July 26-27 Estates Auction

Lot 8 3 9 Co v e r Lot: 8 3 3

Exhibition July 14 - 25, 2014 9:00 a.m. - 5:00 p.m. (Excluding Sundays)

Evening Preview Reception Thursday, July 24, 2014 5:00 - 8:00 p.m.

Session I Saturday, July 26, 2014 10:00 a.m. CST, Lots 1 - 679

Session II Sunday, July 27, 2014 10:00 a.m. CST, Lots 680 - 1140

Featuring Property From: The Estate of Mickey Easterling New Orleans, Louisiana

The Collection of Dr. & Mrs. Earl Ellis Montgomery, Texas

The Home of Mr. & Mrs. William H. Henderson New Orleans, Louisiana

New Orleans Auction Galleries 504-566-1849 | 510 Julia Street, New Orleans, Louisiana 70130 | NewOrleansAuction.com | Info@NewOrleansAuction.com LA Auction License AB-363, Steinkamp #1265, Thomas #1833/23% Buyer’s Premium (3% Discount for Prompt Payments Made by Cash, Check, or Wire)

M ay E s tat e s A u c t i on E v e n i n g R e c e p t i on H i g h l i g h t s M a y

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1. Scott James, Sandy Barrett and Greg Morey; 2. Margarita Bergen and Burke; 3. Carlo and Rosemonde Capomazza di Campolattaro; 4. Beth Johnson and Chuck and Diane Zatarain; 5. Dixon and Suzanne Montague and Brian and Leigh Ann Montague; 6. Artist Carlos Zervigon with an original sculpture that he donated to be sold for the benefit of WLAE

Letter from the CEO

What better way to celebrate New Orleans Auction’s two-year anniversary than with a stupendous two-day $2.3 million May auction!

Thank you to all of our consignors and buyers, especially those of you who stuck with us throughout the first year. All of us at New Orleans Auction Galleries are deeply grateful for your faith in us and for your business.

Personally, I can’t tell you how much I have enjoyed meeting so many of you in person and having the opportunity to speak with many of you by phone while bidding. Over the past couple of years, I have discovered just how much I love auctions—everything just keeps getting better!

In a previous editorial I mentioned we purchased a building at 333 St. Joseph last year to accommodate our growth. The renovation Sandra Pulitzer, Susan D. Krohn and Denise Monteleone started on July 1 and is scheduled to be completed

by December 31. The building already has two stories and we’re adding an additional third floor to house our Cakebread Auction, with the first floor dedicated to our Estates Auctions. Are we excited? I don’t think I’ve slept in months! Our first auction in the new building will be held in January, 2015!

What do you think of our July cover? It’s a spectacular William Henry Buck painting from the estate of renowned Baton Rouge, Louisiana architect A. Hays Town. In addition to this important piece, we are offering a selection of early paintings

by George Rodrigue and works by other New Orleans artists such as Ida Kohlmeyer, James Michalopoulos, Jose Maria Cundin, Alexander Drysdale and Lin Emery. I’m adding Hunt Slonem, one of my favorite artists, to this list because he lives in Louisiana part time and I think we should claim him as our own!

You may have seen one of our emails featuring jewelry from the estate of socialite and philanthropist Mickey Easterling. If you like jewelry, you’ll want to carefully study this spectacular collection of estate jewelry and sign up to bid! How about that stunning gold and diamond ring with a 10.67 karat light yellow diamond? We are also offering several of Mickey’s beautiful designer furs. Santa, I’ve got my list ready for this Christmas!

Also featured in our July auction is a fabulous collection of Georgian British armorial silver, a Ming rhinoceros horn libation cup, an array of Japanese Edo and Meiji period woodblock prints and a fine selection of Chinese jades.

We are pleased to offer property from the lifetime collection of Dr. and Mrs. Ellis of Montgomery, Texas, and property from the home of Mr. and Mrs. William H. Henderson of New Orleans, including a fabulous Derby partial dinner service.

Mark your calendar for our August 23-24 Cakebread Auction. We’ve been collecting items for months and we promise you’re going to like what we’ve found!

As always, you can count on New Orleans Auction for great food and drink, not only at our preview parties but, of course, at the auctions. Our evening reception will be held on Thursday, July 24 from 5 to 8 p.m. and the auction begins at 10 a.m.

CST on Saturday and Sunday, July 26-27. We have the A/C cranked, the comfy chairs are out and there is an outstanding array of items to bid on! As Tessa Steinkamp, our Director of Auctions, says, “the only bid regretted is the one not made!”

See you in July!

Susan D. Krohn CEO, New Orleans Auction Galleries

Pr ope rt y fr om the Home of

Mr . & Mrs . W il lia m H. He nde rson N e w Or l e a n s , L o u i s i a n a

The Henderson’s New Orleans home was interior decorator Mark Hampton’s first total commission. Hampton worked closely with Mr. and Mrs. Henderson and the architect on the design of the home as well as the interior decor. New Orleans Auction Galleries is pleased to offer property from the home of Mr. and Mrs. William H. Henderson, including an extensive Derby partial dinner service selected by Mrs. Henderson with the assistance of Mark Hampton.

Collection of

Dr . & M rs. E a rl E llis M ontgom ery, Te xa s

Longtime resident of Houston, Texas, Dr. Ellis studied geology at Texas Tech and went on to work for Humble Oil, the predecessor to Exxon, spending his first year with the company exploring for oil between New Orleans and Morgan City, Louisiana. He worked with Humble Oil for ten years until he was drafted at the onset of the Korean War into the military and stationed in Heidelberg, Germany where he worked in intelligence, specifically map and aerial photography procurement. He later became a successful dentist in the Houston area. His wife, Florence, also a longtime resident of Houston, graduated from Rice University and went on to work in the technology field for many years.

Born Florence Fowler, Mrs. Ellis is a direct descendent of some of the earliest and most influential citizens who contributed to the development of the South. Amongst her oldest North American-born ancestors was Colonel Philip Hickey, who was born in 1778 in the then British controlled Province of West Florida. Hickey, a wealthy plantation owner (Hope Estate Plantation) and member of a prominent Baton Rouge family, served as an officer in the Louisiana militia during the War of 1812 and was instrumental in achieving an American victory. Col. Hickey later became a Louisiana state senator and went on to marry Ann Mather, whose father, James Mather, was appointed Mayor of New Orleans by William C.C. Claiborne in 1807. Adele Hickey, the daughter of Ann Mather and Philip Hickey, married Henry Waller Fowler. Fowler was heavily involved in the military – he served in the marines and later as a captain in the 2nd Dragoons in 1836 after a call to arms by President Jackson. Rezin Bowie, a Louisiana businessman, inventor and politician, presented Fowler with a Bowie knife engraved with his name. The knife was made in Baton Rouge by famed weapons makers Daniel Searles and Reese Fitzpatrick and is currently on display in The Alamo in San Antonio.

Mrs. Ellis is also a descendent of the Denison family, which can be traced back to Captain George Denison’s arrival in Massachusetts in 1631.

Earl and Florence travelled extensively in the years after retirement, visiting destinations such as Argentina, Chile, Brazil, Paraguay, Alaska, the entire stretch of the North Atlantic coast and throughout Canada. Dr. and Mrs. Earl Ellis currently reside in Montgomery, Texas.

Items offered at New Orleans Auction Galleries from the lifetime collection of Dr. and Mrs. Earl Ellis include fine and decorative art, furniture, silver and more that the couple inherited, acquired through their travels and received as gifts from family and friends.

Saturday, J uly 26, 2 014 Lots 1 -679 10: 00 - 11:00

1- 99

11: 00 - 12:00

100- 199

12: 00 - 1 :00

200- 299

1: 00 - 2:00

300- 399

2: 00 - 3:00

400- 499

3: 00 - 4:00

500- 599

4: 00 - 4:45

600- 679

Sunday, J uly 2 7, 2 014 Lots 680-1140 10: 00 - 11:00

680- 740

11: 00 - 12:00

741- 800

12: 00 - 1:00

801- 900

1: 00 - 2:00

901- 1000

2: 00 - 3:00

1001- 1100

3: 00 - 3:30

1101- 1140

Session I S at ur day, J uly 2 6 , 2 0 1 4 Lots 1 - 6 7 9

Lot 371

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1 Chinese Porcelain Vase on Stand, late 19th/early 20th century, the large baluster-form vase with kui dragon handles and a scalloped lip, rendered in a famille rose palette with reserves depicting scenes of birds and flowers, the underside unmarked, displayed on a marbletop carved wooden stand, h. 24”, dia. 9‑1/2”. [600/900] Illustrated 2 Pair of Chinese Rose Medallion Vases, 19th century, the pair of ornate vases with gilded foo dogs and salamanders at the neck, the reserves depicting figures and arrangements of birds and flowers, unmarked, h. 14”, dia. 7”. [800/1200] Illustrated

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3 Chinese Export Famille Verte Punch Bowl, fourth quarter 18th century, decorated with scenes inspired by a set of four hunt engravings, after James Seymour (English, 1702‑1752), divided into two scenes, divided by panels of “Y” diapering on a brick-red ground, h. 4‑1/2”, dia. 11‑1/4”. [700/1000] Illustrated

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4 Chinese Export Rose Medallion Vase, 19th century, the vessel in the form of a zun, bronzed with a flared lip and foot, decorated with reserves depicting groups of figures and arrangements of birds, flowers and butterflies, the underside unmarked, h. 15‑1/4”, dia. 10”. [1500/2500] Illustrated

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5 Chinese Imari Kangxi (1662‑1722) Porcelain Dinner Plate, first quarter 18th century, decorated with gilthighlighted peonies in the Imari palette, the underside unmarked, dia. 11”. Provenance: Ralph M. Chait, New York, New York. [600/900] 6 Queen Anne Walnut and Oak Highboy, 18th century, the rectangular top above three small drawers over three graduated long drawers, all with banding, raised on a lower section fitted with a central drawer flanked by a small deep drawer, raised on cabriole legs ending in pad feet, h. 55”, w. 38‑1/2”, d. 22”. [1200/1800] Illustrated 7 Set of Three Chinese Export Porcelain Dinner Plates, ca. 1800, each plate with a ribbon border and decorated with scattered flowers in the famille rose palette, dia. 9”.

[700/1000] Illustrated 8 Pair of Anglo-American Market Chinese Export Soup Plates, ca. 1800, decorated with sepia rondels of tropical views of a neoclassical mansion, a couple in western dress in the foreground, the borders with hand-painted flowers on a mottled ground, dia. 10”. [500/800] 6

9 Queen Anne Walnut Lowboy, 18th century, the rounded rectangular top banded and above a case fitted with a single drawer over three short drawers above a scalloped apron, raised on cabriole legs ending in pad feet, h. 28”, w. 29”, d. 19‑1/2”. [1500/2500] Illustrated 10

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7 10 Pair of Chinese Export Porcelain Famille Rose Chargers, third quarter 18th century, the molded edges framing a depiction of pine trees and peonies in a lancet border, dia. 12‑1/4”. [700/1000] Illustrated

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12 Suite of Eight George III-Style Fruitwood Dining Chairs, in the Sheraton manner, comprised of two armchairs and six sidechairs, each with a curved and banded crest above an interlacing X-form back, the padded seat raised on reeded tapering square legs joined by an H-form stretcher, h. 34”. [1000/1500] Illustrated 13 Suite of Eight George III-Style Mahogany and Fruitwood Dining Chairs, mid-19th century, consisting of two armchairs and six sidechairs, each with a ribbed splat back above the curved wooden seat, raised on tapering square legs joined by a box stretcher, h. 32‑1/2”. [1000/1500]

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14 Regency-Style Mahogany Dining Table, the rounded rectangular top with a reeded edge and raised on two pedestals, each with a ring-turned graduated standard to three splayed legs ending in brass caps and casters, h. 29”, w. 42”, l. 66”, extended l. 83‑1/2”. [1200/1800] 15 Pair of Neoclassical-Style Patinated Metal Arched Mirrors, each with a central beveled mirror plate, h. 68”, w. 31”. [450/700] 16 George III-Style Mahogany Side Table/ Server, the rectangular top banded and with a shaped front, above a conforming frieze fitted with three drawers, all banded, raised on tapering square legs ending in spade feet, h. 33”, w. 77”, d. 24”. [800/1200] Illustrated 17

11 Handsome Pair of Chinese Export Famille Rose Cans, fourth quarter 18th century, decorated with scattered sprigs and moths, with a Greek-key border and twisted handles, h. 5‑1/2”, dia. 3‑1/4”. [600/900]

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17 British School (Fourth Quarter 19th Century), “Expansive Landscape with a Creek and a Mill”, oil on canvas, unsigned, 18” x 26”. Framed. [800/1200] Illustrated

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18 George III Mahogany Bookcase, fourth quarter 18th century, the pierced broken swan’s neck pediment, centered by an annulated finial, above two astragal-glazed doors, the lower section fitted with two paneled cupboard doors, raised on a plinth base, h. 111”, w. 64”, d. 25”.

[4000/7000] Illustrated 19 Two Chinese Export Famille Verte Plates, probably late 18th century, the two rounded dishes with central reserves depicting an arrangement of flowers, h. 2”, dia. 16‑1/4”. [1800/2500] Illustrated

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20 George III Mahogany Roll-Top Desk, fourth quarter 18th century, the rectangular top above a roll top opening to a pull-out trisected leather writing surface, the center section hinged and with an easel back, and a variety of drawers and cubbyholes, over two short drawers and two graduated long drawers, raised on splayed bracket feet, h. 41”, w. 45”, d. 23‑1/2”. [1000/1500] Illustrated

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23 George III Mahogany Side Table, fourth quarter 18th century, in the Chinese Chippendale taste, the rectangular top above a conforming blind fretcarved frieze, raised on like-carved square legs ending in block feet, h. 32‑1/2”, w. 71‑1/2”, d. 24”.

[3000/5000] Illustrated

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21 John Henderson (Scottish, 1860‑1924), “Cottage by the River”, oil on canvas, signed lower left, 24” x 36”. Framed. [2000/4000] Illustrated 22 Pair of Georgian-Style BrassBound Mahogany Wine Coolers/ Planters, ca. 1900, the leaf-molded urn-form coolers with carved brass inserts and upper border, h. 18‑1/2”, dia. 13‑1/2”. [1800/2500] Illustrated 22A George II Giltwood Looking Glass, 18th century, with shell and foliate ornamentation, h. 51”, w. 26”.

[1000/1500] Illustrated

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24 George III-Style Mahogany Side Table in the Chinese Chippendale Taste, early 20th century, the breakfront rectangular top above a conforming blind fretcarved frieze, raised on like-fretted square legs, h. 36”, w. 68‑1/2”, d. 25‑1/2”. [800/1200] 25 Three-Fold Canvas and Leather Screen, each fold depicting various figures in Oriental garb amidst buildings and a lakeside landscape, overall, h. 68‑1/2”, w. 51”.

[1200/1800] Illustrated

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26 Edwardian Mahogany Tea Table in the Chinese Chippendale Taste, first quarter 20th century, with the celluloid label of Edward and Roberts, London, the serpentine square top over a carved apron, raised on pierced legs, h. 28‑3/8”, w. 28‑1/4”, d. 28‑1/4”. [500/800] 27 Pair of Continental Bronze Argente Two-Light Sconces, second quarter 20th century, each shieldshaped backplate centering a large oval “cabochon” surrounded by pointed floral banding and crested by addorsed scrolls, fitted with two flat-column arms, each terminating in a large pan and waisted nozzle, fitted with faux candles, the wiring cut, h. 10‑1/2”, w. 11”, d. 5‑3/4”.

[500/800]

28 Pair of George II-Style Giltwood Eagle Brackets, 19th century or earlier, the true pair of brackets with opposing eagles perched on pierced rocaille backplates, the shelves with scalloped and carved edges, h. 18‑3/4”, w. 11‑1/2”, d. 6‑3/4”.

[500/800]

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29 George III Mahogany Chest-onChest, fourth quarter 18th century, in the Chinese Chippendale taste, the molded and dentillated cornice above a fret-carved frieze and two short drawers over three graduated long drawers, all flanked to either side by a canted blind fret upright, the lower section fitted with a pull-out slide over three graduated long drawers, raised on bracket feet, h. 75‑1/2”, w. 46‑1/2”, d. 22‑1/2”. [1000/1500] Illustrated previous page

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36 English Regency-Style Tortoiseshell Tea Caddy, fourth quarter 19th century, with a silverplated escutcheon and cover cartouche, raised on ball feet, h. 4‑3/4”, w. 6‑1/2”, d. 3‑3/4”.

[700/1000] Illustrated 37 Victorian Tortoiseshell TwoCompartment Tea Caddy, fourth quarter 19th century, in the Regency style, with canted corners and a mansard-shaped lid, finished with a mother-of-pearl escutcheon and knobs on the interior lids, h. 5‑3/4”, w. 7‑1/4”, d. 4‑1/4”. [700/1000] Illustrated

30 Edwardian Parcel-Gilt and Mahogany Mirror, first quarter 20th century, in the Adam taste, the mahogany-veneered frame set with a crest of pierced scrollwork and an urn-form finial, with bellflowers on each side, h. 57”, w. 28”. Provenance: Royal Antiques, New Orleans, Louisiana. [700/1000] Illustrated

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31 English Embroidered Panel Depicting a Royal Procession, 18th century, the overall delicately rendered chain stitch in fine wool thread on a natural linen backing, the edges of backing bearing traces of design/plan measurements in red ink, h. 16‑1/2”, w. 109‑1/2”. [800/1200] Illustrated 32 Regency-Style Anglo-Irish Cut Crystal Twelve-Light Candelabrum, mid-20th century, probably Waterford, the diamond-cut vasiform standard set with candles on three levels, the cut glass cups trimmed with gilt, h. 36‑3/4”, dia. 19‑3/4”.

[800/1200] Illustrated 33 Rare Georgian Cut Glass Cruet Set, ca. 1800, Anglo-Irish or Continental, the wood and tole stand in a remarkably preserved state, with nearly all of the leather cover intact, the bottles with their original stoppers, h. 9‑1/2”, w. 8”, d. 4‑3/4”. [450/700]

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34 George III-Style Pine and Pickled Pine Server, 20th century, the rectangular top above a frieze fitted with two drawers, each with applied swag designs, raised above a shaped frieze on cabriole legs headed by foliate carving and ending in peg toes, h. 31‑1/2”, w. 54”, d. 22”. [1500/2500] Illustrated 35 Pair of George III-Style Mahogany Wingback Chairs, early 20th century, each with a slightly domed padded back, joined by shaped sides and outscrolled arms to the padded seat, raised on square legs joined by an H-form stretcher, h. 45”. [800/1200] Illustrated

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38 George III Mahogany Bowfront Sideboard, ca. 1800, the shallow central drawer flanked by deep drawers, one retaining fittings for bottles, raised on tapering Hepplewhite legs with spade feet, h. 36”, w. 65”, d. 24‑1/4”.

[1000/1500] Illustrated 39 George II Sterling Silver Salver, hallmarked London, 1758‑1759, by Thomas Gilpin, of circular form, with raised serpentine-lobed rim and three bracketed shell feet, the plateau engraved with the rococo-mantled arms of Stewart of Glassermont, h. 2”, dia. 14‑1/4”, 44.81 total t. oz.

[5000/8000] Illustrated

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39 (detail)

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40 Fine Set of Four George III Sterling Silver Salvers and Waiters, hallmarked London, 1761‑1762, by Richard Rugg II, including two salvers, dia. 13‑1/4”, and two waiters, dia. 7‑1/4”, each of circular form with “Chippendale” edge and applied rococo-scroll rim, raised on three acanthus-crested lion’s paw feet, the plateau engraved with a floral rococo band centering the rocaille-mantled arms of Took impaling Roundell, 105.26 total t. oz. [7000/10000] Illustrated The arms here are those of John Took (1738‑1819) of Godinton House, Kentshire and his wife Margaretta-Eleanor Roundell (1744‑1780), daughter of William Roundell of Knaresborough, co. York. As the couple were married on June 2, 1762, this set was very likely part of their wedding service.

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42 George III Hester Bateman Sterling Silver Cream Boat, hallmarked London, 1783‑1784, of traditional bulbous oval form, with everted spout, scalloped rim, crested double “C”-scroll handle and raised on three pad feet, h. 3‑1/4”, l. 4‑3/4”, w. 2‑1/4”, 2.44 t. oz. [800/1200] 43 George III Irish Sterling Silver Waiter, hallmarked Dublin, no date letter but third quarter 18th century, by James Warren (free 1752; died 1789), of circular form, with elaborate “Chippendale” rim and raised of three scroll feet, the plateau engraved with a broad rocaille band centering a crest of a dove before an anchor, dia. 6‑1/2”, 9.58 t. oz. [1200/1800] Illustrated

41 George III Sterling Silver Cake Basket, hallmarked London, 1766‑1767, by Elizabeth Aldridge, of oval form, the sides with beaded spiral gadroons separating panels reticulated in various patterns, with bead-and-bobbin rim sectioned by rococo shells, with ovolo pierced swing handle en suite, the whole raised on an openwork rocaille base with four integral feet, the bowl engraved with the later baronial arms of Methuen quartering Cobb impaling Mildmay quartering St. John, h. 3‑3/8” (11‑1/4” with handle), l. 14‑3/4”, w. 13‑1/2”, 32.27 t. oz. [3000/5000] Illustrated The arms here are those of Paul Methuen (1779‑1849), 1st Baron Methuen, son of Paul Cobb Methuen and Matilda Gooch, and his wife Jane Dorothea St. John-Mildmay (1788‑1846), daughter of Sir Henry Paulet St. John and Jane Mildmay. Given that Methuen was not elevated to the barony until 1838, these arms are clearly a mid-19thcentury addition; indeed traces of an earlier armorial are visible on the underside.

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44 George III Irish Sterling Silver Ladle, hallmarked Dublin, 1802, by “JS”, in the traditional “Old English” pattern, with bright-cut and star decoration, engraved with the arms of Middleton of co. Cambridge and Stockeld, co. York, l. 13‑1/4”, 5.65 t. oz. [500/800] Illustrated 45 George III Irish Sterling Silver Sugar Basket, hallmarked Dublin, 1799, by John Stoyte, of navette form, with upswept fluted ends, decorated with engraved floral paterae and wrigglework banding above opposing navetteshaped cartouches en suite, raised on a waisted stem above a conforming foot, with reeded swing handle, one cartouche engraved with the crest of Taylor, Marquess of Headfort, h. 5‑1/4” (8‑1/2” with handle), l. 7‑5/8”, w. 5”, 8.80 t. oz.. [800/1200] Illustrated

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46 Good Set of Four George III Sterling Silver Sauce Tureens, hallmarked London, 1778‑1779, by Henry Greenway, each of oval form, with beaded rim, arched reeded handles, fitted domed lid with urn-form finial and raised on a conforming foot, engraved on the body with the arms of Rouse-Boughton, h. 5‑1/4”, l. 9”, w. 4‑1/4”, 74.84 total t. oz. [8000/12000] Illustrated The arms here are those of Sir Charles William Rouse-Bougton (1747‑1821), Baronet of Rouse Lench from 1791 and of Lawford from 1794. He served in several administrative and judicial positions in the East India Company from 1765, returning to England in 1778, where he was elected M.P. for Evesham 1780‑1790 and for Bramber 1796‑1800. Sir Charles’ story was presented in a 2010 episode of BBC2’s Who Do You Think You Are? featuring his direct descendant, British comedian Alexander Armstrong. For other items of Rouse-Boughton’s silver, see Christie’s London Sale 5513, November 22, 1995, lots 92, 93 and 101.

46 detail 47 Good Pair of George III Sterling Silver Waiters, hallmarked London, 1777‑1778, by John Schofield, each of oval form, with beaded rim and four shell feet, the plateau engraved with the arms of Baron Camelford, Pitt of Boconnoc, co. Cornwall, presumably for Thomas Pitt, 1st Baron Camelford (1737‑1793), l. 9‑1/8”, w. 7‑1/8”, 26.68 total t. oz.

[4500/7000] Illustrated

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47 (detail)

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51 George III Sterling Silver Fish Slice, hallmarked London, 1810‑1811, by Edward Fernell, in the traditional “Fiddle” pattern, with pierced scimitar-shaped blade, l. 12”, 4.43 t. oz. [500/800] 52 Regency Scottish Sterling Silver Fish Slice, hallmarked Edinburgh, 1815‑1816, by George Fenwick (free 1810; d.1857), in the traditional “Fiddle” pattern with pierced scimitar-shaped blade, l. 12‑1/8”, 6.36 t. oz. [450/700]

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53 Set of Four Regency Sterling Silver Shell Dishes, hallmarked London, 1812‑1813, by George Smith, each of coquille form, raised on three scroll feet, the handle engraved with a crest of a lion’s head out of a crown, l. 5‑1/2”, w. 4‑3/8”, 18.32 total t. oz. [1800/2500] Illustrated

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48 Pair of George III Sterling Silver Sauce Tureens, hallmarked London, 1780‑1781, by Wakelin & Taylor, in the neoclassical taste, each of oval form with upswept ends, decorated with fluted calyx and beaded rim, with arched reeded handles and conforming foot, engraved with the crest of Abbott, h. 5‑1/4”, l. 8‑3/4”, w. 4‑3/8”, 31.63 total t. oz. [3500/5000] Illustrated 49 George III Sterling Silver Tray, hallmarked London, 1796‑1797, by William Bennett, of oval form, with reeded rim and opposing handles en suite, the plateau engraved with a border of gadrooned fern, with a central foliate cartouche monogrammed “WSW”, the underside with later presentation inscription “E.J. Clay from M.W. Allen”, l. 21‑7/8”, w. 14”, l. 22”, 66.87 t. oz. [4000/7000] Illustrated 50 Pair of Regency Sterling Silver Candlesticks, hallmarked Sheffield, 1815‑1816, by John & Thomas Settle, each with a tapering standard gadrooned about the lower half, raised above a knop and domed foot and supporting an urn-form nozzle with detachable circular bobeche, decorated throughout with gadrooned banding, engraved on the basal edge with a crest of a leopard’s head erased, collared and chained, h. 12”, dia. 5‑1/2”, weighted. [3000/5000] Illustrated

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54 George IV Sterling Silver Ladle, hallmarked London, 1823‑1824,

by William Schofield, in the traditional “Fiddle Thread and Shell” pattern, engraved with a double crest of Aubrey and a horse’s head erased, l. 13”, 7.65 t. oz. [450/700] Illustrated 55 Fine Pair of George IV Sterling Silver Wine Coolers, hallmarked Birmingham, 1824‑1825,

by Matthew Boulton Co., each of campana form, with gadrooned calyx, addorsed acanthus handles and gadroon-and-shell rim, raised on a waisted cavetto-domed foot, fitted with Old Sheffield Plate liners and collars, the body engraved with the arms of Lloyd of Dolobran, h. 9‑3/4”, dia. 8‑3/4”, w. 9”, 114.39 total t. oz. (excluding collars and liners). [40000/70000] Illustrated

14

55 detail

55 detail

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56 Matthew Boulton Old Sheffield Plate Epergne, first quarter 19th century, Birmingham, of elongated octagonal form, with reed-and-vintage banding, acanthus crested flatcolumn legs and barrel feet, joined by a wirework stretcher centering a detachable acanthus bud finial and supporting four scrolling arms, fitted with one large and four smaller later diamond-pattern cut glass dishes with scalloped fancut edges, overall, h. 11‑1/2”, l. 16”, w. 16”. [3500/5000] Illustrated 57 Victorian Cased Twenty-Four-Piece Close Plate and Mother-of-Pearl Dessert Set, fourth quarter 19th century,

by Levesley Brothers, Sheffield, including twelve fruit forks, l. 6‑5/8”, and twelve fruit knives, l. 8‑1/4”, all with threaded and pointed mother-of-pearl handles with raised oval cartouches, the close plate blades and tine heels engraved with grape clusters and vines, presented in the original blue velveteen-fitted mahogany case with lift-out-tray, retaining the steel key, 2‑1/2” x 14‑1/2” x 11”. [450/700] 56

58 Set of Four Victorian Sterling Silver Salt Cellars, hallmarked London, 1850‑1851, by Francis Powell (ca. 1795‑1855), each of “punchbowl” form, with gadrooned rim and applied paterae and laurel swag banding, h. 2‑1/2”, dia. 3”, 20.25 total t. oz. [1400/1800] 59 Contemporary Four-Piece English Sterling Silver Coffee and Tea Set, hallmarked Sheffield, 1989, by C. J. Vander Ltd., in the late Georgian taste, including a coffeepot, h. 10‑1/4”, a teapot, h. 6‑1/2”, a cream jug, h. 4‑1/2”, and an open sugar bowl, h. 4”, each with a bulbous oval body decorated on the shoulder with a wrigglework band and the body with a laurel cartouche, the pots with crested wooden handles and finials, the jug and bowl with squared strap handle(s), 62.69 total t. oz. (including wooden fittings). [3000/5000] Illustrated 60 Pair of Chinese Porcelain Court Ladies, late Qing Dynasty (1644‑1911), the two “nodding” figures of courtly beauties dressed in the Manchu Qing style, each holding a ruyi scepter in one hand and a handkerchief in the other, the undersides unmarked, h. 21‑1/2”, w. 7”.

[1800/2500] Illustrated

60

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62

63 Chinese Terracotta Sancai Horse, 19th/20th century, the figure of a horse in the Tang style standing on a rectangular pedestal with a tricolor Sancai glaze, h. 14‑3/4”, l. 13”. [1500/2500] 64 Group of Nine Foo Dog Roof Tiles, late 19th/early 20th century, including five large and four small green-glazed foo dog figures, each displayed on a rectangular pedestal, the largest, h. 10‑1/2”, w. 5‑1/2”. [600/900] 65 Pair of Chinese Export Porcelain Pigeons, early 20th century, the two brightly enameled porcelain pigeons with undersides marked “China”, h. 7‑1/2”, l. 7‑3/4”. [450/700] Illustrated

61 Chinese Export Porcelain Figure of an Official, in the Kangxi style and possibly of the period (1662‑1722), the standing figure in a famille verte palette, on a square floral scroll base depicting scholarly accoutrements, the whole resting on a wood base, h. 16‑1/4”, w. 5”. [600/900]

66 Pair of Chinese Cloisonne Geese Censers, late 19th century, the two goose-shaped metal and enamel censers with gilding on the beak, feet and handle, one with a turquoise ground and the other with a blue ground, h. 7‑1/4”, w. 8‑1/2”. [600/900] Illustrated 67 Pair of Chinese Cloisonne Geese, late 19th century, each of the two bird-form incense boxes with one wing that opens to reveal the interior cavity, h. 6‑3/4”, l. 6”.

