base with two drawers, bracket feet, height 34 in., width 49 in., depth 24 3/8 in. $1200/1800

887. An Antique English Oak Welsh Dresser, the upper section with shelves, the lower case fitted with three drawers over doors, bracket feet, height 75 in., width 62 in., depth 18 1/2 in. $1200/1800 888. A Pair of Antique Georgian-Style Carved Walnut Library Chairs, 19th c., shaped rectangular backs with serpentine arms, trapezoidal seats, bead and acanthus cabriole legs, pad feet.






890. An Antique Georgian-Style Inlaid Mahogany Chest-on-Chest in the Chippendale Taste, c. 1830, upper case with molded cornice above two short over three graduated drawers; lower case with three graduated drawers, molded base, shaped bracket feet, height 71 3/4 in., width 44 5/8 in., depth 23 7/8 in.

889. A Regency Carved Rosewood Games Table, early 19th c., foldover swivel top opening to a baizelined playing surface, beaded, paneled frieze, lyre shaped stem, incurvate plinth, sabre legs, brass paw feet, casters, height 28 in., width 36 in., depth 17 1/2 in.

$2500/3500 891. A Pair of Louis XV/XVI-Style Carved Beech and Caned Bergères, late 19th c., each of generous proportion, in “estate” condition, retaining down cushions, height 43 1/2 in., width 27 in., depth 22 in.

$800/1200 889

$1200/1800 W denotes the lot is illustrated at


894. A Monumental Napoleon III Gilt Bronze Cartel Clock, 19th c., of Rococo form, enameled dial surmounted by a putto in a chariot, foliate surround, Amour and Psyche below, height 37 in., width 19 in., depth 8 1/2 in. 892


$3000/5000 895. A Pair of Adams-Style Mahogany UrnForm Knife Boxes, with brass finials, swag and bowknot decorated body on square plinth base, height 21 in., diameter 9 1/2 in. $800/1200 W 896. An

Antique Continental Tôle Peinte Tray and Two Canisters, c. 1900, the tray with scalloped rim, marked “Made in Russia” verso; the canisters with opposing birds, having hinged lids, tray length 26 in., width 20 1/2 in., canister height 9 1/2 in., width 7 3/4 in., depth 7 1/4 in.


$500/700 893 (top) W 897. A Pair of

Antique French Patinated Metal Figures, “Siffleur (Whistler)” and “Fumeur (Smoker)”, c. 1890, after Masse, the bases in the form of cobblestones, height 21 in.

892. An Antique Continental Rococo-Style Giltwood Console, serpentine marble top, foliate and acanthine skirt centered by a large rocaille cartouche, acanthus carved S scroll legs, stretcher with pierced cartouche, scrolled toes, height 36 1/2 in., width 56 in., depth 21 in. $1500/2500

$300/500 893. A Monumental Régence-Style Carved and Argenté Table, rectangular specimen marble top with semiprecious stone inlay including jade, carnelian, lapis lazuli, and amethyst, height 33 in., width 74 in., depth 38 1/2 in. $7000/10000



898. A Pair of Empire-Style Cut Crystal and Doré Bronze Urns, baluster form, sphinx supports, plinth base, height 22 in., width 9 in., depth 6 in. $2000/4000 899. A Pair of Renaissance Revival Gilt Bronze SevenLight Candelabra, 19th c., scrolling arms, architectural standard with arches and columns, stepped plinth atop salamander scrolled feet, height 23 7/8 in., width 9 3/4 in., depth 9 3/4 in.






W 899A. An American Patinated Metal

Kerosene Train Lantern, rim marked “1921-1923 Pats. Pending”, glass globe etched “ICRR” (Illinois Central Railroad), overall height 13 3/4 in. $150/250 900. A Pair of Louis XVI-Style Gilt Bronze and Marble Eight-Light Candelabra, late 19th c., floriform candlearms, the urn with ram’s head handles and swags, fluted socle, quadripartite base, height 34 in., width 15 in., depth 11 in. $1000/1500


901. A Regency-Style Mahogany Dining Table, c. 1920, banded D ends, one leaf, vasiform pedestals, outswept molded legs, brass paw feet, casters, height 38 3/8 in., length 77 3/4 in., width 39 in.

902. A Set of Eight Hepplewhite Carved Mahogany Side Chairs, each with molded crest rail, pierced splat centered by an urn, serpentine seat rail, square tapered legs.


$1200/1800 W denotes the lot is illustrated at




903. An Antique Queen Anne-Style Walnut Tilt-Top Tea Table, circular top, birdcage support, ring-turned baluster support on arched legs and slipper feet, height 29 in., width 33 in. Note: Composed of antique elements. $700/1000


907. A German or Austrian Figured Walnut Table, mid 19th c., oval top, carved tripod base, height 29 in., width 1/2 in., depth 30 1/2 in. $700/1000


904. A Georgian Carved Mahogany Chest of Drawers, late 18th c., banded top above two short and three graduated drawers, flanked by engaged columnar stiles, molded base, ogee bracket feet, later brasses, height 31 in., width 46 in., depth 24 1/2 in. $1000/2000


905. A French Restauration Carved Mahogany Lit de Repos, mid-19th c., cylindrical crest rail, columnar stiles, height 42 in., length 74 in., width 46 in. $1200/1800 W 906. A Pair of Antique Louis Philippe-Style

Mahogany Fauteuils de Bureau, barrel backs, caned seats, tapered fluted legs. $200/400


908. An American Classical Carved and Inlaid Mahogany Sofa, early 19th c., attributed to Anthony Quervelle, Philadelphia, scrolled tablet crest, rosewood frieze, shell carved arms, blocked and gadrooned seat rail, massive acanthus carved paw feet, casters, height 34 in., width 67 in., depth 25 in. $1000/1500

909. An American Classical Carved Mahogany Games Table, early 19th c., in the manner of Anthony Quervelle, Philadelphia, foldover top, turned pedestal, incurvate plinth, acanthine paw feet, casters, height 31 in., width 36 in., depth 18 1/2 in. $800/1200




910. An American Classical Carved Cherrywood Four Poster Bed, c. 1825, spiral turned, pineapple carved posts with associated brass finials, paneled headboard with a scrolled crest, conforming pegged rails, turned tapered legs, bun feet, height 85 in., length 72 in., width 55 in. $1000/1500


911. An American Classical Carved Mahogany Chest of Drawers, c. 1825, Norfolk, Virginia, two outset banded drawers over three graduated drawers, flanked by distinctive carved tablet corners, leaf carved capitals and spiral turned half columns, ring turned ball feet, height 43 1/2 in., width 45 in., depth 23 1/2.

912. A Federal Mahogany Slant-Top Lap Desk, late 18th c., dovetailed case with hinged lid, open interior, one small fitted drawer and a long drawer, height 9 3/4 in., width 24 in., depth 18 1/4 in.

$700/1000 Note: The outset upper drawers, anthemion blocks, and distinctive lozenge-carved and twist stiles on this chest are closely related to those on sideboards descended in the family of Norfolk, Virginia, merchant Harrison Allmand and the Maganum family of Orange County, North Carolina. These case pieces were most likely produced by the same Norfolk cabinet shop. Reference: Newbern and Melchor. Classical Norfolk Furniture 1810-1840. p. 77-79, figs 6-5 and 6-6.

$300/500 912

913. A Late Federal Cherrywood Sideboard, c. 1815, probably Connecticut, rectangular top with crotch grain crossbanding, three short drawers above two doors, flanked by deep drawers, turned legs, height 42 in., width 61 in., depth 24 in. $1000/1500

W denotes the lot is illustrated at


920. An American Classical Giltwood Mirror, 19th c., molded frame with original gilt surface, height 40 1/2 in., width 26 1/2 in. $400/600 914


W 915. A Caribbean-Style Tropical


Hardwood Campeche Chair, shaped crest rail, scrolled arms, curule legs, turned stretchers, boss details. $300/500 W 916. A Regency-Style Bronze-

Mounted and Carved Mahogany Center Table, octagonal faux marbre top, reeded support, incurvate triangular plinth, scrolled brackets, bronze paw feet, height 29 1/4 in., width 33 1/4 in., depth 33 1/4 in. $400/600

921. An American Classical Carved Giltwood Overmantel Mirror, early 19th c., divided mirror plate, split baluster frame, rosette blocks, height 17 3/8 in., width 40 3/8 in. $400/600 W 922. A Civil

War Relic of a Springfield Musket, mounted with ramrod, incorporating new walnut stock, the barrel cut to reveal a minie-ball lodged inside, on walnut plaque. $400/600


917. A Carved Walnut Refectory Table, probably Iberian, of 17th c. inspiration, height 32 in., width 93 1/2 in., depth 31 in. $1000/2000 W 918. An English Pine Granary

Bin, c. 1850, lift off top opening to void interior, paneled sides, tall square legs, pegged construction, height 33 1/2 in., width 55 in., depth 24 3/4 in. $400/600


914. An American Quaker Pine Meetinghouse Bench, 19th c., Pennsylvania, shaped crest rail, medial slat, plank seat, arms and base, height 34 1/4 in., width 117 5/8 in., depth 16 3/8 in. $400/600


919. An English Carved Oak Blanket Chest, 18th c., paneled molded lift top, case with carved panels and brass escutcheon, block feet, height 30 in., width 58 1/2 in., depth 22 in. $700/1000

W 923. A

Springfield Model 1861 U.S. Percussion Rifle Musket, lock markings; “U.S. Springfield”, eagle and 1862, 58 caliber, 40 inch round barrel, walnut stock, three barrel bands, associated ramrod. $800/1200

924. A Fine Confederate Staff Officer’s Sword, blade marked “Dufilho/ N. Orleans”, the quillion with “C.S.” and pelican insignia, wirewrapped leather grip, scabbard with cypress wood inserts, blade with possible post-war gilt wash or “turned” lacquer, as found condition. 924


924 (mark)

Provenance: Baton Rouge, Louisiana Collection. W 925. [Marga­

ret Mitchell, Gone With the Wind], 1936 Macmillan Company, New York, signed and dedicated “To Grace Waters from Margaret Mitchell, June 30, 1936”, first edition, first printing, with dust jacket, with all required points.


$600/900 926. American School, early 19th c., “Portrait of Selina Watkins Lockett (1788-1864), wife of Samuel Lockett of Mecklenburg, Virginia”, oil on canvas, unsigned, 32 1/2 in. x 28 in., in a period gilt wood frame. $1000/1500 Note: Samuel and Selina Watkins Lockett’s daughter Mary Clay Lockett married her cousin Napoleon Lockett (same last name), a prominent lawyer in Marion, Alabama. Mary Clay Lockett was credited with requesting the Alabama artist Nicola Marschall to design the Confederate flag. A portrait of Napoleon Lockett by Nicola Marschall was sold in these rooms on June 5th, 2004, lot no. 450.


927. American School, late 19th/early 20th c., “Battle of Mobile Bay, August 5th, 1864: Admiral Farragut’s Union fleet defeating the Confederate ironclad CSS Tennessee”, oil on canvas, unsigned, 20 1/2 in. x 29 1/4 in., in a period giltwood frame. $1500/2500 W 928. James Hamilton

(American, 1819-1878), “Schooners off the Coast”, 1852, oil on canvas, initialed and dated lower left, signed, dated and dedicated “Capt. E.L. Dana....” en verso, 8 1/4 in. x 13 in., in a period frame. $600/900


929. Xanthus Russell Smith (American, 1839-1929), “Shipwreck - Civil War”, 1863, watercolor, signed and dated lower right, 6 3/4 in. x 10 in., in a wood frame. $800/1200

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932. A FivePiece American Coin Silver Presentation Tea Service, Mitchell & Tyler, Richmond, Virginia, wc. 1845-66, marked “MITCHELL & TYLER” in a rectangle on the bottom of the waste bowl and the kettle-onstand, consisting of teapot, creamer, covered sugar, waste bowl and kettle-onstand, repoussé chased pearshaped forms, raised on openwork scroll feet, all over design of scrolling grapevines, the kettle-on-stand with floral and scroll decoration, all pieces with matching finials and feet, engraved “Presented to / Frederick Boyden / By his Friends./ Richmond, Va./ July 1851” on one side and engraved script initials “FB” on the other, kettle-on-stand height 14 3/4 in., combined weight 124.55 troy ozs. $7000/9000 Reference: See Silversmiths of Virginia, George Barton Cutten, pp. 148-149. Note: Frederick Boyden (1805-1857) was landlord of the Exchange Hotel in Richmond from 1841 to 1851. Located at the corner of Franklin and Fourteenth streets, the hotel was a showplace in its day and included a ballroom, reading room, baths, a post office and shops.


W 929A. [Slave Documents], a manuscript bill of sale from

Washington County, TN, dated 1833, for the purchase of “a Negro Man named William”, sold by Adam Broyles to Henderson Clark, for four hundred and twenty five dollars, together with a partially printed document slave bill of sale, from Charleston, SC, dated August, 1846, for “Peggy” and “Mary” and “their future issue”, sold by Charles Barr to Orin Taylor, both documents kept in custom folio titled “Original Slave Document” $100/200 W 930. American School, 19th c., “Portrait of Jefferson Davis”,

oil enhanced lithograph on canvas, stamped en verso “WARRANTED OIL COLORS” with patent, 17 in. x 14 in., original gilt frame. $400/600 931. John McCrady (American/Mississippi, 1911-1968), “Steamboat Round the Bend”, 1945, lithograph, pencil-signed and titled, published by Associated American Artists, plate 9 1/4 in. x 14 1/2 in., matted and framed. $800/1200 Provenance: Purchased from the artist by a Staten Island, New York scholar and collector; descended in the family; acquired by a collector, 2004.

W 932A. Two Louisiana/Mississippi Carte-de-Visite and

Photograph Albums, mid-19th c., two leather bound albums with brass clasps, comprising an album of carte-de-visites and tintypes of Bishop William Elder of Natchez and members of the Crump, Greene, Beard, Reinhard and Gruno families of New Orleans and members of Turnbull, Bucchett, Hawkie and Patridge families of Mississippi by photographers William Washburn, Berrick & Dirr, Herrick, S. Anderson, and Needles & Bishop; and an album of carte-de-visites collected by Standford Shaille in Paris in 1867, including professors, group photograph of Corps Medical with list identifying sitters en verso, and provocative images of Madame de Lafayette, Madame de Pompadour and various artwork, and includes novelty photograph of “Bottomley Dances his first Polka with Miss Longshanks”; accompanied by partial carte-de-visite album without the cover, including Professors Richardson, Frank Hawthorn and others by New Orleans photographers Leeson, William Washburn and S. Anderson, and includes Confederate General Sterling “Old Pap” Price by Louis Prang & Co. of Boston. $700/1000 933. An American Carved Powder Horn, 1811, engraved “Adam Fisher, Albany, New York” and dated, decorated with a hunter and dog, geese, a bear, a deer, and a fish, length 19 in. $500/700


W 934. An American Carved

Powder Horn, 19th c., decorated with vignettes of ducks on a pond amidst clouds, leather strap, length 11 1/2 in. $500/700 935. An American Stoneware Whiskey Cask, labeled “Brook Hill, Carraboco, KY”, decorated with view of a horse race, height 14 3/8 in. $500/700 936

936. An American Federal Pine Decanter Box, 18th c., with strapwork hinged lid, interior fitted for 12 bottles, retains 11 hand-blown bottles, iron bail handles, monogrammed on one side, height 11 1/2 in., width 17 3/4 in., depth 13 in.


$700/1000 W 937. A Pair of

Southern Side Chairs, 19th c., probably Kentucky, slat back, leather strap seat. $200/400 Provenance: Orange Grove Plantation, West St. Mary Parish. 938. An American Classical Carved and Inlaid Mahogany Butler’s Desk, early 19th c., cross-banded fall front escritoire drawer, Gothic arch inlaid corners, Doric columns flanking a pair of bead molded doors, incurvate plinth, ball feet, height 45 in., width 45 in., depth 23 in.