[600/900] Illustrated

67

65

62 Three Chinese Porcelain Figures of Immortals, early 20th century, the tall porcelain figures depicting Fu, Lu and Shou, the embodiments of happiness, prosperity and longevity, the green-robed figure with two export marks on the underside, h. 17‑1/4”, w. 5‑1/8”. [700/1000] Illustrated

16

66

69

68 Pair of Chinese Cloisonne Geese Incense Boxes, late 19th century, the two goose-shaped boxes with enamel on metal and gilt accents on the bills, feet and eyes, displayed on wooden stands, box, h. 4‑1/2”, l. 5‑1/8”, overall, h. 5‑3/4”, l. 6”. [600/900]

72

69 Pair of Antique Chinese Gilt-Bronze Censers, late 19th century, each horned mythical animal with a shell on its back that lifts off to reveal the inner cavity, the lid with a candle pricket on each piece, h. 6‑1/4”, l. 6‑1/4”.

[700/1000] Illustrated 70 Pair of Antique Chinese Cloisonne Censers, late 19th century, the two horned mythical creatures in colorful enamel on bronze, each with a carved custom-made wooden stand, censer, h. 4”, l. 7‑1/2”, overall, h. 5”.

[600/900]

73

71 Pair of Chinese Cloisonne Censers, 19th century, the two censers in the shape of oxen, on carved wooden bases, censer, h. 5‑1/4”, l. 6‑1/4”, overall, h. 7”. [600/900] 72 Pair of Chinese Cloisonne Camel Figures, early 20th century, the two Bactrian camels depicted with saddles, h. 7‑1/2”, w. 7”. [700/1000] Illustrated 73 Pair of Chinese Gilt-Bronze Foo Dogs, 19th-20th century, the two figures on pedestals, the male with an ornate ball under his raised paw and the female subduing a frolicking pup, rendered in the round, the undersides unmarked, h. 6‑1/2”, w. 2‑1/2”, d. 3‑3/4”. [1200/1800] Illustrated

17

74

77 Regence Ormolu-Mounted Kingwood and MarbleTop Commode, 19th century, the shaped marble top above a conforming bombe case fitted with two short drawers over two long drawers, all with decorative inlaid banding, raised on splayed feet with sabots, h. 36”, w. 56”, d. 26‑1/2”. [3000/5000] Illustrated

74 back

74 Sino-Tibetan Gilt-Bronze Medicine Buddha, 19th century or earlier, the gilt-bronze figure of Bhaisajyaguru seated in padmasana with hands positioned in bumisparsha mudra, the figure holding a salve jar in its right hand and having srivatsa marks on the soles of each foot, seated on a lotus base with a vajra on the back, the underside marked with a visvavajra, h. 9‑1/4”, w. 7”.

[1200/1800] Illustrated 75 Chinese Bronze Figure of a Seated Buddha Statue, late 19th century, the bronze Avalokitesvara seated on a double lotus base, holding a small white vase, inscribed “Tong yi fa qiao Zuo” on the underside of the figure and the top of the base, h. 6‑1/2”, w. 3‑1/4”.

[700/1000] Illustrated 76 Chinese Bronze Vase, late19th/early 20th century, the large bronze vessel covered with a motif of dragons and ruyi clouds, and having two dragon-head-shaped lugs, each with a ring in its mouth, the underside with an apocryphal four-character mark of Qianlong, h. 13”, dia. 8‑1/2”. [450/700]

18

75

78 Pair of French Belle Epoque Bold Giltwood Sconces, ca. 1900, in the Louis XV style, the shield-form backplates supporting pairs of cornucopia-form candle arms trimmed with carved acanthus leaves, h. 22‑1/2”, w. 18‑1/4”, d. 10”. [1500/2500] Illustrated 79 Belle Epoque Gilt-Bronze Fifteen-Light Chandelier, first quarter 20th century, in the Louis XIV taste, the tripartite standard handsomely decorated with pierced scrollwork and molded shells, on a stippled ground, set with two tiers of candle arms hung with pierced swags and decorated with molded masques, h. 38”, dia. 28‑1/4”.

[1800/2500] Illustrated 80 Louis XV-Style Giltwood Console Table, mid-19th century, the shaped marble top above a conforming shell- and foliatecarved frieze, raised on C-scroll legs joined by a foliate-carved stretcher and ending in in-scrolled toes, h. 37”, w. 50”, d. 19”.

[1000/1500] Illustrated

78

79

80

81 Louis-Philippe Giltwood Mirror, mid-19th century, the bolection-molded frame decorated with bright gilt incised leaves and flowers on a matte ground, a bowknot holding a collection of trophies forming the crest, including a globe, calipers and a torch, h. 59‑3/4”, w. 31‑1/2”. [1000/1500] Illustrated

81

77

19

85 French Plaster Rondel Depicting Louis XVI, ca. 1890’s, now painted in faux-marbre to resemble sienna marble on marbre rouge, marked with an inset plaster tag for Musee de Sculpture at the Palais du Trocadero, dia. 26‑1/2”. [1200/1800] Illustrated

82

86 Louis XV-Style Kingwood and Marble-Top Commode, early 20th century, the shaped marble top with a molded edge, above a conforming bombe case fitted with two drawers, both quarter-veneered and with an inlaid floral spray, raised on splayed legs ending in sabots, h. 33‑1/2”, w. 33‑1/2”, d. 17‑1/4”. [500/800]

84

82 Carved Walnut Bust of Marie Antoinette, 19th century, probably French, carved from a single piece of walnut, except for the socle, depicted wrapped in a cloak, with carefully carved lace accentuating her bare decolletage, h. 31‑3/4”, w. 20”, d. 10‑3/4”. Provenance: The Keith Skeel Collection, New York, New York and London, England. [1000/1500] Illustrated 83 German Hand-Painted Porcelain Plaque Depicting Marie Antoinette, post 1904, marked by Gerold Porzellan, Tettau, Bavaria, the double framed oval plaque in a giltwood shadowbox, h. 24‑3/4”, w. 21‑1/2”. [500/800] 84 French Equestrian Bronze of Louis XVI, fourth quarter 19th century, after Martin Desjardins (b. van den Bogaert, Dutch/French, 1637‑1694), on a mottled sepia marble base, overall, h. 20‑1/2”, w. 6”, d. 13‑1/4”.

[1200/1800] Illustrated

20

87 85

87 Exceptional French Tortoiseshell and Gilt-Bronze Jewel Casket, fourth quarter 19th century, in the Louis XV taste, set on scrolled feet, the bombe-form box mounted with gilt-bronze swags, a cartouche and scrolled corners, the cover with a pierced bronze knop on the cabochonform top, lined with harateen, h. 8‑3/4”, w. 11‑1/2”, d. 8”.

[800/1200] Illustrated

91

89

92

90

88 Louis XV-Style Mahogany Bureau Plat, the rounded rectangular top with an inset leather writing surface and within an ormolu banding, above a conforming case fitted to either side with a central drawer, flanked to either side by a drawer, raised on cabriole legs ending in sabots, the whole accented with ormolu mounts, h. 30‑1/2”, w. 54”, d. 32”. [1200/1800] Illustrated 89 Napoleon III Boulle-Work Encrier, third quarter 19th century, the bombe body veneered with tortoiseshell, inlaid with brass scrollwork and decorated with gilt-bronze fittings, the top set with an inset pen rest and covered ink and pounce pots, h. 4”, w. 9‑1/4”, d. 6‑1/4”. [600/900] Illustrated 90 Napoleon III Boulle-Work CylinderTop Lap Desk/Letter Box, third quarter 19th century, the exterior decorated with inlaid brass scrollwork, the interior with letter compartments and a writing slope lined with blue baize, h. 7‑3/4”, w. 13”, d. 11”. [800/1200] Illustrated

88

91 Blond Tortoiseshell Card Box, third quarter 19th century, probably French, inlaid with gold, silver and mother-ofpearl, with an oval framed cartouche, h. 3/4”, w. 3‑3/4”, d. 2”. [700/1000] Illustrated

21

94

95 92 Louis XV Twenty-Karat Gold and Tortoiseshell Snuffbox, Paris, 1738‑1744, the date letter and maker’s mark rubbed, of squat cylindrical form with waisted sides, the tortoiseshell embossed all over in an intricate basketweave pattern, with gold rims, hinge and inset cartouche, h. 1‑1/2”, dia. 2‑1/2”. [700/1000] Illustrated previous page

93

96

22

93 French Tortoiseshell Cylindrical Box, second quarter 19th century, decorated with silver appliques, the inlaid cup framed with a pierced engraving, which translates from French, “To my mistress Era with much love”, h. 1”, dia. 2”. [600/900] Illustrated

97

94 Napoleon III Ebonized and Marble-Top Secretaire a Abattant, mid-19th century, faced as a semainier, the shaped marble top above a conforming case fitted with a drop front opening to a fabric inset writing surface and a variety of drawers and cubbyholes, over four drawers all with inset brass stringing, raised on a plinth base, the whole with ormolu mounts and millwork, h. 49‑1/2”, w. 29”, d. 16‑3/4”. [700/1000] Illustrated 95 Follower of Johann Heinrich Wilhelm Tischbein (German, 1751‑1829), “Maria Theresa in Mourning”, oil on canvas, inscribed lower center “Maria Teresia Empress Queen”, 34” x 28‑3/4”. Presented in a giltwood and gesso frame affixed with an exhibition plaque. [1000/1500] Illustrated

97 Pair of Louis XV-Style Bronze Five-Light Sconces, mid-20th century, the leaf-molded backplates supporting matching arms set with candle cups, h. 22”, w. 18”, d. 11‑1/2”. [1200/1800] Illustrated 98 Transitional Louis XV-into-Louis XVI-Style Mahogany Music Cabinet, early 20th century, the slightly bowed top with a molded edge in brass banding, above a conforming case fitted with a single door, bi-paneled and with parquetry veneers, and a floral swag and basket ormolu mount, raised on cabriole legs ending in sabots, h .48”, w. 27‑1/4”, d. 17‑3/4”. [600/900] 99 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Commode, early 19th century, the breakfront rectangular marble top with molded edge, above a conforming case fitted with two drawers, each paneled and with lattice-patterned parquetry inlay, raised on cabriole legs ending in paw sabots, h. 35‑1/2”, w. 37”, d. 18”. [1800/2500] Illustrated 100 Louis XV-Style Mahogany Bureau Plat, early 20th century, the shaped rectangular top with an inset gilttooled leather writing surface and within an ormolu banding, above a frieze fitted with three drawers to one side and three faux drawers to the other, all with ormolu banding and pulls, raised on cabriole legs headed by espagnolettes and ending in sabots, h. 31”, w. 70”, d. 37‑1/2”. [800/1200] Illustrated

96 Louis XV-Style Kingwood Lady’s Desk, late 19th century, the top with an inlaid rectangular panel of flowers, above a like-inlaid slant-front opening to a fabric writing surface and a variety of drawers and cubbyholes, raised above a paneled apron on cabriole legs ending in sabots, h. 35”, w. 26‑1/2”, d. 18”. [900/1200] Illustrated

100

99

23

102

103 Continental Hand-Painted Porcelain Garniture Urn, ca. 1820, the blue and gilt marbleized base supporting the vase, decorated with hand-painted neoclassical reserve panels and set with biscuit masque handles, trimmed in gilt toolwork, h. 14‑1/2”, dia. 5‑1/4”. [1000/1500] Illustrated 104 Transitional Louis XV-into-Louis XVI-Style Kingwood, Mixed Woods and Marble-Top Cabinet, the breakfront marble top above a conforming case fitted with three frieze drawers, over three cupboard doors, all banded and with architectural inlays, raised on cabriole legs, the whole with ormolu millwork, h. 36”, w. 54‑1/2”, d. 23‑1/2”. [1500/2500] Illustrated 105 French Parcel-Gilt Trumeau Mirror, third quarter 19th century, in the Louis XV style, edged with gilt scrollwork and flanked by a pair of trophies, the painted panel depicting a Palladian-style villa in a park, h. 59‑1/2”, w. 45‑1/2”. [800/1200]

106

103

101 Pair of Louis XV-Style Giltwood Fauteuils, mid19th century, each with a shaped domed back surmounted by a foliate crest, joined by padded outscrolled arms to the like seat, raised on cabriole legs ending in foliate scrolled toes, h. 42”.

[1500/2500]

102 Pair of Berlin-Style Hand-Painted Porcelain Vases, ca. 1890‑1945, attributed to Josef Riedl, Giesshubel, Czechoslovakia, decorated with raised gilt on a claret ground, one depicting “Jupiter and Callisto” and the other “ Malerei and Poesie”, identified on the back, with an overglaze black “beehive”, h. 8‑1/2”, dia. 3”. [500/800] Illustrated

24

104

106 Impressive French Gilt-Bronze Twenty-FourLight Chandelier, ca. 1900, the vasiform standard set with three tiers of candle arms holding the foliate-form candle cups, interspersed with various delicately molded leaves and flowers, now electrified, h. 33”, dia. 31‑1/2”.

[2000/4000] Illustrated

107

107 French Belle Epoque Giltwood Mirror, fourth quarter 19th century, in the Louis XV taste, set with a beveled mirror plate and framed with gadrooning, the serpentine crest decorated with pierced scrollwork, h. 63‑1/4”, w. 39‑1/4”. [1200/1800] Illustrated 108 Louis XV-Style Mahogany and Marble-Top Commode, early 20th century, the shaped marble top with a shaped and molded edge, above a conforming bombe case fitted with two long quarter-veneered drawers with a large inlaid floral spray, the sides inlaid en suite, raised on splayed legs ending in sabots, h. 34”, w. 47”, d. 22‑1/2”. [1200/1800] Illustrated

110

109 109 Emmanuel Villanis (French, 1858‑1914), “The Naiad Tanagra”, bronze, personification of the ancient Greek town in Boeotia, cast signature at back, “Societe des Bronzes de Paris” foundry mark on base, inscribed “BI/4651”, h. 24”, w. 13”, d. 10”.

[1500/2500] Illustrated

108

110 French Bronze of “La Demi-Mondaine”, first quarter 20th century, after George van der Straeten (Belgian, 1856‑1928), cast signature and inscribed “Paris” at front of base, inscribed “BLOT/FI” at back edge of base, h. 20”, w. 19”, d. 13‑1/2”. [1800/2500] Illustrated

25

111 French Bronze Bust of a Mustachioed Man, fourth quarter 19th century, inscribed “a Provost/ son eleve/(?) de Grandmasson/1883”, h. 23”, w. 15”, d. 6”.

[500/800] Illustrated 112 Pair of French Bronze Figural Three-Light Candelabra, ca. 1900, composed of patinated bronze with remnants of gilt highlights, the figural standards depicting grenadiers holding rifles, h. 15‑1/2”, w. 7‑1/2”, d. 5‑3/4”.

[500/800]

114

111

113 Napoleon III Mahogany Occasional Table, late 19th 113 century, the banded rectangular top quarter-veneered and with a three-quarter pierced brass gallery, above a frieze fitted with a single drawer, joined by ring-turned circular legs to a shaped lower shelf and ending in casters, h. 29‑1/2”, w. 23‑1/2”, d. 17”. [500/800] Illustrated 114 Unusual French Alabaster, Marble, Champleve Enamel and Porcelain Pedestal, ca. 1900, the rouge marble base supporting the champleve-trimmed column standard, the capital set with hand-painted porcelain plaques depicting French noblewomen, marked “Fizel France depose”, h. 43‑1/2”, w. 11‑1/2”, d. 11‑1/2”.

[700/1000] Illustrated

115

26

115 Napoleon III Mahogany and Marble-Top Secretaire a Abattant, third quarter 19th century, the inset rectangular marble top with canted corners, above a conforming case fitted with a frieze drawer over a drop front, featuring a polychrome spray and opening to a variety of drawers and cubbyholes, over two long drawers, faced as two paneled cupboard doors, raised on block feet, the whole accented with ormolu mounts, h. 53”, w. 36‑1/2”, d. 20‑1/4”.

[800/1200] Illustrated

118 Napoleon III-Style Giltwood and Polychrome Music Cabinet, early 20th century, the stepped bowed rectangular top with a landscape scene, above a conforming case fitted with a single door with a painted scene in the manner of vernis Martin, opening to a shelved interior flanked to either side by a garland-entwined upright, raised on fluted tapering circular legs ending in molded feet, h. 38”, w. 23‑1/2” ,d. 17‑1/2”. [500/800]

116

119 Continental Kingwood, Exotic Woods and Marble-Top Commode, early 20th century, the rectangular top with projecting canted corners and a molded edge, above a conforming case fitted with a single frieze drawer with applied foliate band, over two long drawers, each with parquetry inlays and a central floral vase medallion, flanked to either side by a fluted upright headed by an acanthine mount, the whole raised on paw feet, h. 38”, w. 57‑1/2”, d. 22‑1/2”.

[2000/4000] Illustrated

117

120 Cesar Denis Daly (1811‑1894), “Architecture Funeraire Contemporaine”, Paris: Ducher et Cie., 1871, first edition, comprising one hundred and nineteen loose medium folio prints (including five double sheets and two chromolithographs), with fifteen additional loose sheets of text and indices, in a dark blue quarter cloth marbleized board folio (the spine lacking), being a pictorial survey of French funerary architecture presented in three sections of three, four and two parts respectively, covering religious and secular iconography in monumental, individual and family tombs, 17‑3/4” x 12‑1/4”. [Note: plates 3, 7, 15, 17 and 25 lacking from section 1:A.] [400/700]

116 Pair of Napoleon III Ebonized Fauteuils, third quarter 19th century, in the Louis XV taste, each with a padded medallion back within a molded frame, joined to the padded seat by like-molded arms, raised on cabriole legs ending in scrolled toes on casters, h. 37‑1/2”. [450/700] Illustrated 117 Pair of Napoleon III-Style Mahogany End Tables, 20th century, each with a banded and quarter-veneered top within a threequarter pierced brass gallery, above a single frieze drawer, joined to a galleried concave lower shelf by ring-turned tapering circular legs ending in brass caps on casters, h. 29”, w. 23‑1/4”, d. 17”. [700/1000] Illustrated 119

27

121 Pair of Napoleon III Bronze Dore et Patine Oil Lamp Standards, third quarter 19th century, now mounted as lamps, the tripartite Carrara marble bases holding pierced patinated bronze standards with caryatid heads on corbels, trimmed with Neo-Grec gilt bronze, electrified, base, h. 11‑1/2”, overall, h. 21‑1/2”, dia. 6‑1/2”. [500/800] Illustrated

123

121

122 Napoleon III Fruitwood and Exotic Woods Games Table, mid-19th century, the rectangular top with turreted corners and elaborate scrolling foliate inlay, hinged and opening to a baize-lined interior, above a conforming likeinlaid frieze, raised on fluted tapering circular legs ending in toupie feet, h. 28‑1/2”, w. 33‑1/2”, d. 18”. [1500/2500] Illustrated 123 Monumental Beaux Arts Gilt-Bronze and Glass Four-Light Lantern, first quarter 20th century, probably French, trimmed with egg-and-dart casting, supporting a pierced scrollwork canopy with pineapple finials, h. 59‑1/2”, dia. 27‑1/2”. Provenance: The Keith Skeel Collection, New York, New York and London, England.

[5000/8000] Illustrated

122

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124 Aesthetic Period Gilt-Bronze and Needlework Firescreen, fourth quarter 19th century, possibly French, the adjustable pole set with a bamboo-pattern gilt-bronze frame, and supported by molded dolphin supports, the handsomely worked stuffed and raised needlework panel depicting a dragon-form slip with cranes overhead, h. 46‑3/4”, w. 29‑3/4”, d. 14”. [500/800] Illustrated

128

124

125 French Patinated Bronze of “Le Grand Heron”, first quarter 20th century, after Jules Moigniez (French, 1835‑1894), cast signature on base, h. 35”, w. 21”, d. 13”. [1000/1500] Illustrated 126 French Bronze of “Lion Couche”, fourth quarter 19th century, after Antoine-Louis Barye (French, 1796‑1875), cast signature at base, h. 7”, w. 11‑1/4”, d. 4‑1/4”. [700/1000] 127 French Bronze of “Chien de Chasse”, ca. 1900, after Jules Moigniez (French, 1835‑1894), cast signature on self-base, on a teardropshaped green marble base, overall, h. 8‑1/2”, w. 12”, d. 9”. [500/800] 128 Victorian Polished and Cast Iron Hall Tree, late 19th century, the upper section with an arched crest over a Bacchic masque, and fitted with a rectilinear mirror flanked by garment hooks and hooks supporting brass rods, on a marble-top console base with a frieze drawer, flanked by umbrella hoops, h. 92”, w. 45”, d. 16”. [800/1200] Illustrated

125

129

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129 Napoleon III Ornately BrassMounted Cast Iron Stove, late 19th century, h. 40”, w. 30”, d. 15”.

[800/1200] Illustrated previous page

130

130 Belle Epoque Ormolu and Marble Vitrine/ Pedestal, early 20th century, the molded square marble top above a case fitted with a single door, opening to a shelved interior, the sides with marble accents, raised on a stepped marble socle base, h. 51”, w. 17‑1/4”, d. 17‑1/4”.

[1500/2500] Illustrated

133

131 French Belle Epoque Gilt-Bronze Ten-Light Chandelier, first quarter 20th century, in the Louis XV style, with swags of flowers hanging from the top of the rocaille-molded vasiform standard, which holds five leafmolded arms, each supporting a pair of candle cups at staggered levels, h. 32‑1/2”, dia. 24‑1/2”. [1500/2500] Illustrated

131

132

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132 French Three-Panel Leather Folding Screen, early 20th century, each panel depicting figures in traditional costume in a lush garden setting, overall, h. 72”, w. 60”.

[1500/2500] Illustrated

133 Pair of Vienna-Style Hand-Painted Cabinet Plates, ca. 1883‑1906, probably Carl Knoll, Fischern, Bavaria, decorated with raised gilt borders on a forest-green border, with hand-painted neoclassical scenes, signed “P. Heller” and marked with an underglaze blue “beehive”, dia. 10”.

[600/900] Illustrated 134 Louis XVI-Style Mahogany Center Table, early 20th century, the oval top with a painted scene of a courting couple in a pastoral landscape, above a conforming frieze with applied ormolu and millwork in arched patterns, raised on tapering circular legs ending in brass pegs, h. 29‑1/4”, w. 27‑1/4”, d. 20‑3/4”. [1200/1800] 135 Pair of Louis XVI-Style Polychromed and Faux Malachite Occasional Tables, mid-20th century, the inset tops with a glazed panel over faux malachite, the aprons in painted swag decor, on tapering square legs, h. 25‑1/4”, w. 24‑1/2”, d. 16”. [1500/2500] Illustrated 136 Louis XVIStyle OrmoluMounted and Faux Malachite Beechwood Center Table, mid-20th century, the circular top with a glazed panel over faux malachite, the shaped apron with ormolu wreaths and masques, on tapering legs joined by stretchers, h. 30‑1/4”, dia. 27‑1/4”.

[1000/1500] Illustrated

139 137 Neoclassically Inspired Faux Malachite Pedestal, with gilt line stringing, the sides with raised panels, h. 43”, w. 12‑1/2”, d. 12‑1/2”. [700/1000] Illustrated

136

138 Pair of Gilt-Bronze and Malachite Candlesticks, fourth quarter 19th century, probably Russian, the Louis XV-style gilt-bronze candlesticks mounted on malachite-clad onyx integral plinths, h. 10”, dia. 5‑1/2”. [500/800]

135

137

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140 Victorian Brass and Strapwork-Mounted Faux Malachite Papier-Mache Work Table, third quarter 19th century, mounted with engraved brass strapwork, the scalloped top opening to reveal a lift-out interior fitted with silk-covered pincushions and mother-of-pearl thread spools, raised on cabriole legs, h. 32‑1/2”, w. 19”, d. 15‑1/2”. [700/1000] 141 Luc Didier (French, b. 1954), “Le Jardin Fleuri de Madame Caran”, oil on canvas, signed lower right, pencil inscribed verso on stretcher, 19‑3/4” x 25‑3/4”. Framed.

[1000/1500] Illustrated

141

144

143

139 Albert Mohr (French, b. 1918), “Morning in Nice”, oil on canvas, signed lower left, 29‑3/4” x 23‑1/2”.

Framed. [800/1200] Illustrated on previous page 142

32

142 Louis XVI-Style Polychrome and Marble-Top Side Table/Server, early 20th century, the long rectangular Portor marble top with projecting canted corners, above a conforming foliate-carved frieze, fitted with a single drawer centered by two shell and pendant acanthine sprays, raised on paneled square legs headed by acanthine capitals and ending in foliate block feet, h. 35”, w. 86”, d. 21‑3/4”. [1500/2500] Illustrated 143 Lucien Delarue (French, b. 1925), “Pont Marie, Paris”, oil on canvas, signed lower left, signed and titled en verso, 23‑1/2” x 28‑1/2”. Framed. [800/1200] Illustrated 144 Napoleon III Porcelain- and Ormolu-Mounted Ebonized Work Table, mid-19th century, the turtle-form top with a removable center section with an inset porcelain plate of frolicking musical putti, lifting to a storage space, surrounded by a molded frame of porcelain plaques with similar scenes, above a shaped ormolu-mounted frieze, raised on shaped legs headed by ormolu birds, joined by an H-form stretcher and ending in splayed legs to sabots, h. 32”, w. 26”, d. 19”. [1200/1800] Illustrated 145 Persian Serapi Carpet, 10’ x 13’. [7000/10000] Illustrated 146 Serapi Carpet, 13’ 3” x 18’ 9”. [12000/18000] Illustrated

145

147 Turkish Angora Oushak Carpet, 9’ 1” x 12’.

[1000/1500] 148 Persian Lilihan Carpet, 6’ 5” x 12’. [2500/4000] Illustrated

146

148

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155 Armenian Mahal Carpet, 8’ 9” x 11’ 9”. [800/1200] 156 Chinese Carved Hardstone Figural Group, probably late 19th century, the white and dark green mottled hardstone depicting three birds on a pine tree, h. 8”, w. 4‑3/4”. [900/1200] Illustrated 157 Chinese Carved Jade Figure of Guanyin, 19th/20th century, now mounted as a lamp, the carved mottled green jade figure of the goddess of mercy holding a lotus, and standing next to a bird, resting on a pierced and carved wooden stand atop a metal lamp base, fitted with a silk shade, jade, h. 6‑5/8”, overall, h. 21‑1/2”. [900/1200] 158 Chinese Rose Quartz Carving of Three Dragons, first quarter 20th century, mounted as a boudoir lamp, the carving resting in a gilded mahogany stand with molded bronze fittings, quartz, h. 9‑1/2”, overall, h. 22”, dia. 4”.

[700/1000] 159 Two Chinese Soapstone Carvings, 20th century, one in the shape of a vase with an attached reddish stone base, the vase formed by an arrangement of lotus leaves and blossoms growing in water, and the other with a detachable red stone base, depicting chrysanthemums and rocks in a delicately ornate planter, the tallest, h. 10”, w. 5‑1/2”.

[600/900]

150 149 Agra Serapi Carpet, 12’ x 14’ 8”. [2000/4000] 150 Turkish Angora Oushak Carpet, 8’ 1” x 10’. [900/1200] Illustrated 151 Agra Serapi Runner, 2’ 7” x 17’ 10”. [600/900] 152 Agra Zeiglar Mahal Carpet, 10’ x 13’ 9”. [1500/2500] Illustrated 153 Persian Kashan Carpet, 10’ 4” x 14’. [5000/8000] 154 Turkish Angora Oushak Carpet, 9’ 1” x 11’ 6”.

[1200/1800] Illustrated

152

34

160 Chinese “Chicken Blood” Seal, 1930’s, the stone seal with a dark gray background and significant reserves of bright red, with an inscription down one side, together with a box, seal, h. 3‑1/8”. [600/900] Illustrated

156

161 Chinese Jade Carving, 19th/20th century, the white nephrite pebble carved in the shape of a gourd with a small rat sitting on the top, a brown inclusion forming the large lotus leaf along the side of the gourd, h. 1‑1/4”, w. 2‑1/8”.

[550/800] 162 Chinese Jade Carving of a Rabbit, late 19th/early 20th century, the yellow-green jade carved in the round, h. 1‑1/4”, l. 2‑1/2”. [800/1200] Illustrated

162

165

160

163 Chinese Carved Jade Bi Disk on Stand, probably Ming Dynasty (1368‑1644), the pale green nephrite disk with scattered light brown inclusions, carved with a motif of two chilong dragons, with a carved and reticulated wooden stand, disk, h. 4”, overall, h. 5‑3/4”. Provenance: E&J Frankel, Ltd., New York, New York, 1984.

[600/900] 164 Two Chinese Jade Carvings, the first example, a gray-green nephrite jade bead bearing a scrolling cloud motif, Han Dynasty (206 BC-AD 220), and the other example, a black and gray-green jade bi disk with cloud scrolls, Zhou Dynasty (1122‑256 BC), disk, dia. 1‑3/4”.

Provenance: E&J Frankel, Ltd., New York, New York, 1984. [800/1200]

165 Chinese Carved Jade Bi Disk, Ming Dynasty (1368‑1644), possibly 15th century, the white jade bi disk flanked by a pair of Chilong dragons, the reverse with a “rice grain” pattern carved on the surface, with reddishbrown inclusions scattered throughout the nephrite jade, w. 2‑1/4”, l. 3‑1/2”. Provenance: E&J Frankel, Ltd., New York, New York, 1984. [700/1000] Illustrated 166 Chinese Carved Jade Plaque, late 19th/early 20th century, the pierced white jade plaque with a double gourd framed by a pair of kui dragons, displayed on a pierced wooden stand, jade, h. 2‑1/8”, w. 1‑3/4”, overall, h. 4”.

[500/800]

35

167 detail

167 167 Rare Chinese Carved Rhinoceros Horn Libation Cup, probably Ming Dynasty (1368‑1644), 17th century, the beautiful russet cup with lighter honeycolored inclusions, the motif of a sage in a lush palace garden replete with bamboo, pine and scholar’s rocks, the cup with a handle depicting a gnarled pine tree, a symbol of longevity, a yunwen meander runs along the lip of the shallow vessel, a two-character mark on the underside of the cup, h. 5”, w. 6‑3/8”. Provenance: Private collection, Houston, Texas. [20000/40000] Illustrated 168 Chinese Carved Jade Pendant, 19th/20th century, the orange jade stone carved in the form of a peach, with green inclusions carved into the form of a bat, together, the bat and peach represent femininity and fertility, fitted with a fourteen-karat gold bail, h. 2‑1/4”, w. 1”. [500/800]

169 Chinese Amber Carving, Qing Dynasty (1644‑1911), the carved reddish amber depicting a pair of sages climbing a mountain with a young attendant in tow, h. 7”, w. 5‑1/8”. [600/900] Illustrated

167 detail

171

169

170 Two Chinese Carved Amber Bottles, 19th/20th century, both delicately rendered, one with a lid and flower/bird motif, displayed on a pierced wooden stand, and the other with a vine, double gourd and flower motif, the tallest, h. 4”.