939. An American Classical Mahogany, Ebonized and Gilt-Stenciled Dressing Chest, c. 1825, New York, mirror with S scroll supports above three glove drawers; case with three drawers flanked by blocked columns, acanthine paw feet, height 64 in., width 40 in., depth 21 in. $1200/1800 940. An American Federal Carved Mahogany Drop-Leaf Table, c. 1800, shaped leaves, frieze drawer, turned tapered legs ending in button feet, height 28 1/4 in., width 22 1/2 in., depth 38 3/4 in.




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942. William Aiken Walker (American/South Carolina, 1838-1921), “Female Cotton Picker”, 1889, oil on academy board, signed lower right, pencil inscribed “New Orleans, April 13th, 1889” en verso, 8 in. x 4 in., framed. $4000/6000 Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker. 943. William Aiken Walker (American/South Carolina, 1838-1921), “Male Cotton Picker”, 1889, oil on academy board, signed lower left, pencil inscribed “New Orleans, April 13th, 1889” en verso, 8 in. x 4 in., framed.


941. An American Elizabethan Carved Walnut Child’s Armchair, mid19th c., later upholstery, height 26 3/4 in. $500/700


$4000/6000 Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker. 944. American School, early 19th c., “Portrait of Eleanor McLeary (1756-1850)”, oil on canvas, unsigned, old handwritten genealogy attached en verso, 22 1/4 in. x 19 1/2 in., framed. $1000/1500 Provenance: Sotheby’s, September 10, 2003. W 945. Horace

Devitt Welsh (American, 1888-1942), “Southern Cabin Scene, Wash Day”, etching, pencil signed, plate 4 x 4 3/4 in., in a giltwood frame. $400/600





946. American School, “Portrait of a Boy with Hoop”, oil on canvas, unsigned, 52 in. x 32 in., framed. $1000/1500 947. A Fine American Aesthetic Carved and Burled Walnut Bedroom Suite, c. 1880, attributed to Mitchell and Rammelsberg, Cincinnati, comprising a half tester bed with elaborate carved and pierced tester, bracket supports, head and footboard with bracketed rails; matching armoire, center stile flanked by mirrored doors, two long drawers below; mirrored marble top dresser, three short over two long drawers; mirrored marble top washstand, long drawer over drawers and cupboard. $8000/12000 Provenance: Descended in a New Orleans family, acquired from a Royal Street, New Orleans purveyor long ago. Note: This bedroom suite is likely part of a group of furniture made in Cincinnati and sold in New Orleans in the 1880’s. The use of walnut, the proportions, case configurations, and carved embellishments relate closely to those on a suite sold in these rooms in 1995 and illustrated in Dubrow. Styles of American Furniture, 18601960, p. 59; a suite stenciled “M & Co., New Orleans” and sold by Neal Auction Company as lot 973 on February 12, 2011; and a suite by Mitchell and Rammelsberg exhibited at the Cincinnati Museum of Art. Mitchell and Rammelsburg began their partnership in 1847 and built a vast Cincinnati manufacturing complex with warerooms in St. Louis (1855), Kentucky (1862) and on Royal Street in New Orleans


(1865). Frederick Rammelsberg died in 1863, and William Mitchell bought his partner’s shares in the business. By 1888, the Rammelsberg name was dropped, and the firm continued operation until 1930. Though produced by a large manufactory using steam powered machines, the suite offered here shows influence from the renowned programs of Arts and Crafts proponents Henry Lindley Fry, William Henry Fry, and Benn Pitman who

held woodcarving classes for women at the University of Cincinnati School of Design starting in 1873. Reference: Howe. Cincinnati Art Carved Furniture. and Trapp. “’To Beautify the Useful:” Benn Pittman and the Women’s Woodcarving Movement in Cincinnati in the Late 19th c.,” Victorian Furniture. pp. 174-192.

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951. An American Renaissance Carved Rosewood Commode, c. 1870, top with turreted corners, conforming stiles, drawer over door, conforming base, disc feet, height 31 in., width 19 1/2 in., depth 18 3/4 in. $400/600 952


948. An American Classical Carved and Gilded Pier Mirror, c. 1820, probably New York, blocked cornice with acorn pendants, shell carved frieze, original mirror plate flanked by split baluster frame. $400/600 Provenance: Seven Hearths, Southbury, CT.

949. An American Classical Carved Giltwood Pier Mirror, rectangular mirror plate, baluster and ring-turned surround, cornucopia panel, rosette blocks, height 33 1/8 in., width 15 1/4 in. $400/600 950. An American Renaissance Carved Walnut Triple Back Settee, mid 19th c., pierced strapwork splats, shaped arms, turned stretcher and legs, casters, height 43 1/2 in., width 65 1/2 in., depth 21 in. $800/1200


952. An American Classical Carved Mahogany Dressing Table, c. 1840, the mirror with pedimented crest and columnar supports, the superstructure with two drawers and scrolled returns, original white marble top above two short and one long torus molded drawers, trestle base with turned stretcher, the sides with concentric boss carving above outswept paw feet, casters, height 82 in., width 42 1/8 in., depth 23 in. $1200/1800




953. An American Gothic Figured Walnut Mixing Table, early 19th c., probably Baltimore, backsplash above an original white marble top, long drawer above an inset arched paneled door, flanked by arched paneled stiles, dished feet. Note: Signed “John Bertolette”, height 35 in., width 25 in., depth 19 1/2 in. $400/600 954. An American Modern Gothic Carved and Incised Walnut and Minton Tile Bedroom Suite, late 19th c., attributed to Kimbel & Cabus, New York, comprising a bed with trefoil carving; princess dresser with candle shelves and white marble top pedestals; and a six drawer chest. $3500/5500 Note: The John Moyr Smith tiles depicting famous lovers Romeo and Juliet and Antony and Cleopatra suggest this suite may have been specially commissioned as a wedding gift. 955. A Suite of Ten British Arts and Crafts Oak Side Chairs, late 19th c., designed by E.G. Punnett and executed by William Birch, High Wycombe, likely retailed by Liberty’s, London, each with shaped back flanked by tapering ring-turned stiles, rush seats, conforming legs, box stretchers. $1000/1500 Note: Very closely related chairs designed by Punnett and made by Birch are illustrated in Agius, Pauline. British Furniture. pl. 213, and Andrews, John. Arts and Crafts Furniture. pl. 243.


956. A Pair of Edwardian Satinwood and Paint-Decorated Commodes, each with shaped top above a pair of doors reserved with urns, square tapered legs, height 30 in., width 15 1/2 in., depth 16 1/2 in. $600/900 W denotes the lot is illustrated at


959. A Fine American Classical Carved Mahogany Dressing Table, early 19th c., attributed to Anthony Quervelle, Philadelphia, molded mirror frame on tapered columnar supports and two glove drawers, inset marble top, beveled drawer, lyre supports, on an incurvate plinth, acanthine paw feet, height 82 in., width 38 in., depth 27 1/2 in. $1000/1500 957 960. A Pair of Antique Carved Mahogany Pedestal Cabinets in the Sheraton Taste, late 19th/ early 20th c., locks marked Eagleville Lock Co., Terryville CT, cove molded raised tops, fluted and rosette frieze, single door, one cabinet fitted for silver storage, the other with shelves, blocked base, height 42 1/2 in., width 19 3/4 in., depth 18 3/4 in. $800/1200


W 961. An

English Beechwood Upholstered Wing Chair, of generous proportion, shaped turned arms, turned legs, stretchers. $200/300 W 962.


957. A William IV Mahogany Collector’s Cabinet, mid-19th c., crossbanded reeded edge top above a pair of paneled doors, interior fitted with twenty drawers, turned legs, height 44 in., width 39 1/4 in., width 21 7/8 in. $1000/1500


958. An Antique English Mahogany Chest-on-Stand, in the Queen Anne style; upper case with molded cornice, two drawers over four graduated drawers; lower case with long drawer over three short drawers, shaped apron, cabriole legs, pad feet, height 60 in., width 28 in., depth 18 in. $800/1200


Louisiana School, early 19th c., “Portrait of a Gentleman, a member of the Beauvais-Decuir family”, oil on canvas, illegibly signed lower right, 25 1/2 in. x 21 1/2 in., in an antique giltwood frame. $500/750 Provenance: Descended in the Ellis/Denis/Beauvais-Decuir family. Note: The gentleman depicted in this portrait is connected to the Beauvais-Decuir family, whose portraits by Jacques Amans (American, 1801-1888, active New Orleans 18361856) have been sold in these rooms May 2010, September 2010, and February 2011.

963. James Michalopoulos (Louisiana, b. 1951), “Smelts, Creole Cottage”, oil on canvas, monogrammed lower left, inscribed en verso, 24 in. x 18 in., framed. $2500/3500 964. William Hollingsworth (American/ Mississippi, 19101944), “Conscience”, watercolor on paper, signed lower right, 10 in. x 8 in., matted and framed. $4000/6000 Note: Sold to benefit the Scarsdale Woman’s Club, New York. 963



965. George Rodrigue (American/Louisiana, b. 1944), “Tee Coon at Home”, 1991, oil on canvas, signed lower left, signed, titled and dated en verso, 18 in. x 36 in., attractively framed.

caught him, he had lost his companion. Rodrigue’s most iconic portrait of “Tee Coon” is in the c. 1980 painting The Day We Told “Tee Coon” Goodbye. Selected “Tee Coon” paintings have been published in Rodrigue’s books The Art of George Rodrigue and Le Petit Cajun.


Reference: Danto, Ginger and George Rodrigue. The Art of George Rodrigue. New York: Harry N. Abrams, Inc., 2003, p. 70. Rodrigue, George and Dotsie L. LeBlanc. Le Petit Cajun. Baton Rouge: Legacy Publishing Company, 1978, p. 19. Wendy Wolfe Rodrigue, Musings of an Artist’s Wife, “Alligator Crossing,” July 9, 2010, http://www.wendyrodrigue. com/2010/07/alligator-crossing.html. Wendy Wolfe Rodrigue, Musings of an Artist’s Wife, “Riding to New Orleans; An Artist’s Journey,” September 13, 2010, http://www.

Note: Rodrigue’s friend, whom he affectionately called “Tee Coon,” was a janitor at Catholic High in New Iberia, where Rodrigue attended school. Rodrigue painted “Tee Coon” dozens of times, and used the image of “Tee Coon” to personify the Cajun legend about a man who hunted an alligator for many years, only to find that when he had

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966. Alexander John Drysdale (American/New Orleans, 1870-1934), “Bayou Scene with Three Live Oaks”, oil wash on board, signed lower left, inscribed “New Orleans, La” and two remnants of labels en verso, sight 19 1/4 in. x 29 1/2 in., in a period frame. $3000/5000 Provenance: Descended in a Louisiana family. 967. Emil Eugen Holzhauer (American/Florida, 18871986), “Murphy, North Carolina”, casein and watercolor on paper, unsigned, titled en verso, 22 1/4 in. x 29 3/4 in. $1000/1500 Provenance: Gift of the artist to the Okaloosa-Walton College, Niceville, Florida.




968. Emil Eugen Holzhauer (American/Georgia, 1887-1986), “Corner Store, Macon, GA”, 1942, watercolor on paper, signed and dated lower left, 15 1/8 in. x 21 1/4 in., matted and framed. $1200/1800


969. Alexander John Drysdale (American/New Orleans, 18701934), “Live Oaks on the Bayou”, oil wash on board, signed lower right, sight 9 1/4 in. x 29 1/4 in., framed. $2500/3500 970. Alexander John Drysdale (American/New Orleans, 18701934), “Louisiana Bayou with Lilies”, oil wash on board, signed lower right, 5 3/4 in. x 19 1/4 in., attractively framed. $1800/2500



971. Colette Pope Heldner (American/New Orleans, 1902-1990), “Vieux Carré Courtyard”, oil on canvas board, signed lower left, Vern Carver & Beard Art Galleries, Minneapolis label en verso, 10 in. x 8 in., in a period giltwood frame. $1200/1800 972. Alberta Kinsey (American/New Orleans, 1875-1952), “Court of Two Sisters”, oil on canvas, signed lower right, 14 1/4 in. x 20 1/4 in., in a period frame. $1000/1500 973. David Noll (American/ Louisiana, 20th c.), “Louisiana Shanty”, 1974, watercolor on paper, signed and dated lower right, Sports Club, New Orleans label en verso, sight 17 in. x 23 in., matted and framed.

971 972

$1500/2500 974. Nina Harper (Texas/ New Orleans, d. 1931, active Newcomb College, 19041907), “Newcomb College Pottery Building, 2828 Camp Street, New Orleans”, oil on canvas laid down on board, signed lower right, 17 1/8 in. x 19 3/4 in., framed.



$500/700 Note: Harper studied at Newcomb College from 1904 to 1907 and exhibited at the Delgado Museum of Art (now the New Orleans Museum of Art) in 1911. The Newcomb Pottery Building depicted here, also known as the Camp Street Crafts Building (designed by Rathbone 974 DeBuys Architects), appears in a 1917 oil painting by William Woodward (1859-1939), sold by Neal Auction Company as lot 620, October 1, 2006, and in a 1903 photo postcard reproduced in Bragg and Saward. Painting the Town, The Woodward Brothers Come to New Orleans. p. 167.

975. George Izvolsky (American/New Orleans, active 1930-1940), “Brulatour Courtyard”, oil on canvas, signed lower right, 19 in. x 15 in., in a giltwood frame. $600/800 W 976. Minnie Robertson Mikell (South

Carolina, 1891-1987), “Still Life with Tomatoes and Kettle”, oil on masonite, signed lower right, 24 in. x 20 in., framed. $500/700

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980. Ralph Cooksey (American, late 19th/ early 20th c.), “Pheasants on the Edge of a Field”, 1923, oil on canvas, signed lower right, 32 in. x 24 in., original frame. $600/800 981. Robert Edmund (Lie) Lee (American, 1899-1980), “Sailing Ship, Montezuma”, 1948, oil on canvas, signed and inscribed lower left, 30 in. x 40 in., framed.


$1200/1800 980 W 982. Robert

Edmund (Lie) Lee (American, 1899-1980), “Sailing Ship from the 1850s”, 1949, oil on masonite, signed, inscribed and dated lower left, 14 in. x 19 1/2 in., framed.




979 (1 of 2)

977. Emmitt Thames (American/Mississippi, b. 1933), “Mississippi Landscape”, 1970, watercolor, signed and dated lower right, sight 14 1/2 in. x 21 1/2 in., matted and framed.


$800/1200 978. Paul Fontaine Mersereau (American/ Shreveport, b. 1868), “Red River Valley Spring Landscape”, oil on canvas, signed lower right, 18 in. x 24 in., framed. $1000/1500


979. Chet Reneson (American/Connecticut, b. 1934), “Fly Fishers”, 1994, pair of watercolors on paper, both signed and dated lower left, both sight 17 3/4 in. x 28 in., attractively matted and framed alike. $800/1200


983. Robert Edmund (Lie) Lee (American, 1899-1980), “Sailing Ship, Lightning”, 1962 and “Ocean with Whitecaps”, 1950, two oils, one on artist board, the other on canvas, both signed lower left, 18 in. x 24 in. and 21 1/2 in. x 24 in. respectively, both framed.

984. Oleg Stavrowsky (American, b. 1927), “Silver Creek”, oil on canvas, signed lower right, signed and titled en verso, 36 in. x 48 in., framed. $3000/5000 985. Oleg Stavrowsky (American, b. 1927), “Here it Comes”, oil on canvas, signed lower left, signed and titled en verso, 24 in. x 30 in., framed.



$3000/5000 988. George David Coulon (French/ New Orleans, 1822-1904), “Study of Horses”, 1879, oil on wood panel, initialed and dated lower right, signed, titled, dated and inscribed “After Herring” and “New Orleans”, remnants of label en verso, 10 3/4 in. x 9 3/4 in., in a period giltwood frame.

986. Oleg Stavrowsky (American, b. 1927), “Janine Knows the Way”, oil on canvas, signed lower center, signed and titled en verso, 46 1/4 in. x 32 7/8 in., framed.

$1000/2000 W 989. Southern School, 20th c.,

“Confederate Major General John Brown Gordon”, acrylic on canvas, unsigned, 48 in. x 36 in., framed.



987. Rhoda Brady Stokes (Louisiana, 1901-1988), “Shoeing the Horse”, 1965, oil on masonite, signed and dated lower right, 17 in. x 16 in., with artist’s biography en verso, framed.


$3000/5000 Provenance: Descended in a Baton Rouge family.



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990. Clementine Hunter (American/Louisiana, 18861988), “Cotton Gin”, oil on board, monogrammed lower right, 18 in. x 24 in., framed.

W 996. L.C. Howard (American/

New Orleans, 20th c.), “Group of Four Views of Le Petit Théâtre: Exterior, Interior, Courtyard and Plan”, four pencil drawings on illustration board, three signed “LC Howard DEL”, from 12 1/2 in. x 9 1/2 in. to 13 1/2 in. x 21 3/8 in., unframed.

$2000/3000 Provenance: Purchased from the artist c. 1970 by an Alexandria, Louisiana lady, descended in the family 991. Clementine Hunter (American/Louisiana, 18861988), “Gone Fishin’”, oil on board, monogrammed mid-right, 8 in. x 16 in., attractively framed.

$500/700 W 997. Earnest Williams

(American/Alabama, late 20th c.), “Ernie Floating in the Clouds with Jesus”, oil on board, signed lower right, titled en verso, 14 5/8 in. x 23 in., unframed.




Provenance: Purchased from the artist c. 1970 by an Alexandria, Louisiana lady, descended in the family

Provenance: Acquired from the Blanton Collection, Marion, Alabama.

W 992. Ethelinda

W 998. Earnest

Williams (American/ Alabama, late 20th c.), “Walkin’ the Dog”, oil on board, signed lower right, titled en verso, 11 3/8 in. x 17 1/4 in., in original attached branch surround.

Robbins (American/ New Mexico, 20th c.), “Strawberries”, 1999, oil on canvas, signed lower right, titled and dated en verso, 40 in. x 50 in., unframed. $800/1200 W 993. Ethelinda

$500/750 Provenance: Acquired from the Blanton Collection, Marion, Alabama.


Robbins (American/ New Mexico, 20th c.), “Peppers”, oil on canvas, signed lower right, 36 in. x 58 in., unframed.

W 999. American School, 20th

c., “Still Life with Succulents”, oil on canvas, signed “Voll” lower left, 24 in. x 26 in., in an attractive giltwood frame.

$800/1200 W 994. Jay Remy Broussard

(American/Baton Rouge, 19201976), “Only Light of Life”, 1949, oil on canvas, signed and dated lower right, titled on “Art Association of New Orleans” label en verso, 24 in. x 12 in., in a period frame.

$300/500 1000. C.N. Hickok (American, late 19th/early 20th c.), “Mountain View”, oil on panel, signed lower right, 18 in. x 24 in., in a carved wood frame.

$300/500 Note: Baton Rouge artist, Jay Remy Broussard, taught painting at Louisiana State University from 1949 to 1956. An active member of the New Orleans Art Association, Broussard earned many prizes for his paintings at their annual exhibitions at the Delgado Museum of Art (today the New Orleans Museum of Art). Exhibited at the New Orleans Art Association in 1949, the charming painting “Only Light of Life” depicts an African American church as the congregation gathers for evening service. W 995. A Pair of Fine Antique Aesthetic Movement

Gessoed Silver and Giltwood Frames, late 19th c., presented with graphite and pastel enhanced photographs mounted on canvas, unsigned, 22 in. x 18 in. $300/500


$700/900 1000 W 1001. After George Louis

Viavant (American/Louisiana, 1872-1924), “Wood Duck” and “Rabbit”, offset lithographs, signed and dated in plate, sight 21 1/2 in. x 13 1/2 in. and 27 3/4 in. x 15 in., both framed. $300/500 Note: These works were reproduced by the Viavant family in the 1970s and printed by Upton Printing in an edition of 300. They are illustrated in George E. Jordan’s George L. Viavant: Artist of the Hunt, pp. 115 and 116.

W 1002. Philip Anthony Sage

(American/New Orleans, b. 1942), four prints, “Camellia Grill”, 1977, colored etching, pencil-signed, titled and dated, artist’s proof, artist’s biography en verso, sight 12 3/4 in. x 17 1/4 in.; “Morning Call”, etching, 1974, pencilsigned and titled, cancelled proof, sight 19 in. x 15 1/4 in.; “Cafe Du Monde”, 1975, etching, pencil-signed, titled and dated, artist’s proof, sight 16 in. x 18 1/2 in.; and “Entrance to Audubon Park”, 1980, etching, pencil-signed, titled, dated and numbered 178/200, sheet 18 3/4 in. x 22 in., all framed except latter. $300/500

W 1006. Palmer Schoppe (American/

California, 1912-2001), “Black and Gold: Cowboy on Horse”, 1983, mixed media on paper, pencil signed and dated lower right, signed, titled and numbered “645” en verso, 12 1/2 in. x 9 1/2 in., unframed. $500/700 W 1007. David Aiken Humphrey

(American, b. 1955), “Felix Culpa”, oil on canvas, unsigned, titled lower center, titled and dated “1985” en verso, 108 1/8 in. x 80 1/8 in., in a period frame. $400/600 Provenance: Sold for the benefit of the Museum of Fine Arts, Houston.

W 1012. A Pair of Continental

Japanned and Bamboo Occasional Tables, 20th c., each with lacquered top, three tiers, bamboo uprights, height 30 1/2 in., width 16 in., depth 16 1/2 in. $500/750 W 1013. A Persian Copper and

Silver Olive Oil Vessel and Tray, both intricately decorated, the vessel with animals, hunters and gods; the tray with a central scene of figures around a well and tree, tray diameter 30 in., vessel height 27 in., diameter 15 in. $600/900

W 1003. Jamie (James Browning)

W 1014. An Egyptian Bedouin

Wyeth (American, b. 1946), “The Farm”, 1980, portfolio of 4 etchings, consisting of “Chicken Basket”, “91, 75, 86, 93, 84 (Cows)”, “Runaway Pig”, and “Bee Shadows”, each pencil-signed and numbered “24/150”, each copyright stamped “1980 Jamie Wyeth” en verso, each sheet size 25 in. x 20 in., image sizes ranging from 8 3/4 in. x 11 3/4 in. to 16 3/4 in. x 13 3/4 in., presented in a linen embossed portfolio.

Bridal Veil, woven linen and wood with silver beadwork, traditionally made by the mother of the bride, height 33 in., width 21 in., attractively presented in a shadowbox frame. $600/900 Provenance: Acquired Saudi Arabia, 1990s. W 1015. An Antique Tôle Peinte

Plate Warmer, mid-19th c., on tall paw feet, later black paint; together with an antique coal scuttle, height 26 in., width 16 in., depth 11 in., (2 pcs.)

$700/900 W 1003A. A Group of Four “Oil


Cloth” Posters, depicting various early 20th c. advertisements including “The Arabian Nights”, 40 in. x 57 in., “Get Fat on Lorings”, 35 in. x 22 1/2 in., “The Slave of the Orient”, 42 1/2 in. x 29 in., and “D.D. Mallory & Co., Canned Goods”, 42 in. x 29 1/2 in.

W 1016. A Set of Three Victorian

Pressed Brass Curtain Valances, each in the form of fringed swags with tassels, length 54 1/2 in.



$600/900 W 1004. Joseph “Pops” Whitesell

(American/New Orleans, 1876-1958), “Pops Whitesell’s Studio in the French Quarter” and “Probably a Portrait of Juanita Gonzales”, two silver gelatin prints, unsigned, pencil inscriptions en verso, 11 in. x 13 7/8 in. and 13 7/8 in. x 10 7/8 in., both unframed. $400/600 Provenance: Descended in a New Orleans family. Note: This view of Pops Whitesell’s French Quarter studio shows portraits of him by friends and fellow artists Cadwallader Washburn and Xavier Gonzales. Both paintings are now in the collection of the Louisiana State Museum. Also visible in the studio are prints by Wayman Adams and Morris Henry Hobbs. W 1005. Lowell Ellsworth Smith

W 1008. American School, mid-20th c.,

“Lone Light”, oil on canvas, unsigned, titled and Schussler Bros., San Francisco stamp en verso, 22 in. x 18 in., in a period frame. $1000/1500

W 1017. An Antique Continental Cast Brass Tazza, c. 1900, the well and base cast with insects, flowers and an inset reserve of herons feeding in the water, height 6 1/2 in., diameter 10 in.

$300/500 W 1009. A Set of Six Neoclassical-Style

Carved Dining Chairs, possibly Thonet, arched crest, molded interlaced splat, caned seat, turned tapered legs, stretcher. $300/500 W 1010. A Decorative English Three-Panel

Needlepoint Dressing Screen, early 20th c., panels with pastoral landscapes of spring flower windmill and mill with tower. $300/500

W 1018. An Antique French

Opaline Pate de Riz Coffer and Undertray, c. 1900, with argenté bronze void cartouche mount, height 3 1/2 in., length 8 in., width 6 3/4 in. $250/350 Provenance: Neal Auction Company’s Manheim Galleries Auction, February 23, 2002 W 1019. A Brass Easel, crest having a

(American, 1924-2008), “Decades”, watercolor on paper, signed lower right, 11 in. x 14 1/4 in., in a gilt frame.

1011. An Antique English Carved Oak Hall Chair, c. 1875, turned crest rail above, pierced splat, shaped plank seat, pierced sides, arched legs.



flower filled urn flanked by two ladies, height 73 1/2 in., width 21 in. $200/400

W denotes the lot is illustrated at





1020. A Pair of French Neo-Grec Porcelain and Bronze-Mounted Vases, c. 1860, reserved with figures respectively of “Poesie Epique” and “Poesie Satyrique” on a black ground with gilt decoration, now mounted as lamps, height 18 in. $300/500 1021. A Pair of French Brass Figural Candlesticks, c. 1870-80, marked, each standard in the form of an elephant with upraised trunk supporting a candle cup, tripartite pierced base, height 12 3/4 in. $500/700 1022. An Antique Austrian Porcelain Three-Piece Clock Garniture decorated with gilt floral motifs and classical reserves, conforming urns, clock height 18 in., width 10 3/4 in., depth 5 1/2 in. $600/900



W 1026. A Kashmir Carpet,


W 1023. A Kashan Carpet, signed by weaver, crimson

ground, central radiating medallion in cream and navy, overall floral motif, intricate floral border, 13 ft. 6 in. x 9 ft. 9 in. $800/1200 W 1024. An Isfahan Carpet, royal blue ground,

crimson, navy and cream ground, central mosque design, various pictorial and geometric motifs, 13 ft. 3 in. x 9 ft. 2 in. $600/900 1027. A Persian Serapi Carpet, cream and cinnamon ground, large central geometric medallion in blue and salmon floral vine border, 9 ft. 7 in. x 13 ft. 7 in.

central pictorial scene of mounted hunters amid flora and fauna, symmetrical figural border, 12 ft. 11 in. x 9 ft. 10 in.



1028. A Persian Malayer Runner, red ground with overall floral motifs, 11 ft. 5 in. x 3 ft. 2 in.

W 1025. A Qum Silk Carpet, cream and crimson

ground, central tree of life motif, floral vine border, 5 ft. 5 in. x 3 ft. 7 in. $500/700


W 1029. A Persian

W 1033. An Afghan

Varamin Carpet, blue and crimson ground, overall geometric lattice design, small floral motif border, 4 ft. 3 in. x 8 ft. 5 in.

Camel Bag, wool construction, of typical form, with interlacing diamond motifs, total length 67 in., width 31 in.



W 1030. A Kashan

W 1034. A Pair of

Carpet, cream ground, central oval medallion in pale blue, overall small floral motifs, floral écoinçons in crimson, foliate border, 13 ft. 7 in. x 9 ft. 11 in.

French Brass Bouillotte Lamps, 20th c., swan-form candlearms, electrified, with tôle shades, height 31 in., diameter 10 in. $500/750

$1000/1500 1031. A Persian Heriz Runner, crimson ground, central geometric lozenge pattern, geometric border in cream, pale blue and cinnamon, 3 ft. 8 in. x 14 ft. $2000/3000 W 1032. A Group of

Three Afghan Carpet Floor Cushions, with lengths from 50 to 66 in. $500/700

1035. A Pair of White Marble Sandaled Feet, in the GrecoRoman style, height 8 in., width 6 in., depth 15 in.


$800/1200 1036. An Antique Middle-Eastern Carved Mirror Frame, highly carved foliate decoration, with remnants of gilt and ebonization, height 56 1/4 in., width 40 in., mirror plate opening 38 in. x 28 1/2 in. $600/900




1037. An Antique Dutch Marquetry Envelope Table, 19th c., floral inlaid top with four shaped drop leaves, inlaid vasiform turned stem, arched scrolled inlaid legs, note: losses, height 30 in., width 23 in., depth 18 1/2 in. $500/700


1038. An Italian Polychromed and Parcel Gilt Trestle Table, floral and leaf painted molded top, shaped supports, scrolled feet, height 31 1/2 in., length 71 in., width 32 in. $700/1000 W denotes the lot is illustrated at


W 1045. A Group of

Sterling Silver Demitasse and Souvenir Spoons, some enameled, various makers and patterns, including 6 Whiting “Louis XV”, 3 Gorham “Imperial Chrysanthemum” and 5 Tiffany “Marquise”, combined weight 14.25 troy ozs. (40 pcs.) $400/600 W 1046. A Group of


1039. A Tennessee Coin Silver Cordial Glass, David Large Hope, Knoxville, wc. 18281869, with engine-turned and engraved decoration, height 4 3/4 in., weight 2.15 troy ozs. $150/250 Reference: Caldwell, Benjamin Hubbard. Tennessee Silversmiths, pp. 110111.

1039 1040. An American Coin Silver Julep Cup, by Peter Krider, Philadelphia, c. 1850, ret. J. Werne, Louisville, KY, wc. 1836-1858, with later polo trophy presentation inscription: “Third Westbury Challenge Cup/ 1932/ R. Lehman/ C.V. Whitney/ T. Hitchock/ J.H. Whitney”; height 3 1/2 in., weight 3.65 troy ozs.

Miscellaneous Sterling Silver Cocktail Forks, Strawberry Forks, Etc., including 6 “Les Six Fleurs” by Reed & Barton cocktail forks; 2 Tiffany “Hampton” cocktail forks; 2 Tiffany “Flemish” cocktail forks; 3 Wallace “Louvre” cocktail forks; and 8 Frank M. Whiting “Josephine” strawberry forks, combined weight 13.70 troy ozs. (27 pcs.) $400/600 W 1047. A Gorham Silverplate Tea

Set, in the Rococo taste, comprised of a kettle-on-stand, teapot, sugar and creamer, kettle-on-stand height to top of handle 12 in, (4 pcs.) $300/500

$400/600 Note: Robert Lehman, Cornelius Vanderbilt Whitney, Thomas Hitchcock, Jr., and John Hay Whitney were among the most celebrated polo players of their day.