[500/800] 171 Chinese Gourd Cricket Cage, 19th century, the gourd grown in an ovoid-form shape with molded decoration of dragons pursuing a flaming pearl, with a carved and ventilated wooden lid, displayed on a plexiglass stand, gourd, h. 7‑1/2”, w. 2‑1/4”, overall, h. 8‑1/2”. [700/1000] Illustrated

36

172

172 Chinese Ivory Carving, 19th century, the large tusk-shaped carving depicting the eight immortals against a craggy rock face, the underside incised with a twocharacter signature and flower mark, displayed on a wooden stand, ivory, h. 18”, w. 4‑3/4”.

[1500/2500] Illustrated

175

174

173 Chinese Carved Tortoiseshell Snuffbox, 19th century, the rectangular box with a high-relief image across the top depicting figures in a garden, the sides with dragons and a cartouche with the initials “RC”, the underside with like decoration, h. 1”, w. 2‑5/8”, l. 3‑1/2”.

[1000/1500] Illustrated

173 176

174 Renaissance-Style Carved Wood Pedestal in the Form of a Draped Male Nude, fourth quarter 19th century, probably Italian, inspired by Michelangelo, the figure resting on an ebonized base, h. 61”, w. 22”, d. 14‑1/2”. [2000/4000] Illustrated 175 Continental Patinated Metal Figure of a Moroccan Warrior, ca. 1900, h. 23”, w. 9”, d. 8”. [600/900] Illustrated

176 Bust of an Arab Warrior, after Wilhelm Christian Andreas Giesecke (Austrian, 1854‑1917), composed of polychrome galvanoplasty copper, signed “Giesecke” on the back, h. 23”, w. 15‑1/2”, d. 9”.

[800/1200] Illustrated

37

181

178 Italian Walnut Desk, late 19th century, the banded rectangular top quarter-veneered and above a central drawer flanked to either side by two short drawers, raised on cabriole legs ending in hoof feet, h. 31”, w. 46‑1/2”, d. 24‑3/4”. [1200/1800] Illustrated

179

177 Italian Walnut and Burl Walnut Commode, early 19th century, the banded and shaped top above a conforming case fitted with three long drawers, all banded, raised on cabriole legs, h. 38‑1/2”, w. 57”, d. 25‑1/2”. [4000/7000] Illustrated

178

38

179 Pair of Venetian Carved, Polychromed and Giltwood Blackamoor-Form Pedestals, fourth quarter 19th century, the acrobatic figural bases depicted doing handstands and balancing balls on their feet, the balls supporting the tops, carved with a fringed cover, and carefully detailed with incised painted and polychrome decoration, h. 40”, w. 13‑1/2”, d. 14‑1/2”.

[4000/7000] Illustrated 180 Italian Polychrome and Giltwood Blackamoor Torchere, early 20th century, the figure in traditionalpatterned garb and holding a cornucopia torch in one hand, with a metal lining, raised on a columnar giltwood base, h. 61”. [1500/2500] Illustrated

180

181 Italian Murano Glass Six-Light Grape Cluster Chandelier, mid-20th century, the metal frame mounted with mold-blown glass grape leaves throughout and grape cluster glass shades, h. 28”, dia. 28”. [1200/1800] Illustrated 182 Pair of Venetian-Style Blown and Engraved Mirrors, of Baroque inspiration, framed in blown, molded applied glass scrollwork, the mirror plates with reverse scrollwork engraving, h. 23‑3/4”, w. 17‑3/4”. [1000/1500] Illustrated 183 Pair of Continental Mirror and Brass Sconces, first quarter 20th century, the mirrored backplates with scalloped edges and reverse cut with stars, h. 15”, w. 10”, d. 7‑1/2”. [800/1200] 177

184 Pair of French Rococo-Style Polychrome Porcelain Plaques, fourth quarter 19th century, the boldly molded scrollwork framing harbor scenes, with an armorial device in one corner, h. 16‑3/4”, w. 12‑1/4”. [800/1200] Illustrated

184 182

185 185 Italian Rococo Polychrome Settee, 18th century, probably Venetian, the padded shaped and domed back within a molded frame, joined to the padded seat by scrolling arms, raised above a shaped and pierced apron on cabriole legs ending in foliate toes, pegged construction, h. 46”, w. 74”, d. 25”. [3500/5000] Illustrated

39

188

188 Pair of Italian Baroque Giltwood Mirrors, first quarter 18th century, possibly Florentine, each mirror-inset frame with a delicate pierced scrollwork crest with a molded basket-of-flowers finial, and lower scroll-carved drops also inset with mirror glass, h. 60”, w. 25‑1/2”. [2000/4000] Illustrated 189 Italian Polychrome and Marble-Top Console Table, in the grotto taste, the shaped top raised on four molded and acanthine-carved legs, joined by a shell-carved stretcher and ending in scrolled toes, h. 35‑1/2”, w. 86”, d. 19”.

[1500/2500] Illustrated 190 Pair of Baroque-Style Carved Wooden Pedestals, depicting struggling putti framing a leaf-carved pedestal, h. 21‑1/2”, w. 8‑3/4”, d. 4‑1/2”. [700/1000] Illustrated 191 Continental Carved Walnut Figural Cluster-Column Capital, 19th century or earlier, now hung as a bracket, carved with three draped putti supporting the upper portion, originally painted, h. 26‑1/4”, w. 27‑3/4”, d. 14‑3/4”. [3000/5000] Illustrated

186 Handsome Pair of Gille-Style Porcelain Busts of a Pecheur and His Wife, fourth quarter 19th century, French, the carefully sculpted biscuit busts painted and trimmed in raised gilt, the fisherman wearing a locket depicting his wife, impressed “MF” and with an unidentified printed “FB & Co.” mark, h. 23‑1/2”, w. 12‑1/2”, d. 9‑1/4”.

[700/1000] Illustrated

186

187 Unusual Continental Bronze and Porcelain Figural Three-Light Chandelier, first quarter 20th century, the basket-form base composed of woven bronze wire, with a long handle decorated with vines set with porcelain flowers and three floriform shade holders set with sockets, h. 26”, w. 14”, d. 10”. [450/700]

189

40

192

193 Italian Olivewood Bombe Commode, 19th century, the banded shaped top with patterned burl veneers above a bombe case fitted with three short drawers over three long drawers, all banded and with burl veneers, raised on cabriole legs ending in webbed toes, h. 37”, w. 57”, d. 22”.

[2000/4000] Illustrated

192 Italian Neoclassical-Style Giltwood Mirror, third quarter 19th century, the boldly carved mirror with putti bearing grapevines, the lower sunflower decoration overlaid with pierced grape leaves, h. 45‑1/4”, w. 39‑3/4”.

[3500/5000] Illustrated

191

190

193

41

197 Cesar Constantino Ceribelli (French, 1841‑1918), “Bust of an Elegant Maiden”, patinated bronze, cast signature, on a rouge marble base, h. 22”, w. 12”, d. 7”.

[800/1200] Illustrated

195

198 Continental Walnut and Mixed Woods Center Table, early 20th century, the circular top with an elaborate inlaid star pattern within a series of banding, raised on a turned standard to three shaped and splayed legs ending in scrolled toes, h. 30”, dia. 36‑1/2”.

[1000/1500] Illustrated

197

194 194 Hermann Ottomar Herzog (German/Pennsylvania, 1832‑1932), “Street Musicians”, 1858, oil on canvas, signed and dated lower left, 12” x 10”. Framed.

[2500/4000] Illustrated 195 William Charles Frerichs (Belgian/American, 1829‑1905), “By the Lake’s Edge”, oil on canvas, signed lower right, 18” x 24”. Framed. [2500/4000] Illustrated 196 Suite of Six Italian Marquetry-Inlaid Elm and Fruitwood Dining Chairs, late 19th century, in the 18th-century rococo taste, the backs with a shaped floraland foliate-inlaid splat, continuing to a serpentine seat and cabriole legs with pad feet, h. 36”. [1200/1800]

42

198

201 Jean Claude Chauray (French, 1934‑1996), “Still Life of Cherries and a Pewter Jug”, oil on canvas, signed upper left, verso with a “Wally Findlay Galleries” label, 13‑1/4” x 10‑1/4”. Handsomely framed. [700/1000] Illustrated

199

201

200

202 Italian Fruitwood and Marble-Top Commode, early 19th century, the rounded rectangular top above a case fitted with three long drawers, all with decorative banding and flanked by fluted uprights, raised on tapering square legs, h. 35‑1/2”, w. 45”, d. 22‑1/2”. [2000/4000] Illustrated

199 Continental Walnut and Mixed Woods Occasional Table, early 20th century, in the neoclassical taste, the canted rectangular top centered by an inlaid classical character within a decorative banding, raised on a turned standard to three shaped and splayed legs with inlaid patterns, h. 30”, w. 31‑3/4”, d. 20”. [800/1200] Illustrated 200 Continental Islamic Inlaid Scroll Box, fourth quarter 19th century, with ebonized trim, the sides crossbanded with kingwood, inlaid with Islamic script on the front, the Islamic crescent moon and star on the sides, the two-compartment interior covered with a glass door decorated with gilt arms of Prussia, h. 8‑1/2”, w. 13‑3/4”, d. 8‑3/4”. [500/800] Illustrated 202

43

204

206 (1 of 2)

204 Italian Baroque-Style Giltwood Mirror, the mirror inset framed with a pierced scrollwork crest and a crosshatched shield finial, h. 61”, w. 35”. [1200/1800] Illustrated

203 203 Italian Fruitwood and Mixed Woods Center Table, early 20th century, the circular top banded and with an inlaid scene of peasants in a castle landscape, above a conforming frieze fitted with a single drawer, raised on tapering square legs ending in brass caps and casters, h. 30‑3/4”, dia. 27‑1/2”. [1000/1500] Illustrated

44

205

205 Italian Polychrome Chest, early 19th century, in the neoclassical taste, the rectangular top above a conforming case fitted with three drawers, all with raised scrolling foliate accents, the top and sides decorated en suite, raised on bracket feet, h. 33‑1/2”, w. 33‑1/2”, d. 18‑1/2”.

[500/800] Illustrated

209

206 Continental School (First Quarter 20th Century), “Peasant Girl with a Sheep” and “Peasant Girl with a Donkey”, a pair of oils on canvas, both inscribed lower right “J. Pirus, Copie”, each 37‑1/2” x 23”. Both framed alike.

[700/1000] Illustrated

207

207 Pair of Silver Gilt Urns in the Italian Baroque Style, now mounted as lamps, the urns with a distressed surface and with molded metal bobeches, h. 23‑3/4”, w. 13‑1/2”, d. 6‑3/4”. [1000/1500] Illustrated 208 Continental Ebonized Marble-Top Center Table, in the Renaissance Taste, third quarter 19th century, the circular specimen marble top mounted to a base supported by four outstretched legs ending in carved paw feet, h. 29”, dia. 29”. [1000/1500]

209 Italian Carved and Stained Fruitwood Fantasy Mirror, late 19th century, the crest with a pair of lovebirds, the base with winged griffins, the left side fitted with a zinc-lined jardiniere, h. 91”, w. 48”, d. 15”. [2000/4000] Illustrated 210 WITHDRAWN 211 Unusual Venetian Blown Glass and Giltwood Dressing Mirror, first quarter 20th century, the giltwood frame set with overlapping individually blown leaves and trimmed in blue flowers with green leaves, resting on carved giltwood paw feet, h. 26”, w. 17‑3/4”. [500/800] 208

45

212

213 French Bronze Dore et Patine Figural Mantel Clock, first quarter 19th century, the case mounted with garlands of flowers tied with a bowknot, a musical muse playing a lyre sitting on the works, mounted with a silk-string suspension movement, signed “L. Japy Fils”, h. 18‑1/4”, w. 12‑3/4”, d. 4‑1/2”. [1200/1800] Illustrated

213

214

212 Impressive Regence-Style Marble and Gilt-Bronze Pendule a Cercles Tournante, fourth quarter 19th century, the gilt-bronze-trimmed marble base supporting the marble vase holding the clock works, set with a revolving enamel chapter ring, the standing cupid pointing to the correct time, the urn set with snake-form handles, a bronze helmet, quiver and shield cast aside at its base, h. 26”, w. 8‑1/2”, d. 8‑1/2”. [3000/5000] Illustrated

46

214 Impressive French Restauration Bronze Dore et Patine Figural Mantel Clock, second quarter 19th century, crowned with a seated depiction of Julius Caesar, the base plinth decorated with trophies of war, supported on paw feet, marked “SPQR” (the senate and people of Rome), mounted with a silk-string suspension movement marked “Andre Pichot a Paris”, h. 24‑1/4”, w. 18‑1/4”, d. 7‑1/4”. [1500/2500] Illustrated

218 219

215 English Design Reform Movement Gilt-Bronze Mantel Clock, fourth quarter 19th century, decorated with various colored lacquers to mimic mixed metal work, the dial marked by the retailer, W&M Dodge, Manchester, the works marked with an “A&B” flanking a five-point star, h. 16‑3/4”, w. 12‑1/4”, d. 7‑1/4”. [1200/1800] Illustrated

215

216 Marble and Gilt-Metal Figural Mantel Clock, ca. 1900, probably American, the rouge marble base set with a hand-painted porcelain dial, and a figure of a classical muse playing a harp, h. 23‑1/2”, w. 15”, d. 8‑1/2”. [500/800]

217

217 Louis-Philippe Rococo Revival Gilt-Bronze Mantel Clock, third quarter 19th century, set with signed Japy Freres works, the scroll-molded case decorated with flowers and a classical female figure, retailed by renowned Parisian clockmaker and jeweler Charles Detouche, and marked on the dial, h. 12‑1/2”, w. 16”, d. 4‑3/4”.

[700/1000] Illustrated 218 George III Tall Case Clock, ca. 1800, with a later chinoiserie surface, the clock having an eight-day time and strike movement, engraved “Joseph Wood, Scarborough”, h. 95”, w. 19”, d. 10”. [1500/2500] Illustrated 219 Louis XV Gilt-Bronze and Paint-Decorated Bracket Clock, third quarter 18th century, decorated in the Vernis Martin style with flowers and a hunt scene on a green ground, the movement with double bells, h. 57‑1/4”, w. 20‑3/4”, d. 10”. [3000/5000] Illustrated

47

220

220 Venetian Tall Case Clock, fourth quarter 19th century, decorated with a Japan-work case set with a marked Lemaire French movement, the black marble dial with an exposed escapement, h. 66‑3/4”, w. 15‑1/4”, d. 8”.

[500/800] Illustrated

222 Napoleon III Marble and Bronze Clock in the Neo-Grec Taste, third quarter 19th century, set with works marked by Marti et Cie, the bronze and marble dial flanked by bronze Corinthian columns, and the entablature decorated with a bas-relief patinated bronze plaque depicting Assyrian bulls, h. 18”, w. 13”, d. 7‑1/4”.

[800/1200] Illustrated

222

221 French Neo-Grec Marble and Bronze Mantel Clock, third quarter 19th century, resting on paw feet, the marble case with incised decoration and set with a bust of Dionysus, God of the Grape Harvest, the works marked “Japy Freres”, h. 23”, w. 19‑1/2”, d. 7‑3/4”.

[1500/2500] Illustrated

221

48

223

226 224

227

223 Monumental Napoleon III Marble and Patinated Metal Figural Clock, third quarter 19th century, the clock, set with a marked Jean Vincenti and Co. movement, depicting Venus clipping Cupid’s wings, mounted on a black marble base, h. 35”, w. 22”, d. 13”. [1500/2500] Illustrated

226 Baroque-Style Nickel Silver Cartel Clock, fourth quarter 19th century, with earlier works signed

by Robert Robin (1742‑1799), the cartouche-form clock case decorated with molded fruit and swags of ribbon, set with works marked “Robin H du Roy, a Paris”, h. 22‑1/2”, w. 29”. [1000/1500] Illustrated

224 Impressive French Belle Epoque En Suite GiltBronze Cartel Clock and Barometer, fourth quarter 19th century, in the Louis XV style, the pierced lyreform backplates terminating in “tetes de coqs” finials, the enamel dials decorated with swags of flowers, h. 31”, w. 13‑1/4”, d. 4‑1/4”.

[2500/4000] Illustrated 225 French Belle Epoque Gilt-Bronze Cartel Clock, fourth quarter 19th century, in the Louis XIV style, with a movement marked by Vincenti et Cie, the clock with a blue enameled chapter ring on the dial, and a pierced bronze case decorated with scrolls and griffins, h. 37‑1/4”, w. 16‑1/4”, d. 5‑1/4”. [500/800] Illustrated

227 American Colonial Revival Mahogany Five-Tube Tall Case Clock, early 20th century, bearing a metal tag reading “Hanson Clock Co., Rockford, Illinois”, h. 86”, w. 24”, d. 16”. [1500/2500] Illustrated

225

49

231

228

228 Large German Oak Floor Regulator Clock, ca. 1900, the circular porcelain dial bearing the signature “C. Theod. Wagner, Wiesbaden”, with a two-weight time and strike movement and a large bronze ball mounted to the top, h. 104”, w. 31”, d. 13”.

[1800/2500] Illustrated

233

229

229 Walnut-Cased Vienna Regulator Wall Clock, fourth quarter 19th century, the bracketed case set with fluted door pilasters terminating in Ionic capitals, the pedimented top with an anthemia-form crest, h. 46‑1/2”, w. 14”, d. 6”. [400/700] Illustrated 230 Walnut-Cased Vienna Regulator, fourth quarter 19th century, Austrian, marked “F. Schondorfer (1822‑1881), Wien”, the bracketed case with fluted door pilasters terminating in Corinthian capitals and a domed top, h. 47‑3/4”, w. 15”, d. 7”. [400/700]

50

231 Good William IV Mahogany Barometer Made

By Thomas Jones, London, second quarter 19th century, the unusual case veneered with figured mahogany and crossbanded with rosewood, the dial signed “Jones Charing Cross London”, set with a hygrometer and a thermometer, h. 43”, w. 8‑3/4”, d. 2‑1/4”. [1000/1500] Illustrated 232 English Regency Calamander Wood-Veneered Wheel Barometer, second quarter 19th century, set with a thermometer, hydrometer and a small convex mirror in addition to the barometer, the lower level marked “Warranted Correct”, h. 36‑1/2”, w. 10”. [500/800]

233 Regency Mahogany Wheel Barometer, second quarter 19th century, signed “J. Steffenoni Brooke House”, the mahogany case trimmed with kingwood crossbanding and line inlay, and set with a hydrometer, thermometer, barometer and level, h. 43”, w. 12”. [500/800] Illustrated The Steffenoni’s were one of a number of Italian immigrants who made barometers in London. An advertisement for their business is preserved in an 1838 “Observer”.

235

234 Rare American Arts and Crafts Quarter-Sawn Oak Tall Case Clock with Regina Music Box, early 20th century, with a two-weight movement with time and bar chimes strike on the hour, the music box plays with twelveinch discs activating bell chimes on the hour, three discs included, h. 85”, w. 22”, d. 15”. [2500/4000] Illustrated 235 French Belle Epoque Bronze and Porcelain ThreePiece Clock Set, fourth quarter 19th century, the blue and white ginger jar mounted with bronze fittings and a marked Japy Freres clock movement, set with a porcelain dial, h. 23”, dia. 6‑1/2”, the vases with masque-form handles and mounted with matching bases on cabriole legs, h. 12‑3/4”, dia. 5‑1/4”. [700/1000] Illustrated

234

234

51

236

236 English Ebonized Dressing Table, mid-19th century, in the chinoiserie taste, the rectangular top hinged and opening to a trisected mirrored interior, swing-out storage compartments, and a glass lidded storage bin, with a single drawer below, raised on a stand of cup-and-cover tapering legs joined by an X-form stretcher and ending in ball feet, the whole with gilt and polychrome accents in the chinoiserie taste, h. 39”, w. 30‑1/2”, d. 25”. [1500/2500] Illustrated

239

237 Pair of Terracotta Recumbent Lion Figures, fourth quarter 19th century, probably English, molded on plinths, their heads canted in opposite directions, h. 20‑3/4”, w. 15”, l. 37‑3/4”. [5000/8000] Illustrated

238

52

240

237

241

241 Pair of Gilt-Bronze-Mounted Wedgwood Tri-Color Jasperware Covered Urns, ca. 1898, England, mounted with a gilt-bronze foot ring, handles, knop and interior, the Jasperware bodies decorated with neoclassical oval medallions against a light blue ground, hung with swags of white grapevines, the covers impressed “Wedgwood”, the date code “STZ”, and an India ink script “26”, h. 11‑1/2”, dia. 4‑1/2”. [800/1200] Illustrated 242 Thomas Ellison (British, 19th Century), “Market Day”, 1909, watercolor on paper, signed and dated lower left, sight 26‑3/4” x 29”. Glazed and framed. Provenance: Bonhams London, June 12, 1996, lot 74. [500/800] Illustrated

238 Victorian Papier-Mache Tray Table, third quarter 19th century, the rounded rectangular tilting top with a full raised edge with foliate accents, raised on a turning support and end supports to splayed feet, h. 21‑1/2”, w. 26”, d. 19‑1/4”. [700/1000] Illustrated 239 John Clayton Adams (British, 1840‑1906), “Making a Corn Dolly”, 1889, oil on canvas, signed and dated lower right, titled on a label en verso, 28” x 18”. Attractively framed. [800/1200] Illustrated 240 Chinese Export Polychrome Center Table, mid-19th century, the tilting circular top with a central medallion and band featuring an elaborate gilt figural cityscape, raised on a bulbous standard to a concave tripartite base on paw feet, h. 30‑1/2”, dia. 35”. [500/800] Illustrated

242

53

243 Six-Piece Collection of Wedgwood Dry-Bodied Stoneware, including a saddle-shaped rosso antico teapot, first quarter 19th century, impressed “Wedgwood” in all caps, h. 6‑1/4”, a rosso antico miniature ale jug, second quarter 19th century, h. 2‑3/4”, a light blue jasperware jug, marked “DUP” for 1887, h. 7”, a light blue jasperware jug with the England mark dates 1891‑1914, h. 5‑1/4”, as does the green teapot, h. 3‑1/2”, and a green jug, only marked “England”, by one of Wedgwood’s competitors, h. 5‑1/4”. [500/800]

248 Marble Bust Depicting Mary Queen of Scots, fourth quarter 19th century, probably Italian, resting on a crested marble base decorated with bas-relief scrollwork, the pensively depicted Mary carved with carefully delineated embroidered clothing, h. 25‑1/2”, w. 22‑1/2”, d. 12‑1/2”.

[2000/4000] Illustrated

244 246

244 Nine-Piece Collection of English Wedgwood Blue Dip Jasperware, 19th century, both the candlesticks, h. 7”, and the pair of vases, h. 7‑3/4”, marked “Wedgwood” in all caps and are pre-1860, the vase, h. 7”, two jugs with pewter caps, h. 7”, and the two teapots, dia. 3‑3/4” and 4‑1/2”, marked “Wedgwood, England” and date “1891‑1914”. [700/1000] Illustrated 245 Victorian Ebonized and Marble-Top Parlor Cabinet, late 19th century, the bowed marble top with projecting corners, above a conforming case fitted with a central cupboard door centered by a floral porcelain plaque, flanked to either side by rounded glazed doors, opening to a shelved interior, raised on ball feet, h. 42”, w. 57‑1/2”, d. 16‑3/4”.

[800/1200] Illustrated 246 Good Victorian Cut Crystal and PrismHung Twelve-Arm Chandelier, third quarter 19th century, now electrified, h. 62”, dia. 36”. [1500/2500] Illustrated 247 Fine Victorian Ivory-Inlaid Ebony and Ebonized Card Table, ca. 1875, in the manner of Collinson and Lock or Jackson and Graham, London, the top with a central inlay with the initials “AB” in a cartouche supported by putti set in a parquetry panel, opening to reveal a felt-lined playing surface, the rear legs extending to support the top and revealing a hidden storage niche, the inlaid apron raised on fluted trumpet legs, h. 31”, w. 33‑1/2”, d. 16‑3/4”, extended l. 33‑1/2”. [1500/2500] Illustrated

54

245

252

247

252 Exceptional Pair of Carpenter and Westley Tortoiseshell and Gilt-Bronze Binoculars, ca. 1835‑1914, English, surviving in excellent, functioning condition, the nose plate engraved “Carpenter, Westley, 24 Regent St., London”, w. 5”, dia. 2‑1/4”, l. 4”. [1000/1500] Illustrated

248

250

249

249 Victorian Calamander Desk, third quarter 19th century, the superstructure shelf with a pierced brass gallery above the rectangular top with inset leather surface and rounded ends, above a conforming frieze fitted with two drawers, raised on fluted tapering circular legs ending in casters, the whole accented with ormolu mounts and millwork, h. 38‑1/2”, w. 46”, d. 23”. [900/1200] Illustrated 250 British School (Third Quarter 19th Century), “Farmyard with a Hay Cart”, oil on canvas, unsigned, 20” x 30”. Handsomely framed. [500/800] Illustrated 251 British School (Fourth Quarter 19th Century), “Marsh Landscape”, oil on canvasboard, illegibly signed lower right, 10” x 13‑1/2”. Presented in a giltwood frame affixed with an artist plaque, incised “Alfred G. Bell”. [500/800]

55

253 Group of Three Tortoiseshell Items, 19th/20th century, including a velvet-lined jewel box, w. 5”, an easelback frame, h. 8‑1/2”, w. 6‑1/2”, and a fluted cigar case, h. 5”, w. 3”. [800/1200] 254 British School (Second or Third Quarter 19th Century), “Portrait of a Lady”, oil on canvas, unsigned, a “Charles Roberson/London” stamp en verso canvas, 30” x 24”. In an antique frame. [800/1200] 255 Six-Piece Collection of English Miniature Tortoiseshell Articles, 19th/20th century, including two horn snuffboxes with tortoiseshell covers, w. 2‑3/4”, a papier-mache snuffbox with a horn cover, w. 2‑1/2”, a knife box-form needle case with packets of Victorian needles, dia. 1‑1/4”, an Edwardian easel picture frame, h. 3‑1/4”, w. 2‑1/4”, and a domed box, w. 2‑1/2”. [600/900] 256 Five-Piece Collection of Tortoiseshell and Ivory Articles, 19th/20th century, including four English pieces: a mother-of-pearl case, l. 6”, a mother-of-pearl-trimmed tortoiseshell box, h. 4”, a mother-of-pearl-inlaid case, h. 4”, and a small tortoiseshell-trimmed mother-of-pearl velvet-lined box, w. 3‑1/2”, together with a Japanese tortoiseshell bowl with a bamboo base, dia. 9‑1/4”.

[600/900] Illustrated

254 256 257 Six-Piece Collection of English Mother-of-Pearl and Tortoiseshell Boxes, including a large mother-ofpearl box lined in aubergine silk, w. 4‑1/4”, a velvet-lined checked tortoiseshell and mother-of-pearl box, w. 4”, an inlaid tortoiseshell case decorated with a basket of fruit and flowers, h. 4”, a smaller mother-of-pearl card case decorated with a cameo of birds and flowers, h. 3‑1/2”, a small tortoiseshell box with a domed top, w. 2‑1/2”, and a book-form needle case with two antique packets of needles, h. 2”.

[500/800]

259

56

258 Six-Piece Collection of English Tortoiseshell and Mother-ofPearl Boxes, middle/late 19th century, including a mother-of pearl spectacles or jewelry case, w. 8”, a mother-of-pearl card case, h. 4”, a mother-of-pearlinlaid card case, h. 3‑3/4”, a card case with mother-of-pearl and abalone trim, h. 4”, and a tortoiseshell box, l. 2‑3/4”.

[500/800]

259 Six-Piece Collection of Tortoiseshell, Mother-ofPearl and Abalone Cases, third quarter 19th century, English, including a tortoiseshell card case inset with a reverse-painted Gothic scene, h. 3‑3/4”, a card case inlaid with mother-of-pearl, h. 4”, a mother-of-pearl and abalone card case, h. 4”, a mother-of-pearl and abalone purse with leather back and silk interior, h. 3‑3/4”, a tortoiseshell box, w. 2‑2/4”, and a tortoiseshell and mother-of pearl box, w. 2‑1/2”. [500/800] Illustrated

261

260

260 British School (First Quarter 19th Century), “The Lovers”, oil on canvas, 52” x 30”. Presented in a giltwood frame. [2500/4000] Illustrated 261 Pair of Victorian-Style Bronze and Glass Wall Sconces, hung with spear-point prisms and set with gas-style glass shades decorated with a cut Greek-key on a frosted shade, h. 10”, d. 10”, dia. 5‑1/4”. [500/800] Illustrated 262 British School (Second Quarter 19th Century), “The Seizure of Roger De Mortimer”, oil on canvas, signed and dated lower right “J. Smith 1844”, 30” x 25”. Presented in a period giltwood and gesso frame. [700/1000] Illustrated

262

57

263

265 George Thompson Pritchard (British, 1879‑1962), “Village by the River”, watercolor on paper, signed lower right, sight 13” x 19”. Framed. [500/800] Illustrated

266

266 Charming English Oak and Brass Smoking Set, ca. 1895‑1922, in the form of a Victorian railway coal car, marked “GER” on each side, for Great Eastern Railway, and marked “Rd 230537”, an English registry number for 1894 or 1895, the faux coal cover opening to reveal compartments for cigars and cigarettes, a match compartment and striker and a small removable nickel ashtray, h. 6‑5/8”, w. 6”, l. 13”. [700/1000] Illustrated

263 Napoleon III MarquetryInlaid and PorcelainMounted Ebonized and Amboyna Cabinet, ca. 1875, the upper section with a broken-arch pediment over a pair of doors, each with a panel centered by a porcelain plaque in the Sevres style, and flanked by shelves, the shaped base with a frieze drawer with like decor over a pair of shelves supported by segmented columns, h. 70”, w. 64”, d. 19”. [1500/2500] Illustrated 264 Collard & Collard, London, Rosewood Grand Piano, second half 19th century, of conventional form, with applied arabesque carving and supported by foliatecarved tapering hexagonal legs, h. 37‑1/4”, w. 54”, l. 87”.

Provenance: From the Estate of Mickey Easterling, New Orleans, Louisiana. [1000/1500] Illustrated

58

264

268 British School (Fourth Quarter 19th Century), “Men in a Boat on a Stormy Sea”, oil on canvas, signed and dated lower right “J. S. Fox, 1882”, 32” x 40”. Presented in a giltwood frame.

[600/900] Illustrated 269 Five-Piece Collection of English and American Majolica, fourth quarter 19th century, including an amberglazed jug decorated with knights, h. 9‑3/4”, a German-style pitcher with a pewter lid, h. 11”, an aesthetic jug decorated with cranes and bamboo, h. 8‑1/2”, and a pair of Etruscan plates decorated with palmettes, dia. 8”.