1041. An American Sterling Silver Julep Cup, Bailey, Banks & Biddle, wc. 1878 to present, Philadelphia, c. 1910, hammered surface, molded lip and foot rim, height 3 1/2 in., weight 5.10 troy ozs. $300/500 1042. Two Antique American Sterling Silver Bread Forks, Gorham Pattern 475, c. 1890, length 6 1/2 in., combined weight 2.20 troy ozs. $300/500 W 1043. An Antique Silverplate Egg Cup

Stand, unmarked, with six cups, overall pierced decoration, scroll feet, height 6 1/4 in. $250/350 W 1044. A Good Group of Antique


Silverplate Items, including basket with ruby glass liner, height 6 in.; creamer, height 5 1/2 in.; apple jam pot, height 5 in.; and open salt, height 1 1/16 in. (4 pcs.) $250/350

W 1048. Three American Sterling

Silver Tea Balls, including a teapotshaped by Am Craft, a top-shaped by Webster and a ball-shaped by Blackinton, combined weight 2 troy ozs. $250/350 W 1049. Three Sterling Silver Tea

Infusers, including a “spinning top” by Blackinton, a ball-shaped by Blackinton and an unmarked strainer, probably South American, combined weight 3.85 troy ozs. $250/350 W 1050. An American Silverplate

Chafing Dish and Lazy Susan Stand, lazy susan diameter 14 in., chafing dish diameter 10 1/2 in. $250/350 W 1051. A Group of Sterling Silver

and Silverplate Bar Items, including a vintage motif silverplate wine coaster, silverplate bar tools on stand, silverplate mounted corks on stand; together with a pair of silverplate beakers, probably English, spiral fluted body with reeded rim and embossed cartouche, height 2 7/8 in. (5 pcs.) $300/500


1055 1056 W 1052. A

Miscellaneous Group of American Sterling Silver Flatware, various patterns and manufacturers, mostly spoons and some forks, combined weight (weighable) 36.45 troy ozs. (51 pcs.) $700/1000 W 1053. A

1059 Group of Assorted Sterling Silver Iced Tea Spoons, by various manufacturers and patterns, 7 “King Edward” by Gorham, 3 Francis 1st by Reed & Barton, 4 “Chateau Rose” by Alvin, 3 “Baltimore Rose”, 7 “Melrose” by Gorham, 4 “Wild Rose” by International, and 5 others, combined weight 34.35 troy ozs. (33 pcs.)

1056. A Sevres Gilt and Polychrome Porcelain Partial Dessert Service, 19th c., consisting of 12 plates, one oval footed compote and four footed compotes, each with scrolled foliate border on cobalt ground, floral reserves, plate diameter 9 in. $400/600 W 1057. An Antique Continental Parian Figural

Compote, 19th c., reticulated basket, column surmounted by grape vines, allegorical cherubs, base with bellflowers, scrolled feet, height 16 in. diameter 11 in. $500/700 W 1058. A French Gilt and Polychrome Porcelain

Apothecary Jar, 19th c., labeled “Assa Foet”, height 11 1/8 in., diameter 4 1/2 in. $150/250 1059. A Pair of KPM-Style Gilded Porcelain Urns, each of baluster form, masque handles, polychrome reserves, plinth base, height 18 1/2 in., diameter 5 1/2 in.



W 1054. A Group of Small Tiffany & Co.

1060. A Pair of NeoclassicalStyle Bronze and Crystal Twelve-Light Chandeliers, 20th c., bellflower and acanthus decorated frame, scrolled supports, height 45 in., diameter 22 in.

Sterling Silver, including a grape shears (as is), 3 “English King” pattern butter spreaders and a manicure utensil. $250/350 1055. An Extensive Limoges Porcelain Transfer-Printed and Gilt Dinner Service for Twelve, stamped “Limoges” and “J. Pouyat”, decorated with a classical motif of anthemia, leaf and berry, comprising one oblong and one square covered vegetable tureens, three graduated trays, two graduated open vegetable tureens, one open gravy boat with attached undertray, 12 dinner plates, 12 luncheon plates, 9 dessert plates, 12 bread plates, 11 soup bowls, 12 fruit plates, 9 teacups and 12 saucers, (97 pcs.)

$1500/2500 W 1061. A Pair of Rococo-Style

Gilt Bronze Three-Light Sconces, foliate backplate and supports, electrified, height 20 in., width 17 in., depth 10 in. $500/750 1060 (1 of a pair)

$700/1000 W denotes the lot is illustrated at


1063. A Pair of Georgian-Style Carved Mahogany Pedestal Cabinets, 20th c., cove molded top, swagged frieze drawer, door with oval medallion of beribboned urn, one with shelf interior, the other fitted with drawers, molded base, height 43 1/2 in., width 18 1/4 in., depth 18 1/4 in. $500/750 1064. An Antique George III Carved Mahogany Armchair, acanthus crest, shell ears, pierced splat, scroll arms, shaped seat, rosette molded tapered legs. Note: old repairs. $400/600 1064 1065. A William IV Carved Mahogany Partner’s Desk, 19th c., tooled leather top, three frieze drawers on each side, pedestal ends with three drawers, blocked base. $600/900 1066. An Antique English Carved Rosewood and Needlepoint Fire Screen, volute scroll crest, molded uprights, frame with gilt inner border, arched legs, turned stretcher.



1062. A Napoleon III Kingwood Parquetry and Bronze-Mounted Sécrétaire à Abattant, 19th c., cove molded top above a frieze drawer, fall front lid with baize-lined writing surface and two drawers, four drawers below, shaped base, height 51 1/2 in., width 21 1/2 in., depth 11 1/2 in.

W 1067. A Regency Carved Mahogany

Étagère, early 19 c., three rectangular tiers, low drawer, turned spindle supports, turned legs, casters, height 44 in., width 19 1/2 in. $300/500

$800/1200 1066




1068. A Pair of French Carved Walnut Fauteuils, shell and floral crest, spindled back, padded arms, rounded guillochecarved seat rail, turned fluted legs. $500/750 1069. An Antique French Provincial Carved Oak Armoire, 19th c., molded cornice, paneled doors, shelf interior, two drawers below, cabriole legs, height 89 1/2 in., width 65 in., depth 19 in.



$2000/3000 1070. An Antique Continental Rococo-Style Carved Walnut Mirror, acanthus rocaille crest, molded frame, acanthine appliqués, height 45 1/2 in., width 31 in. $1000/1500 W 1071. A Provincial Louis

XV-Style Carved Oak Table a Écrire, molded top, scrolled apron, cabriole legs, hoof feet, height 25 1/2 in., width 46 5/8 in., depth 22 1/2 in. $700/1000 1074 1072. An Empire-Style Mahogany BronzeMounted Commode, faux marbre top, torus-molded frieze drawer over three long drawers, engaged columnar supports, blocked base, bun feet, height 38 in., width 41 1/2 in., depth 21 5/8 in.


1074. Italian School, mid-to-late 19th c., “Waiting by the Village Gate”, oil on canvas, unsigned, 26 1/4 in. x 20 in., in a later giltwood frame. $1000/1500


W 1075. Lucien Genin (French, 1894-

1953), “Le Moulin de la Galette”, gouache on paper, signed lower right, pencil inscribed “No. 15” and with a preparatory sketch en verso, titled on a paper label affixed to frame, 6 1/2 in. x 8 7/8 in., framed; together with French School, 20th c., “Parisian Street Scene”, oil on canvas, bears signature “Blanchard” at lower right, a Galerias Cortez/ Tijuana, Mexico framers label en verso, 20 1/4 in. x 24 in., in an attractive giltwood frame. (2 pcs.)

W 1073. A Large Empire-

Style Gilt BronzeMounted Mahogany Bureau Ministre, mid-20th c., inset tooled leather top, bronze molded edge, kneehole configuration of drawers, on toupie feet, extensively mounted. $1000/1500 1072

$400/600 W denotes the lot is illustrated at





1076. Niek van der Plas (Dutch, b. 1954), “Making Sand Castles”, oil on wood panel, signed lower right, 7 in. x 9 in., framed.

W 1079. A Pair of American Rococo Carved

Rosewood and Cane Slipper Chairs, mid-19th c., arched rose crest rail, shield shaped back, serpentine cartouche seat rail, cabochon cabriole legs, casters. $600/900 W 1080. An American Classical Carved Walnut

Dining Table, early 19th c., deep drop leaves, plain skirt, turned tapered legs, casters, height 29 in., width 24 in., depth 46 in.



W 1077.

Continental School, late 19th c., “Portrait of a Young Woman”, oil enhanced photograph on canvas, unsigned, sight 29 in. x 23 1/2 in., in an elaborate antique carved, gessoed and giltwood frame. $300/500



1081. An American Federal Fruitwood Chest, late 18th/early 19th c., top above four graduated drawers with ivory escutcheons, reeded stiles, shaped base, turned legs, height 40 1/4 in., width 42 in., depth 20 in. $600/900

1078. An American Rococo Carved Rosewood Parlor Suite, mid-19th c., comprising four side chairs, armchair and méridienne; all with shaped crest, serpentine seat, cabriole legs, casters; méridienne height 36 in., width 56 in., depth 21 in. $800/1200 Provenance: Descended in the family of Madame Marie Emeranthe Becnel Brou Hermann (1776-1851), New Orleans.

1082. An American Federal-Style Carved Mahogany Sofa, New York, beribboned swag carved crest, reeded arms with acanthine supports, reeded seat rail on turned and reeded legs, height 37 1/4 in., width 80 in., depth 31 1/2 in. $1000/2000

1083. A Fine American Federal Mahogany Work Table, early 19th c., New York, drop-leaf top above two drawers and a barrel form work basket, foliate-carved, reeded legs, button feet, height 30 in., width 19 1/2 in., depth 16 1/2 in. $1200/1800 W 1084. An American

Classical Carved Mahogany Hall Table, early 19th c., marble top, ogee molded frieze, scrolled supports, shaped plinth, beaded trestle supports, ogee molded feet, height 32 in., width 34 1/2 in., depth 17 in.



$500/700 W 1085. A George III-

Style Mahogany Library Chair, rectangular back, padded curved arms, straight rail, square molded legs, stretchers. $200/400 W 1086. A Georgian

Carved Oak Candlestand, 18th c., octagonal tilt top, vasiform stem, arched legs, slipper feet, height 27 in., width 19 in., depth 17 in. $400/600 1087. A ChippendaleStyle Carved Mahogany Games Table, 19th c., serpentine fold-over top, floral molded edge, beaded skirt, acanthus bracketed and chamfered legs, height 29 in., width 33 in., depth 34 1/2 in. $700/900 1088. An Antique George III-Style Mahogany Bookcase, glazed doors with Gothic arched mullions enclosing adjustable shelves, base with two doors, height 77 1/2 in., width 36 in., depth 12 1/2 in.



1089. A George III Carved Mahogany Linen Press, early 19th c., stepped cornice over paneled doors enclosing linen drawers, lower case with two drawers over two long drawers, shaped apron, “French” feet, height 79 in., width 50 in., depth 22 in.

W 1090. A Georgian-Style Carved

Mahogany Bedside Commode, shaped gallery, single door, square legs, height 31 1/4 in., width 17 1/2 in., depth 14 in. $200/400


$800/1200 W denotes the lot is illustrated at





1097. An English Inlaid Mahogany Work Table, 19th c., three graduated drawers with elliptical inlaid panels, scalloped apron, on square tapered legs, height 27 in., width 21 in., depth 14 1/2 in. $200/400 W 1098. A Georgian-


Style Carved Oak Wine Table, demilune top with drop leaves, square bracketed trestle legs, conforming stretcher, height 28 1/2 in., width 61 in., depth 41 in. $300/500

W 1094. A French Rococo-Style


1091. An English Mahogany Miniature Chest-onChest, c. 1880, molded top, reeded drawers with bale pulls, on later bracket feet, height 18 3/4 in., width 14 1/2 in., depth 8 1/2 in. $300/500 1092. An Antique Carved Mahogany Pedestal Cabinet, inset variegated white marble top above fluted columnar body, octagonal plinth base, height 29 1/2 in., depth 15 1/2 in. $300/500 1093. An Antique Louis XV-Style Carved Fruitwood and Elm Commode, shaped top over two drawers, paneled sides, cabriole legs, hoof feet, height 32 in., width 38 1/2 in., depth 24 in. $700/1000


Carved and Giltwood Mirror, the two shaped panels with C-scroll decoration, height 39 3/4 in., total width 29 1/2 in. $300/500 1095. A Pair of Louis XVI-Style Parquetry and Gilt Metal-Mounted Semainiers, each with pale rouge marble top with canted corners, conforming case, height 50 in., width 18 in., depth 12 1/2 in. $1000/1500 W 1096. An Antique Faux Bamboo

Hall Stand, c. 1900, crest and stiles with hat hooks, mirrored frieze, woven fan panel, umbrella slots, drip pan, height 83 1/4 in., width 29 1/2 in., depth 12 in. $500/750

Provenance: Henry Stern, New Orleans, LA. W 1099. A Decorative

Pair of Gilded and Marble Veneer Pedestals, dark variegated green marble with gilt Corinthian capital and stepped plinth, height 51 3/4 in., width 14 in., depth 14 in. $500/700


1103. A Pair of Large Continental Neoclassical Bronze Plaques, 19th c., French or Italian, diameter 27 in. $1000/1500


1100. A Pine Welsh Dresser, 20th c., superstructure with molded cornice, plate racks and four drawers; base with four drawers over paneled doors, molded base, shaped bracket feet, height 93 in., width 90 in., depth 19 3/4 in. $800/1200 1101 1101. An Antique Empire-Style Gilt Bronze Eight-Light Chandelier, fluted urn-form standard mounted with female terms and ram heads, the acanthine scrolled candlearms ending in grotesque masques, height 33 in., diameter 30 in. $1000/1500



1102. A Pair of Large Gilt and Polychrome Porcelain and Bronze-Mounted Lidded Urns, in the Sevres taste, pineapple finial, scrolled acanthus handles with rings and swags, the painted reserves with troubadour and court members in classical landscapes, circular base on square plinth, height 56 in., width 19 in., depth 14 in.

1104. A Pair of Antique Continental Carved Walnut and Rosewood Faux Bois Commodes in the Louis XV Taste, serpentine top above small drawer and door ornamented with rocaille and foliate carving, acanthine cabriole legs, height 34 in., width 22 1/2 in., depth 15 in. $700/900

$4000/6000 W denotes the lot is illustrated at


1107. A Fine Pair of Rock Crystal Two-Light Sconces, in the style of Baques, each tapered backplate surmounted by a parrot on an urn, height 28 1/2 in., width 20 in., depth 5 in. $2000/3000 1108. A Napoleon III Bronze Doré Figural Mantel Clock, mid-19th c., depicting a Roman centurion atop rockwork base, works marked “L Marti and Cie Medalle de Argent” and numbered, plinth base with applied trophées, height 27 1/2 in., width 19 1/2 in., depth 6 1/2 in.

1106 1108

$2500/3500 1109. A Monumental SevresStyle Bronze-Mounted Vase, late 20th c., baluster form, foliate rim mount, reserves painted with court scenes, flanked by rams head handles, fluted plinth base, height 46 1/2 in., width 24 in., depth 16 in. $1000/2000 1110. A Pair of Aesthetic Bronze-Mounted Porcelain Vases, 19th c., scalloped rim, body with light blue ground and birds in flight, pierced scrolled base, scroll feet, height 15 in., diameter 7 in. $1000/1500 W 1111. An Empire-Style

Patinated Metal Humidor, late 19th c., sarcophagus form with pineapple finial, female masques, ring handles, hoof feet, retains traces of gilding, height 9 1/2 in., width 13 in., depth 8 1/2 in.



W 1105. A Queen Anne-Style Paint-Decorated

Side Table, 20th c., frieze with pendant, cabriole legs, pad feet, black ground with polychrome fruit and gilt arabesques, height 30 1/2 in., width 38 1/2 in., depth 15 in.


$300/500 1106. A Pair of Large Louis XV-Style Gilt Bronze-Mounted and Marble Nine-Light Candelabra, urn form with scrolled handles amid beribboned swags, square plinth, height (to top of bobêche) 43 in., electrified. $1500/2500



1112. A Louis Philippe Bronze-Mounted Sevres Porcelain Three-Piece Clock Garniture, c. 1844, with Sevres “Chateau des Tuileries” and 1844 marks, urnform clock with striking bell movement, porcelain dial flanked by lion mask, ringed handles, iridescent green glaze, ring handles, reserves of courting couples and landscapes, borders in raised gilt, clock height 18 4/2 in., width 9 1/2 in., depth 7 1/2 in. $1500/2500 1112

W 1113. A Pair of German

Patinated Spelter Figures, c. 1880, depicting Schiller and Goethe, one marked “P.H. Hameran”, marble bases, heights 11 in. $150/250 W 1114. A Pair of English

Chinoiserie Decorated Huntley & Palmers Biscuit Tins, late 19th/ early 20th c., tapering form with cylindrical necks and flared rims, bases drilled and marked “Huntley Palmers/ Biscuits/ Reading & London”, height 10 1/8 in., now mounted as lamps. $150/250 1117 W 1115. A Pair of Empire-Style

Brass Lamps, 20th c., with Corinthian column standard, tall plinth base with reliefs of various Muses, height to top of column 24 in.

W 1120. An American Rococo


Carved Giltwood Mirror, late 19th c., beaded border and intricate molded floral decoration, height 46 in., width 54 in.

W 1116. Two French Gilt Metal


Bouillotte Lamps, 20th c., one three-light, the other two-light, both with adjustable tôle shades, height 26 in. and 22 in., both electrified. $200/400 1117. A Marble Bust of an Italian Youth, the bust in black, white and rose marble, on a rose marble pedestal, height 75 in., width 19 in., depth 16 in. Note: Small repairs. $1500/2500


W 1121. An American Classical

W 1118. An English Portrait Relief of George

Gordon, Lord Byron, 19th c., the gilt bronze sculpture behind glass, backed with pale gold brocade, relief 4 1/4 in. x 3 1/4 in., in a wood frame, overall 9 1/4 in. x 8 1/4 in.

Carved Mahogany Piano Stool, early 19th c., circular swivel seat, turned stem, acanthus carved legs, paw feet, height 20 in. $150/250


W 1122. An American Rococo

1119. An American Carved Giltwood Mirror, 19th c., molded frame with burnished gilt, rectangular beveled mirror plate, height 50 1/2 in., width 34 1/2 in.

Carved Rosewood Slipper Chair, c. 1850, New York, elaborate floral and pierced frame, retains oval upholstered back, floral-carved serpentine seat rail, cabriole legs, casters.



W denotes the lot is illustrated at


1127. An American Rococo Carved and Ebonized Armchair, mid-19th c., Philadelphia, molded oval back, scrolled arms, serpentine seat rail with cabochon, cabriole legs, casters, period floral cut velvet upholstery. $500/750 W 1128. A

Chippendale-Style Carved Mahogany Tilt-Top Tea Table, piecrust top, birdcage support, fluted stem with foliate collar, arched foliate carved legs, claw and ball feet, height 27 in., diameter 30 3/4 in., Note: Carving loss to one foot.


$500/750 W 1129. A Pair of


W 1124. An American Classical

Carved Mahogany Sideboard, c. 1820, New York, the leaf and shellcarved backsplash flanked by rosettes and terminating in eagle heads, two drawers above a pair of raised panel doors, spiral acanthus carved columns, plinth base, acanthine paw feet, height 56 in., width 55 in., depth 22 in. $800/1200


W 1123. An American Rococo Carved

Mahogany Armoire, mid-19th c., crest with carved bust and volute scrolls above a central mirrored door with three drawers below, paneled leaf and cabochon side doors enclosing shelves, stepped molded base, bracket feet. $1200/1800

W 1125. An Empire-Style

Bronze-Mounted Mahogany Desk, 20th c., inset green leather top, kneehole configuration of drawers, columnar legs, incurvate stretchers, ball feet, height 32 in., width 36 1/4 in., depth 33 1/2 in. $500/750 W 1126. A Chippendale-Style

Carved Mahogany Library Table, 20th c., inset black leather top with molded skirt, cabriole legs, claw and ball feet, height 30 in., width 78 in. depth 39 1/2 in. $500/750

American Late Classical Mahogany Stools, c. 1840, stepped ogee frame, scroll bracket feet, casters, needlepoint upholstery, height 17 1/2 in., width 17 1/2 in., depth 17 1/2 in. $500/750 1130. An American Renaissance Carved and Burl Walnut Breakfront Bibliothèque, c. 1870, the pedimented cornice above arched glazed doors enclosing adjustable shelves, short drawers over arched paneled doors, blocked molded base, height 90 in., width 68 in., depth 20 in. $800/1200 1131. An American Renaissance Carved Walnut Bedside Commode, late 19th c., shaped marble top, small drawer over door, flanked by half-round columns, shaped base, disc feet, height 30 1/2 in., width 19 3/4 in., depth 18 1/2 in. $400/600 W 1132. An American Renaissance Carved

and Burled Walnut Armoire, late 19th c., arched floral crest, pair of paneled doors, base with two drawers, blocked feet, height 95 in., width 56 in., depth 23 1/2 in. $800/1200


1133. A Set of Six American Renaissance Carved Oak Dining Chairs, late 19th c., comprised of one armchair and five side chairs, scrolled griffin carved crest, spiral turned stiles, mask splat, molded trapezoidal seat, blocked and turned legs, scrolled and turned stretcher. $1000/1500 1134. An American Renaissance Carved and Burled Walnut Bedroom Suite, c. 1870, comprised of a dressing chest, armoire and bedstead, the mirrored dresser with cartouche crest, candleshelves, glove boxes, marble top above three drawers, blocked base; conforming armoire with open interior and two low drawers (note: lacks crest elements); the bedstead with arched crest above burled paneled headboard, low footboard, blocked feet, conforming rails, dressing chest height 93 1/2 in., width 44 1/2 in., depth 20 in.; armoire height 101 1/2 in., width 59 in., depth 24 1/2 in.; bed height 112 in., length 77 in., width 59 in. Note: Old finish. Numerous old ink inscriptions and paper tags.


$1200/1800 1135. An American Rococo Carved and Ebonized Rosewood Server, mid-19th c., Philadelphia, mirrored scrolled back, shaped marble top, conforming frieze drawer, two paneled doors below, turned feet, height 67 3/4 in., width 50 3/4 in., depth 20 in. $700/1000 Provenance: Estate of André Worthington, Lake Washington, MS. W 1136. An American

Late Classical Mahogany Low Table, c. 1830, ripple molded apron, concave columnar support, tripartite base, scrolled feet, height 21 in., width 34 3/4 in., depth 34 in., conforming glass top. $300/500


W 1139. An Edwardian Burl Walnut

1134 (1 of 3)

W 1137. An American Classical Carved

Mahogany Washstand, mid-19th c., white marble top with backsplash and shelf, single drawer over cupboard door, turned feet, height 43 in., width 27 1/2 in., depth 17 in. $400/600

Armoire, late 19th c., molded cornice above an arched mirrored door flanked by arched panels, drawer below, conforming molded base, height 79 1/2 in., width 48 1/2 in., depth 21 in. $1000/1500 W 1140. A Set of Four Queen Anne-Style

Mahogany Side Chairs, of typical form, vasiform splat, trapezoidal slip seat, cabriole legs.

W 1138. A Pair of Louisiana Mahogany Convent


Beds, early 20th c., arched headboards, turned posts, height 67 in., length 77 in., width 36 in. Note: Condition. $500/750

W denotes the lot is illustrated at


1141. An American Mahogany Miniature Chest of Drawers, 19th c., case with three graduated drawers, ash crossbanding, turned bun feet.

W 1148. A Photo-lithograph

of “The Siege of Ueberlingen”, photographed by A. Vanterwasser, lithograph by F. Kimmicher, 1875, pencil dated lower center, sight 13 1/2 in. x 20 1/4 in., matted and framed.

$400/600 W 1142. An American Rococo Carved

Mahogany Chest of Drawers, mid19th c., serpentine white marble top, conforming case with four graduated drawers, volute carved molded base, height 45 1/2 in., width 36 in., depth 24 in.

$100/200 W 1149. A Continental

$300/500 W 1143. An American Late Classical


Carved Mahogany Mixing Table, c. 1840-1850, later fold-over pine top, pair of bracketed rope molded drawers, lyre support, bead molded plinth, scroll feet, casters, height 31 in., width 37 1/2 in., depth 18 1/2 in. $300/500 1144. Attributed to Cephas Giovanni Thompson (American/Massachusetts, 1775-1856), “Portrait of John Gray”, oil on canvas, unsigned, Bonham’s and Sotheby’s tags en verso, 28 in. x 23 1/2 in., framed.

$400/600 W 1150. Two Antique Parian

Figures, 19th c., including “Lalage” modeled by John Bell for Minton and woman holding a branch with grapes, height of Lalage 16 in.

$800/1200 Provenance: Sotheby’s, September 10, 2003.


1145. Horace Bundy (American/ Vermont, 1814-1883), “Portrait of a Woman”, 1846, oil on canvas, signed, dated and inscribed “Springfield” en verso, 28 1/2 in. x 24 1/4 in., framed. $800/1200

W 1151. Two Antique Parian


W 1152. A Loetz Favrile Art

Glass Vase, early 20th c., green body with opalescent blue foliate decoration, the base with etched signature “Loetz, Austria”, height 9 3/4 in.

$400/600 W 1147. Five New Orleans Vintage



Vessels, 19th c., including a ewer with swan-form spout and handle, and a pitcher with leaves, ewer height 15 1/2 in. $300/500

W 1146. Cynthia Willard Iliff (American, b. 1907), “Charleston Christmas”, c. 1940, lithograph, pencil signed, inscribed and titled, 13 1/4 in. x 10 1/4 in., framed.

Photographs, C. Bennette Moore (American/New Orleans), “Louisiana Oak, City Park”, “Shadows of Old New Orleans” and “Lace Balcony, New Orleans”, silver gelatin prints, all signed and pencil titled, sights from 13 3/4 in. x 10 3/4 in. to 9 7/8 in. x 7 3/4 in.; “Old Brulatour Courtyard, Vieux Carré”, handcolored photograph, signed lower right, title label en verso, remnant of artist label en verso, 13 7/8 in. x 10 7/8 in.; William Henry Jackson, (American 1850-1949), “Cotton on the Levee, New Orleans”, chromolithograph, titled and numbered “51284” lower left, 4 1/2 in., 6 3/8 in., all framed.

Porcelain Plaque of “An Elegant Lady in a Pink Gown”, 1910, signed “Ritter” and dated upper right, marked “25-33/PP/L” en verso, 12 3/4 in. x 9 1/2 in., in a later frame; together with a porcelain plaque of a nude maiden, in the Art Nouveau taste, by Mary Sargant Florence (English, b. 1857), signed “F. M. Sargant”, lower right, sight 13 3/4 in. x 5 3/4 in., overall 20 in. x 12 in., in a period gesso frame.

$300/500 W 1153. A Pair of Decorative

Louis XV-Style Cassolettes, having variegated marble bodies with swan handles and floral garlands, height 17 3/4 in. $400/600


1154. A HandelStyle Painted Landscape Lamp, 20th c., reverse painted shade with American lighthouse scene, on a bronze lamp base, marked “Handel”, height 20 1/2 in., diameter 15 1/2 in.

W 1160. A

Continental Porcelain Compote, late 19th c., white ground, floriform bowl with flowering cactus decoration, the base having three cherubs at work as metal smiths, tripartite base with ebonized Greek key trim, height 12 1/4 in., width 11 in.

$700/1000 W 1155. A

Rococo-Style Carved and Gilt Trumeau Mirror, early 20th c., the painting of a courting couple, mirror plate bordered with scrolls and shells, height 71 in., width 49 in.

$150/250 1154

1163 1161. An American Rococo Giltwood Mirror, 19th c., oval mirror plate with elaborate floral scrolled crest, beaded and foliate surround, height 43 in., width 26 in.



W 1156. A Gilt Bronze

and Marble Three-Piece Clock Garniture, clock marked Ansonia, New York, candelabra height 18 1/4 in., clock height 14 1/2 in. $150/250

W 1162. An American

Late Classical Mahogany Pier Mirror, mid-19th c., arched top, ripple molded surround, height 32 in., width 23 in. 1158


W 1157. A Pair of

Rococo-Style Carved and Gilded Mirrored Brackets, each asymmetrical frame with foliate scrolls and floral embellishments, serpentine shelf, pierced pendant, height 32 in., width 11 in., depth 5 1/2 in.

1163. An American Cross-Stitch Sampler, 1861, probably New England, rendered by Mary Fish, wool and cotton thread on linen, central birth register, carnation and sawtooth border, 32 in. x 26 in., in an antique carved wood frame.



1158. A Victorian Parian ThreePiece Garniture Set, each fluted body with alternating pink striping, overall grape and grapevine decoration, twig handles, comprising a low oval centerbowl and 2 ewers, centerpiece width 12 7/8 in., ewer height 13 3/4 in.

W 1164. A Group of Five Vintage

Coushatta and Alibamu Baskets, consisting of four figural in the form of a turkey, attributed to Maggie Poncho, old paper label; a bird, attributed to Bel Abbey, old paper label; an elephant and an owl; all coiled construction; and a small hinged lidded hanging basket, height from 2 1/2 in. x to 5 1/2 in.



W 1159. A Continental Porcelain

Transfer and Gilt-Decorated Dessert Service, early-to-mid 20th c., comprising a teapot, creamer, lidded sugar, 2 serving plates, 12 teacups, 12 saucers, and 11 dessert plates, (40 pcs.) $300/500

1161 W denotes the lot is illustrated at




1165 1167 1165. An American Aesthetic Cast Iron Hitching Post, 19th c., cast with Aztec designs, two rings, height 46 1/2 in. $500/700 1166. A Pair of American Cast Iron Garden Urns, 19th c., the campagna forms with double handles, gadrooned waist above square plinth base, height 23 in., diameter 20 in. $800/1200 1167. An Antique American Iron Bell, late 19th/early 20th c., marked “Steel Alloy Church Bell, Cameron, No. 30” on the yoke and uprights, refreshed black paint, on wooden stand, diameter 30 in. $1500/2500 W 1168. An Antique American Cast

Iron Molasses Kettle, knop handles, height 16 in., diameter 26 1/2 in. $500/750


W 1169. A Carved Wood Eight Panel

Door, height 89 in., width 44 1/2 in., depth 1 7/8 in. $150/250 Provenance: Sold for the benefit of the Museum of Fine Arts, Houston. 1170. Anne Wilson Goldthwaite (American/Alabama, 1869-1944), “Devotional Still Life: The Holy Family”, oil on canvas, unsigned, 16 in. x 13 in., attractively framed. $800/1200


W 1172. Southern School, early-to-

mid 20th c., “Under the Spanish Moss”, watercolor on paper affixed to board, unsigned, 11 in. x 14 in., framed. $200/300

Provenance: Descended in the family of the artist.

(Massachusetts/Mississippi, 18621945), “Still Life with Camellias”, oil on canvas laid down on board, unsigned, 18 in. x 16 in., unframed.

1173. Thomas Fern (American/Baton Rouge, mid-20th c.), “The Diggers: The American Series”, 1955, oil on canvas, signed lower right, signed, titled and dated en verso, 48 in. x 30 in, in a period slat frame.



W 1171. Anne Wells Munger

Provenance: Purchased from the current owners of the house, in Welfleet, Massachusetts, where Anne Wells Munger lived at the end of her life.

W 1174. Marie

de Hoa LeBlanc (American/New Orleans, 18741954), five oils on canvas, including two European cityscapes, and three still lifes, most signed, various sizes from 12 in. x 15 in. to 20 in. x 16 in., all unframed. $1500/2500


Provenance: Discovered in a collection of paintings and drawings by Newcomb artists, New Orleans.