[500/800] Illustrated 270 Set of Eight English Majolica Plates, possibly Minton, the green and brown mottled plates with molded ivy borders, dia. 9”. [600/900] Illustrated 265 269

267

267 George Vicat Cole (British, 1833‑1893), “Harvester in a Meadow”, oil on canvas, monogrammed lower right, 16” x 26”. Framed. [1000/1500] Illustrated

270

268

59

271

271 Victorian Walnut and Burl Walnut Wardrobe, mid-19th century, the heavily molded cornice with a domed center section over egg-and-dart molding and applied scrolling foliate carving, above a case fitted with a central mirrored section opening to shelves and two lower drawers, flanked by paneled cupboards opening to hanging storage spaces, raised on a plinth base, h. 87‑1/2”, w. 81”, d. 30‑1/2”. [1200/1800] Illustrated 272 Early Victorian Mahogany Work Table, mid-19th century, the highly figured hinged turtle-form top opening to a variety of compartments centering an inlaid lidded compartment, with a fabric storage bin below, raised on scrolling foliate-carved supports joined by an acorn finial-carved stretcher and continuing to spayed feet, h. 31‑1/4”, w. 21”, d. 18”. [600/900] Illustrated 273 John Fitzmarshall (British, 1859‑1932), “The Old Bridge Near Birmingham”, 1893, oil on canvas, signed and dated lower right, 12” x 16”. Framed. [800/1200] Illustrated 274 Victorian Mahogany Folding Campaign Table, mid-19th century, the bisected square top with a molded edge, and raised on X-form supports joined by turned stretchers, h. 27”, w. 50”, d. 51”. [800/1200]

273

272

60

275 American Naval Officer’s Collection, ca. 1914‑1918, including a bicorne hat retailed by Jacob Redd’s Sons, Philadelphia, h. 5‑1/4”, w. 17”, d. 6‑1/4”, a pair of epaulettes marked “Joseph Starkey, 23 Conduit St. London”, an unmarked brass telescope, l. 17‑3/4”, and uniform strapping, all in a period hat box on a custom stand, with a good luck horseshoe in a leather scabbard, h. 25‑1/4”, w. 17‑1/2”, d. 8‑3/4”. [500/800] Illustrated

275

278 Pair of Regency-Style Cut Glass Hurricane Lamps, on stepped bases, the shades cut in a honeycomb pattern, h. 12”, dia. 8”. [1200/1800] 279 Aubrey Hunt (British/American, 1855‑1922), “Busy Harbor”, watercolor on paper, signed lower right, sight 9‑3/4” x 13‑3/4”. Matted, glazed and framed. [500/800] Illustrated 280 British School (First Quarter 20th Century), a pair of watercolors on paper, including “Interior Shop Scene” and “The Toy-Shop”, the latter inscribed “Le Bourgeois” lower right, sights 9‑1/4” x 6‑1/4” and 9” x 6”. Matted, glazed and framed. [500/800]

277

275

276 Tortoiseshell and Jade Compact, Together with a Tortoiseshell Cylindrical Box, first quarter 20th century, English, the compact with a pierced jade cover and an interior mirror, dia. 2‑1/2”, and the tortoiseshell box with a threaded cover, h. 2‑1/4”, dia. 2‑1/2”. [500/800] 277 Pair of Regency-Style Glass Hurricane Lamps, engraved with fronds and flowers, the bell-form shades on pedestal bases with integral candle holders, h. 15”, dia. 8‑3/4”. [600/900] Illustrated 279

61

281 Edwardian Rosewood Handkerchief Table, ca. 1900, the square top with four shaped drop leaves supported by a spring-action mechanism, the top with decorative bone inlays in scrolling foliate patterns, raised on shaped likeinlaid legs ending in block toes, h. 26‑1/2”, w. 33‑1/2”, d. 33‑1/2”. [500/800] Illustrated 282 Manner of Lord Frederic Leighton (British, 1830‑1896), “Portrait of a Classical Maiden”, oil on canvas, unsigned, 10” x 8”. Framed. [450/700] Illustrated

284 282 283 Edwardian Mahogany and Satinwood Bowfront Cabinet, early 20th century, in the Adam taste, the banded and bowed top centered by an oval medallion with a figural classical scene, above a conforming case fitted with a single drawer over a single cupboard, centered by a circular annulated classical scene, the sides paneled and with urn designs, raised on tapering square legs ending in spade feet, h. 37‑1/2”, w. 45‑1/2”, d. 22‑1/2”. [700/1000] Illustrated

283

62

281

288 Pair of English Mahogany and Beveled Glass ThreeFold Screens, 20th century, fitted with brass hinges, the top panels with beveled glass and the lower panels with figured mahogany, each panel, h. 81”, w. 23”. [500/800] 289 Rosa Corder (British, 1853‑1893), “Portrait of Jockey Frederick James ‘Fred’ Archer”, 1883, oil on canvas, signed and dated mid-right, 29” x 24”. Framed. [500/800] Illustrated Archer , nicknamed “The Tin Man”, was a popular and extremely successful English flat race jockey. He won his first major race at the tender age of 12, and was Champion Jockey for 13 consecutive years.

289

284 Pair of Neoclassical-Style Satinwood Pedestals, early 20th century, each with a rectangular top above a classical figure frieze, over a paneled standard with a boneinlaid classical maiden, to a molded plinth base, h.42”, w. 12‑3/4”, d. 11‑1/4”. [3500/5000] Illustrated 285 Taxidermied Sea Turtle, the mottled brown and tan turtle set with a mount for wall hanging, h. 6‑1/4”, w. 12‑1/2”, l. 18”. [700/1000] Illustrated 286 Taxidermied Sea Turtle, the mottled brown and tan turtle set with a mount for wall hanging, h. 6‑1/2”, w. 13‑1/4”, l. 17‑1/4”. [700/1000] Illustrated 287 Two English Tortoiseshell Tortoises, first quarter 20th century, the larger example with an articulated head and tail, h. 1‑1/4”, w. 4”, d. 3‑1/2”, and a smaller sea turtleform box with a hinged shell cover, h. 1‑1/4”, w. 3‑3/4”, d. 2‑1/2”. [500/800]

290

286

285

290 Mrs. H. Champion (British, 19th Century), “Portrait of Catherine Layton”, watercolor on paper, signed lower right, sight 14‑1/4” x 10‑1/4”.

Matted, glazed and framed. [600/900] Illustrated

63

291 Edwardian Mahogany Cheval Mirror, early 20th century, the rectangular mirror plate within a molded frame and suspended within a larger frame of circular turned form, raised on splayed molded end supports to brass caps and casters, h. 64”, w. 28‑1/2”. [450/700] Illustrated

292

291

295 Two Chinese Porcelain Lidded Jars, 19th/20th century, now mounted as lamps, the ovoid jars on pierced and carved wooden bases, decorated with an arrangement of birds and flowers on one side and a text inscription on the other, jar, h. 11”, overall, h. 28‑1/2”, dia. 8”. [500/800] 296 Pair of Chinese Baluster Vases, 19th/20th century, the Wucai vases depicting a procession of immortals, with blue concentric circles on the underside, indicative of Kangxi reign, h. 21‑1/2”, dia. 10”. [900/1200]

292 Edwardian Cut Glass Five-Light Chandelier, first quarter 20th century, in the George III style, the ball-and-vase standard holding cut glass candle arms alternating with arms supporting swags of cut glass drops, h. 26”, dia. 24‑1/2”.

[800/1200] Illustrated 293 Set of Twelve Minton’s Raised Gilt Service Plates, ca. 1927, English, the borders decorated with raised gilt medallions and scrollwork on a green ground, with the Minton’s transfer-printed mark, and impressed “Minton’s” and the “1927” date symbol, dia. 10”. [450/700] Illustrated 294 Pair of Chinese Porcelain Vases, 19th/20th century, the vase bodies with cut corners and rounded necks, each depicting motifs of flowers and butterflies, h. 20”, w. 6‑1/4”.

[1500/2500] Illustrated

64

297 Pair of Chinese Wucai Vases, 19th/20th century, the baluster-form vases in a famille verte palette, with reserves depicting scholars in a garden playing chess, the underside marked with a Kangxi mark in two concentric circles, h. 17‑1/2”, dia. 8‑1/2”. [700/1000]

293

299 294

298 Pair of Chinese Porcelain Lidded Ginger Jars, probably 19th century, the two jars in the famille rose palette, depicting arrangements of chickens, peonies and prunus limbs, the undersides unmarked, h. 18”, dia. 9”. [2500/4000] Illustrated

298

303

299 Pair of Chinese Famille Rose Vases, 19th century, each depicting a palace scene with views of a noble on horseback, officials at court and numerous beautiful ladies, each side with a foo dog faux handle, unmarked, h. 22‑1/4”, w. 6‑1/2”. [800/1200] Illustrated 300 Chinese Porcelain Scholar’s Rock, 20th century, the model of a scholar’s rock, or “jongshi”, with a blue and turquoise glaze, no markings or signatures, h. 7‑3/4”, w. 5‑1/4”. [900/1200] 301 Chinese Porcelain Brush Rest in the Form of a Mountain, 20th century, the porcelain model of a mountain in a blue and turquoise glaze, unmarked, h. 6”, l. 11”. [900/1200] 302 Chinese Porcelain Vase, 19th/20th century, the baluster-form vase with reserves depicting court scenes and having blue foo dog lugs with gilt rings in their mouths, unmarked, h. 25”, w. 9‑1/2”. [700/1000]

65

303 Pair of Chinese Porcelain Enamel Dishes, late 19th/ early 20th century, the two scallop-edged dishes with floral scrolling motifs on a yellow ground, each with five ruyi feet and a turquoise interior, drilled as planters, h. 3”, dia. 8‑7/8”. [1800/2500] Illustrated previous page

308

304 Four Chinese Porcelain Hat Stands, 20th century, each vessel with an image and text inscription, the undersides of two stands with red manufacturer marks, h. 11”, dia. 4‑3/4”. [500/800]

305

306

307

305 Chinese Porcelain Moon Flask, late 19th/early 20th century, the heavily gilded and enameled flask depicting four of the eight immortals with an array of animals treading along a path of ruyi clouds, each side of the neck adorned with a kui dragon, a fourcharacter Qianlong mark on the underside, h. 13‑1/4”, w. 12”.

[600/900] Illustrated 306 Pair of Chinese Porcelain Vases, 20th century, the two baluster-form vases depicting scenes of assorted bird pairs on a peach ground, the undersides unmarked, h. 37”, dia. 15‑1/2”.

[1800/2500] Illustrated

66

309

309 Chinese Famille Rose Stationary Box, late Qing period (1644‑1911) / early Republic period (1911‑1949), the box in the form of an embroidery-covered book, with a turquoise interior, bearing an inscription on the lid for the Le Shan Tang Academy, h. 6”, w. 4‑5/8”, l. 6”. [1000/1500] Illustrated 310 Chinese Turquoise-Ground Porcelain Vase, the ovoid body with slightly squared shoulders on a raised and rounded foot with lappet motif, enameled in a vibrant famille rose palette with gilt accents, bands of ruyi rims around the shoulder and mouth symbolizing longevity and happiness, chi dragons flank two of the four lotus blossoms on the body of the vessel and bats adorn the neck, the underside with a blue Daoguang reign mark (1821‑1850) and probably of the period, h. 13‑1/4”, dia. 7”. [3000/5000] Illustrated This type of vase was based on Qianlong models with similar forms and color palettes. The depiction of lotus scrolls with tasseled lanterns is quite uncommon. There is a comparable vase in “Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, The Complete Collection of Treasures of the Palace Museum Collection”, Hong Kong, 1999, vol. 39, p. 216, no. 191. Similar examples are also in the collection of the National Palace Museum, Taipei and the Shanghai Museum, Shanghai.

310

311 Anglo-Colonial Mahogany Table, early 20th century, the top with parquetry banding surrounding an inlaid gaming board, hinged and opening to nine lidded compartments, the front fitted with one faux drawer over a single drawer, with decorative diamond-pattern inlays, joined by bulbous supports to a shaped caned lower shelf, raised on turned toupie feet on casters, h. 32‑1/2”, w. 21‑1/2”, d. 17”. [500/800] Illustrated

307 Pair of Chinese Porcelain Vases, probably early 20th century, the two gu-form vases with reserves depicting clusters of figures in lush palace gardens, the interiors glazed in turquoise, the undersides unmarked, displayed on molded wooden stands, vase, h. 21”, dia. 11”.

[3000/5000] Illustrated 308 Pair of Chinese Porcelain Vases, 19th century, the baluster-form vases with scalloped lips and polychrome images of immortals and a deer in a forest, foo dog and salamander pairs adorn the neck, the underside bearing the Jiaqing reign mark (1796‑1820), h. 15‑1/2”, w. 7‑1/2”.

[900/1200] Illustrated

311

67

316 Seven-Piece Collection of Ceylonese Quillwork Articles, including an open-sided sewing basket, late 19th century, w. 10‑1/4”, two boxes with hinged covers, early 20th century, the largest, w. 8‑1/4”, two boxes with sliding covers, the largest, w. 7‑3/4”, a cylindrical covered box, dia. 6”, and a cylindrical box on an elephant-carved stand, h. 8‑1/4”, dia. 5‑1/2”. [700/1000]

317

313

312 Middle Eastern Tent Hanging, probably 19th century, decorated with appliqued cotton on canvas, with Islamic stars and script framed with a split palmette arabesque border, mounted with ring hangers, h. 88‑3/4”, w. 135‑1/4”. [450/700]

314

313 Anglo-Indian-Style Bone-Clad Box with Incised Decoration, decorated with views of a castle or fort, trimmed with Indian-style borders of flowers and scrollwork, h. 3‑1/2”, w. 11‑1/2”, d. 9”. [500/800] Illustrated 314 Anglo-Ceylonese Quillwork Lap Desk, second quarter 19th century, the escutcheon on the inside cover engraved “Matura”, a town in Southern Ceylon, fitted with compartments and a gilt-stamped writing slope, h. 5‑1/2”, w. 15”, d. 10”. [800/1200] Illustrated 315 Six-Piece Collection Ceylonese Quillwork Articles, ca. 1900 and later, including two rectangular hinged covered boxes, w. 8” and 10”, a box with a sliding cover, w. 5”, an open sewing basket, w. 10”, a hexagonal covered box, dia. 8‑1/2”, and a two-part smoking set, dia. 5‑1/2”. [700/1000] Illustrated

68

317 Continental Bronze Bust of a North African Youth, first quarter 20th century, signed “William Stirling” at back, on a marble and gilt-bronze base, bronze h. 8‑3/4”, overall h. 12‑1/2”, w. 4‑1/2”, d. 5‑1/2”. [450/700] Illustrated

315

318 suite of six

318 Utagawa Hiroshige (Japanese, 1797‑1859), suite of six prints, including “Returning Sailboats at Gyotoku”, from the series “Eight Views of the Environs of Edo”, Showa period (1926‑1989) reprint; horizontal oban nishiki-e; “Fujisawa: The Yatsuya Station” from the series “Fifty-three Stations of the Tokaido Road”, ca. 1850, horizontal chuban, signed “Hiroshige ga” published by Tsutaya Kichizo; “Crossing the Forty-eight Rapids on the Road to Akiba Near Kakegawa”, ca. 1855, from the series “Picture of the Famous Places on the Fifty-three Stations”, vertical oban, signed “Hiroshige hitsu”, published by Tsutaya Kichizo; “Miya”, from the “Fifty-three Stations of the Tokaido Road”, ca. 1835, horizontal chuban, signed “Hiroshige ga”, published by Sanoya Kihei; “Yokkachi”, ca. 1842, from the series “Fifty-three Stations of the Tokaido Road”, ca. 1842, horizontal chuban, signed “Hiroshige ga”, published by Sanoya Kihei; “Royal Palace of Kyoto”, ca. 1842, from the series “Fiftythree Stations of the Tokaido Road”, horizontal chuban, signed “Hiroshige ga”, published by Sanoya Kihei; dimensions 5‑3/4” x 7‑7/8” to 13” x 8”. All attractively matted, glazed and framed.

[1000/1500] Illustrated

318 suite of six

318 suite of six

318 suite of six

69

319 suite of four

319 suite of four

320 suite of four

320 suite of four

70

319 Utagawa Hiroshige II (Japanese, 1826‑1869), group of four prints, including “Tsurumi”, from the series “Scenes of Famous Places Along the Tokaido Road”, 1863, vertical oban, signed “Hiroshige ga” , published by Daikokuya Kinnosuke (Kinjiro); “The Sanno Shrine”, from the series “Views of Famous Places in Edo”, ca. 1862, vertical oban, signed “Hiroshige ga”, published by Fujiokaya Keijiro (Shorindo), block cut by Katada Chojiro (Hori Cho); “Yushima Tenjin Shrine”, from the series “Forty-eight Famous Views of Edo”, ca. 1860, vertical chuban, signed “Hiroshige ga”, published by Tsutaya Kichizo; and “Nihonbashi”, 1858, dimensions 8‑1/2” x 6‑1/4” to 13” x 8‑3/4”. All attractively matted, glazed and framed. [800/1200] Illustrated 320 Utagawa Hiroshige III (Japanese, 1842‑1894), group of four prints, including “Iga Province: Ueno, Nagatawa”, from the series “Simple Illustrations of Places in Japan”, ca. 1876, horizontal chuban, signed “Hiroshige ga”, published by Kiya Sojiro; “Korai Bridge”, from the “Children’s Education Series”, 1860’s-1870’s, horizontal chuban; “Sado Province”,from the series” Simple Illustrations of Places in Japan”, ca. 1876, horizontal chuban, signed “Hiroshige ga”, published by Kiya Sojiro; and “Kanagawa Ken”, from the series “Views of Honcho from the Iseyama Shrine”, 1871, dimensions 5‑3/4” x 8‑1/4” to 8‑7/8” x 6”. All attractively matted, glazed and framed.

[600/900] Illustrated 321 pair 321 Pair of Ukiyo-e Woodblock Prints of Edo Period Kibuki Actors, including “Otani Oniji III as Yakko Edobe”, first quarter 20th century, after the 1794 print

by Toshusai Sharaku (Japanese, active 1794‑1795), and “Ichikawa Komazo III as Ganryu Sasaki”, ca. 1797, after Utagawa Toyokuni, each 14‑1/2” x 9”. Matted, glazed and framed alike. Literature: Same image of Otani Oniji, from the same possible reprinting, is in the Legion of Honor of the Fine Arts Museum of San Francisco; the same print of Ichikawa Komazo is in the permanent collection of the Brooklyn Museum. [600/900] Illustrated 323 pair

322 Utagawa Kunisada (Japanese, 1786‑1865), “Diptych of Two Kabuki Actors”, color woodblock on paper, nishiki-e, signature in Toshidama cartouche “Toyokuni ga”, block cut by Katada Chojiro (Hori Cho), each sight 12‑5/8” x 9‑1/8”. Matted. [500/800] 323 Utagawa Kunisada III (Japanese, 1848‑1920), pair of woodblock triptychs, including “Benkei Reads the Subscription List”, ca. 1880, from the kabuki play “The Subscription List (Kanjincho)”, three pieces mounted together, and “A Scene From the Kabuki Play Gion Sairei Shinkoki”, 1897, three pieces mounted together, each 14” x 28”. Both matted, glazed and framed. [900/1200] Illustrated

71

324 Collection of Two Japanese Woodblock Print Triptychs, including Utagawa Kokunimasa (Japanese, 1874‑1944), “Battle Between the Japanese and Russians at Seoul: Hurrah for the Great Victory of the Japanese Empire”, 1904, signed “Ryua”, published by Fukuda Hatsujiro, overall, 14” x 27‑3/4”, and Kyoko (Japanese, active 1904‑1905), “The Battle of Port Arthur: Picture of the RussoJapanese War, No. 2”, signed “Kyoko”, published

by Hasegawa Sonokichi, block cutter Hori Toku, overall, 13‑7/8” x 28‑3/8”. [600/900] Illustrated

324 pair

325 Kiyoshi Saito (Japanese, 1907‑1997), “Garden and Path”, ca. 1950‑60, woodblock, signed in white ink lower right, with a red artist seal, 9‑3/4” x 16‑3/4”. Matted, glazed and framed. [600/900] Illustrated 326 Kiyoshi Saito (Japanese, 1907‑1997), “Miyoshin-ji Kyoto”, 1961, woodblock, signed in English and stamped with a red seal at lower right, 14‑3/4” x 22‑1/4”. [800/1200] Illustrated This work is an example of sosaku hanga, or the creative woodblock movement that emerged in early 20th-century Japan. Saito was one of the more prominent members of the sosaku hanga movement.

325

72

326

327

328 Louis-Philippe Mahogany and Marble-Top Center Table, mid-19th century, the circular gray marble top with a molded dished edge, above a plain frieze, raised on a ribbed vasiform standard to three splayed legs headed by acanthine carving and ending in paw feet on casters, h. 29‑1/2”, dia. 32‑1/2”. [800/1200] Illustrated

330

329 Pair of French Marble and Patinated Bronze Garniture Urns, fourth quarter 19th century, the marble bases supporting the marble urns, raised on turned bronze bases and set with pierced bronze handles decorated with gilt flourishes, h. 11”, dia. 5”.

[500/800] Illustrated

329

327 Unusual Continental Giltwood Mirror in the Neoclassical Style, ca. 1900, possibly Italian, the guilloche-molded frame supporting pierced flowers crowned with a reeded urn finial, h. 48”, w. 24‑1/2”.

[800/1200] Illustrated

330 Bronze Figure of “Vainqueur” [The Winner], after Antoine Bofill (Spanish, ca. 1890‑1925), first quarter 20th century, probably French, now mounted as a lamp, the title molded into the base, retaining partial gilt, depicting a warrior with a helmet and brandishing a sword, signed “Bofill” on the rear, bronze, h. 19‑1/4”, overall, h. 27‑3/4”, w. 5‑3/4”, d. 5‑3/4”. [900/1200] Illustrated

328

73

331

332

331 French Empire-Style Gilt-Bronze and Patinated Metal Eight-Light Chandelier, second quarter 20th century, the patinated metal body set with eight scroll-molded bronze candle arms, hanging from a pierced canopy with a pineapple finial, h. 43”, dia. 24”. [2000/4000] Illustrated 332 Pair of William IV Patinated Bronze Six-Light Candelabra, second quarter 19th century, with gilt highlights, now mounted as lamps, candelabra, h. 26”, overall, h. 33‑1/2”, dia. 7”. [800/1200] Illustrated

333 Empire-Style Mahogany and Marble-Top Commode, early 19th century, the rectangular marble top above a conforming case fitted with a frieze drawer over two long drawers, flanked to either side by an ormolu torchere mounted upright, raised on gilt paw feet, h. 35‑1/4”, w. 52‑1/2”, d. 25”. [2000/4000] Illustrated 334 Pair of Napoleon III Brass and Marble NeoGrec Garniture Urns, now mounted as lamps, the stepped black marble bases holding the brass campana-form urns decorated with “masque” appliques, urn, h. 11”, overall, h. 24”, dia. 5‑3/4”. [500/800]

333

74

335 Empire-Style Polychrome and Marble-Top Pedestal, early 20th century, the circular verde antico marble top raised above a pierced fret on a central fluted support and three panel supports headed by applied maiden figures and with applied foliate pierced panels, raised on a tripartite base to paw feet, h. 43‑1/2”, dia. 17”. [500/800] Illustrated

336 Pair of Italian Verde Antique Marble and Gilt-Bronze Pedestals, ca. 1900, with dark green marble accentuating the tops and bases, the standards in contrasting lighter green marble and crowned with bronze Corinthian capitals and trimmed with bronze rings, h. 48”, w. 23‑1/4”.

[600/900] Illustrated 337 Empire-Style Mahogany Settee, mid-19th century, the padded rectangular back surmounted by a paneled ebonized crest and joined by downswept arms on ebonized maiden’s head uprights to the padded seat, raised on tapering square legs, h. 40”, w. 65”, d. 26”.

[1500/2500] Illustrated

335

336

334

75

338 French Bronze of “Pastophore”, first quarter 20th century, the Egyptian priest with one hand raised and the other holding a figure of the bull-deity Apis, after Emile Louis Picault (French, 1833‑1915), cast signature at edge of self-base, on a stepped stone plinth, overall, h. 30”, w. 11”, d. 9”. [1000/1500] Illustrated

341 Monumental Polychromed Metal Sculpture of Mercury, first quarter 20th century, the painted surface simulating patination, the messenger of the gods with winged helmet and feet and holding a caduceus, the personification of Aeolus, the god of wind, under his feet, after Giovanni da Bologna (Flemish/Italian, 1529‑1608), on a pedestal plinth, h. 102”, w. 15”, d. 28”. Provenance: Estate of Buzz Harper, New Orleans, Louisiana and Natchez, Mississippi. [2000/4000] Illustrated 342 Restauration Walnut and Marble-Top Side Table, mid-19th century, the rectangular marble top above a circassian walnut cove-molded frame, joined by acanthine-carved scrolling supports and reeded back legs to the concave shaped base, h. 38‑1/2”, w. 61‑1/2”, d. 31”.

[1400/1800] Illustrated 343 Empire-Style Fruitwood Secretaire a Abattant, early 19th century, the ebonized rectangular top above a conforming case fitted with a frieze drawer over a recessed drop front opening to an inset writing surface and a variety of drawers and cubbyholes, over three long drawers, all flanked to either side by an engaged ormolu-mounted column, raised on turret feet, h. 57‑1/2”, w. 38‑1/2”, d. 16‑3/4”. [500/800] Illustrated

338

339

339 Italian Grand Tour Patinated Metal Occasional Table, late 19th century, the circular top raised on three supports headed by hound’s heads and ending on paw feet above a double-tiered triangular base to turreted feet, h. 30”, dia. 19”. [1500/2500] Illustrated 340 Pair of Verdigris-Patinated Bronze Campana-Form Garden Urns, fourth quarter 19th century, probably French, the reeded and fluted bodies mounted with ring handles and trimmed with roses, h. 28”, dia. 27”.

[1200/1800] Illustrated

340

76

341

343

342

77

345

344 Angelo Asti (French, 1847‑1903), “Portrait of a RedHaired Lady”, oil on canvas, signed lower right, 22” x 18”.

Framed. [1000/1500] Illustrated 345 Continental Neo-Grec Giltwood Window Cornice, third quarter 19th century, pedimented and ornamented with a masque on an anthemia surround, h. 18”, w. 73‑3/4”, d. 6”. [600/900] Illustrated

348 Pair of French Bronze and Crystal Two-Light Sconces, second quarter 20th century, of basket form, the half-round bronze frame holding strings of glass prisms concealing light sockets, h. 19”, w. 11”, d. 5”. [1000/1500] Illustrated

346 Pair of French Empire-Style Gilt-Bronze Candlesticks, fourth quarter 19th century, on paw feet, h. 8‑1/2”. [450/700] 347 Pair of French Engine-Turned Bronze Candlesticks, second quarter 19th century, h. 6‑1/4”. [450/700]

348

344 349 Pair of French Rococo-Style Bronze and Marble Five-Light Candelabra, mid-20th century, the oval verde antique marble bases supporting patinated bronze angel-form standards set with gilt-bronze candle branches decorated with intertwined frosted glass flowers and leaves, h. 29”, dia. 15‑3/4”. [1200/1800] Illustrated 350 Napoleon III Neo-Grec Bronze and Marble Garniture Urn, third quarter 19th century, now mounted as a lamp, the casting attributed to Barbedienne, after a design by Ferdinand Levillain (French, 1837‑1905), the patinated and parcel-gilt urn with a black marble base on bronze scrolled feet, the body decorated with the “Oraculum” on one side and the “Sacrificium” on the other, vase, h. 23‑1/2”, overall, h. 33”, dia. 8”. [800/1200] Illustrated

78

349

351 Pair of William IV Patinated Bronze Candlesticks, second quarter 19th century, the Gothic Revival bases holding puttiform figural standards, finished with leaf-molded candle cups and bobeches, h. 8‑3/4”, dia. 4”. [500/800] Illustrated

351

350

352 Pair of Napoleon III Figural Bronze Chenets, third quarter 19th century, the shell-molded bronze bases supporting Dionysian putti, one with a wine cup and the other with a scythe, marked with an impressed star, h. 15‑1/2”, w. 11”, d. 4‑1/2”.

[900/1200] Illustrated

352

79

354 Pair of French Rock Crystal and Gilt-Bronze Candlesticks, fourth quarter 19th century, in the Louis XV taste, the reeded quiver-form rock crystal standards supporting gilt-bronze leaf-molded candle cups set with matching bobeches, h. 7‑3/4”, dia. 4”. [800/1200] Illustrated 355 French Neoclassical-Style Gilt-Bronze and Cut Crystal Cachepot, first quarter 20th century, h. 7”, dia. 6”. [500/800] Illustrated

353

354

353 Continental Neoclassical Parcel-Gilt and PaintDecorated Mirror, fourth quarter 18th century, probably Swedish, the upper table decorated with giltwood-carved trophies and laurel garlands, held with a bowknot in an arched frame, flanked by carved giltwood finials, h. 62‑3/4”, w. 41‑1/2”. [1000/1500] Illustrated

355

80

357

356 Louis-Philippe Gilt-Bronze-Mounted Opaline Glass Bowl, second quarter 19th century, resting on paw feet, the handles with leaf-molded terminals, h. 7‑1/4”, w. 4‑1/2”, d. 4‑1/2”. [450/700]

359

357 Pair of French Empire-Style Gilt-Bronze and Cut Glass Campana-Form Urns, mid-20th century, the strawberry-cut urns set with engine-turned feet on the bronze base, and a molded bronze bezel framing the upper edge, h. 12‑1/2”, dia. 7‑1/4”. [1000/1500] Illustrated

360

358 Monumental Banquet-Sized Gilt-Metal SevenSection Plateau, first half 20th century, in the Regency taste, with five rectangular sections between two “D”-shaped ends, all set with a conforming mirrored plate, with a pierced palmette gallery sectioned with block paterae above arched feet, h. 3‑1/2”, w. 22‑1/4”, adjustable l. 33” to 113” (in 16” increments). [2000/4000] Illustrated 359 French Empire-Style Gilt-Bronze and Cut-Glass Twelve-Light Chandelier, first quarter 20th century, set with nine bronze candle arms, the diamond-cut bowl, possibly Baccarat, concealing three light sockets, the cutglass bobeches matching the primary bowl , supported by molded chains suspended from a leaf-molded canopy, h. 27”, dia. 30”. [2500/4000] Illustrated

358

81

362 Belle Epoque BalticStyle Bronze and Crystal Twelve-Light Chandelier, ca. 1900, the glass-clad standard supporting the bronze scrolled arms, decorated with sprays and swags of crystal drops, h. 40”, dia. 24”. [2500/4000] Illustrated

363

363 Pair of Louis XVI-Style Polychrome Bergeresen-Cabriolet, early 20th century, each with a curved and annulated crest above a padded back, joined by downswept arms and a spiral-fluted upright to the cushioned seat, raised on fluted tapering circular legs ending in toupie feet, the whole with gilt accents, h. 35”. [1200/1800] Illustrated 360 Unusual Pair of English Regency-Style Gilt-Bronze and Marble Figural Candelabra, fourth quarter 19th century, the paw feet supporting the molded marble bases, with “Atlas” standards supporting globes with engineturned decoration, the candle branches interspersed with molded lilies, roses and leaves, h. 28”, dia. 13”.

[900/1200] Illustrated previous page 361 Pair of Classical-Style Rock Crystal Obelisks, on square bases, h. 15‑1/4”, w. 4”, d. 4”. [700/1000] Illustrated

361

82

364 Rare Pair of Ginori Hand-Painted Porcelain Garniture Urns, second quarter 19th century, Italian, decorated with hand-painted swags of flowers and masque-molded handles, one urn with an impressed “Ginori” on the base, h. 11‑3/4”, w. 4”, d. 4”. [500/800] Illustrated

362

368

366 Two French Sevres-Style Porcelain Cachepots, fourth quarter 19th century, the unglazed sides molded with putti holding garlands, the scrollwork upper border on a blue ground and set with gilt ram’s head handles, marked with spurious Sevres-style interlaced “L’s”, h. 6‑1/2”, dia. 6”.

[700/1000] Illustrated

364

365 Italian Neoclassical-Style Carved Marble Planter, ca. 1900, the leaf-carved corbel-form base supporting the rectangular planter box, the front with putti enjoying a Dionysian fete, with carved crests on each end, h. 27‑3/4”, w. 37‑3/4”, d. 11”. [2000/4000] Illustrated

367 Pair of Meissen-Style Potpourri Vases, now mounted as lamps, molded with swags and classical rondels, with lion’s head handles, vase, h. 14”, overall, h. 32‑1/4”, w. 6”, d. 6”. [500/800]

366

365

368 Italian Neoclassical-Style Gilt-Metal and Glass Chandelier, first quarter 20th century, the basket-form chandelier decorated with gilt-metal leaves supporting swags of prisms, beads and faceted drops, the candle arms set with Baccarat-style molded crystal bobeches, h. 40‑3/4”, dia. 26‑3/4”. [1500/2500] Illustrated

83

372

369

369 Pair of French Empire-Style Silverplate TwoLight Sconces, each with a winged caryatid backplate supporting a pair of candle cups, modeled as baskets with flower-form bobeches, electrified, h. 15‑1/2”, w. 7”, d. 7‑3/4”. [800/1200] Illustrated

373

370 Continental Bronze Argente Warwick Vase, 19th century, after the 2nd century antique, handsomely detailed and fitted with a hemispherical liner, h. 11‑1/4”, w. 16‑1/2”, dia. 12”. [2000/4000] Illustrated 371 Fine German .800 Silver Nautilus Cup, dated 1894, probably Hanau, with Prague import mark 1891‑1901, in the Mannerist taste, with a figural standard of Poseidon astride a hippocampus riding the waves, and supporting on his shoulders a silver nautilus shell crested by a melusine seated upon a dolphin, the whole raised on an oval base with two mascaron- and two cartouche-centered feet, the cartouches engraved “1894”, h. 18‑1/2”, l. 13‑1/2”, w. 9‑7/8”, 94.20 t. oz.

[2000/4000] Illustrated 372 German .800 Silver Etrog Container, ca. 1900, in the form of a realistically detailed etrog raised above a leafy branch-form base and fitted with a short stem, the upper half of the body hinged and opening to a gilt interior, h. 6”, l. 7‑1/8”, d. 4‑3/8”, 14.78 t. oz.

[1200/1800] Illustrated 373 Pair of Belgian .800 Silver Sauceboats-onStands, first quarter 20th century, by Wolfers Freres, Brussels, retailed by Josef Krischer Nachf., Dusseldorf, in the Empire taste, each of batteau form with laureland-ribbon rim and handles, fitted to a conforming stand en suite, one monogrammed “M” and inscribed on the underside “M.M. 1915”, h. 3‑3/4”, l. 10‑1/8”, w. 5‑7/8”, 44.69 total t. oz. [900/1200] Illustrated

84

370

371 detail

371

371 detail

371 detail

85

375 Continental Silverplate Jewelry Casket with Portrait Miniature, first quarter 20th century, of rectangular form with laurel-enframed acanthus and palmette banding, the hinged lid inset with a glazed portrait miniature of Lavinia Bingham, 2nd Countess Spencer (1762‑1831), after Sir Joshua Reynolds (1723‑1792), surrounded by applied rinceau on a basketweave ground, opening to reveal a padded cerulean velvet interior, h. 3”, w. 6‑7/8”, l. 8‑3/8”. [500/800] 376 Pair of French Belle Epoque First Standard (.950) Silver and Cut Glass Claret Jugs, fourth quarter 19th century, by Henri Soufflot (fl. 1884‑1910), Paris, each with a spiralgadrooned cut glass body, mounted with a rococo-fluted silver calyx and foot, with tall waisted collar en suite, with crested “C”-scroll handle and hinged lid with scroll finial, monogrammed on the collar “LB”, h. 10‑1/2”, dia. 4‑1/2”, l. 6‑1/2”. [1800/2500] Illustrated 374

374 French First Standard (.950) Silver Ecuelle, first quarter 20th century, Paris, the maker’s mark rubbed but probably Vve. Leontine Compere (fl. 1888‑1919), in the Louis XV taste, the circular bowl and fitted lid decorated with chased acanthus fluted banding, with pierced acanthus scroll handles and figural acanthus bud finial, h. 4‑3/4”, dia. 7‑1/4”, w. 13‑1/4”, 27.39 t. oz. [800/1200] Illustrated

376 377

377 French First Standard (.950) Silver Coffeepot, first quarter 20th century, Paris, the maker’s mark rubbed, in the Louis XV taste, the pear-shaped body decorated with embossed rococo scrolls and foliage, with crested handle, “gooseneck” spout and raised on four acanthuscrested feet, h. 10‑1/4”, l. 7‑3/4”, w. 4‑1/25”, 20.96 t. oz.

[700/1000] Illustrated

86

378 Dutch Second Standard (.833) Silver Coffeepot, marked Groningen, 1902, by Gebruder Niekerk, of “Turkish” form, the body and neck decorated with embossed floral scrolls centering bucolic Dutch scenes with tall “gooseneck” spout and crested handle, h. 9‑1/2”, dia. 4”, l. 7‑1/2”, 12.66 t. oz.

[700/1000]

379

380

379 Baroque-Style Exuberantly Modeled Giltwood Armchair, early 20th century, the padded back surmounted by a tall crest of two cherubs flanking a shield, joined by padded arms with scrolling cherub uprights to the padded seat, raised on legs in the form of bearded figures astride a horse, joined by a double putti-carved X-form stretcher, the whole raised on casters, h. 77”. [2500/4000] Illustrated

380 Spanish Baroque-Style Giltwood Mirror, ca. 1900, the oval mirror framed in pierced scrollwork, with an overhanging leaf crest, h. 27”, w. 18‑1/4”. [500/800] Illustrated 381 Continental Velvet-Covered Jewel Casket with GiltBronze Fittings, ca. 1900, the pierced top mount decorated with putti holding an escutcheon, set in pierced and molded strapwork with masques in the corners, raised on scrolled feet, h. 6‑3/4”, w. 17‑3/4”, d. 14”. [1500/2500] 381

87

382 Pair of Italian Polychrome Cabinets, 20th century, the shaped top above a conforming case fitted with two cabinet doors, raised on scrolled feet, the whole with scrolling foliate and floral spray accents, h. 32”, w. 26”, d. 15”.

[1500/2500] Illustrated

383

383 Superbly Rendered KPM Porcelain Plaque Depicting the Madonna della Sedia, after Raphael (Italian, 1483‑1520), fourth quarter 19th century, by the Royal Porcelain Manufactory, Berlin, impressed on the back with “KPM” and a scepter above “X II”, matted in silk moire and velvet, presented in a contemporary giltwood frame, plaque, h. 12‑1/2”, w. 10”, overall, h. 19‑3/4”, w. 19‑3/4”.

[500/800] Illustrated 384 Italian Giltwood Window Seat, early 19th century, in the rococo taste, the long padded seat flanked to either side by a padded upright with a shell and foliate crest, raised on molded cabriole legs ending in scrolled toes, h. 36”, w. 48”, d. 22”. [2000/4000] Illustrated

384

385

382 385 Italian Polychrome Commode, 18th century, in the rococo taste, the shaped and ebonized top above a conforming case fitted with two drawers, each with raised scrolling accents and a central floral panel, raised on cabriole legs ending in hoof feet, h. 29”, w. 28”, d. 15”. [500/800] Illustrated 386 Suite of Eight Italian Polychrome Sidechairs, early 19th century, each with a foliate-pierced crest above a plain splat, the padded seat raised on cabriole legs joined by a shaped H-form stretcher and ending in pad feet, the whole with polychrome accents, h. 45”. [1800/2500] Illustrated

88

386

387 Italian Polychrome Settee, late 19th century, the padded rectangular back slightly domed and joined by padded outscrolled arms to the like seat, raised above a foliate-carved apron on cabriole legs ending in scrolled toes, h. 36”, w. 54”, d. 25”. [1500/2500] Illustrated

387

389

388 388 School of Jan van Os (Dutch, 1744‑1808), “Still Life with Melons, Grapes, Peaches and a Classical Bust”, oil on canvas, unsigned, 31” x 39”. Presented in a Louis XV-style frame. [3000/5000] Illustrated 389 Italian Fruitwood Commode, late 18th century, the rounded rectangular top with a slight bowfront, above a conforming bombe case fitted with two short drawers over two long drawers, raised above a shaped foliatecarved apron on scrolled toes, h. 34‑1/2”, w. 47”, d. 23”.

[2000/4000] Illustrated

89

390 Spanish Baroque Giltwood Mirror, first quarter 19th century, the frame with bold, pierced scrollwork, the later beveled mirror plate framed with fluting, h. 37‑3/4”, w. 25‑3/4”. [800/1200] Illustrated

392

391 Italian Polychrome Lectern, 19th century, possibly Venetian, the book rest supported by shaped X-form end supports joined by stretchers, h. 54”, w. 24‑1/2”, d. 30”.

[800/1200]

390 392 Baroque-Style Boldly Carved Wooden Eight-Light Chandelier, second quarter 20th century, decorated with parcel-gilding and contrasting green paint, the swagcarved baluster-form standard terminating in a leaf-carved finial, electrified, h. 57‑3/4”, dia. 36‑1/2”. [1500/2500] Illustrated 393 Italian Polychromed Pine Low Chest of Drawers, late 19th century, the top and three drawer fronts painted in the Louis XV taste with meandering flowers, foliate scrolls and rocaille decor, the iron escutcheons in the same taste, h. 32”, w. 52”, d. 26”. [1500/2500] Illustrated

396

393

90

394 Italian Pietra Dura Marble Top, mid-19th century, with central roses framed by floral sprigs held by a malachite ribbon and bowknot, dia. 25”. [1200/1800]

398

395 Pair of Baroque-Style Painted Walnut and Metal Sconces, fourth quarter 19th century and later, the carved cartouche-form backplates mounted with a pair of metal candle arms, h. 14‑1/2”, w. 8‑1/2”, d. 5‑1/2”. [500/800] 396 French Patinated Bronze of Boccaccio, fourth quarter 19th century, the Italian poet depicted holding a folio of the Decameron, after Francois Theodore Devaulx (French, 1808‑1870), cast signature, dated “1844”, and inscribed “A. Thomas” at edge of base. h. 11”, w. 9‑1/2”, d. 6”. [600/900] Illustrated 397 Circle of Vincenzo Gemito (Italian, 1852‑1929), fourth quarter 19th century, Neapolitan Art Nouveau bronze depicting a laughing boy with a water jug, signed indistinctly and stamped by the Chiurazzi Foundry, Naples, h. 13‑1/2”, w. 4‑3/4”, d. 4‑1/4”. [700/1000] Illustrated 398 Viennese Bronze of “The Dancing Brigand”, fourth quarter 19th century, incised “Bergman” under proper right foot, marked “SCB” on interior of base, h. 11‑1/2”, w. 5‑1/2”, d. 3‑1/2”. [1000/1500] Illustrated 399 Continental Mahogany Buffet a Deux Corps, early 20th century, the domed and foliate shield-carved crest above a central glazed door, flanked to either side by a paneled cupboard door centered by a carved figure, the lower section fitted with two drawers over two cupboard doors, each paneled and with a carved floral and foliate swag, raised on foliate scrolled toes, h. 98”, w. 68”, d. 23‑1/2”. [2000/4000] Illustrated

399

397

91

403

400

400 Follower of David Teniers the Younger (Dutch, 1610‑1690), “Revelers Before an Inn”, oil on canvas, 15‑1/2” x 19‑3/4”. Framed. [500/800] Illustrated 401 Paul Langlois (French, 1858‑1906), “Market Day, Rouen”, oil on board, signed lower left, Parisian art supplier stamp en verso, 14‑7/8” x 18”. Framed. [500/800] Illustrated 402 American Carved Mahogany Silver Chest, early 20th century, possibly by Berkey and Gay, Grand Rapids, Michigan, the canted rectangular top above a fruit- and laurel-carved frieze, over a case fitted with two doors, each inset with a scrolling and floral-modeled pierced iron panel over fabric, opening to an interior fitted with shelves and four drawers, raised above a shaped frieze centered by carved boars, on cabriole legs joined by an X-form stretcher and ending in scrolled toes, h. 63”, w. 41”, d. 23”.

[600/900] Illustrated

402

401

92

407 Manner of Paul Bril (Flemish, 1554‑1626), “Extensive Landscape with Travelers”, oil on cradled panel, unsigned, 12‑1/2” x 19”. Handsomely framed. [800/1200] Illustrated 408 Attributed to Martin Rico y Ortega (Spanish/Italian, 1833‑1908), “Mountain Village”, oil on canvas, unsigned, with a partial label en verso, 15” x 22”. Framed. [2000/4000] Illustrated

404

408 403 Spanish-Style Wrought Iron Four-Panel Screen, each section with an array of scrolls, overall, h. 75”, w. 72”.

[900/1200] Illustrated

407 404 Continental Wrought Iron Floor Standing Candlestick, on a tripod base with twisted decoration, h. 6”, w. 25”, d. 17‑1/4”. [500/800] Illustrated 405 Spanish Colonial Pine and Fruitwood Chest, 19th century, the banded rectangular top with a molded edge, above a case fitted with two banks of six drawers, raised on a molded plinth base, h. 36”, w. 55”, d. 19‑1/2”. [700/1000] 406 Spanish Walnut Guard Room Table, 19th century, of traditional form, the rectangular top raised on shaped end supports joined by scrolling iron rods and ending in upturned toes, h. 30”, w. 31”, l. 78”. [1500/2500] Illustrated

406

93

410

413

412 Spanish Baroque-Style Giltwood Mirror, ca. 1900, the frame composed of bold, pierced scrollwork, h. 35”, w. 24”.

[700/1000] Illustrated

409 Provincial Fruitwood Settee, 18th century, possibly Spanish, the bi-paneled rectangular back surmounted by a shaped crest, the long paneled seat hinged and opening to a storage space, raised on shaped feet, h. 40”, w. 75”, d. 16”.

[1800/2500] 410 Continental Copper Electroplate Figure of Lorenzo de Medici, Duke of Urbino, first quarter 20th century, after the ca. 1530 marble tomb sculpture by Michelangelo (1475‑1564) in the Medici Chapels, San Lorenzo, Florence, h. 21‑1/2”, w. 9‑1/2”, d. 10‑1/2”. [1000/1500] Illustrated

411

411 Hand-Carved Walnut Encrier, fourth quarter 19th century, probably French, the Regence-style body decorated with carved salamanders in the style of Palissy pottery, h. 4‑1/4”, w. 12”, d. 6‑1/2”. [500/800] Illustrated

94

412

416

413 Near Pair of Italian Walnut Savonarola Chairs, late 19th century, of traditional form, each with a shaped shield- and foliate-carved back, joined by imbricatecarved arms to the wooden seat, raised on an interlacing crossover base to runner paw feet, h. 34”. [600/900] Illustrated

415

417 414 Continental Fruitwood Coffer, 18th century, the rectangular top hinged and opening to a storage interior, the front paneled and carved in architectural patterns, raised on shaped feet, h. 25”, w. 54”, d. 21”. [900/1200] Illustrated 415 Pair of Baroque-Style Carved and Silver Gilt Wooden Urns, with pierced handles, now mounted as lamps on giltwood bases, base, h. 15”, overall, h. 24”, w. 9‑1/2”, d. 5‑1/2”.

[900/1200] Illustrated 416 Pair of Italian Gilt-Metal Five-Light Sconces, first quarter 20th century, the leafmolded backplates with scrolled leaf-molded candle arms terminating in flowerheads, h. 23‑3/4”, w. 16‑1/2”, d. 7‑1/4”. [700/1000] Illustrated

414

417 Rene Reinicke (German, 1860‑1926), “Crossing the Stream” and “The Neckerchief”, pair of oils on wood panel, one signed lower right, each 10‑3/4” x 6”. Framed alike.

[800/1200] Illustrated

95

418 Continental Renaissance-Style Giltwood Mirror, mid-19th century, the frame decorated with molded anthemia corners and trailing flowers, the bold crest decorated with pierced scrolls terminating in a central masque, h. 36‑1/2”, w. 21”. [500/800] Illustrated 419 Italian Fruitwood and Pine Stand/Jardiniere, in the Baroque taste, composed of scrolling patterns above a pierced basin, raised on a floral-carved standard to a tripartite base ending in flattened shield-form feet, the whole with ebonized panel accents, h. 66”, w. 19‑1/2”, d. 28‑1/2”. [700/1000] 420 Pair of Italian Giltwood “Hollywood Regency” Table Lamps, mid-20th century, in a scrollwork form, with old tags reading “Made in Italy”, base, h. 15‑1/2”, overall, h. 25‑1/2”, w. 5”, d. 5”. [500/800] Illustrated

418

421

420

421 French Provincial Fruitwood Vasselier, mid-19th century, the molded cornice above three open plate shelves and two paneled end cupboards flanking a paneled backpiece, the lower section with a canted rectangular top above a conforming case fitted with three short drawers over two cupboard doors, each inset with a shaped panel, raised on splayed toes, h. 89”, w. 57”, d. 24”. [2000/4000] Illustrated

96

425

423

422 French Provincial Elm and Fruitwood Refectory Table, early 19th century, the long rectangular top above a plain frieze, raised on turned tapering circular legs ending in ball feet, h. 30”, w. 27‑1/2”, l. 77”.

[800/1200] Illustrated 423 Pair of Louis XIII-Style Fruitwood Fauteuils a la Reine, third quarter 19th century, each with a tall padded back joined by acanthine-carved downswept ribbed arms to the padded seat, raised on S-scrolled ribbed legs joined by a shaped H-form stretcher and ending in scrolled toes, h. 46”. [700/1000] Illustrated 424

424 Provincial Louis XV-Style Cherrywood Buffet, early 19th century, the rectangular top with canted corners, above a conforming case fitted with two drawers over two paneled cupboard doors, raised above a shaped apron on splayed toes, h. 42‑1/2”, w. 65‑1/2”, d. 26”.

[1400/1800] Illustrated

422

425 French Belle Epoque Terracotta Figure, fourth quarter 19th century, depicting two putti holding grapes and apples in a basket, indistinctly signed “R. Roel---”, h. 20”, w. 16‑3/4”, d. 7‑1/2”.

[2500/4000] Illustrated

97

432

426 French Provincial Fruitwood and Marble-Top Occasional Table, late 18th century, the rectangular marble top with a molded edge and above a scalloped frieze fitted with one end drawer, raised on cabriole legs, h. 26‑1/2”, w. 27‑1/4”, d. 20‑1/2”. [700/1000] Illustrated 427 Brussels Verdure Tapestry, 17th century, the finely woven silk and wool tapestry depicting an exotic bird in a tree, set within a lush landscape, and with a palmette and volute border, 4’ x 9’ 2”. [2000/4000] Illustrated 428 French Provincial Fruitwood Bookcase, mid-19th century, the molded rounded rectangular cornice above a case fitted with two doors, each with a glazed upper section and paneled lower section, over a shaped frieze, raised on shaped toes, h. 70”, w. 48”, d. 16”. [800/1200]

427

431

426

98

430 Brussels MachineWoven Verdure Tapestry, 19th century, depicting a village set within a lush landscape, with an acanthine border, 6’ 7” x 19’ 9”.

[3000/5000]

433

431 French Patinated Bronze Group of Birds Feeding, first quarter 20th century, after Ferdinand Pautrot (French, 1832‑1874), h. 14”, w. 18”, d. 6‑1/2”.

[600/900] Illustrated 432 Pair of Louis XIII-Style Oak and Fruitwood Fauteuils a la Reine, mid-19th century, each with a tall, padded, slightly domed back joined to the padded seat by downswept acanthine-carved arms, raised on floral block legs joined by a shaped stretcher and ending in paw feet, h. 44”. [600/900] Illustrated

429 Brussels Verdure Tapestry, 17th century, the finely woven silk and wool tapestry with rich greens and gold, and a floral vine and bird border, 7’ 8” x 9’ 10”. [2000/4000]

433 French Provincial Oak Vasselier, 19th century, the slightly domed and molded cornice above three bowed shelves, the middle one with a spindled gallery, the lower section fitted with two drawers over two cupboard doors, each inset with a shaped panel, raised on scrolled toes, h. 76”, w. 39‑1/2”, d. 16”. [700/1000] Illustrated 434 Continental Carved Oak Coffer, 17th century, of possible ecclesiastical origins, the banded hinged top opening to a storage interior, the front centered by a carved shield flanked by arched panels with carved figures, the sides with iron handles, raised on block feet, h. 29‑1/2”, w. 59‑1/2”, d. 24‑1/4”.

[1500/2500] Illustrated 435 Continental Bronze of a Country Woman, on a round wooden plinth, h. 13‑1/2”, w. 5‑1/2”, d. 4‑1/2”. [700/1000] Illustrated 434

99

436 Ludwig O.E. Manzel (German, 1858‑1936), “The Gleaner”, bronze, cast signature at edge of base, on a green marble base, h. 15”, w. 7‑1/2”, d. 4‑1/4”. [500/800] Illustrated

436

438 Pair of English Majolica Jardinieres, fourth quarter 19th century, decorated with lion’s head handles and scrolled flowers on a molded ground, on scrolled feet, h. 9‑1/4”, dia. 8‑3/4”. [500/800]

437 French Provincial Oak Vasselier, mid-19th century, probably from Brittany, the foliatemolded cornice above a pierced spindled frieze over a pendant masque and ship’s wheels, with two recessed spindled shelves, the lower section fitted with a single drawer over two paneled cupboard doors, each with a central ship’s wheel, raised on bun feet, h. 79”, w. 44”, d. 17‑1/4”. [1000/1500] Illustrated 441

439 Wilhelm Schiller & Son, Germany, Majolica Urn, fourth quarter 19th century, in the Neo-Grec taste, decorated with masques and anthemia, marked with an impressed “WS&S”, h. 19‑1/2”, dia. 8‑3/4”. [500/800] Illustrated

437

100

440 Seven-Piece Collection of Continental Palissy Ware Pottery, fourth quarter 18th century, the collection including a cylindrical covered tobacco jar, impressed “TS”, h. 5‑1/2”, a cachepot with bas-relief putti, with a painted “TS” mark, h. 3‑1/2”, and a wall hanging bullhead match safe, impressed “TS”, h. 6”, all by French potter Thomas Sergent, a plate with a snake and frog marked “Jose Cunha, Caldas, Rainha, Portugal”, dia. 5‑1/2”, and three planters of Parisian origin, one stamped “DR”, the largest, h. 3”. [800/1200] Illustrated

443

444 441 Provincial Louis XV-Style Mahogany Occasional Table, 19th century and later, the banded rectangular top above a frieze fitted with a single drawer, raised on cabriole legs ending in scrolled toes, h. 28”, w. 29”, d. 22”.

[800/1200] Illustrated

440

442 Continental Oak and Fruitwood Coffer, 18th century, the rectangular top hinged and opening to a storage space, the front paneled and centered by a circular shield-form design, the sides paneled en suite, raised on block feet, h. 24”, w. 57‑1/2”, d. 20‑1/2”. [1500/2500] Illustrated 443 Renaissance-Style Carved Wood Figure of a Putto, fourth quarter 19th century, probably French, now mounted as a lamp, the figure clutching a tambourine, a quiver on his back, mounted with a pleated silk shade, figure, h. 20”, overall, h. 31‑3/4”, dia. 16‑1/4”. [600/900] Illustrated

439

444 Provincial Louis XV-Style Polychrome Buffet, 19th century, the rounded rectangular top with a molded edge and slightly bowed front, above a conforming case fitted with four frieze drawers over four cupboard doors, each inset with a shaped panel, raised above a shaped shelland foliate-carved apron on scrolled toes, h. 41‑1/2”, w. 79‑1/2”, d. 22”. [2000/4000] Illustrated

442

101

445 Max Marcinie (American/Oklahoma, 20th Century), “Aspens by Stillwater”, oil on canvas, signed lower right, 28” x 22”. Framed. [500/800] Illustrated 446 Erich Kipps (German, 1869‑ca. 1945), “Hilo, Hawaii”, oil on canvasboard, signed lower right, titled on label lower left, titled en verso, 13‑3/4” x 19‑3/4”. Unframed. [1500/2500] Illustrated 447 Pair of Louis XV-Style Mahogany Settees, each with a padded back surmounted by a molded floral-carved crest, joined by downswept padded arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes, h. 33‑1/2”, w. 56”, d. 23”.

[500/800] 448 Pair of Louis XV-Style Fruitwood Jardinieres, early 20th century, each with an annulated circular rim above a floral ribboncarved frieze, joined to a caned lower shelf by cabriole supports terminating in scrolled toes, h. 40”, dia. 13‑1/2”. [900/1200] Illustrated

445

449

448

446

102

450

451 Mary Kirk Kelly (American/Alabama, 1918‑2013), collection of five ceramic vegetable table items, purchased 1980’s, including three cabbage leaf plates, dia. 9”, and a pair of cabbage leaf vases, h. 8”, all fully signed. [600/900]

458

449 Napoleon III Mahogany and Marble-Top Server, late 19th century, the rectangular inset marble top with turreted corners, above a frieze fitted with two small drawers, joined by fluted supports to a lower shelf over two paneled cupboard doors, raised on molded feet, h. 39‑1/2”, w. 47‑1/2”, d. 20”. [800/1200] Illustrated

456

452 Mary Kirk Kelly (American/Alabama, 1918‑2013), collection of six ceramic vegetables, purchased 1980s, including a crimson radish with leaves, l. 8‑3/4”, a button mushroom, l. 1‑3/4”, a bell pepper, h. 3‑1/2”, a tiny bunny in the cabbage leaves, h. 2‑1/8”, a carrot, l. 8‑1/4”, and a sweet potato, l. 6‑1/4”, all fully signed. [500/800] 453 Mary Kirk Kelly (American/Alabama, 1918‑2013), three ceramic vegetables, purchased 1980’s, including a celery heart, l. 10‑1/4”, a patty pan squash, h. 3‑1/4”, dia. 5‑1/2”, and a yellow crook neck squash, l. 6‑1/2”, all fully signed. [500/800] Illustrated

453 450 Mary Kirk Kelly (American/Alabama, 1918‑2013), a ceramic cabbage with open leaves, purchased 1980’s, h. 8‑1/4”, fully signed. [700/1000] Illustrated

454

454 Mary Kirk Kelly (American/Alabama, 1918‑2013), three ceramic vegetables, purchased 1980’s, including a tomato, h. 3”, a leek, l. 14”, and a cucumber with blooms, l. 8‑1/2”, all fully signed. [700/1000] Illustrated

103

457 Mary Kirk Kelly (American/Alabama, 1918‑2013), three ceramic vegetables, purchased 1980’s, including an artichoke, l. 5”, an eggplant with a leaf and blooms, l. 10”, and a small turnip root with leaves, l. 5‑3/4”, all fully signed.

[600/900] 458 Mary Kirk Kelly (American/Alabama, 1918‑2013), collection of four ceramic vegetables, purchased 1980’s, including a beet with veined leaves, l. 7‑1/4”, two asparagus spears, l. 7‑1/8” and 7‑1/2”, and a new potato, l. 3”, all fully signed. [500/800] Illustrated previous page

462

460 455 Mary Kirk Kelly (American/Alabama, 1918‑2013), collection of five ceramic vegetables, purchased 1980’s, including a small chili pepper, l. 4‑1/2”, a small banana pepper, l. 4‑3/8”, an avocado, l. 4‑3/4”, a garlic clove cluster, h. 2‑1/2”, and an ear of corn with a partial husk, l. 8”, all fully signed.

[500/800] 456 Mary Kirk Kelly (American/Alabama, 1918‑2013), collection of six ceramic vegetables, purchased 1980’s, including an Irish potato, l. 5‑5/8”, an okra pod, l 6‑1/4”, a cauliflower head, h. 3‑1/2”, dia. 5‑1/2”, an English pea pod with peas, l. 4‑1/2”, a lemon, l. 2‑1/2”, and an onion, h. 3”, all fully signed. [500/800] Illustrated previous page

459

459 Louis XV-Style Fruitwood Duchesse Brisee, late 19th century, in two parts, the shaped and padded back surmounted by a floral crest, joined to the cushioned seat by closed padded arms, the lower section cushioned and with a lower cushioned and paneled footboard, all raised above a floral-carved apron on molded cabriole legs ending in foliate toes, h. 39”, w. 29”, l. 74”. [1200/1800] Illustrated 460 Armagnac Ryst Lithographic Poster, Damour PubliciteParis, sight 54‑1/2” x 38‑1/2”, now mounted on canvas.

Glazed and framed. [800/1200] Illustrated 461 Continental Provincial Fruitwood Fauteuil, late 19th century, the slightly domed and padded back surmounted by a pierced foliate crest, joined by scrolling outswept arms to the padded seat, raised above a shaped foliate-carved apron on cabriole legs headed by an acanthine shield carving, h. 41‑1/2”. [600/900]

104

464

465 462 Louis XVI Fruitwood Music Chair, early 19th century, the padded crest above a lyre-form back, the generous padded seat raised on stop-fluted tapering circular legs ending in toupie feet, the back seat rail stamped “COSTAZ”, h. 36”. [1000/1500] Illustrated 463 Semi-Antique Oval Aubusson Needlepoint Carpet, 2’ 7” x 4’ 7”. [500/800] 464 Monumental Louis XV-Style Oak and Marble-Top Buffet, early 20th century, the rectangular marble top with rounded corners, above a conforming case fitted with a central pull-out slide over three drawers and three cupboard doors, inset with shaped panels, raised on scrolled toes, the whole with carved accents in floral and foliate patterns, h. 49”, w. 86‑1/2”, d. 22‑1/2”.