W 1175. Joseph Day

Knap (American/New York, 1875-1962), “Hunting Down Mallards”, watercolor, signed lower left, titled en verso, 15 in. x 22 in., unframed. $300/500 1176. Mildred Nungester Wolfe (American/ Mississippi, 19122009), “Meadow with Birds”, watercolor on paper, signed lower right, 12 3/4 in. x 16 in., attractively matted and framed. $800/1200


W 1178. Don Wright (American/Louisiana, 1938-2007), “Reclining

Nude”, 1981, pastel on paper, signed and dated lower right, 27 1/2 in. x 21 1/2 in., framed. $400/600

W 1177. Mildred

Nungester Wolfe (American/ Mississippi, 19122009), “English Stream”, 1984, pastel on board, signed, dated and inscribed “England” lower right, 9 in. x 12 in., attractively matted and framed. $400/600

1179. J.W. Matthews (American/Texas, 20th c.), “Big Bend Landscape”, oil on canvas board, pencil-signed and with Dow Frame Shop, Fort Worth label en verso, 16 in. x 20 in., in a giltwood frame.


$400/600 1180. Knute Heldner (Swedish/New Orleans, 1877-1952), “Birch Trees, Minnesota”, oil on canvas board, signed lower left and artist’s monogram lower right, signed, monogrammed, and titled en verso, Devoe and Reynolds Co., New York label en verso, 16 in. x 20 in., in a period gilt frame. $3000/5000 Provenance: Purchased from the artist and descended in a New Orleans family.

1181. [Mardi Gras], 19 costume designs for floats by Jennie Wilde (Georgia/New Orleans, 1865-1913), probably Mistick Krewe of Comus, “A Leaf from the Mahabarata”, 1903, watercolors, unsigned, 9 in. x 6 3/4 in., unframed; accompanied with costume design, “Cave Woman”, watercolor, unsigned, titled lower left, inscribed en verso, 9 1/2 in. x 7 1/2 in., unframed, (20 pcs.) $800/1200

W denotes the lot is illustrated at


1187. Noel Rockmore (American/New Orleans, 1928-1995), “Truman Capote with Flowers and Cognac”, 1975, mixed media on canvas, signed and dated lower left, 25 in. x 30 in., framed. $800/1200 W 1188. Noel


Rockmore (American/New Orleans, 1928-1995), “Nude Study from Life, Jackson Square at Night, New Orleans”, 1974, oil on canvas, signed and dated, 24 in. x 36 in., framed. $800/1200 W 1189. Noel Rockmore (American/


New Orleans, 1928-1995), “Portrait of Hiran Pagan, Waiter at Cafe des Artistes, New York City”, 1972, oil on canvas, signed, titled and dated, 28 in. x 20 in., framed.

W 1182. [Mardi Gras], 19th/early 20th c., a pair

of parade flambeaux, metal on wood poles, height 93 in.



Provenance: Acquired from the artist by the owners of Cafe des Artistes Restaurant in the 1970s. The restaurant was frequented by Rockmore and his art was displayed there. According to the family, Rockmore lived in a Hotel des Artistes apartment during this time.

1183. George Bauer Dunbar (American/ New Orleans, b. 1927), “Silver Heart”, brown and black clay with silver leaf, signed lower center, 12 3/8 in. x 9 1/2 in., attractively framed. $2000/4000

W 1190. David Anderson (American/

1184. George Bauer Dunbar (American/ New Orleans, b. 1927), “Abstraction”, mixed media on board, signed lower right, sight 9 3/4 in. x 14 5/8 in., attractively framed.

Florida, 1926-1996), “Baal Tekiyah (Jewish Shofar Sounder)”, oil on masonite, signed upper left, 22 in. x 28 in., artist biography and title label en verso, in a gilt and ebonized molded frame.




W 1185. David Sinclair Nixon

(American/Louisiana, 1904-1967), “Dancing Nudes with Musicians”, 1955, oil on board mounted on mat, signed and dated lower right, mat pencil-signed lower left, 8 1/2 in. x 14 1/4 in., framed.

W 1191. Noel

Rockmore (American/New Orleans, 19281995), twelve pen and ink drawings, all signed, dated from 1986 to 1991 from 13 1/4 in. x 10 1/4 in. to 8 1/2 in. x 5 1/2 in., unframed.

$500/700 1186. David Sinclair Nixon (American/Louisiana, 1904-1967), “Harlequin and Nudes / Floral Still Life en verso”, oil on board, signed en verso, 21 5/8 in. x 12 in., unframed. $500/700




1192. Noel Rockmore (American/New Orleans, 19281995), “Chest of Drawers”, 1971, trompe l’oeil on wooden drawer front, signed and dated lower right, titled and inscribed “Do not turn knobs without consulting Rockmore...” en verso, 9 in. x 30 3/4 in.

W 1200.

Louisiana School, early 20th c., “French Quarter Courtyard”, oil on canvas, signed “Swinney” lower left, 32 in. x 35 in., in a period frame. $500/700 1192 1201. Jack Meyers (American/New Orleans, 1930-1994), “Quilts I”, 1974, acrylic on canvas, signed and dated lower right, 16 in. x 19 in., attractively framed.

$500/750 W 1193. Rolland Harve

Golden (American/ Louisiana, b. 1931), “Fall Vacancy”, graphite on paper, signed lower right, signed and titled en verso, sight 5 1/2 in. x 7 7/8 in., attractively matted and framed.

$3000/5000 Note: This painting was the first in which Jack Meyers included his signature image of quilts.


W 1202. G. Wilson

W 1194. Michael G. Owen,

(American, 20th c.), “Gray Ghosts”, acrylic on canvas, signed lower left, titled en verso, 24 in. x 36 in., in a giltwood frame.

Jr. (American/Texas, 19151976), “Opek”, ink wash on paper, unsigned, 10 1/4 in. x 14 1/2 in.; together with a handwritten artist’s biography, sight 24 3/8 in. x 19 1/8 in., matted and framed together. $300/500 W 1195. Maurice Fromkes

(Polish/American, 1872-1931, active New Orleans, c. 1915), “Carlita”, oil on artist board, signed lower right, titled and signed en verso, 16 in. x 12 3/4 in., in original cove-molded ebonized and giltwood frame. $500/750 W 1196. Jean Nevitt Flanigen

(American/Georgia, 1898-1994), “Young Girl” and “Young Boy (sketch of young boy en verso)”, both oils on masonite, both signed en verso, 24 in. x 20 in., and 20 in. x 16 in. respectively, unframed. $800/1200 Provenance: From the noted Southern Art collection of Steven Cabot Barnes Harvey (1949-1993).



Provenance: Acquired AAA Distributors, 1986.

W 1197. Jewel Alma Woodard Simon (Texas/

Georgia, 1911-1996), “Scene at Rocky Mountain National Estes Park, Colorado”, 1937, oil on canvas board, signed lower right, signed, titled, and dated en verso, 16 in. x 20 in., unframed. $800/1200

W 1203. G. Wilson (American,

20th c.), “Union Zoave”, acrylic on canvas, signed lower left, titled en verso, 24 in. x 18 in., in a giltwood frame. $300/500

W 1198. William Joseph Rakocy (American/

Texas, b. 1924), “Casualty, World War”, 1950, oil on canvas, signed and dated lower right; signed, titled, dated, inscribed 1718 Holly St. KC, MO. (Lighton’s Art Bldg) and with a Twelfth Annual Missouri Exhibition City Art Museum of St. Louis/Nov. 10-Dec.8, 1952 entry label en verso, 34 in. x 24 7/8 in., in a giltwood frame.

W 1204. Mose Ernest Tolliver

(American/Alabama, 19202006), “Woman in Lavender Dress”, oil on plywood, signed lower left, 20 1/4 in. x 16 in., unframed. $500/700

$600/900 W 1205. Mose Ernest Tolliver

c.), “Figure Study of a Seated Woman (study en verso)”, c. 1965/1966, gouache on paper, unsigned, 11 in. x 8 1/4 in., unframed.

(American/Alabama, 19202006), “Safari”, oil on plywood, signed lower right, 17 in. x 25 1/4 in., unframed.



W 1199. Allan Jones (American/Louisiana, 20th

Provenance: Gift of the artist; Allan Jones is an art professor at University of Louisiana, Lafayette

W denotes the lot is illustrated at




1206. American School, early 20th c., “McIntyre & Heath, Billy Cumsand’s Georgia Minstrels”, signed “Dryden” lower left, 68 in. x 37 1/4 in., framed.

Collection, Library of Congress). The two Vaudeville performers joined forces in 1874 and soon became famous for their black-face characters of “Alexander Hambletonian” (played by McIntyre), a slow-witted stable boy, and “Henry Jones” (played by Heath), a clever entertainer who continually outwits his companion. The duo performed for more than fifty years and their most popular sketch, The Ham Tree, was used throughout their long career.

$1000/1500 Note: Recent scholarship on blackface minstrelsy by authors such as Mel Watkins and Robert Toll has shown that, although appropriately condemned for its racial stereotyping, minstrel shows nonetheless played an important role in the development of American comedic theatre. The existence of a joint seminar in American minstrelsy at the Graduate Center at the City University of New York and the book that accompanied it, Inside the Minstrel Mask: Readings in Nineteenth-Century Blackface Minstrelsy show that research in this subject is still developing. The editors of Inside the Minstrel Mask write, “Scholarship has been slow to examine minstrelsy because of its racist character. In the last twenty years, however, scholars have discovered that minstrelsy is a gigantic mirror, reflecting America’s struggle and policies on issues of race, class, and gender. By studying minstrelsy, we discover who we were and how we got to be who we are.” This painting of the well-known minstrel duo of James McIntyre (1857-1937) and Thomas Kurton Heath (1853-1938) is based on the 1916 photo by Apeda Studios (now in the New York WorldTelegram and Sun Newspaper Photograph


Reference: Leonard, William Torbert. Masquerade in Black. Metuchen, NJ: The Scarecrow Press, Inc., 1986. Bean et. al. Inside the Minstrel Mask: Readings in Nineteenth Century Blackface Minstrelsy. Hanover, NH: Wesleyan University Press, 1996.

1207. American School, early 20th c., “American Minstrel Performers: The Funny Old Gal”, oil on canvas, signed “Dryden” lower left, 68 in. x 37 1/4 in., framed. $1000/1500 Note: A popular slapstick routine was for a large man, dressed in outrageous drag, to be pursued by an ardent admirer. W 1208. English School, late 19th/

early 20th c., “Red Bird” and “Blue Bird”, pair of oils on velvet, each unsigned, 35 1/4 in. x 13 in., antique carved giltwood frames. $800/1200

W denotes the lot is illustrated at


Historic Estate for Sale Eutaw, Alabama

Everhope Plantation

c. 1852

Offered at $549,900

• National Register of Historic Places • Period Architectural Details • Eight Picturesque Acres • Restored to Its Former Splendor • Slave Quarters & Several Outbuildings • Rear-Wing with Gourmet Kitchen • Located just 30 minutes from Tuscaloosa For more information contact Vanessa Lockhart 205-331-3721 or

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Barbizon School, 224 Ferdinand Barbedienne, 436 Antonia Basoli, 106 James Barry, 13 Francesco Bartolozzi, 16 Piertre de Belleyme, 140 Ernest Bellocq, 336 George Bellows, 8, 9, 10, 205, 206, Eugene Berman, 6 Joan Blaeu (aft.), 195 Merry-Joseph Blondel, 217 Maurice Blum, 850 Germain Boffrand, 272 Francois Bonvin, 197 Francesco Borromini, 37, 38 Jules Frederic Bouchet, 18 Jay Remy Broussard, 994 David Brownlow, 693 William Henry Buck, 342 Horace Bundy, 1145


Jean-Jacques Caffiere (aft.), 139 L. Cannon, 688 Marco Capinucchi, 136 Henry Casselli, 543 Conrad Wise Chapman, 354 Gustave A. ChasseventBacques, 216 Chinese School, 620, 629, 662 Richard Clague, 341 Charles-Louis Clerisseau (attr.), 33 Clodion (style), 462 Continental School, 12, 133, 830, 1077 Ralph Cooksey, 980 Edwin Cooper, 450 George David Coulon, 988 Jacques Courtois, 145 Ralston Crawford, 293, 294 Edward Cresy, 85 W.C. Crymer, 11 Nathaniel Cortlandt Curtis Jr., 683


Michael Dahl (attr.), 167 Salvador Dali, 280 Randall Davey, 286 Edgar Degas, 194 Alexandri Donati, 220

Alex Alexander J. Drysdale, 318, 343, 369, 966, 969, 970 Alexander J. Drysdale (attr,), 288 George Bauer Dunbar, 538541, 1183, 1184 Dutch School, 134


English School, 7, 283, 502, 848, 849, 875, 1118, 1208


Fely-Mouttet, 218 Thomas Fern, 1173 Ernest Fiene, 544 Jean Nevitt Flanigen, 1196 Flemish School, 452 Pierre François Leonard Fontaine, 88 Mariano J. M. B. Fortuny y Carbo, 196 Christophe Fratin (aft.), 814, 816 Roland Freart, 219 French School, 15, 17, 34 Antonio Frilli, 21 Maurice Fromkes, 1195


Giuseppe Gambogi, 248 Lucien Genin, 1075 Aloisio Giovannoli, 152 Rolland Harve Golden, 1193 Anne Wilson Goldthwaite, 1170 Frederick Goodall, 169 Auguste F. Gorguet, 223 Luis Graner y Arrufi, 368 Charles Gruppe, 692 Emile Gruppe, 691 Virginia Gruppe, 691 Simon Gunning, 522, 542, 682


James Hamilton, 928 Cornelius Haly Hankins, 347 Nina Harper, 974 Colette Pope Heldner, 365, 519, 520, 971 Knute Heldner, 346, 1180 C.N. Hickok, 1000 Josef Hoffman, 193 William Hollingsworth, 964 Emil Eugen Holzhauer, 967, 968 Edward Hopper, 287 Jean-Antoine Houdon (aft.), 138 L.C.Howard, 996 David Aiken Humphrey, 1007 Clementine Hunter, 363, 990, 991 Alfred Hutty, 297, 298


Cynthia Willard Iliff, 1146 Italian School, 22, 23, 67, 107, 135, 137, 499, 1074 George Izvolsky, 975


William Henry Jackson, 1147 Allan Jones, 1199 Owen Jones, 83, 84


Rockwell Kent, 207, 214 Conrad Kiesel (attr.), 434 Haynes King, 451 Alberta Kinsey, 317, 972 Joseph Day Knap, 1175 Ida Kohlmeyer, 296 Peter Kraemer, 560


George Cochran Lambdin, 399 James Lamantia Jr., 295 Marie de Hoa LeBlanc, 1174 Robert Edmund (Lie) Lee, 981-983 Alphonse Le Gros, 559 Ferdinand Lepié, 435 Ferdinand Levillain, 436 Leon-Charles Libonis, 208 Nikolai-Ivanovich Lieberich, 19 Nikolai-Ivanovich Lieberich (aft.), 20 Louisiana School, 1200 Eugene E. Loving, 684


Thomas Malton, 273 Heinrich (Henry) Manger, 799 John Marin, 292 William Johanes Martens, 829 J.W.Matthews, 1179 John McCrady, 931 McKim, Mead & White, 87 Joseph Rusling Meeker, 344 Pierre-Jules Mêne, 552 Pierre-Jules Mêne (aft.), 553, 812 Marius-Jean-Antonin Mercie (aft.), 800 Paul Fontaine Mersereau, 978 Jack Meyers, 1201 James Michalopoulos, 572, 963 Michelangelo Buonarroti (aft.), 438 Minnie Robertson Mikell, 976 Sir John Everett Millais, 168 Maurice Millière, 557, 558 Giovanni B. Montano, 151 C. Bennette Moore, 1147 Hippolyte François Moreau, 549 Anne Wells Munger, 1171


Paul Ninas, 314, 315 David Sinclair Nixon, 1185, 1186 David Noll, 973 Giambattista Nolli, 117


Michael G. Owen, 1194


Thomas Paquette, 695 Giovanni Paglia (attr.), 135 Augustin Pajou (aft.), 461 Pio Panfili, 35 Francesco Panini (aft.), 123 Ferdinand Pautrot, 551 Rembrandt Peale (attr.), 353 Charles Percier, 88 Achille Perrelli, 340 Achille Peretti, 291 Jane Peterson, 290 Marie-Joseph Peyre, 266 Bernard Picart, 222 Emile-Louis Picault, 809 Bartolomeo Pinelli, 269 Francesco Piranesi, 118, 147 Giovanni B. Piranesi, 109, 110, 111, 112, 113, 114, 118, 119, 120, 121, 148, 149, 150, 204 Niek van der Plas, 828, 1076 Victor E. Prouvé, 210 Augustus W.N. Pugin, 177, 178