[2500/4000] Illustrated 465 French Provincial Fruitwood Buffet a Deux Corps, mid-19th century, the molded and dentillated rounded rectangular cornice above a fluted frieze, with two long bi-paneled doors below, the lower section fitted with two cupboard doors, each inset with a shaped panel, raised on scrolled toes, h. 96‑1/2”, w. 47”, d. 24‑1/2”. [1500/2500] Illustrated

105

466

466 French Provincial Fruitwood Draw-End Table, mid19th century, the rectangular top with two draw ends, above a conforming shaped frieze fitted with a small drawer to each side, raised on cabriole legs, h. 30‑1/2”, w. 34‑1/2”, l. 66”, extended l. 121”. [1500/2500] Illustrated 467 Twelve-Piece Collection of English Majolica with Aesthetic Decoration, fourth quarter 19th century, probably Fielding, decorated with fans and insects on a textured ground, including a bread tray, l. 13‑1/2”, two pitchers, h. 6‑1/2”, a comport, dia. 9”, three matching plates, dia. 8‑1/2”, a matching sugar bowl, h. 3‑1/2”, a cream jug, h. 2‑3/4”, and three saucers, dia. 5”.

[700/1000] Illustrated 468 Four-Piece Collection of English Majolica Bread Trays with Aesthetic Decoration, fourth quarter 19th century, attributed to Wardle, in various majolica colors, two with registration marks, decorated with cranes and plum blossoms on a raised fan, the largest, l. 12‑1/2”. [500/800] Illustrated

106

467

468

472 Ivars Jansons (Australian, b. 1939), “Gums Near Warren Gorge”, 1968, oil on canvas board, signed lower right, titled and dated en verso, 22” x 30”.

Framed. [700/1000] Illustrated 473 C. Dudley Wood (Australian, 1905‑1980), “Above Glen Helen Gorge”, watercolor on board, signed lower left, titled en verso, 22” x 30”. Framed.

[600/900] Illustrated

470

469 Pair of Provincial Louis XV Fruitwood Fauteuils, late 18th century, each with a caned back surmounted by a shell and foliate crest, joined by scrolling foliate-carved arms to the padded seat, raised above a shell-carved apron on cabriole legs ending in scrolled toes, h. 38”.

[1200/1800] Illustrated 470 Provincial Regence Oak Commode, 18th century, the rectangular top with a molded edge and shaped front, above a conforming case fitted with two short drawers over two long drawers, raised above a scalloped apron on scrolled toes, h. 34‑1/2”, w. 52”, d. 25”. [2500/4000] Illustrated

469

472

471 French Provincial Mahogany End Table, late 18th century, the rounded rectangular top with inlaid banding above a frieze fitted with a single drawer, raised on cabriole legs, h. 27”, w. 22‑1/4”, d. 16‑1/4”. [700/1000] 473

107

474 Ivars Jansons (Australian, b. 1939), “Near Apollo Bay”, oil on canvasboard, signed lower right, titled en verso, 22” x 30”. Framed.

[700/1000] Illustrated

474

475 Benjamin Edwards Minns (British, 1864‑1937), “Overlooking Sydney”, watercolor on paper, signed lower left “B. E. Minns”, sight 9‑3/4” x 14”. Glazed, matted and framed. [700/1000] Illustrated 476 Robin Hill (American, b. 1955), “Red-Capped Parrots”, 1979, watercolor on paper, titled, signed and dated lower right, sight 14” x 19”. Glazed and framed. [500/800] 477 Regency Mahogany Cellarette, early 19th century, of tapering rectangular form, the interior compartmented and retaining a partial metal lining, the body paneled, raised on foliate scrolled feet, h. 17”, w. 34‑1/2”, d. 19‑1/2”.

[1000/1500] Illustrated 475

108

478 Regency Ebonized and Parcel-Gilt Recamier, early 19th century, the shaped partial back joined to the cushioned seat by an outscrolled arm, with a lower outscrolled end, raised on splayed legs ending in brass caps and casters, the whole with gilt accents, h. 34”, w. 76”, d. 25”. [1500/2500] Illustrated

479

479 Sebastian Erard, London, Giltwood Harp, late 19th century, the brass plate engraved “Sebastian Erard, Patent #2041, 18 Great Marlborough Street, London”, h. 67”, w. 33”. [3000/5000] Illustrated

477

478

109

480

480 detail

480 detail

480 Extensive Derby Partial Dinner Service in a Japan Pattern, English, ca. 1820‑1825, lushly decorated in the Imari palette, with the painted mark in red, the service including a large oval platter, w. 23‑1/4”, three oval nesting platters, the largest, w. 20‑1/4”, two oval platters, w. 14‑3/4”, two oval platters, w. 12‑1/2”, three oval platters, w. 10‑1/2”, a round footed covered soup tureen, h. 11‑1/4”, w. 14”, four rectangular covered vegetable tureens, h. 6‑1/2”, w. 10‑1/8”, two covered sauce tureens, h. 6‑1/2”, w. 7”, with two conforming underplates, dia. 8”, forty dinner plates, dia. 9‑3/4”, sixteen rimmed soup plates, dia. 9‑3/4”, and fourteen bread and butter plates, dia. 7”, a total of 97 pieces including the covers. Provenance: Henry Stern Antiques, New Orleans, Louisiana. Selected by designer Mark Hampton to be the focal point in the dining room of the New Orleans, Louisiana, home of Mr. and Mrs. William H. Henderson. [7000/10000] Illustrated

110

Mark Hampton and Mrs. William H. Henderson

111

484 Fine Pair of Regency Faux-Marbre and Parcel-Gilt Carved Wood Torchere Tables, early 19th century, each with an octagonal top supported by a finely-carved owl figure resting on a gilt sphere, to an imbricate-modeled and faux-marbre plinth base, h. 31‑1/2”, dia. 16‑1/2”.

[5000/8000] Illustrated

481

482

481 Regency Rosewood Games Table, early 19th century, the banded rectangular top hinged and opening to an inlaid gaming board, backgammon board and cribbage board, above an ogee-molded frieze, raised on a columnar standard to a concave base on square bun feet, h . 29‑1/2”, w. 18‑1/4”, d. 12”. [500/800] Illustrated

485 William IV Giltwood Three-Part Overmantel Mirror, second quarter 19th century, the frame with half-round columns with applied scrollwork and square rosettes at the corners, the mirror plate trimmed with a reeded ebonized liner, h. 27‑1/2”, w. 55‑3/4”. [1000/1500]

482 Regency-Style Mahogany Cabinet, 20th century, the superstructure fitted with two shelves, over a lower section fitted with a single long drawer over two cupboard doors, each inset with a grilled panel, raised on reeded bun feet, the whole accented with brass stringing, h. 55‑1/2”, w. 36‑1/4”, d. 16”. [800/1200] Illustrated 483 Regency Rosewood Library Table, first quarter 19th century, the rounded rectangular top above a conforming frieze fitted with two drawers and inlaid scrolling brass accents, raised on end supports to shaped runner feet on casters, h. 30‑1/2”, w. 54‑1/2”, d. 34”. [4000/7000] Illustrated

112

483

484

484 detail

487 Twenty-Piece Collection of Royal Crown Derby “Old Imari” Coffee Beakers and Octagonal Lunch Plates, 20th century, English, including twelve gilt-trimmed coffee beakers, h. 3‑3/4”, dia. 3‑1/2”, and eight octagonal luncheon plates, dia. 9‑3/4”, all marked “Royal Crown Derby, English Bone China, Old Imari, 1128”, with various dates and marks. [600/900] Illustrated

486 William IV Mahogany Sideboard, second quarter 19th century, the recessed central section with a paneled backpiece and fitted with three paneled and banded drawers, raised on two pedestals, each fitted with a banded drawer over a cupboard door, inset with an arched panel and opening to shelves and drawers, raised on bun feet, h. 46”, w. 88”, d. 28”. [600/900]

488 Sixty-Six-Piece Royal Crown Derby “Old Imari” Partial Dinner Service, late 20th century, English, various dates, including twelve dinner plates, dia. 10‑1/2”, seven luncheon plates, dia. 9”, eight soup plates, dia. 8‑1/2”, twelve bread and butter plates, dia. 6‑1/4”, a sugar bowl, dia. 4‑1/4”, six coupe cereal bowls, dia. 6‑1/2”, twelve open bowls, dia. 5”, and eight salad/dessert plates, dia. 5‑5/8”. [1000/1500] Illustrated 489 Twelve Royal Crown Derby “Old Imari” Chargers/ Large Chop Plates, fourth quarter 20th century, English, marked with various dates, dia. 13‑3/4”. [1200/1800] Illustrated

487-489

113

496 Eight-Piece Collection of Regency-Style Blown, Cut and Engraved Glass Hurricane Lamps, including four matching lamps with Greek-key-cut shades, h. 15”, dia. 5‑3/4”, a pair decorated with concave cut bull’s eyes, h. 12‑1/2”, dia. 6‑1/4”, and a pair decorated with strawberry cutting, h. 16‑1/2”, dia. 7”, all with integral candle cups. [500/800] Illustrated

491 490 William IV Mahogany Breakfront Bookcase, second quarter 19th century, the molded cornice with an applied drop-finial frieze above four astragal-glazed doors, over a central drop-front secretary drawer opening to a variety of cubbyholes, over two paneled cupboard doors, flanked to either side by a single paneled cupboard, raised on a molded base on ebonized ball feet, h. 103‑1/2”, w. 98‑1/2”, d. 22‑1/2”. [4000/7000] Illustrated 491 English Papier-Mache Tray on a Custom-Made Stand, second quarter 19th century, the unusual tray decorated with tropical birds and butterflies on a green ground, resting on a contemporary bamboo-turned base, h. 19”, w. 30”, d. 23”. [1000/1500] Illustrated

492 497 Set of Four Regency-Style Blown, Cut and Molded Glass Hurricane Lamps, the stepped bases holding the shades, decorated with oval bull’s eyes, the bases set with integral candle sockets, h. 16‑1/4”, dia. 6‑3/4”. [500/800]

492 George Derville Rowlandson (British, 1861‑1930), “In Full Cry”, oil on canvas, signed lower left, 16‑1/2” x 24‑1/4”. Framed.

[1500/2500] Illustrated 493 Regency-Style Parcel-Gilt and Painted Recamier, mid-19th century, with a curved back with scroll end, scroll head and raised on sabre legs with brass cap casters, h. 32‑1/4”, w. 25”, l. 76”. Provenance: The Estate of Parker John Buck, Seattle Washington, Purchased in 1994 from Peter Storey Pentz, Woodinville, Washington. [2000/4000] Illustrated 494 British School (Second Quarter 19th Century), “In the Stable-Yard”, 1842, oil on canvas, signed “G. Gregory” and dated lower right, 25” x 30”. Framed. [1800/2500] Illustrated 495 Pair of Patinated Bronze “Warwick Vase” Cachepots, fourth quarter 19th century, probably Italian, the campana-form urns with traditional Bacchic decoration, with removable brass inserts for holding plants, h. 6”, w. 10‑1/4”, dia. 7”. [500/800] Illustrated

114

490

496

494

498 Pair of Anglo-Irish Cut Crystal Butter Tubs and Stands, second quarter 19th century, of oval form, decorated with cut panels trimmed with strawberry and fan borders, finished with pointed knops, h. 7”, w. 6‑3/4”, d. 5”. [600/900]

500 Two Regency Boxes and Two Pieces of Tartan Ware or Mauchline Ware, first quarter 19th century, including a Morocco leather-covered work box retaining its original giltbrass mounts and fitted interior, with some mother-of-pearl thread winders, h. 4‑1/2”, w. 7‑3/4”, d. 5”; a walnut-veneered tea caddy with period gilt-brass ring pulls and paw feet, the fitted interior with a pair of lidded boxes flanking a round bowl compartment, h. 7‑3/4”, w. 12”, d. 6‑1/4”; a tartan ware tea caddy with a silver escutcheon hallmarked “Charles Boyton & Son, London, 1927‑28”, h. 3‑3/4”, w. 6‑3/4”, d. 3”; and a tartan ware hourglass, h. 7‑1/2”, dia. 4‑1/4”. [500/800]

495

499 Anglo-Irish Cut Glass Compote in the Regency Style, fourth quarter 19th century, cut in the “Strawberry and Fan” pattern, the square base holding the inverted bell-form bowl, trimmed with a scalloped edge, h. 8”, dia. 11‑1/4”. [600/900]

493

115

501

503 Japanese Champleve Floor Lamp, Meiji era (1868‑1912) - Taisho era (1912‑1926), the brass enamel inlay with dragon, floral and petaled decorative motifs, h. 67”. [500/800]

501 Thirty-Seven-Piece English Hand-Painted Partial Tea Set, Attributed to Coalport, ca. 1836, decorated with hand-painted flower panels on a bleu-de-roi ground, the cups in the “Adelaide” shape, with various pieces marked “3/132”, including a teapot, h. 8”, a cream jug, h. 5”, a sugar bowl, h. 6‑1/4”, a waste bowl, h. 3‑1/4”, twelve tea cups, h. 2‑3/4”, six coffee cups, h. 3‑1/4”, eleven saucers, dia. 5‑3/4”, a pair of handled cake plates, dia. 9‑1/4”, a dessert plate, dia. 8”, and a round dish lacking a cover, dia. 8‑3/4”. [1500/2500] Illustrated

504

506

502 Japanese Cloisonne Lidded Jar, first quarter 20th century, the small roundbodied vessel with cloisonne enamel on metal, probably brass, unmarked, h. 5”, dia. 4‑1/2”.

[800/1200]

505

116

504 Japanese Bronze Figure of Jizo Bosatsu, probably 19th century, the cast bronze depicted as a priest holding a flaming pearl (cintamani) in his left hand, his right hand positioned in Shuni Mudra, the reverse with three markings, two in square cartouches and one in a double gourd outline, h. 14‑1/4”, w. 5”. [1500/2500] Illustrated

508 Japanese GiltBronze Censer, Meiji period (1868‑1912), the patinated bronze tripodal vessel with a motif of a dragon chasing a flaming pearl across the heavens, and two Kui dragon handles, the underside marked with a seal based on Chinese archaic script, h. 9”, w. 8”. [600/900] Illustrated

510

511

509 Large Japanese Mixed Metal Censer, Meiji period (1868‑1912), the rounded bronze tripodal censer with mixed metal chrysanthemum decoration, the underside unmarked, h. 9‑1/4”, dia. 12‑1/4”. [450/700] 510 Large English Oak Refectory Table, 18th century, the long top with rounded ends, and raised on boldly turned legs joined by stretchers and ending in block feet, with mortise and pegged construction throughout, h. 29‑1/2”, w. 38”, l. 134”. [5000/8000] Illustrated 511 Chinese Export Blue and White Lidded Soup Tureen, third quarter 18th century, the molded bombe body handpainted with peonies and lotus flowers, the cover with a fruit-molded knop, h. 10”, w. 12”, d. 8‑1/2”. [2000/4000] Illustrated

505 Pair of Japanese Mammoth Ivory Carvings, probably Meiji period (1868‑1912) or earlier, the tusk carvings of sages, carved fully in the round, displayed on wooden stands, ivory, h. 5”, w. 3‑1/8”, overall, h. 7”. [800/1200] Illustrated 506 Japanese Bronze Tiger, Meiji period (1868‑1912), the bronze sculpture of a roaring tiger with glowing red eyes, signed “Seiya Sake” on the belly, h. 8‑5/8”, l. 19‑1/2”.

[500/800] Illustrated

507

508

507 Japanese Segmented Bronze Vase, probably Meiji period (1868‑1912), the bronze vase cast in the form of a bamboo root, the underside unmarked, h. 9”, dia. 5‑1/2”. [450/700] Illustrated

117

515 Unusual Monogrammed Chinese Export Nanking Lidded Tureen, ca. 1800, the “WG” initials in a polychrome cartouche decorated with wheat and grapes, h. 7‑1/2”, w. 10‑1/2”, d. 7‑3/4”. [3000/5000] Illustrated 516 Chinese Porcelain Lidded Jar, probably 19th century, the blue and white porcelain ginger jar with a rounded lid, the body decorated with a scene of a peacock standing in a lush garden setting, the underside unmarked, h. 18”, dia. 10”.

[700/1000] 517 Chinese Blue and White Porcelain Ginger Jar, probably late 19th century, the jar with a carved wooden lid, the underside unmarked, h. 8‑3/4”, dia. 7”. [600/900] 514

515

518 Continental Oak Library Table, late 19th century, the long rectangular top with an inset leather surface, above a conforming molded frieze, raised on ringturned tapering bulbous legs joined by an H-form stretcher and ending in bulbous feet, h. 31‑1/2”, w. 32‑1/2”, l. 98”.

[500/800]

512 Chinese Porcelain Plaque Table Screen, 20th century, the blue and white porcelain tile depicting a censer with a ruyi finial and several teawares, mounted in a painted wooden screen, tile, h. 9‑1/4”, w. 9‑1/4”, overall, h. 14‑1/2”, w. 14‑1/4”. [1200/1800] 513 Suite of Two Carolean-Style Fruitwood Hall Chairs, mid-19th century, each with a pierced and carved crest with side finials above a caned splat and turned side rails, the caned seat raised on turned and block legs on one, and scrolled legs on the other, h. 51‑1/2” and 47”. [900/1200] 514 English Fruitwood and Oak Cupboard, early 18th century, the molded cornice above a case fitted with three bi-paneled cupboard doors over three drawers and three additional like cupboards, all raised on block feet, h. 66‑1/2”, w. 78‑1/2”, d. 22‑1/4”. [1000/1500] Illustrated

118

519

522 Chinese Blue and White Porcelain Vase, 19th/20th century, the zun-form vessel with motifs of birds, flowers and antiquities, a four-character Kangxi mark on the underside, h. 11‑1/2”, dia. 6‑1/2”. [600/900] 523 Chinese Porcelain Moon Flask, 20th century, now mounted as a lamp, the flask with a motif of two dragons chasing a flaming pearl, with salamanders on the shoulders, mounted on a wooden stand and finished with a blue and white finial, flask, h. 17‑3/4”, overall, h. 39”, w. 11”.

[600/900]

521

520 519 Follower of Henri Gascars (French, c. 1635‑1701), “Portrait of a Lady with a Spaniel”, oil on canvas, inscribed and dated 1696 at left center, 48” x 38”. Framed.

[1500/2500] Illustrated

524 English Oak Settle, 19th century, of slightly curved form, the solid back paneled and joined to the wooden seat by scrolling arms, the padded front raised on a plinth base, h. 56”, w. 84‑1/2”, d. 21”. [1200/1800]

525 English Fruitwood Server, mid-19th century, the long rectangular top above a conforming case fitted with three drawers, over a shaped foliate-carved apron, raised on cabriole legs ending in pointed toes, h. 30”, w. 66‑1/2”, d. 17”. [500/800] Illustrated

520 English Oak Cupboard, 18th century, the molded cornice above a case fitted with two long doors, each inset with two panels, the lower section fitted with two short drawers over two paneled cupboard doors, raised on block feet, h. 88‑1/2”, w. 34”, d. 20‑1/2”. [800/1200] Illustrated 521 Chinese Blue and White Porcelain Vase, late 19th/early 20th century, the zun-form vase with scrolling lotus and lingzhi fungus motifs, the underside unmarked, h. 15‑1/2”, dia. 7‑1/4”. [1400/1800] Illustrated

525

119

527 French Belle Epoque Overmantel Mirror, fourth quarter 19th century, in the Louis XVI style, the egg-anddart frame set with a beveled mirror plate, overlaid at the top with swags of flowers flanking the crest of a crossed torch and quiver and trailing laurel, h. 91”, w. 54‑1/2”.

[1500/2500] Illustrated

531

527

526 Continental Oak Vitrine, early 19th century, the molded and domed cornice above a conforming case with canted sides and fitted with a single panel glazed door, the lower conforming section fitted with two paneled cupboard doors, raised on a molded base to casters, h. 94”, w. 62‑1/2”, d. 17”. [1200/1800]

528 Eight-Piece Collection of Royal Copenhagen "Flora Danica" Porcelain Dinnerware, Danish, including a dinner plate, ca. 1969‑1974, decorated with “Hieracium umbellatum L.”, dia. 8‑3/4”, a plate, ca. 1954, decorated with “Ribus arcticus”, dia. 8‑3/4”, a plate, ca. 1956, decorated with “Ranunculus aconitifolius L.”, dia. 7‑3/4”, a plate, ca. 1956, decorated with “Viola umbrosa Fr.”, dia. 5‑1/2”, a plate, ca. 1860‑1880, decorated with “Antennaria alpina Gartn.”, dia. 5‑1/2”, a sauceboat, ca. 1935, decorated with “Dianthus deltoides L.”, l. 6‑1/4”, and two butter pats, ca. 1936 and 1951, dia. 3”.

[800/1200] Illustrated

528-530

120

529 Three Royal Copenhagen "Flora Danica" Porcelain Plates, Danish, including a plate, ca. 1968, decorated with “Vicia orobus”, dia. 10”, a plate, ca. 1893‑1928, decorated with “Rosa canina L.”, dia. 10”, and a plate, ca. 1947, decorated with “Saxifraga nivalis L.”, dia. 8‑3/4”. [500/800] Illustrated

532

532 Pair of Louis XVI-Style Giltwood Fauteuils, early 20th century, each with a padded medallion back surmounted by a ribbon crest, joined to the padded seat by like foliatecarved arms, raised on fluted circular legs ending in toupie feet, h. 38‑1/2”. [500/800] Illustrated 533 Ernest William Buckmaster (Australian, 1897‑1968), “Floral Still Life in a Pale Blue Vase”, oil on canvas, signed lower left, 29” x 20”. Framed. [2000/4000] Illustrated

530 Two Royal Copenhagen "Flora Danica" Porcelain Plates, Denmark, the plates hand-painted with pierced and gilt borders, the scalloped soup plate, ca. 1966, decorated with “Ribes rubrum L.”, dia. 10”, and the scalloped plate, ca. 1964, decorated with “Chimaphila umbellata Nutt”, dia. 8‑3/4”. [600/900] Illustrated 531 Impressive Louis-Philippe Giltwood Oval Mirror, mid-19th century, the egg-and-dart-molded frame set with a pierced crest of putti and flowers on a lattice ground, retaining the period beveled mirror plates, h. 63”, w. 42”.

[2000/4000] Illustrated

534 Meissen Porcelain Pastry or Cake Peddler, third quarter 18th century, German, from their “Cries of Paris” series, after a model by Peter Reinicke, the female figure depicted standing on a rocaille base decorated with molded flowers, her dress with typical Meissen hand-painted flowers, marked with a pen and ink “V” and an impression, h. 5‑3/4”, dia. 2”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [700/1000] Illustrated

535 534

536

535 Meissen Porcelain Allegorical Figure of “America”, third quarter 18th century, German, from their “Continents” series, the American Indian maiden depicted dressed in a cape and skirt of feathers matching her headdress, holding a bow, a cornucopia at her feet, marked with underglaze crossed swords on the bottom, h. 6‑1/4”, dia. 2”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [1000/1500] Illustrated

533

121

538 Meissen-Style Figural Mirrored Sconce, fourth quarter 19th century, probably Dresden, the Baroquestyle porcelain surround set with three candle sockets, decorated with a putto, a cupid and applied flowers, with polychrome decoration, h. 17‑1/2”, w. 11‑1/2”. [500/800] Illustrated

537

540

536 Frankenthal Porcelain Figure of a Gardener, ca. 1700‑1760, by Paul Antoine Hannong, the female gardener depicted holding a painted metal rake and standing on a mauve-trimmed rocaille base, marked with Hannong’s rampant lion underglaze blue mark, h. 5‑1/2”, w. 2‑3/4”, d. 4‑1/4”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [700/1000] Illustrated previous page 537 Meissen-Style Porcelain Six-Light Chandelier, ca. 1900, probably Dresden, in the Louis XV style, the standard incorporating an urn and decorated with sculpted flowers and three putti, set with three two-light candle arms, h. 22‑1/2”, dia. 19‑1/2”. [1200/1800] Illustrated

538

539

122

539 French Belle Epoque Gilt-Bronze, Champleve Enamel and Porcelain Centerpiece, ca. 1900, the Louis XV-style mounts decorated with enamel trim, mounted with a Sevres-style dish decorated with a hand-painted goddess and cupid, signed “Daniel”, with a spurious Sevres mark, h. 6‑1/2”, w. 15‑1/2”, dia. 11”. [450/700] Illustrated

541

541 Pair of French Gilt-Bronze and Crystal Six-Light Candelabra, ca. 1900, the faceted cut glass sleeves covering the standard, set with five arms, the molded Greek-key pattern bobeches, probably Baccarat, hung with prisms and drops, h. 19‑1/4”, dia. 12‑1/2”.

[700/1000] Illustrated 542 French Cut Glass and Gilt-Bronze Centerpiece, in the Louis XVI style, the diamond-cut glass bowl attributed to Baccarat, resting on a pierced base with paw feet, h. 4”, w. 16‑3/4”, d.10”. [500/800]

540 Pair of Louis XV Faience Garniture Urns, second half 18th century, decorated in typical Sceaux fashion with Boucher-style puce putti panels decorating the front and faux-marbre bases, h. 14‑3/4”, w. 6”, d. 5‑1/4”.

Provenance: Sold by order of the Trustees of the Philadelphia Museum of Art to benefit acquisition funds.

[1200/1800] Illustrated

543 Belle Epoque Giltwood, Glass and Fabric ThreePanel Screen, ca. 1900, in the Louis XVI taste, the lower frame set as ribbon-bound reeds, the panels set with pleated silk, the upper frame with oval rose-carved panels with ribbon finials, the sides set with prints of putti and goddesses trimmed with lace, flanking the central beveled mirror panel, h. 60”, w. 52‑3/4”. [1000/1500] Illustrated

544

543

544 Pair of French Belle Epoque Gilt-Bronze NineLight Candelabra, fourth quarter 19th century, in the Baroque taste, the unusual standards molded in the form of Bacchanalian male and female monopeds supporting cornucopia, set with sculpted arms and candle cups, h. 27”, dia. 13‑3/4”. [1500/2500] Illustrated 545 Transitional Louis XV-into-Louis XVI-Style Mahogany Vitrine, early 20th century, the stepped top above a case fitted with a single domed and glazed door opening to a fabric-lined interior, the sides also glazed, raised on cabriole legs ending in sabots, the whole with ormolu mounts and millwork, h. 66”, w. 30”, d. 15”.

[600/900]

123

547 Louis XVI-Style Polychrome and Marble-Top Console Table, late 19th century, the demi-lune ochre marble top with a projecting center section above a conforming case centered by a shield-carved panel and guilloche-carved bands, raised on stop-fluted tapering circular legs joined by an annulated stretcher and ending in foliate toupie feet, h. 34”, w. 34‑1/2”, d. 12‑1/2”.

[500/800] Illustrated

548 550

546 French Gilt-Bronze Firescreen, ca. 1900, in the Louis XVI style, the rectangular screen decorated with bronze appliques of crossed torches and quivers held with bowknots, h. 30”, w. 27‑3/4”, d. 11”. [900/1200] Illustrated

548 Louis XVI-Style Giltwood Mirror, mid-19th century, the slightly domed rectangular plate surmounted by a shell- and foliate-pierced crest, with side mirrored panels, within a molded and annulated frame with floral pendants, h. 75”, w. 44‑1/2”. [1200/1800] Illustrated

547 546

124

549 Set of Sixteen Louis-Philippe-Style Cast Bronze Tiebacks, of strap form, decorated with raised bands of leaves, with mounting brackets, h. 7‑1/2”, w. 1‑3/4”.

[500/800] 550 Andre Gisson (American/French, 1921‑2003), “Les Bouquinistes”, oil on canvas, signed lower right, 12” x 16”.

Framed. [1000/1500] Illustrated 551 Paul Renard (French/Dutch, 1871‑1920), “Winter Evening, Paris”, gouache on paper, signed lower right “P. Renard”, sight 10‑1/2” x 18”. Glazed, attractively matted and framed. [1400/1800] Illustrated

553

551 554 Louis XVI-Style Fruitwood Bedside Cupboard, early 19th century, the marble top with a three-quarter pierced brass gallery above a roll-top tambour cupboard, over a single drawer, joined to a lower quarter-veneered shelf by tapering square legs ending in peg feet, h. 34‑1/2”, w. 14”, d. 13‑1/2”. [500/800] Illustrated 555 Pair of French Renaissance Revival Hand-Painted Porcelain Garniture Urns, third quarter 19th century, the matte mauve ground decorated with gilt panels with hand-painted polychrome figures in Renaissance dress, trimmed in tooled gilt picked out in black, h. 13‑1/2”, dia. 5‑3/4”. [800/1200] Illustrated following page

554

552 Louis XV Fruitwood Canape, late 18th century, the padded back and downswept arms within a molded and foliate-carved frame, the cushioned seat raised above a scalloped floral-carved apron on molded cabriole legs ending in scrolled toes, h. 37”, w. 57”, d. 26”. [1800/2500] 553 Louis XVI-Style Fruitwood Porter’s Chair, 20th century, of traditional form, the domed back and sides double-caned and joined to the caned and cushioned seat by padded foliate-carved arms, raised on stopfluted tapering circular legs ending in toupie feet, h. 57”.

[700/1000] Illustrated

125

557 Louis XVI-Style Mahogany and Exotic Woods Tiered Center Table, early 20th century, the upper tier with bowed ends, banded and quarter-veneered and with inlaid scrolling patterns, joined by fluted uprights to the like larger tier, the whole raised on fluted tapering circular legs ending in ormolu toupie feet, h. 33‑1/2”, w. 35”, d. 20”.

[700/1000]

556

556 Louis XVI-Style Mahogany Writing Table, early 20th century, the rounded rectangular top with an inset leather writing surface, above a conforming frieze fitted with a single central paneled drawer, flanked by chevron-veneered panels, raised on fluted tapering circular legs ending in ormolu caps, the whole accented with ormolu mounts and millwork, h. 29‑1/2”, w. 43‑1/2”, d. 25”.

[1500/2500] Illustrated

555

126

561

558 French Patinated Bronze and Crystal Six-Light Chandelier, early 20th century, in the Louis XVI style, with colorless and amethyst colored glass, h. 24”, dia. 14”.

[600/900]

560

559 French Gilt-Bronze and Cut Glass Centerpiece, fourth quarter 19th century, in the Louis XV style, resting on cloven feet, the bateau-form bowl, probably Baccarat, mounted with Dionysian horned handles and classical maidens on each side, h. 6‑3/4”, w. 17”, d. 11”. [500/800] 560 Louis XVI-Style Giltwood Mirror, ca. 1900, the ribbonmolded outer frame with an upper tablet decorated with an oval relief panel of cupids on a stippled ground, set with a pierced bowknot crest and beveled mirror plate, h. 73‑1/2”, w. 33‑1/2”. [700/1000] Illustrated 561 French Belle Epoque Terracotta Bust of a Cherubic Boy, signed “Bourgoin”, h. 13”, w. 5‑1/2”, d. 4‑1/2”.

[500/800] Illustrated

563 562

562 French School (18th Century), “Refusal of a Suitor”, oil on copper, unsigned, 4‑3/8” x 3”. Presented in a molded giltwood frame. [700/1000] Illustrated 563 French Gilt-Bronze Twelve-Light Chandelier in the Louis XV Style, second quarter 20th century, the leafmolded standard supporting delicately molded flowers and leaves, the leaf-molded arms supporting electrified candle cups on two levels, h. 29‑1/2”, dia. 28‑1/2”. [1000/1500] 564 French Painted Trumeau Mirror, fourth quarter 19th century, in the Louis XVI style, the genre painting depicting a lady at her dressing stand with attendants at hand, h. 57‑3/4”, w. 34”. [900/1200] Illustrated

564

127

565 Antoine Emile Plassan (French, 1817‑1903), “Portrait of a Young Woman”, oil on canvas, signed upper left, 13‑3/4” x 9‑3/4”. Framed. [1000/1500] Illustrated 566 Louis Icart (French, 1880‑1950), “Symphony in Blue”, etching with aquatint, signed in pencil lower right, pencil marked “9” and with blind stamp lower left, copyrighted and dated in plate upper left, sight 24‑3/8” x 20‑3/8”.

Glazed, handsomely matted and framed. [800/1200] Illustrated 567 Louis Icart (French, 1880‑1950), “Girl in Crinoline”, etching with aquatint, signed in pencil lower right, pencilmarked “G.4” and with blind stamp lower left, copyrighted and dated in plate upper left, sight 24‑1/4” x 20”. Glazed, handsomely matted and framed. [800/1200] Illustrated 568 Louis XVI-Style Mahogany and Marble-Top Chest, early 20th century, the rectangular marble top with projecting canted corners, above a conforming case fitted with six drawers, all banded and with ormolu millwork banding, raised on block feet with applied foliate mounts, h. 58‑1/2”, w. 38‑1/2”, d. 17‑1/2”. [1500/2500] Illustrated 569 Louis XV Walnut Cupboard, late 18th century, the rectangular top with a central star inlay and corner patera accents, above a case fitted with a tambour cupboard, raised on cabriole legs, h. 26”, w. 16”, d. 12‑1/2”.

[700/1000]

566

128

565

567

570 Transitional Louis XV-into-Louis XVIStyle Kingwood Cabinet, early 20th century, the banded and quarter-veneered top with a threequarter shaped gallery above a case fitted with four banded drawers over two ribbed cupboard doors, raised on cabriole legs, h. 41‑1/2”, w. 11‑1/4”, d. 9”. [900/1200] Illustrated

570

571 Four-Fold Upholstered Screen, early 20th century, each fold domed and upholstered in a gold damask in floral and avian patterns, with brass tack border, overall, h. 73”, w. 72”.

[900/1200] Illustrated

571

568 572 Pair of Louis XV-Style Bronze and Marble ThreeLight Candelabra, fourth quarter 19th century, each with a patinated bronze putto-form standard holding three leafmolded gilt-bronze candle arms set with matching candle cups and bobeches, and raised on a gilt-bronze fluted base above a white marble plinth, h. 23‑3/4”, dia. 10‑1/4”.

[2000/4000] Illustrated

572

129

574 578

574 Pair of Belle Epoque Bronze Dore et Patine ShellForm Dishes, ca. 1900, in the Louis XV style, mounted with patinated bronze cupids sitting astride the top, on pierced bases, signed “E Provost” in incised script, h. 7‑1/2”, dia. 5‑1/2”. [800/1200] Illustrated

577

579

573 Impressive French GiltBronze Neo-Grec Encrier, third quarter 19th century, cast by Barbedienne, the tray portion lushly decorated with Bacchanalian emblems, and having three covered pots (for ink, sand and wax) centered with the bust of Dionysus, the whole resting on paw feet, stamped “Barbedienne Fondeur”, h. 12”, w. 19”, d. 12”. [700/1000]

130

575

575 Napoleon III Gilt- and Patinated Bronze Chenets and Adjustable Fender Set, third quarter 19th century, with a pierced, adjustable center bar, the chenets decorated with pairs of patinated bronze putti bearing fruit and flowers, h. 15‑1/2”, w. 51‑1/2”, d. 8”. [1200/1800] Illustrated 576 Continental Patinated Metal Figure of a Seated Cherub, fourth quarter 19th century, h. 21”, w. 8‑1/2”, d. 8”. [500/800] 577 Pair of French Gilt-Bronze Three-Light Scones in the Empire Taste, decorated with molded leaves and pierced scrolls, h. 8”, w. 10‑1/2”, d. 7‑1/2”. [600/900] Illustrated 578 French Belle Epoque Lacquered Brass FiveLight Chandelier, early 20th century, adorned with female busts and winged angels, fitted with period opalescent coin dot shades, h. 36”, dia. 30”. [1500/2500] Illustrated

580

581

580 Impressive Pair of French Porcelain and Gilt-Bronze Garniture Urns, first quarter 20th century, in the Louis XV style, trimmed with raised gilt, the urns decorated with 18th-century court scenes on the obverse and pastoral landscapes on the reverse, mounted with Dionysian masque handles, h. 21”, w. 8‑1/4”. [2000/4000] Illustrated 581 Heinz Pinggera (Italian/German, B. 1900), “The Recital”, oil on canvas, signed lower right, 29” x 39”. Presented in a rococo-style giltwood and composition frame. [1500/2500] Illustrated

582

579 French Belle Epoque Painted Trumeau Mirror, ca. 1900, in the Louis XVI style, the mirror surround having molded leaves and the upper panel decorated with molded swags of flowers, set with an oxidized mirror plate, h. 66‑1/2”, w. 41‑1/4”. [600/900] Illustrated

131

585

583 pair

582 Pair of Louis XIV-Style Bronze and Crystal ThreeLight Candelabra, ca. 1900, the tripartite bases supporting bronze standards hung with drops and glass grapes, the candle arms interspersed with prism sprays, set with a cut glass spear finial, electrified, h. 23‑1/2”, dia. 13”. [700/1000] Illustrated previous page

584

587

584 Sevres-Style Hand-Painted and Gilded Porcelain Garniture Urn, fourth quarter 19th century, now mounted as a lamp, with raised gilt decoration on a bleu du roi ground, framing the central panel depicting putti cavorting in a landscape, mounted with gilt ram’s-head handles, urn, h. 13”, overall, h. 18‑1/2”, dia. 6”. [500/800] Illustrated 583 Pair of Louis XVI-Style Polychrome and FauxMarbre Console Tables, late 19th century, each with a rectangular faux-marbre top above a fluted arch-carved frieze, raised on fluted tapering square legs ending in spade feet, h. 31‑1/2”, w. 47‑1/2”, d. 16”. [3000/5000] Illustrated

132

585 Paris Porcelain Platinum-Ground Garniture Urn, third quarter 19th century, now mounted as a lamp, the Louis XV-style urn decorated with a black-ground reserve panel on the obverse and luminous yellow and pink roses on the reverse, urn, h. 19‑1/2”, overall, h. 27”, dia. 8‑3/4”.

[800/1200] Illustrated

590 591

586 Bohemian Enameled and Gilt Mauve Glass Compote, first quarter 20th century, possibly Moser, enameled with swags of fruit, supported by masques and diapering in gilt, h. 9”, dia. 8‑1/2”. [400/700] 587 French Neoclassical Molded and Cut Glass Six-Light Chandelier, the glass-clad standard holding barleytwist arms, set with Baccarat-style bobeches, strung with prisms and hung with drops, h. 34‑1/2”, dia. 27”.

[800/1200] Illustrated 588 Louis XVI-Style Polychrome and Marble-Top Side Table, early 20th century, the bowed gray marble above a conforming pierced guilloche frieze, raised on fluted tapering circular legs headed by foliate carving, joined by a dentillated urn-centered stretcher, and ending in ball feet, h. 34”, w. 48”, d. 17”. [700/1000] 589 Pair of French Gilt-Bronze and Marble Six-Light Candelabra, ca. 1900, of Empire influence, the bronzetrimmed bases set with fluted marble partial columns supporting putti-form standards, h. 20‑3/4”, dia. 10‑1/2”.

[1200/1800] Illustrated

590 Meissen-Style Covered Urn, ca. 1850‑1881, Helena Wolfsohn, Dresden, the covered urn decorated with handpainted birds and insects, and applied putti-form handles supporting swags of applied flowers, marked with the underglaze blue crowned “AR” mimicking early Meissen, h. 16‑3/4”, w. 9‑3/4”. [900/1200] Illustrated

589

592

133

595

594 Louis XVI-Style Mahogany Secretaire a Abattant, early 20th century, the rectangular marble top with turreted corners, above a conforming case fitted with two glazed cabinet doors over a single drawer, with a drop-front below, opening to an inset leather surface and a variety of drawers and cubbyholes, over two paneled cabinet doors, opening to a single lower drawer, raised on tapering circular legs ending in brass caps, the whole accented with ormolu millwork, h. 74”, w. 37‑1/2”, d. 10‑1/2”. [800/1200] Illustrated

596

594

591 Meissen-Style Covered Ecuelle and Undertray, fourth quarter 19th century, Meyer and Son, Dresden, decorated with hand-painted flowers and couples in 18th-century costume, with applied flowers on the handles and cover, signed “M” under crossed swords in underglaze blue, h. 6‑1/4”, dia. 8‑1/4”. [900/1200] Illustrated previous page 592 Louis XVI-Style Mahogany and Marble-Top Side Table, early 20th century, the rectangular marble top with a three-quarter pierced brass gallery above a conforming frieze fitted with a single drawer, joined by circular fluted legs to the lower marble-inset shelf, raised on tapering circular legs ending in toupie feet, the whole with brass accents, h. 33‑1/2”, w. 29‑1/2”, d. 12”. [1000/1500] Illustrated previous page 593 Handsome Berlin-Style Hand-Painted Porcelain Box, ca. 1900, probably Carl Knoll, Fischern, Bavaria, decorated with raised gilt, the claret, pink and forest green borders on a melon ground, framing a hand-painted neoclassical scene of cupid and three muses, h. 4‑1/4”, w. 7‑1/2”, d. 5”.

[400/700]

134

595 Unusual Pair of Gilt-Bronze Figural Candlesticks, ca. 1900, probably French, the bases in the form of folded sheet music supporting gilded monkeys, sitting astride horns set with candle cups, h. 5‑1/2”, w. 4”, d. 3‑3/4”.

[600/900] Illustrated

599 598 Pair of Louis XV-Style Polychrome Pedestals, each of tripartite bombe kettle form, the fronts paneled and featuring a gilt and polychrome landscape, raised on splayed legs ending in scrolled toes, h. 56”, w. 19‑1/2”, d. 19‑1/2”.

[3000/5000] Illustrated

596 Samson Polychrome Porcelain Figure of a Monkey Sitting on a Stump, mid-20th century, French, the beautifully modeled monkey holding an apple and sitting on a custom carved and painted wooden pedestal, marked with Samson’s version of crossed swords, figure, h. 20”, overall, h. 27‑1/2”, w. 13‑1/2”, d. 13‑1/2”. [1000/1500] Illustrated

599 Pair of Meissen Hand-Painted Porcelain Chargers, ca. 1732‑1773, German, each decorated with a pair of birds on branches and insects scattered throughout the field and border, dia. 15”. [500/800] Illustrated

598

597 Pair of Louis XVI-Style Polychrome Bergeres, late 19th century, each with a molded crest with foliate finials above a padded back, joined by downswept arms and fluted uprights to the cushioned seat, raised on fluted tapering circular legs headed by floral block capitals and ending in toupie feet, h. 37‑3/4”. [1400/1800] Illustrated

597

135

600 Central Asian Gourd Flask, second half 19th century, the reddishorange gourd with silver fittings and ornamented with carnelian and turquoise, h. 8”, w. 3”.

[500/800] Illustrated

600

601 Unusual Thai Opium Pipe, second half 19th century, probably from Northern Thailand, the root-form bamboo pipe with silver and copper ornamentation on the bowl, l. 13”. [900/1200] Illustrated

601

603 Lot of Framed Chinese Kingfisher Feather and GemEncrusted Hair Ornaments, 19th century, the lot with three elegant and elaborately wrought hair ornaments, the largest in the center, lavishly adorned with bright blue kingfisher feathers, flanked on either side by two ornaments decorated with coral, jade, pearl and other gems, all framed and mounted, h. 14‑1/2”, w. 13‑1/2”.

[700/1000]

602 Chinese Kingfisher Feather Hairpin, 19th century, the gilt hairpin with kingfisher feather in the form of a phoenix, designed to wobble with movement, a long ornament suspended from the bird’s beak, l. 5‑7/8”. [700/1000] Illustrated

602

604

605

136

604 Pair of Chinese Kingfisher Feather Earrings, 19th century, the earrings with dragon faces on thick round gold earwires, each ornate ring with clusters of dangling chain and flower-shaped pendants hanging down, framed in a fabric-lined shadowbox, h. 10”, w. 9”. [600/900] Illustrated 605 Large Kingfisher Feather Hairpiece, 19th century, the tripartite hair pin set with two large pieces with moving fish and flowerpots, the centerpiece with a butterfly, framed, h. 14”, w. 18”.

[700/1000] Illustrated 606 Manchu Chaoqun Kesi, 19th century, the lavishly embroidered brown and blue silk Manchu court robe decorated with dragons sewn in gold thread, ruyi clouds and cresting waves, total, w. 109‑1/2”, l. 42‑1/2”.

[800/1200] Illustrated Examples of similar Chaofu pieces can be found in the costume/garment collections of the Minneapolis Institute of Arts and the Spencer Art Museum of the University of Kansas.

607 Chinese Embroidered Kesi, Qing Dynasty (1644‑1911), the textile embroidered with a motif of two dragons chasing a flaming pearl over a wave motif, framed and mounted, kesi, h. 8”, w. 43‑3/4”, overall, h. 19”, w. 54”.

[800/1200]

609

606 608 Chinese Carved Bamboo Plaque, 20th century, the plaque with a carved impression of a landscape with pavilions and figures, the carved lines filled with black ink, the reverse with a poem extolling the beauty of nature, in a black wooden frame, h. 43‑3/8”, w. 15”. [800/1200] 609 Pair of Chinese Porcelain Plaques, probably Republican Period (1912‑1949), each depicting a sage and child, inscribed with verses about classical men of arts and letters, displayed in wooden frames, plaque, h. 12‑1/2”, w. 7‑1/2”, overall, h. 16‑1/2”, w. 10”. [1200/1800] Illustrated

609

137

610 610 In the Manner of Wang Yuanqi (1642‑1715), “Landscape”, 19th/20th century, ink and color on silk, depicting a landscape with mountains and a small pavilion in the foreground, inscribed with text and marked with three seals, h. 76”, w. 28‑1/4”, including mount, h. 39”, w. 19‑1/2”, excluding mount. [600/900] Illustrated

612

611 611 Attributed to Wang Xuetao (1903‑1982), “Wisteria with Rooster and Hen”, 20th century, the lively painting capturing the vivacious and energetic quality of Wang’s subject, signed and sealed, h. 72‑1/2”, w. 27‑1/2”, including mount. [700/1000] Illustrated A student of Qi Baishi (1864‑1957), Wang was particularly admired for bird and flower paintings, such as the one presented here.

612 Continental Neoclassical Kingwood and Marble-Top Commode, late 18th century, the rectangular marble top above a conforming case fitted with three long drawers, all within a decorative banding and quarter-veneered, raised on tapering square legs ending in brass caps, h. 33‑1/2”, w. 38”, d. 20”. [3000/5000] Illustrated 613 Pair of Empire-Style Polychrome Fauteuils, late 19th century, each with a slightly domed padded back surmounted by a patera-carved crest, joined by rounded upholstered arms to the padded seat, raised on paneled square legs ending in molded feet, h. 41”. [1400/1800] Illustrated 614 Continental School (First Quarter 18th Century), “Portrait of a Lady as a Bacchante, Surrounded by Frolicsome Cherubs”, oil on canvas, unsigned, 52” x 70”.

Framed. [3000/5000] Illustrated

138

615 Louis XV-Style Tole-Peinte and Gilt-Bronze EightLight Chandelier, second quarter 20th century, the inverted tole shade decorated with hand-painted putti holding laurel swags, the pierced central medallion concealing eight lights, with gilt-bronze chains and a leafmolded canopy, h. 45‑1/2”, dia. 30”. Provenance: Carlton Hotel, Cannes, France. [2000/4000] Illustrated

614 616 French Four-Fold Screen, late 19th century, in the neoclassical taste, each narrow canvas fold with a central medallion of a classical figure, en grisaille and en rouge, vertically flanked by various classical patterns, h. 67”, w. 48”. [1000/1500] Illustrated

615

616

613

139

617 Continental Polychrome Occasional Table, early 19th century, in the neoclassical taste, the rounded rectangular top with a polychrome scene of courtiers at leisure, raised on a fluted standard with classical portrait medallions and accents, to three scrolling legs ending in rounded toes, h. 28‑1/2”, w. 23”, d. 17‑3/4”. [500/800] Illustrated

619

617

621 620

140

624

622

618 Adam-Style Paint-Decorated Architectural Mirror, ca. 1900, probably American, the mirror plate under a patera-form tablet framed with Ionic pilasters and Doric full columns, h. 54‑1/2”, w. 47”, d. 7”. [1200/1800] 619 Swedish Neoclassical-Style Gilt-Metal and Glass SixLight Chandelier, the prism-hung and beaded frame under a matching prism-hung canopy, h. 35‑1/2”, dia. 23‑1/2”.

[800/1200] Illustrated 620 Pair of Neoclassical-Style Faux-Marbre Jardinieres, late 19th century, each with a rectangular container top raised on double fluted columnar supports, to a rectangular base on a molded plinth, h. 52”, w. 17”, d. 9‑1/2”.

[800/1200] Illustrated

623 French Restauration Bronze Bust of Marco Polo, second quarter 19th century, the sienna marble base supporting the cylindrical bronze patine standard, decorated with appropriate gilt-bronze trophies, a globe, telescope and calipers, the patinated bronze bust sitting on an engineturned bezel, h. 8‑1/2”, w. 2‑3/4”, d. 2‑3/4”. [500/800] 624 Directoire-Style Mahogany Games Table, 19th century, the rectangular top with raised edge and inset leather surface, removing and reversing to a baize-lined surface, revealing an ebonized recessed backgammon board, above a plain frieze fitted with a single small end drawer to each side, raised on tapering square legs ending in brass caps and casters, h. 29”, w. 45‑1/2”, d. 22‑1/2”. [1000/1500] Illustrated 625 Empire-Style Mahogany Desk, third quarter 19th century, the rectangular top with an inset leather writing surface, above a conforming frieze fitted with a pull-out slide to either end and a central drawer flanked to either side by two drawers, raised on tapering square legs headed by ormolu maiden’s heads and ending in ormolu paw feet, h. 30”, w. 55‑1/2”, d. 27‑3/4”. [1500/2500] Illustrated

621 Empire-Style Gilt-Metal Gueridon, early 20th century, the circular composite top with a faux-marbre starburst pattern, raised on three shaped legs headed by brass ring scrolls, joined by a pineapple centered finial and ending in feathered paw feet, h. 27‑3/4”, dia. 19‑3/4”. [450/700] Illustrated 622 Pair of French Empire-Style Marble and Gilt-Bronze Urn-Form Lamps, first quarter 20th century, the sienna marble urns decorated with engineturned and molded gilt-bronze fittings, marked “Made in France” on the base, urn, h. 16‑1/2”, overall, h. 25‑1/2”, w. 4‑3/4”, d. 4‑3/4”. [800/1200] Illustrated

625

141

627 Louis-Philippe Mahogany Commode, mid-19th century, the rectangular top with a molded edge and canted corners, above a case fitted with a frieze drawer over three long drawers, raised on turned bun feet, h. 37‑1/2”, w. 45‑1/2”, d. 22‑1/4”. [700/1000] Illustrated

626

630

626 Pair of Italian Pietra Dura Obelisks, fourth quarter 19th century, composed of black Belgian marble, the bases inlaid with flowers, and the upper portions inlaid with specimen stones forming a conforming panel, h. 14”, w. 4‑1/4”, d. 4‑1/4”. [1000/1500] Illustrated

628 Jacques-Edouard Gatteaux (French, 1788‑1881), “Napoleon et le Soleil d’ Austerlitz”, bronze medal, cast signature at bottom edge, dia. 17”. [800/1200] Illustrated

628

627

629 Gilt-Bronze Figural Centerpiece Plinth, second quarter 19th century, probably French, the scrolled feet supporting the pierced standard molded with griffins with upswept wings, joined by swags of flowers, h. 17‑1/2”, w. 12‑1/2”, d. 7‑3/4”. [500/800]

142

630 Pair of Regency-Style Bronze Two-Light Candelabra, fourth quarter 19th century, probably French, the contrasting gilt and patinated bases holding griffin-form standards set with molded gilt-bronze double candle arms, h. 14‑3/4”, w. 7‑1/4”, d. 4‑1/4”. [900/1200] Illustrated

634

631

635

631 French Empire-Style Bronze, Brass and Patinated Metal Six-Light Chandelier, second quarter 20th century, the patinated body set with horn-form candle arms, supported by molded chains hanging from a canopy, decorated with pierced anthemia, h. 38‑3/4”, dia. 26‑1/4”.

[1000/1500] Illustrated 632 Empire-Style Mahogany Fauteuil, 19th century, the padded and tufted back within a carved frame, joined by flat arms on winged maiden uprights to the padded seat, raised on floral-carved tapering square legs ending in paw feet, h. 38‑1/2”. [1000/1500]

633 633 Pair of French Empire-Style Bronze Chenets, fourth quarter 19th century, with molded fringed drapery and masques on the gilt bases, the tops with fire pot-form censers flanked by sphinxes, h. 12”, w. 16”, d. 3‑3/4”.

[2000/4000] Illustrated

143

636

639

634 Pair of William IV Black Marble and Gilt-Bronze SixLight Candelabra, second quarter 19th century, the Belgian black marble cluster-column standards set with leaf-molded and scrolled gilt-bronze fittings and patinated bronze candle arms, h. 29‑3/4”, dia. 11‑1/2”. [4000/7000] Illustrated previous page 635 Pair of Napoleon III Polished Bronze Garnitures, third quarter 19th century, the urn-form garnitures decorated with classical rondels hanging from beading and NeoGrec molded trim, h. 14‑1/2”, dia. 7‑3/4”.

[1200/1800] Illustrated previous page

640

636 Continental Bronze of “Fortune”, first quarter 20th century, the female figure with one foot balancing on a wheel, on a columnar base with a relief of putto allegorical of the fine arts, inscribed “Bologne” at edge of wheel, after Giovanni da Bologna (Flemish/Italian, 1529‑1608), h. 31‑1/2”, w. 6‑1/2”, d. 6‑1/2”. [800/1200] Illustrated 637 Italian Neoclassical Polychrome and Marble-Top Side Table, early 19th century, the rectangular breche marble top above a conforming frieze with carved swags and urns centering a central figural panel, raised on stop-fluted tapering circular legs ending in foliate toes, h. 35‑1/2”, w. 48”, d. 20”. [1200/1800] Illustrated

144

637

640 Rare Edward F. Caldwell Patinated Brass and Bronze Covered Bowl, first quarter 20th century, New York, decorated with bas-relief neoclassical designs on a patinated ground, marked “Edward F. Caldwell Inc., New York” in script, h. 7‑3/4”, dia. 6‑1/4”. [500/800] Illustrated

642

638 Louis XVI-Style Bronze and Crystal Basket-Form Three-Light Chandelier, strung with glass prisms and beads, h. 26‑1/2”, dia. 14”. [500/800] 639 Pair of French Bronze and Marble Neo-Grec FiveLight Candelabra, third quarter 19th century, the marble bases decorated with bas-relief bronze neoclassical scenes, the urn-form standards decorated with anthemia, and unusual stork-form handles, h. 24‑1/4”, dia. 10‑1/4”.

[500/800] Illustrated

641

641 Neoclassical Faux-Bois Center Table, early 20th century, the circular tilting top centered by a classical figural scene surrounded by a scrolling acanthine band and a raised annulated rim, raised on a turned vasiform standard to three splayed legs ending in upturned toes on casters, h. 29”, dia. 31‑1/2”. [450/700] Illustrated 642 Pair of French Empire-Style Bronze Garniture Urns, the patinated bronze urns decorated with contrasting gilt-bronze mounts, depicting classical figures of Victory, the handles terminating in masques, h. 17”, w. 3‑3/4”, d. 3‑3/4”. [500/800] Illustrated 643 After Victor Julien Giraud (French, 1840‑1871), “Slave Market”, 1884, oil on canvas, painted by L. E. Jardon (French, 19th/20th Century), inscribed lower right “D’apres V. Giraud, L. E. Jardon, Louvre 1884”, 36‑3/4” x 68”. Framed.

[6000/9000] Illustrated

643

145

646 Louis XVI-Style Mahogany and Marble-Top Commode, early 20th century, the rectangular marble top with turreted corners, above a conforming case fitted with two short drawers, each with an applied ormolu laurel band, over two long drawers, featuring a central red figure panel of classical figures within a griffin and urn band, raised on fluted tapering circular legs ending in toupie feet, h. 33‑1/2”, w. 47”, d. 21‑1/2”.

[1000/1500] Illustrated

646

647 Pair of French Neo-Grec Opaline Vases, third quarter 19th century, now mounted as lamps, the trumpet-form vases enameled with Greek figures and borders in traditional attic colors, vase, h. 18‑3/4”, overall, h. 26‑1/2”, dia. 6‑3/4”. [700/1000] Illustrated

644 Pair of French Empire-Style Mahogany and GiltBronze Sconces, ca. 1900, the mahogany backplates decorated with caryatid-form bronze mounts, holding a pair of horn-form candle arms decorated with molded masques and termating in ram’s heads, h. 15‑1/4”, w. 8‑1/4”, d. 4‑3/4”. [600/900] Illustrated

644

645 Handsome Three-Piece Collection of Reproduction Ancient Greek Terracotta Vessels, 20th century, decorated in the authentic Attic manner, including a handled kylix, h. 12”, dia. 8‑1/4”, a ewer, h. 9”, dia. 5”, and a lagynos, h. 7”, dia. 5”, marked “Made in Italy”. [500/800] Illustrated

647

645

146

650 French Bronze of a “Courting Couple”, first quarter 20th century, inscribed “Claudion” at edge, on a stepped black marble plinth, h. 14”, w. 16”, d. 7‑1/2”. [800/1200] Illustrated

652

649 648 Continental Rosewood Bureau de Dame, mid-19th century, in the neoclassical taste, the superstructure with a full pierced brass gallery above a central cupboard flanked by two small drawers, over a top with decorative geometric banding, hinged and opening to a like-banded writing surface, above a frieze fitted with a single drawer, raised on tapering square legs, h. 42”, w. 37‑1/2”, d. 22‑3/4”. [450/700] 649 Continental School (19th Century), “The Water Carrier”, oil on canvas, unsigned, 24” x 18”. Framed.

[1000/1500] Illustrated

650

651 American Patinated Bronze Figure of a Maiden, first or second quarter 20th century, in the manner of Bessie Potter Vonnoh (American, 1872‑1955), the classically draped figure holding a basket of flowers, h. 17‑1/2”, w. 8‑1/4”, d. 7‑1/2”.

[800/1200]

653

652 French Bronze of “Terpsichore”, ca. 1900, after AlfredLouis Habert (French, 1824‑1893), cast signature at edge of lyre, h. 11‑1/4”, w. 10”, d. 5”. [500/800] Illustrated 653 Italian Patinated Bronze of the “Venus de Milo”, first quarter 20th century, after the antique marble now at the Louvre, Paris, h. 39”, w. 10‑1/2”, d. 9”. [1000/1500] Illustrated

147

657 Two European Bronzes, fourth quarter 19th century, one depicting “The Dying Gaul”, h. 4‑3/4”, w. 7‑1/2”, and the other Bernini’s “David”, h. 9‑1/2”, w. 4”, each probably made for the Grand Tour.

[600/900]

656

655

658 German Bronze of a Classical Athlete, first quarter 20th century, the figure holding a rapier, after Carl Brose (German, b. 1880), cast signature on self-base, on a black marble plinth, h. 24”, w. 12”, d. 9‑1/2”. [800/1200] Illustrated

654 French Art Deco Alabaster Figure of a Woman Reading en Dishabille, mounted on a stepped green marble base, depicted with her head on one hand and a letter in the other, h. 16‑1/4”, w. 22‑3/4”, d. 8‑3/4”.

[600/900] 655 Continental Bronze Figure of Mercury, first quarter 20th century, with blackpainted finish, after Giovanni da Bologna (Flemish/ Italian, 1529‑1608), raised on a verdigris marble pedestal base with a bronze bas relief of putto allegorical of the fine arts, h. 35‑1/2”, base, dia. 7‑1/2”.

[700/1000] Illustrated

658

656 Monumental Bronze Corridore della Villa dei Papiri, first half 20th century, after the 1st century antique uncovered at Herculaneum, with dark green patination, presented on a verdigris marble plinth base, overall, h. 54”, w. 16”, l. 29”.

[4000/7000] Illustrated

148

659 Empire-Style Mahogany and Marble-Top Gueridon, late 19th century, the circular marble top inset into a molded frame over a conforming ormolu-mounted frieze, raised on ormolu-mounted tapering square legs headed by maiden’s head and ending in ormolu feet on a concave plinth stretcher, h. 29”, dia. 19‑1/2”.

[1200/1800] Illustrated 660 Empire-Style Walnut and Marble-Top Side Table, late 19th century, the rectangular verde antico marble top above a conforming brass-inlaid frieze, joined by a mirrored back and gilt dolphin uprights to a breakfront plinth shelf base, h. 34”, w. 43‑1/2”, d. 16”. [2500/4000] Illustrated

659

662

660

661 Pair of French Marble and Gilt-Bronze Garniture Urns, second quarter 20th century, in the Louis XV style, the verde antique marble urns trimmed with elaborate gilt-bronze fittings, h. 19‑3/4”, dia. 6‑1/4”. [1800/2500] Illustrated

661

662 Empire-Style Brass Jardiniere, the circular opening fitted with a conforming brass liner, raised on three supports in the form of dolphins, h. 33‑1/4”, dia. 14‑1/2”.