Auguste Racinet, 86 William Joseph Rakocy, 1198 Gardner Reed, 316 Guillame Regamey, 209 Robert L. Reid, 285 Paul Renard, 282 Chet Reneson, 979 Ethelinda Robbins, 992, 993 William Robinson, 289 Noel Rockmore, 571, 11871189, 1191, 1192 George Rodrigue, 965 Giovanni G. Rossi, 221 Luigi Rossini, 144 Robert Rucker, 367, 402, 521 John Ruskin, 173, 174, 175, 182, 202 John Ruskin (attr.), 176 Russian School, 132, 680


Philip Anthony Sage, 1002 Jean-Jules Bernard Salmson (aft.), 817 Alessandro Sanquirico, 36 Henry E. Schnakenberg, 212 Pamela Scholz, 694 Palmer Schoppe, 1006 Adolf Schreyer, 433 Gaston Sebire, 281 Sebastiano Serlio, 271 Joseph H. Sharp, 213 George Shellbase, 689, 690 Jewel Alma Woodard Simon, 1197 Hunt Slonem, 503 Lowell Ellsworth Smith, 1005 Mary Russell Smith, 501 William Thompson Russell Smith, 400 Xanthus Russell Smith, 929

John Soane, 198 Simeon Solomon, 171, 172 Southern School, 989, 1172 Spanish Colonial School, 573-575 Oleg Stavrowsky, 984-986 George Daniel Stevenson. 179, 181 Rhoda Brady Stokes, 987 Dedrick Stuber, 284


Anna Heyward Taylor, 332 George Taylor, 85 Paul Tchelitchew, 215 Emmitt Thames, 977 C. Thenn, 819 Cephas Giovanni Thompson (attr.), 1144 Mose Ernest Tolliver, 1204, 1205 Philippe Regis Denis de Trobriand, 338, 339


Georges Lucien Vacossin (aft.), 460 Luigi Valadier I (attr., foll.), 32 Carle Van Loo, 105 Giuseppe Vasi, 122, 141 Marien Vasi, 270 Carlos Vazquez, 681 Elihu Vedder, 211 Augostino Veneziano, 146 Elizabeth O. Verner, 333, 334, 335 George Louis Viavant (aft.), 1001 Giacomo B. da Vignola, 115


Arthur Waagen, 126 Wiliam Aiken Walker, 401, 942, 943 Horace Devitt Welsh, 945 Benjamin West, 170 Joseph “Pops” Whitesell, 1004 Johannes Wiericx, 108 Bror Anders Wikstrom, 345 David Wilkie, 180 Earnest Williams, 997, 998 G. Wilson, 1202, 1203 Theodore “Fonville” Winans, 337, 362 Mildred Nungester Wolfe, 1176, 1177 Ellsworth Woodward, 366 William Woodward, 364 Richard Worsley, 274 Don Wright, 1178 Frank Lloyd Wright, 199 Jamie Wyeth, 1003

American School, 500, 926, 927, 930, 944, 946, 999, 1008, 1206, 1207 American or English School, 7 David Anderson, 1190 James McConnell “Mac” Anderson, 312, 313 Walter Inglis Anderson, 685 Jean Battiste Arnout, 14 John James Audubon, 355-361

February 4 & 5, 2012 ✹ artist index ✹ artist index ✹ artist index



Ma Yuan (aft.), 611


Niccola Zabaglia, 116

W denotes the lot is illustrated at


Important Bidding Information All Absentee/Telephone bids for the Saturday and Sunday auction sessions must be received by Friday, February 3 at 5 P.M. C.S.T. For a Telephone Bid each item must have a minimum low estimate of $500. Visit

GLOSSARY OF TERMS Please note that all of the terms and descriptions used in this catalogue are intended as qualified opinions only and are subject to the Conditions of Sale and Limited Warranty set forth elsewhere. Neal Auction Company assumes no express or implied warranty with respect to these terms and descriptions, and they shall not be construed to be a warranty, representation or assumption of liability. Subject to the foregoing, with respect to authorship of works of art, the following terms shall have the following meanings:

Signed “George Inness” - In our qualified opinion, the signature, monogram or other indication of authorship is a signature of the artist.

George Inness - In our qualified opinion, we believe the work is by the artist named.

After George Inness - In our qualified opinion, the work is a copy of a known work of the artist named.

Attributed to George Inness - In our qualified opinion, we believe the work may be ascribed to the artist named on the basis of style and period, but our opinion is less certain than in the previous category.

Bears signature “George Inness” In our qualified opinion, although the work bears the signature or monogram of the artist, the work most likely is not that of the artist.


School of George Inness - In our qualified opinion, the work is of the period of the artist named, by a student or a follower of the artist, but not by the artist. Manner of George Inness - In our qualified opinion, although the work is in the style of the artist named, it is actually of a later period.

WIRE TRANSFER INFORMATION: Capital One 313 Carondelet Street New Orleans, LA 70130 504-533-7223 ACCT# 026223628 ROUTING #065000090 International Swift #HIBKUS44

Neal Auction Company Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 504.899.5329 • Fax: 504.897.3808 •

Auction Date: February 3 & 4, 2012

Condition Report Request Form Please Review Guidelines For Condition Report Requests:

1. Items must have a minimum low estimate of $500. 2. Condition Reports will not be given verbally. 3. The Condition Reports Department is available to take requests two weeks prior to every auction. 4. Photo requests will only be processed for items not illustrated in our catalogue or on our website at Detail photos provided upon discretion. 5. Condition Report Requests should be submitted by facsimile to 504-897-3808 or via the online request form by Wednesday, 2/1/12. 6. All property is sold “AS IS”. No statement regarding condition of any item, whether it is made orally at the auction or any other time, or in writing in the catalogue or elsewhere, shall be deemed to be a warranty, representation or assumption of liability.

First Name: ______________________________________________ Last Name: __________________________________ Company: _____________________________ Address: ________________________________________________________ City: ___________________________________________ Prov/State__________________ Postal Code __________________ Home Ph.: (____)___________________ Work Ph.: (____)______________________ Fax:(____)_____________________ Email: ______________________________________________________





All reports will be sent via Fax or email

❒ Fax

❒ Email

Fax this form to 504-897-3808 on or before Wednesday, 2/1/12. W denotes the lot is illustrated at


Neal Auction Company


Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 504.899.5329 • Fax: 504.897.3808 •

Confidential Absentee / Telephone Bid Form


Please Review Guidelines For Absentee & Telephone Bidding: 1. Telephone bidding will be taken at the discretion of Neal Auction Company. Each item must have a low estimate of $500 or more. Absentee bids are gladly accepted for all items below $500. 2. All absentee bids and/or telephone bids must be in our gallery by 5 P.M. CST the Friday prior to the auction. 3. In the event identical bids are submitted, the earliest bid received will take precedence. 4. A 25% deposit must accompany all bids. A credit card number is required for securing your bids. 5. Auction addendum available prior to the auction on the website or via facsimile. 6. All property is sold “AS IS”. No statement regarding condition of any item, whether it is made orally at the auction or any other time, or in writing in the catalogue or elsewhere, shall be deemed to be a warranty, representation or assumption of liability. 7. In the event of discrepancies, lot number and not lot description will take precedence.

First Last Name: _________________________ Name: ____________________________________ Company: __________________________ Address: ______________________________________________________________________________________________________ City: _____________________________________________ Prov/State _______________________ Postal Code ________________ Home Ph.: (_____)___________________ Work Ph.: (_____)______________________ Fax: (_____)_____________________ Dealer  Resale# ________________________________State __________Email: __________________________________________________ Dealers must provide Neal Auction Company with proper documentation prior to bidding.

MUST PROVIDE: Visa/MC/Discover/Amex_______________________________________ Exp: _______ Credit Card V-code:________

MUST PROVIDE: Cash Payment Check Method: Wire

Credit Card

IF SUCCESSFUL, please bill my card. Number To Call For Phone Bid: (1) (____)__________________________ (2) (____)__________________________



Bid Amount $ or Telephone No.

I understand that Neal Auction Company undertakes the execution of absentee bids as a convenience for clients and is not responsible for inadvertent failure to execute bids, or for any error in the execution of bids. I have read and agree to the “Conditions of Sale” as stated in the catalogue. I understand that a buyer’s premium will be charged on each lot purchased at 22% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchase made by cash, check or wire transfer, the buyer’s premium shall be discounted 2.5% of this 22%. No exceptions.

✍ Signature Required


For Internal Use Only: Approved_ _____________Registered____________ Entered_ ____________ Clerks Initial________________ Account #_ _________________ Confirmed_______________________


Fax Form on or before Friday, 2/3/12 to 504-617-6431 or 504-617-9990 214

CONDITIONS OF SALE Placing a bid at auction constitutes buyer’s acceptance of and agreement to these Conditions of Sale. 1. WAIVER OF WARRANTY: All lots are sold “AS IS”. No statement regarding condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalogue or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. Any such warranty is WAIVED. Regarding works of art, Neal Auction Company does not make any express or implied warranty as to authorship. 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. Buyer agrees and acknowledges that: (a) buyer is not relying on Neal Auction Company’s skill or judgment in selecting to purchase any lot; (b) no oral or written statements in the catalogue of Neal Auction Company or elsewhere regarding condition, attribution, kind, quality, value or authorship are the cause of or reason behind buyer’s purchase of any lot; (c) buyer would have incurred the purchase of any lot regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (d) Neal Auction Company did not know and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why buyer decides to purchase any lot; (e) buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; and (f) Neal Auction Company did not know, nor should it have known, that any oral or written statement about a lot in the catalogue or elsewhere would cause a nonpecuniary loss to buyer. Notwithstanding the foregoing WAIVER OF WARRANTY, agreements and acknowledgements, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale on the basis of authenticity of authorship of a work of art under the following terms and conditions only, all of which must be met: A. Neal Auction Company shall not grant rescission regarding lots identified by Neal Auction Company by the terms “attributed to,” “school of,” “manner of,” “after,” or “signature of.” B. Neal Auction Company shall not grant rescission regarding any lot unless the buyer notifies Neal Auction Company in writing within a reasonable time from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale. C. Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery. D. Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights of the original buyer are not transferrable or assignable. E. Neal Auction Company shall not grant rescission when: (i) there is a conflict of expert opinion as to the authorship; (ii) expert opinion supported authorship at the time of sale, although expert opinion may have changed after the date of sale; and (iii) scientific processes that were unavailable, expensive or impractical at the time of sale have revealed since the time of sale that the author or period Neal Auction Company believed to be accurate at the time of sale was inaccurate. F. In any dispute between Neal Auction Company and buyer regarding authorship of a work of art, it is stipulated that rescission of the sale and refund of the price paid shall be the buyer’s sole recourse or remedy, if any is available, and Neal Auction Company shall not be responsible or obligated for any damages (including compensatory, general, incidental, exemplary or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorney’s fees, or any other monetary or injunctive relief. 2. The auctioneer shall have absolute discretion in determining the successful bidder. At the fall of the auctioneer’s hammer, title to the offered lot will pass to the bidder acknowledged by the auctioneer. The bidder thereupon assumes full risk and responsibility and will pay full purchase price for the said lot.

3. The auctioneer may decide that any original bid is not commensurate with the value of the article offered, or that any advance thereafter is not of sufficient amount, he may reject the same. 4. The auctioneer reserves the right to withdraw any item at any time before the sale of the item. 5. No merchandise will be released before the end of the auction. 6. If the buyer fails to comply with any of the conditions of sale, Neal Auction Company reserves the right to hold such defaulting buyer liable for the purchase price; to cancel the sale, retaining as liquidated damages any payment made by the buyer; resell the property without reserve at public auction or privately on seven days’ notice to the buyer or, take such other actions available by law as deemed necessary or appropriate. If Neal Auction Company resells the property, the original defaulting buyer shall be liable for the payment of any deficiency in the purchase price and all costs and expenses, including warehousing, the expenses of both sales, reasonable attorneys’ fees, commissions, incidental damages and all other charges due hereunder. ABSENTEE/TELEPHONE BIDS 1. All absentee bids and/or telephone bids must be in our gallery by 5 P.M. CST the Thursday prior to the auction. 2. All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of the Neal Auction Company. Each item must have a minimum low estimate of $500. 3. We assume no responsibility for failure to execute bids for any reason whatsoever. 4. We reserve the right to require that advance bids be accompanied by a 25% deposit. PAYMENT 1. The successful bidder agrees to pay a buyer’s premium in the amount of 22% of the hammer price on each lot up to and including $200,000, plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 2.5% of this 22%. 2. Unless exempt by law, the purchaser will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price. 3. Documentation of tax exemption must be provided upon registration. 4. Payment in full must be made by the successful bidder within ten days of the auction date. Interest charges will apply to invoices paid after this period expires. We reserve the right to require payment in full of the sales price at the moment of the successful bid. 5. VISA, MasterCard, Discover and American Express are accepted for invoices up to $25,000 per customer. LIVE INTERNET BIDDING Live internet bidding is available through Live Auctioneers at a buyer’s premium in the amount of 23% of the hammer price. See TERMS Any customer not accredited by Neal Auction Company must present a letter of reference from their bank or other suitable source acceptable to Neal Auction Company. Neal Auction Company requests that the merchandise be held on premises until the check clears or money can be wired into the Neal Auction Company account. SHIPPING We will assist buyers in making shipping arrangements by furnishing information on packers and shippers. Handling of purchased lots by us is at the risk of the purchaser. Final shipping arrangements and agreements are strictly between the buyer and the shipper. STORAGE We will be glad to store certain items purchased at auction until transportation is arranged. Unless other arrangements are made and confirmed in writing, all items must be removed within one week of the auction. On the first business day following that time period, merchandise remaining in the gallery will be turned over to a storage facility. The owner will be responsible for handling and storage costs. Handling costs will be a minimum of $50. Storage rates will carry a minimum charge of $15 per month. For a list of our storage charges by item category, please ask our customer service personnel at the front desk area. All items handled or stored will be at the purchaser’s risk. Storage charges are billed monthly and must be paid before merchandise is released. We are not liable for any damage to merchandise after the sale. W denotes the lot is illustrated at 215

Auction Results for November 2011 0001-$2509 0003-$119 0004-$956 0005-$1314 0006-$1553 0007-$956 0008-$15535 0009-$2390 0011-$597 0012-$597 0013-$676 0014-$956 0015-$11950 0017-$1195 0018-$836 0019-$3943 0021-$1195 0022-$2806 0023-$3226 0024-$5736 0025-$836 0026-$1434 0027-$2688 0029-$956 0030-$956 0031-$1792 0032-$597 0033-$298 0034-$239 0035-$3585 0036-$179 0037-$5078 0038-$418 0039-$956 0040-$732 0041-$2390 0042-$9858 0043-$956 0045-$1912 0047-$2748 0048-$1314 0049-$2688 0050-$3965 0051-$2151 0052-$2270 0053-$1476 0054-$1912 0055-$1434 0056-$1314 0058-$1599 0059-$2629 0060-$1434 0062-$3286 0063-$6273 0065-$1195 0066-$836 0067-$2390 0068-$1673 0069-$1230 0072-$2390 0073-$2091 0074-$597 0075-$2688 0076-$615 0077-$1553 0078-$8365 0079-$717 0080-$2270 0082-$1314 0083-$298 0084-$2509 0085-$23900 0088-$956 0089-$1434 0091-$478


0092-$3226 0093-$1075 0094-$2440 0095-$4481 0096-$8663 0098-$861 0099-$2151 0100-$14340 0101-$1673 0104-$615 0106-$492 0107-$610 0108-$1075 0110-$3075 0111-$8066 0112-$19120 0113-$13145 0115-$1792 0116-$2868 0118-$9560 0119-$7767 0120-$4780 0121-$896 0122-$15535 0123-$5975 0124-$1353 0125-$13145 0126-$5676 0127-$1476 0129-$738 0130-$776 0131-$597 0132-$488 0133-$1952 0135-$358 0136-$9760 0138-$35850 0141-$14640 0142-$3107 0144-$11352 0145-$10157 0146-$1845 0147-$1314 0148-$2748 0149-$956 0150-$7170 0153-$1342 0154-$47800 0155-$7170 0156-$12200 0157-$3355 0158-$79950 0159-$34655 0160-$2509 0162-$9560 0163-$32265 0164-$2031 0165-$16132 0167-$4182 0168-$8066 0170-$2440 0171-$836 0172-$1586 0173-$1673 0174-$836 0175-$1230 0176-$3585 0178-$239 0179-$676 0180-$615 0181-$358 0182-$732 0183-$1075 0184-$1075 0185-$1586

0186-$5975 0187-$32265 0188-$7170 0190-$7767 0191-$38837 0192-$5377 0193-$7170 0196-$10157 0197-$50190 0198-$2390 0199-$1314 0200-$1220 0201-$1230 0202-$597 0203-$65725 0204-$5975 0206-$10755 0207-$10157 0208-$35850 0209-$793 0210-$2074 0211-$209 0212-$268 0213-$836 0214-$956 0215-$836 0216-$717 0218-$478 0219-$11950 0221-$22705 0222-$2151 0224-$71700 0225-$1195 0226-$2440 0227-$4780 0228-$3286 0229-$2629 0230-$2509 0231-$1314 0232-$1195 0234-$20315 0235-$13742 0236-$11590 0237-$358 0238-$1553 0239-$7767 0240-$5377 0241-$21510 0242-$1075 0243-$1220 0245-$47800 0246-$9560 0247-$3585 0248-$6871 0249-$179 0250-$298 0251-$5676 0252-$657 0253-$537 0254-$836 0255-$2031 0256-$2748 0257-$492 0258-$1434 0259-$9261 0260-$1553 0261-$488 0262-$239 0263-$298 0264-$657 0265-$597 0267-$2135 0268-$2562 0270-$2987 0272-$5975

0273-$1586 0274-$2390 0275-$478 0276-$1673 0277-$4780 0278-$793 0279-$2987 0280-$7170 0281-$20315 0282-$956 0284-$1553 0285-$3585 0286-$4575 0287-$4182 0288-$17080 0291-$1195 0292-$1434 0293-$16730 0294-$13742 0295-$2390 0296-$956 0297-$11950 0298-$1464 0302-$956 0303-$615 0304-$2390 0305-$1195 0306-$12547 0307-$1098 0308-$7320 0309-$1075 0310-$1912 0311-$3585 0312-$5377 0313-$4780 0314-$7320 0315-$14340 0316-$6572 0319-$2091 0320-$2031 0321-$5377 0324-$5377 0325-$1912 0329-$14340 0330-$4920 0332-$5377 0333-$2270 0334-$2390 0335-$1015 0336-$15535 0337-$2987 0338-$89625 0339-$2440 0340-$2440 0342-$3346 0343-$3660 0344-$2868 0345-$2987 0346-$14937 0348-$5377 0349-$1599 0350-$717 0351-$717 0352-$298 0353-$1314 0354-$1434 0355-$1314 0356-$4182 0357-$976 0358-$657 0359-$1912 0360-$1353 0361-$2390 0362-$1673 0363-$1195

0366-$4780 0367-$2390 0369-$922 0370-$1314 0372-$10157 0373-$2829 0374-$896 0375-$1195 0376-$1708 0377-$1912 0378-$1599 0380-$298 0381-$1314 0383-$1075 0384-$597 0385-$358 0386-$3075 0387-$5975 0388-$1434 0389-$1195 0390-$2868 0391-$4481 0392-$358 0393-$492 0394-$478 0395-$3585 0396-$1434 0397-$3075 0398-$537 0399-$307 0400-$268 0401-$418 0404-$1314 0406-$2509 0407-$1553 0408-$369 0414-$358 0415-$1792 0416-$418 0417-$492 0421-$1464 0422-$239 0423-$717 0424-$676 0425-$358 0426-$239 0427-$717 0428-$1230 0429-$366 0430-$3355 0432-$8365 0433-$2151 0435-$3660 0436-$3585 0437-$5795 0439-$1912 0440-$3050 0441-$717 0442-$1075 0443-$4575 0446-$1708 0449-$4481 0450-$3690 0452-$2390 0454-$14760 0457-$2135 0459-$3585 0461-$1342 0462-$1912 0463-$717 0464-$1599 0466-$1075 0467-$597 0468-$1792 0469-$1845

0470-$1353 0471-$1098 0472-$1195 0473-$1314 0474-$1195 0475-$2509 0476-$8066 0477-$1673 0480-$956 0481-$2270 0482-$1314 0483-$2460 0484-$2629 0487-$307 0488-$610 0489-$2270 0491-$1722 0493-$2629 0494-$3346 0495-$5535 0496-$2390 0497-$366 0498-$7767 0499-$5377 0501-$956 0502-$615 0503-$1195 0505-$657 0506-$1098 0508-$7170 0509-$4780 0510-$4270 0511-$4481 0512-$1195 0514-$2031 0517-$5377 0518-$2868 0519-$492 0520-$1912 0521-$861 0522-$1220 0523-$478 0526-$956 0527-$717 0528-$1075 0529-$836 0530-$2440 0531-$1792 0532-$1220 0533-$2031 0534-$7170 0538-$4481 0539-$836 0540-$717 0541-$29875 0543-$1792 0545-$3660 0547-$10370 0548-$836 0549-$4481 0550-$3382 0551-$2390 0552-$8365 0553-$1075 0554-$427 0555-$9760 0556-$5676 0557-$183 0558-$597 0559-$3226 0561-$239 0562-$430 0563-$418 0564-$209 0565-$717

0566-$1015 0567-$717 0568-$149 0569-$119 0570-$149 0571-$298 0572-$776 0573-$597 0574-$149 0575-$149 0576-$119 0577-$179 0580-$239 0581-$478 0582-$98 0583-$149 0587-$244 0588-$122 0589-$615 0590-$549 0591-$1553 0593-$209 0597-$122 0598-$122 0600-$119 0601-$537 0602-$358 0603-$657 0604-$956 0606-$418 0607-$244 0608-$268 0609-$246 0610-$1015 0611-$597 0612-$119 0613-$119 0619-$213 0620-$122 0621-$183 0622-$399 0623-$184 0624-$119 0625-$2987 0626-$239 0627-$492 0628-$119 0629-$1168 0630-$244 0631-$184 0635-$537 0636-$1708 0637-$956 0638-$149 0639-$149 0641-$615 0642-$246 0643-$239 0644-$179 0645-$119 0647-$246 0649-$717 0651-$427 0655-$298 0656-$239 0657-$239 0658-$179 0659-$418 0660-$239 0666-$861 0668-$244 0670-$183 0671-$244 0673-$244 0676-$149

0677-$119 0680-$239 0685-$366 0686-$597 0689-$179 0691-$246 0692-$123 0693-$246 0694-$91 0695-$89 0696-$298 0697-$152 0699-$615 0700-$119 0701-$553 0702-$1553 0704-$73 0705-$149 0706-$61 0707-$89 0708-$369 0709-$122 0710-$184 0711-$123 0712-$239 0715-$369 0716-$246 0717-$418 0718-$369 0719-$461 0720-$399 0721-$153 0723-$358 0726-$358 0727-$717 0728-$956 0729-$1230 0730-$298 0731-$298 0732-$597 0737-$2806 0738-$239 0739-$1314 0740-$478 0741-$671 0743-$1314 0744-$610 0745-$9560 0746-$3660 0748-$369 0749-$717 0750-$3883 0751-$776 0752-$836 0754-$896 0755-$478 0756-$717 0757-$488 0759-$358 0760-$239 0761-$1314 0762-$478 0763-$657 0764-$1195 0765-$1075 0766-$478 0767-$358 0769-$1135 0770-$388 0771-$358 0772-$478 0773-$597 0775-$836 0776-$119 0777-$776

0778-$366 0779-$358 0780-$1342 0781-$1434 0782-$896 0783-$615 0784-$717 0785-$776 0786-$1075 0787-$244 0788-$1230 0789-$836 0792-$2390 0793-$597 0794-$615 0796-$2390 0797-$836 0798-$1912 0799-$836 0800-$2270 0801-$1195 0802-$1673 0803-$2562 0804-$6100 0806-$597 0807-$1098 0808-$1159 0811-$1314 0812-$2748 0813-$1912 0814-$1195 0816-$1792 0819-$2688 0820-$1195 0821-$1107 0824-$2390 0826-$4182 0828-$717 0831-$6100 0833-$4780 0834-$3286 0835-$2390 0836-$2031 0837-$717 0838-$1107 0839-$179 0840-$239 0841-$488 0842-$418 0843-$597 0845-$4481 0846-$2440 0847-$956 0848-$1586 0850-$836 0851-$366 0853-$836 0854-$1314 0855-$836 0856-$1220 0858-$6273 0861-$4182 0862-$4481 0863-$836 0864-$2629 0865-$5078 0866-$6572 0867-$2440 0868-$1553 0870-$4481 0872-$4182 0873-$7170 0874-$1314 0875-$1912 0877-$1195

0879-$3585 0880-$717 0881-$1314 0883-$6273 0886-$1195 0888-$1434 0889-$15990 0890-$1912 0891-$915 0892-$1314 0893-$956 0894-$732 0895-$1230 0897-$1075 0898-$597 0900-$956 0902-$3286 0903-$956 0905-$1220 0907-$2390 0910-$2151 0912-$1037 0913-$358 0914-$123 0915-$956 0916-$836 0917-$717 0918-$1830 0919-$1314 0920-$2031 0924-$1135 0925-$597 0928-$9560 0930-$1830 0933-$1792 0936-$717 0937-$1075 0938-$2337 0939-$1168 0941-$2390 0942-$3704 0943-$717 0944-$239 0947-$5377 0948-$915 0951-$1135 0952-$478 0954-$806 0956-$4780 0958-$418 0959-$1075 0960-$1314 0961-$1434 0962-$1075 0963-$553 0964-$1553 0965-$2868 0967-$488 0968-$1075 0969-$1075 0970-$866 0971-$1045 0976-$836 0977-$776 0978-$1434 0979-$657 0980-$328 0981-$976 0982-$418 0983-$418 0984-$358 0985-$854 0986-$537 0987-$418 0988-$1075

0989-$239 0990-$5676 0991-$776 0992-$488 0993-$1673 0994-$657 0995-$1792 0996-$2390 0997-$896 0998-$369 0999-$298 1000-$358 1001-$610 1003-$1314 1007-$478 1008-$4481 1009-$358 1010-$184 1012-$2031 1014-$1015 1015-$209 1016-$268 1017-$358 1018-$209 1019-$268 1020-$268 1021-$738 1022-$537 1023-$2151 1024-$1075 1025-$239 1026-$2270 1027-$1434 1029-$1434 1031-$3585 1032-$1434 1033-$1195 1034-$861 1035-$1135 1036-$1195 1037-$2987 1038-$1195 1039-$2748 1040-$5975 1045-$657 1046-$676 1047-$239 1048-$537 1049-$239 1050-$1195 1051-$4182 1052-$1195 1054-$2270 1054A-$369 1056-$388 1057-$1434 1059-$1037 1060-$366 1061-$1708 1062-$2151 1063-$19717 1064-$3107 1066-$366 1067-$2091 1068-$1075 1070-$1195 1072-$976 1073-$1476 1074-$1195 1075-$836 1076-$2270 1078-$717 1079-$984 1080-$1845 1081-$1434

1082-$2337 1084-$369 1085-$430 1086-$369 1087-$836 1088-$1434 1089-$1314 1090-$298 1092-$1353 1093-$492 1095-$488 1097-$1075 1098-$657 1099-$717 1101-$239 1102-$732 1103-$358 1104-$179 1105-$1673 1106-$776 1108-$1673 1109-$2583 1110-$1098 1111-$1015 1112-$2031 1113-$861 1114-$366 1115-$1792 1116-$1353 1117-$610 1118-$956 1119-$1230 1120-$358 1121-$717 1122-$2091 1123-$610 1124-$2987 1125-$956 1129-$1792 1130-$307 1132-$549 1133-$492 1134-$478 1135-$836 1136-$478 1137-$1708 1139-$956 1141-$478 1142-$1434 1143-$358 1144-$1434 1145-$956 1146-$1195 1147-$358 1148-$717 1152-$1912 1153-$597 1158-$836 1159-$956 1161-$597 1162-$1195 1168-$1195 1169-$2270 1170-$717 1171-$597 1172-$717 1173-$615 1176-$369 1177-$836 1178-$1195 1179-$717 1181-$358 1182-$3075 1183-$1075 1184-$1195

1185-$1195 1186-$1553 1187-$492 1188-$984 1190-$1599 1191-$597 1192-$2151 1193-$2629 1195-$183 1197-$179 1198-$179 1199-$1708 1200-$1195 1200A-$305 1201-$597 1206-$1476 1207-$430 1209-$836 1210-$1195 1211-$366 1212-$732 1213-$597 1214-$1314 1215-$239 1216-$366 1217-$1075 1221-$358 1222-$597 1223-$597 1225-$239 1226-$492 1234-$369 1235-$836 1237-$861 1238-$976 1248-$358 1249-$488 1250-$2151

Neal Auction Company John R. Neal Chairman

Neal Alford President

Katherine Hovas Senior Vice President

Michelle LeBlanc, CAI Vice President



Director of Administration & Finance Michelle LeBlanc, CAI Database Manager/Assistant to Director Jackie Hernandez Client Services Johanna Darilek Database/Administrative Assistant Lisa Weisdorffer

Director of Furniture & Decorative Arts Neal Alford; Reid Hinshelwood Director of Research Douglas Lewis, Ph.D., F.A.A.R. Director of Consignments, Books & Manuscripts Marc Fagan Director of Paintings, Prints & Photography Rachel Weathers; Thomas Crowther Associate Director of Consignments Reid Hinshelwood Consignments Administrator Michele Carolla Silver & Decorative Arts Katherine Hovas Inventory Coordinator Steven G. Rutledge European Paintings & Decorative Arts Michele Carolla American Paintings & Decorative Arts Amie Strickland Asian Arts Bettine Field Carroll


GRAPHICS Art Director Emory Nolan Catalogue Design Carolyn Finnell Photography Jason Leckert Tom Simpson Terry Thibeau

OPERATIONS Director of Operations Charles Lee Operations Staff Sol Carter Charlie Clay Leroy Hubbard Kelvin Gibson Jerry Majors

EXHIBITION STAFF Sybil Lawson Carolyn Wogan Cammie Mayer Clare Stewart Karolyn Westervelt Cecile Ballard Mimi Abbott

AUCTIONEERS Neal Alford #797 Michelle LeBlanc #1514 Reid Hinshelwood #1715

AUCTION SERVICES Director of Business Development Bettine Field Carroll Trust & Estates Advisor Henry G. McCall Senior Appraiser Fine Arts Amanda Mantle Winstead Appraisals Rachel Weathers Marc Fagan Museum Services Douglas Lewis, Ph.D., F.A.A.R.

CATALOGUE CONSULTANTS Paintings and Fine Arts Claudia Kheel Furniture & Decorative Arts Doris Mollenkopf Newcomb Pottery & Decorative Arts Sally Main Silver Carey Mackie-Alsobrook Decorative Arts & Victoriana Ann M. Masson


Winter Major Estates Auction, 2/4/12 & 2/5/12  

Over 1000 lots of period furniture, paintings, lighting, decorative arts, jewelry, carpets, works on paper, books, important documents and m...