[450/700] Illustrated

663 Pair of Monumental Neoclassical Polychrome Composite Pedestals, of square form, the stepped top above a base with intertwined dolphins applied to one side, raised on a molded square base, h. 54”, w. 36‑1/2”, d. 36‑1/2”. [1800/2500] Illustrated

663 pair

149

664 Pair of Napoleon III Bronze Six-Light Candelabra, third quarter 19th century, on pierced tripartite bases, decorated with Elizabethan Revival strapwork, scrollwork and cabochons, on tapered reeded standards, h. 23‑1/4”, dia. 9‑3/4”. [600/900] Illustrated

664

665

665 Pair of French Verde Antique Marble and Bronze Garniture Urns, mid-20th century, the ovoid urns decorated with swags of flowers on bas-relief-molded borders, terminating in masque handles, the integral “covers” trimmed with molded bronze, h. 24‑1/2”, w. 8”, d. 6‑1/2”. [700/1000] Illustrated

666

667

150

666 French Bronze and Verde Antique Marble Urn, first quarter 20th century, in the Louis XV style, mounted with bronze flower swags and a pierced border, with ram’s head handles and a marble cover, with a floriform finial, h. 26‑1/2”, dia. 7”. [1000/1500] Illustrated

668 Turkish Angora Oushak Carpet, 8’ x 10’.

[900/1200] 669 Sarouk Carpet, 12’ 1” x 18’ 1”. [1000/1500] Illustrated 670 Persian Lilihan Carpet, 4’ 3” x 6’ 10”. [1400/1800]

669 667 Napoleon III Mahogany and Marble-Top Cabinet, late 19th century, the rectangular marble top with turreted corners, above a conforming case fitted with two drawers over two cupboard doors, the doors centered by a large figural ormolu medallion, opening to six drawers, the sides paneled and with a like medallion, the whole with elaborate ormolu panels, mounts and millwork, raised on tapering circular legs ending in foliate toes, h .36‑1/2”, w. 71”, d. 26”. [2000/4000] Illustrated

672

671 Peshawar Sultanabad Carpet, 6’ x 8’ 8”. [1200/1800] 672 Silk Persian Tabriz Carpet, 10’ x 13’ 4”. [8000/12000] Illustrated 673 Turkish Angora Oushak Carpet, 8’ 3” x 9’ 10”.

[800/1200] Illustrated

673

151

674 Agra Serapi Carpet, 8’ x 11’. [1000/1500] Illustrated 675 Persian Kashan Carpet, 10’ 1” x 15’ 3”. [6000/9000] 676 Agra Zeiglar Mahal Carpet, 9’ x 11’ 9”. [1000/1500] 677 Turkish Angora Oushak Carpet, 8’ 1” x 10’ 1”.

[800/1200] Illustrated 678 Persian Kashan Carpet, 10’ 3” x 15’ 9”. [7000/10000] Illustrated 679 Silk Persian Tabriz Carpet, 9’ 10” x 13’ 2”.

[8000/12000] Illustrated

674

678

152

679

S es sion I I S u nday, July 27, 2014 Lots 680-1140

680 Fourteen-Karat Yellow Gold, Garnet and Diamond Ring, set with a large domed eight-pointed star-shaped garnet, the center of the garnet mounted with a yellow gold star set with one mine-cut diamond and eight rosecut diamonds, with an approximate total diamond weight of 0.10 carats, size 10‑1/2, 11.8 grams total weight.

[500/800] Illustrated

683 Eighteen-Karat Yellow Gold, Diamond and Ruby Ring, the dome ring with three rows of round brilliant-cut diamonds, with an approximate total weight of 0.78 carats, and two rows of square-cut rubies, with an approximate total weight of 1.00 carat, size 6‑1/2, 11.8 grams total weight. [600/900] Illustrated 682

680

684 Pair of Eighteen-Karat Yellow Gold, Diamond and Ruby Earrings, the dome earrings with three rows of round brilliant-cut diamonds, with an approximate total weight of 1.56 carats for the pair, and two rows of squarecut rubies, with an approximate total weight of 2.00 carats for the pair, 25.6 grams total weight. [700/1000] Illustrated

683

681 Fourteen-Karat Rose Gold and Garnet Earrings, each earring set with an oval-shaped garnet, with an approximate total weight of 11.56 carats for the pair, l. 1”, 9.0 grams total weight. [1800/2500] Illustrated

681

685 Fourteen-Karat Yellow Gold, Diamond and Ruby Bracelet, the stylized flexible link bracelet set with ninety-eight single-cut diamonds, with an approximate total weight of 1.00 carat, and twenty-eight round faceted rubies, with an approximate total weight of 2.00 carats, l. 7‑1/4”, 20.6 grams total weight. [1000/1500]

684

682 Eighteen-Karat Yellow Gold, Diamond and MultiStone Bar Pin, set with a round-cut tourmaline, blue beryl and simulated red spinel, and twenty-four rose-cut diamonds, with an approximate total diamond weight of 0.40 carats, l. 4”, 8.0 grams total weight. [900/1200] Illustrated

154

686 Fourteen-Karat Yellow Gold, Ruby and Diamond Ballerina Ring, set with a central natural oval-shaped ruby, with an approximate weight of 0.94 carats, surrounded by eight baguette-cut diamonds and fourteen round-cut diamonds, with an approximate total weight of 2.16 carats, color F-G and clarity VVS2‑SI1, size 6, 7.0 grams total weight. [1000/1500] Illustrated

688 Eighteen-Karat Yellow Gold, Ruby and Diamond Ring, set with a central cushion-cut heat-treated ruby, with an approximate weight of 1.83 carats, surrounded by twenty-two round-cut diamonds, with an approximate weight of 1.24 carats, color D-E, clarity VS2‑VS1, size 6, 7.0 grams total weight. [3000/5000] Illustrated

688 686

689 Eighteen-Karat Yellow Gold, Diamond and Ruby Tiffany Pin and Earring Suite, the clip-back earrings in a fan design, with a matching pin, set with a central round brilliant-cut diamond, with an approximate weight of 0.20 carats, l. 1‑3/4”, and two round-cut rubies, with an approximate total weight of 0.45 carats, l. 7/8”, both stamped “Tiffany & Co.”, 27.7 grams total weight.

[500/800] 687 Stunning Fourteen-Karat Yellow Gold, Ruby and Diamond Necklace, composed of thirty oval-cut treated rubies, with an approximate total weight of 115.28 carats, and 600 round brilliant-cut diamonds, with an approximate total weight of 12.17 carats, l. 17”, 71.2 grams total weight. [9000/12000] Illustrated

691

687

690 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, set with a central oval-shaped treated ruby, with an approximate weight of 6.82 carats, surrounded by twelve round-cut treated rubies, with an approximate total weight of 0.48 carats, and twelve round-cut diamonds, with an approximate total weight of 0.38 carats, size 8‑1/4, 7.6 grams total weight. [1000/1500] 691 Eighteen-Karat White Gold, Diamond and Ruby Dangle Earrings, set with nine calibrated-cut rubies, with an approximate total weight of 0.33 carats, and twenty-nine round-cut diamonds, with an approximate total weight of 0.44 carats, l. 1‑1/4”, 4.0 grams total weight. [1400/1800] Illustrated

5 1

692 Unusual Platinum and Diamond Pendant/Brooch with Chain, the pendant set with forty-six European-cut diamonds, with an approximate total weight of 3.95 carats, color I-J and clarity SI-I1, accented with calibrated-cut synthetic rubies, the pendant converting to be worn as a pin, together with a fourteen-karat white gold chain, chain, l. 16”, pendant, l. 2”, 11.0 grams total weight. [3500/5000] Illustrated

692

695 Fourteen-Karat White Gold and Diamond Earrings, each earring set with a central round brilliant-cut diamond, with an approximate total weight of 1.50 carats for both earrings, color I-J and clarity I1, surrounded by thirty single-cut diamonds, with an approximate total weight of 0.20 carats for both earrings, color G-I and clarity SI1 to I1, 2.0 grams total weight. [2000/4000]

697

696 Platinum and Diamond Bracelet, set with seventy-eight European-cut diamonds and two baguette-cut diamonds, with an approximate total diamond weight of 3.64 carats, color G-I and clarity VS2‑I1, l. 7”, 21.0 grams total weight. [3000/5000] Illustrated

693 Fourteen-Karat White Gold and Diamond Bar Pin, set with seven transitional round-cut diamonds, with an approximate total weight of 0.76 carats, color H-I and clarity VS1‑SI1, l. 2‑3/4”, 5.0 grams total weight.

[500/800] 696

694 Fourteen-Karat White Gold and Diamond Hamilton Wrist Watch, set with seventy-three round-cut diamonds, with an approximate total weight of 3.97 carats, color H-I and clarity SI1‑I1, the manual winding watch with a twenty-two jewel movement, l. 7”, 23.0 grams total weight. [500/800]

156

698

697 Fourteen-Karat White Gold and Diamond Tennis Bracelet, set with forty-two round-cut diamonds, with an approximate total weight of 8.18 carats, color G-I and clarity SI2‑I1, l. 7”, 18.0 grams total weight. [6000/9000] Illustrated

701 Fourteen-Karat Yellow Gold, Pearl and Diamond Cluster Ring, set with a central white/rose-colored South Sea cultured pearl with a high luster, measuring approximately 15.50 mm, surrounded by marquise-, round- and baguette-cut diamonds, with an approximate total weight of 9.37 carats, color G-I and clarity VVS1‑VS1, size 7, 25.0 grams total weight.

[3000/5000] Illustrated

702

700

698 Beautiful Platinum and Diamond Ring, set with a central European-cut diamond, with an approximate weight of 4.27 carats, color L and clarity VS1, bordered by baguettecut diamonds, with an approximate total weight of 1.08 carats, color E-G and clarity VVS1‑VVS2, and accented with European-cut diamonds in the border and on the shank, with an approximate total weight of 2.21 carats, color H-I and clarity VS1‑SI1, size 5‑1/2, 13.4 gram total weight. [20000/40000] Illustrated 699 Fourteen-Karat White Gold and Diamond Ring, set with four round-cut diamonds, with an approximate total weight of 1.03 carats, color G-I and clarity SI1‑SI2, size 7‑3/4, 3.0 grams total weight. [800/1200]

701

702 Platinum, Diamond and Baroque South Sea Pearl Necklace, composed of white-colored graduated South Sea pearls with a high luster, measuring approximately 11.00 mm to 15.50 mm, finished with a platinum and diamond clasp, set with twenty-six round-cut, thirty baguette-cut and one marquise-cut diamond, with an approximate total weight of 2.87 carats, color E-F and clarity VVS2‑SI1, l. 19”.

[2000/4000] Illustrated

703

700 Striking Vintage Platinum, Fourteen-Karat Yellow Gold and Diamond Bar Pin, first quarter 20th century, the large bar pin set with twenty-nine European-cut diamonds, with an approximate total weight of 6.00 carats, color I-K and clarity SI1‑I1, l. 4‑1/2”, 9.0 grams total weight. [8000/12000] Illustrated

703 Eighteen-Karat White Gold, Pearl and Diamond Earrings, each set with a central white-colored South Sea pearl with a medium luster, measuring approximately 15.00 mm, surrounded by twenty-eight round-cut diamonds, with an approximate total weight of 5.04 carats for the pair, color E-G and clarity VVS2‑VS2, h. 1”, 19.0 grams total weight.

[1000/1500] Illustrated

157

705 707

704 Graduated Strand of South Sea Cultured Pearls, the strand composed of forty-two silvery-colored pearls with a high luster, measuring from approximately 10.00 mm to 15.50 mm, no clasp, l. 21‑1/2”. [5500/8000] 705 Platinum, Eighteen-Karat Yellow Gold, Diamond and Coral Suite, composed of a custom-made brooch and matching earrings, set with teardrop-shaped coral cabochons and round-cut diamonds, with an approximate total weight of 2.92 carats, color E-G and clarity VVS2‑VS2, brooch, l. 2‑7/8”, 34.0 grams total weight, earrings, l. 1‑1/2”, 23.0 grams total weight. [8000/12000] Illustrated

706

706 Striking Eighteen-Karat Yellow Gold, Angel Skin Coral and Diamond Ring, the bold ring set with cabochon-cut angel skin coral, measuring approximately 28.00 mm x 17.00 mm x 13.5 mm, accented by sixty-four round-cut diamonds, with an approximate total weight of 2.75 carats, color E-G and clarity VS2‑SI2, size 6, 26.0 grams total weight. [8000/12000] Illustrated

708

158

709

709 Eighteen-Karat Yellow Gold and Diamond Bracelet, composed of eighty straight baguette-cut diamonds, with an approximate total weight of 4.00 carats, color G-I and clarity VVS1‑VVS2, l. 7”, 15.0 grams total weight.

[2500/4000] Illustrated 710 Stunning Fourteen-Karat Yellow Gold and Light Yellow and White Diamond Ring, set with a central light yellow diamond, with an approximate weight of 10.67 carats, clarity VVS2, surrounded by forty-eight round brilliant-cut diamonds, with an approximate total weight of 7.93 carats, color E-G and clarity VVS2‑VS1, size 7‑1/2, 20.4 grams total weight. [75000/125000] Illustrated

707 Lady’s Eighteen-Karat Yellow Gold and Diamond Rolex Datejust with an Eighteen-Karat Presidential-Style Bracelet, ca. 1974, the oyster perpetual Datejust with an Italian eighteen-karat President-style bracelet, the after market champagne tapestry set with ten diamond markers, the after market yellow gold bezel set with forty round brilliant-cut diamonds, with an approximate total diamond weight of 1.00 carat, reference #6917, serial #4,011,xxx, 68.5 grams total weight. [7000/10000] Illustrated

711

710

711 Fourteen-Karat Yellow Gold Freeform Diamond Ring, set with a round transitional-cut diamond, with an approximate weight of 2.81 carats, color L, clarity VVS1, surrounded by ten diamonds, with an approximate total weight of 1.05 carats, color E-G and clarity VS1‑SI1, size 7‑3/4, 18.0 grams total weight. [10000/20000] Illustrated

712

708 Eighteen-Karat Yellow Gold and Diamond Cluster Ring, set with thirty-three round-cut diamonds mounted in a step design cluster, with an approximate total weight of 4.52 carats, color G-I and clarity VS2‑SI2, size 5‑1/2, 9.0 grams total weight.

[1800/2500] Illustrated

712 Pair of Eighteen-Karat Yellow Gold and Diamond Earrings, set with ninety-five round brilliant-cut diamonds, with an approximate total weight of 3.00 carats, 26.8 grams total weight. [500/800] Illustrated

159

713

715 Fourteen-Karat Yellow Gold Necklace with Diamond and Sapphire Slide, the tapered omega-style necklace with a pendant set with thirty-eight baguette- and tapered baguette-cut diamonds, with an approximate total weight of 1.00 carat, and twenty-two baguette- and tapered baguette-cut sapphires, with an approximate total weight of 0.50 carats, l. 16”, 24.0 grams total weight. [500/800] Illustrated

715

713 Fourteen-Karat Yellow Gold and Marquise Diamond Ring, set with a marquise-cut diamond, with an approximate weight of 4.17 carats, the stone fracture filled, color K and clarity I2, size 6‑1/4, 3.7 grams total weight. [4000/7000] Illustrated

714

716 Eighteen-Karat Yellow Gold, Sapphire and Diamond Ring, set with an oval-cut heat-treated sapphire, with an approximate weight of 2.23 carats, surrounded by round-cut and baguette-cut diamonds, with an approximate total weight of 1.01 carats, color E-F and clarity VVS2‑SI1, size 6‑1/2, 7.0 grams total weight.

[2000/4000] Illustrated

716

714 Lady’s Eighteen-Karat Yellow Gold and Diamond Rolex Wristwatch with President-Style Bracelet, ca. 1974, the oyster perpetual Datejust with an after market diamond dial and bezel, the white gold bezel set with thirty-two round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, an after market eighteen-karat yellow Presidential-style band, and an additional eighteen-karat yellow gold stretch band, reference #6917, serial #4,082,xxx, 92.0 grams total weight. [2000/4000] Illustrated

8 160

717 Nine- and Ten-Karat Rose/White/Yellow Gold, Blue Enamel and Diamond Hinged Bangle Bracelet, set with European- and rose-cut diamonds, with an approximate total weight of 1.06 carats, l. 8”, 25.0 grams total weight.

[500/800]

720 Gentleman’s Fourteen-Karat Yellow Gold, Sapphire and Diamond Ring, set with a central heat-treated ovalshaped sapphire, with an approximate weight of 2.25 carats, and forty-seven round-cut diamonds, with an approximate total weight of .71 carats, size 8‑3/4, 10.0 grams total weight. [900/1200] Illustrated

720

718

718 Ten-Karat Rose/White Gold, Blue Enamel and Diamond Hinged Bangle Bracelet, the bracelet set with rose-, pear-, European- and old mine-cut diamonds, with an approximate total weight of 1.46 carats, l. 8”, 25.0 grams total weight. [600/900] Illustrated

719

721 Continental Silver and Sapphire Snuffbox, first quarter 20th century, of rectangular form, engraved with floral rococo scrolls, the hinged lid with applied rim, centered by a carved piece of simulated amber surrounded by a shaped band set with thirty-six oval dark blue sapphires totaling approximately 7.92 carats, l. 3‑1/4”, w. 2‑1/4”, 128 grams total weight. [900/1200] Illustrated

721

719 Fourteen-Karat Yellow/White Gold, Blue Enamel and Diamond Ring, set with eighteen European- and round-cut diamonds, with an approximate total weight of 1.17 carats, size 7, 17.0 grams total weight. [700/1000] Illustrated

161

722

723 Fourteen-Karat White Gold, Natural Sapphire and Diamond Ring, set with a central oval-cut natural blue sapphire, with a weight of 3.58 carats, GIA certification #5151844495, surrounded by 174 round brilliant-cut diamonds, with an approximate total weight of 1.03 carats, size 7‑3/4, 4.4 grams total weight. [6000/9000] Illustrated 724 Pair of FourteenKarat White Gold, Sapphire and Diamond Dangle Earrings, the pair set with twenty-four natural sapphires, with an approximate total weight of 7.63 carats, and two round brilliant-cut diamonds, with an approximate total weight of 0.73 carats, l. 2”, 14.2 grams total weight. [2500/4000] Illustrated

724

725 Beautiful FourteenKarat Yellow Gold, Sapphire and Diamond Bow Pin, set with 166 European-cut diamonds, with an approximate total weight of 4.95 carats, color E-G and clarity VS1‑SI2, and 201 round-cut sapphires, with an approximate total weight of 3.80 carats, h. 4‑1/2”, w. 3”, 58.0 grams total weight.

[5000/8000] Illustrated

722 Fourteen-Karat White Gold, Sapphire and Diamond Necklace, set with 100 round and oval mixed-cut treated sapphires, with an approximate total weight of 47.40 carats, and fifty-eight round brilliant-cut diamonds, with an approximate total weight of 1.65 carats, chain, l. 18”, pendant, l. 1‑1/2”, 37.9 grams total weight. [4500/7000] Illustrated

723

162

725

726

728

726 Fourteen-Karat White Gold, Diamond and Sapphire Dangle Earrings, the earrings with a bow design and set with pear-shaped heat-treated sapphires, with an approximate total weight of 5.43 carats for the pair, and forty round-cut and forty-two single-cut diamonds, with an approximate total weight of 2.06 carats for the pair, l. 1‑1/2”, 8.0 grams total weight. [600/900]

727

728 Gentleman’s Eighteen-Karat Yellow Gold and Stainless Steel Rolex Date Wrist Watch with Diamond Mother-of-Pearl Dial, the stainless steel and eighteen-karat fluted bezel with an after market diamond mother-of-pearl dial, the quick-set watch with an acrylic crystal, the jubilee bracelet composed of stainless and fourteen-karat yellow gold, reference #15053 and serial #8,616,xxx. [2500/4000] Illustrated 729 Stunning Eighteen-Karat Yellow Gold, Yellow Sapphire and Diamond Ring, set with a central ovalcut yellow heat-treated sapphire, with an approximate weight of 35.00 carats, and sixty-six round-cut diamonds, with an approximate total weight of 4.76 carats, color E-G and clarity VS1‑SI1, size 6, 16.0 grams total weight.

[12000/18000] Illustrated

729

727 Stunning Platinum, Eighteen-Karat White Gold, Sapphire and Diamond Cluster Ring, set with a central heat-treated sapphire, with an approximate weight of 11.68 carats, surrounded by marquise-, round-, baguette-, and pear-cut diamonds, with an approximate total weight of 7.97 carats, color E-F and clarity VVS2‑SI, size 8, 28.0 grams total weight. [4000/7000] Illustrated

163

730

733 Gentleman’s Fourteen-Karat Yellow Gold and Diamond Nugget-Style Ring, set with ten roundcut diamonds, with an approximate total weight of 0.49 carats, color E-G and clarity SI1‑SI2, size 10‑1/2, 9.0 grams total weight. [800/1200]

734

730 Fourteen-Karat White Gold, Yellow Sapphire and Diamond Ring, set with a central cushion-cut natural yellow sapphire, possibly heat treated, with an approximate weight of 7.81 carats, surrounded by thirtyeight round brilliant-cut diamonds, with an approximate total weight of 0.72 carats, size 7‑3/4, 7.0 grams total weight. [2000/4000] Illustrated

734 1890’s United States Liberty Twenty Dollar Gold Coin Pendant, the double eagle now mounted in a fourteen-karat yellow gold frame, 35.4 grams total weight. [1000/1500] Illustrated 735 Fourteen-Karat Yellow Gold Charm Bracelet, the bracelet with a Veinte Pesos coin mounted in a fourteen-karat yellow gold frame, l. 7‑1/2”, 67.5 grams total weight. [1000/1500]

736

732

731 Fourteen-Karat Yellow Gold and Diamond Dangle Earrings, set with two round-cut and sixteen single-cut diamonds, with an approximate total weight of 0.65 carats, overall, l. 1”, 4.0 grams total weight. [1200/1800] 732 Fourteen-Karat Yellow Gold and Diamond Hinged Cuff Bracelet, the tapered net-designed bracelet set with thirty-four round brilliant-cut diamonds, with an approximate total weight of 2.15 carats, inside circumference, 7”, 29.0 grams total weight. [1200/1800] Illustrated

164

736 Fourteen-Karat Yellow Gold Krugerrand Pendant, the 1975 South African Krugerrand set in a fourteen-karat yellow gold frame, dia. 1‑1/4”, without bail, 36.4 grams total weight. [1000/1500] Illustrated

740 Eighteen-Karat Yellow Gold Seal Ring, the octagonalshaped carnelian intaglio engraved with a coat of arms and measuring approximately 31.0 mm x 22.0 mm, size 9‑1/2, 14.6 grams total weight. [500/800] Illustrated

740

738

737 Fourteen-Karat Yellow Gold Charm Bracelet, the heavy polished and textured charm bracelet with a 1903 Austrian 20 Corona and a 1901 English Sovereign, both mounted in fourteen-karat yellow gold frames, l. 7”, 31.6 grams total weight. [700/1000]

741 Victorian Fifteen-Karat Yellow Gold Etruscan Revival Cuff Bracelet, hallmarked Chester, 1885‑1886, by Barnet Henry Joseph & Co., the oval cuff hinged and decorated on the upper half with “Etruscan” bead- and wire-work in a geometric pattern, w. 3/4”, inside dia. 2‑1/2”, overall weight 32.4 grams. [1000/1500] Illustrated

741

739

738 Fourteen- and Ten-Karat Yellow Gold and GoldFilled Charm Bracelet, the polished link bracelet with a collection of sixteen charms, l. 7”, 108.0 grams total weight.

[2000/4000] Illustrated 739 Eighteen-Karat Yellow Gold Bracelet with Assorted Antique Watch Fobs, 19th century and later, the large curb-link bracelet hung with a collection of eight total watch fobs and T-bars, in nine-karat gold, eighteen-karat gold and gold filled, set with various hardstones, including bloodstone, citrine, carnelian and smoky quartz (three intaglio-carved), l. 8‑1/2”, 138.0 grams total weight.

[800/1200] Illustrated

165

742 Fine Antique Onyx Cameo Ring of Alexander the Great, second quarter 19th century, the oval stone cut in three layers and finely detailed, depicting the ruler wearing the horns of Ammon after the 3rd century B.C. coinage, 19.0 mm x 24.0 mm, presented in a later fourteen-karat yellow gold bezel to a ten-karat yellow gold shank, size 8‑1/2”, overall weight 13.2 grams. [800/1200] Illustrated

742

744

743 Antique Fourteen-Karat Yellow Gold Locket and Associated Ten-Karat Gold Chain, third quarter 19th century, probably American, the oval locket with a large bail and decorated with a coquille centering a single suspended pearl, the reverse fitted with a hinged glazed locket and engraved “Zum Andenken von Jacob Elsas”, 1‑15/16” x 2‑3/4”, presented on a long chain of concave double links, l. 39”, 42.8 grams total weight. [800/1200] 744 Ten-Karat Yellow Gold Chain and Locket with a Miniature, ca. 1850, the flat filed link chain with a pendant clasp, the clasp holding an engine-turned locket containing a hand-painted watercolor miniature of a young girl, locket, dia. 1‑3/4”, chain with pendant, l. 32‑1/2”, 36.0 grams total weight. [1000/1500] Illustrated 745 Lady’s Antique Eighteen-Karat Gold and Enamel Watch Chain, fourth quarter 19th century, probably American, comprising a round quarto link chain fitted with two rectangular slides, a T-bar and a pendant tassel and rectangular locket fob on separate short chains, the fittings decorated with Swiss enameled flowers, l. 17”, weight 35.6 grams. [1200/1800] Illustrated

166

745

749

748 Fourteen-Karat Yellow Gold, Turquoise and Pearl Bib Necklace, each cruciformdesigned link set with an approximate 3.0 mm turquoise cabochon, and a faux teardropshaped pearl dangling from each link, l. 15‑1/2”, 41.6 grams total weight. [500/800] Illustrated

749 Pair of Fourteen-Karat Yellow Gold, Turquoise and Diamond Dangle Earrings, each earring set with two elongated cabochon-cut turquoises, surrounded by thirtyeight round-cut diamonds, with an approximate total weight of 2.54 carats for the pair, l. 1‑5/8”, 14.2 grams total weight. [900/1200] Illustrated 746

746 Victorian Eighteen-Karat Yellow Gold, Opal and Diamond Brooch and Earrings Suite, fourth quarter 19th century, probably English, the hand-chased brooch set with an oval opal cabochon measuring 9.0 mm x 1.50 mm and surrounded by twelve old mine-cut diamonds totaling approximately 3.50 carats, 1” x 1‑1/2” overall, attached by a chain to an associated stick pin safety set with a single old mine-cut diamond weighing approximately .10 carats, the pendant earrings each set with two opal cabochons, one round measuring 5.0 mm diameter and one pear-shaped measuring 8.0 mm x 12.0 mm, surrounded by four and seventeen old mine-cut diamonds respectively (forty-two diamonds in all weighing approximately 4.00 carats total), the pendants detachable, l. 1‑3/4”, overall weight 25.2 total grams, all presented in the original fitted box. [4000/7000] Illustrated

747 Fourteen-Karat Yellow Gold, Diamond and Opal Brooch, set with seven cabochoncut blue-green opals, with an approximate total weight of 12.62 carats, and ten roundcut diamonds, with an approximate total weight of 3.26 carats, color K-L and clarity SI1‑I1, h. 2‑1/2”, 25.0 grams total weight.

[1000/1500] Illustrated

748

747

167

750 Eighteen-Karat Yellow Gold, Turquoise and Diamond Brooch/Pendant and Necklace, the necklace with forty-eight round 14.00 mm turquoise beads separated by gold bar accents, and finished with a matching gold bar screw clasp, the gold bars mounted with 238 single-cut diamonds, with an approximate total weight of 3.28 carats, together with a detachable turquoise pendant, which can convert to a brooch, carved depicting a bird among leaves, set with nine round-cut diamonds, with an approximate total weight of 1.53 carats, mounted in a frame set with 128 single-cut diamonds, with an approximate total weight of 1.44 carats, necklace, l. 28”, 127.0 grams total weight, pendant/brooch, h. 2‑1/2”, w. 2”, 79.0 grams total weight.

[1200/1800] Illustrated

753 Beautiful Fourteen-Karat White Gold and Aquamarine Necklace, composed of twenty emeraldcut aquamarine stones, with an approximate total weight of 65.0 carats, finished with a fourteen-karat white gold clasp, l. 16”. [500/800] Illustrated

753

750

751 Fourteen-Karat Yellow Gold and Blue Topaz Ring, set with an emerald-cut blue topaz, with an approximate weight of 3.71 carats, and fifty-two round-cut light-blue topazes, with an approximate total 752 weight of 4.16 carats, size 7‑1/2, 7.0 grams total weight.

[500/800] 752 Fourteen-Karat White Gold, Aquamarine and Diamond Ring, set with a central cushion-cut aquamarine, with an approximate weight of 10.00 carats, surrounded by forty-eight roundcut diamonds, with an approximate total weight of 0.50 carats, color G-I and clarity VS2‑SI1, size 7, 10.0 grams total weight.

[3500/5000] Illustrated

168

754 Fourteen-Karat White Gold, Aquamarine and Diamond Pendant with Chain, the pendant set with a pear-shaped aquamarine, with an approximate weight of 4.19 carats, the stone and bail accented with seventysix round brilliant-cut diamonds, with an approximate total weight of 1.17 carats, pendant, h. 1‑1/4”, including bail, chain, l. 18”, 7.7 grams total weight. [2000/4000] Illustrated

754

755 Fourteen-Karat Yellow Gold and Aquamarine Necklace, composed of eleven faceted aquamarine drops, suspended from a fourteen-karat yellow gold ball, and multicolor aquamarine beads, finished with a fourteenkarat yellow gold ball clasp, l. 16”. [500/800] Illustrated

755

757

758 Eighteen-Karat Yellow Gold, Emerald and Diamond Ring, set with a central cut-corner emerald-cut emerald, with an approximate weight of 1.26 carats, flanked on each side with a round-cut diamond, with an approximate total weight of 1.56 carats, stamped “Tiffany”, size 7‑3/4, 3.0 grams total weight. [900/1200] Illustrated

756 Eighteen-Karat Yellow/White Gold, Emerald and Diamond Cluster Ring, set with twenty-four round-cut emeralds, with an approximate total weight of 7.90 carats, and thirty-four round-cut diamonds, with an approximate total weight of 1.96 carats, color E-G and clarity VS1‑SI1, size 7, 21.0 grams total weight. [1200/1800] Illustrated

756

758

759 Fourteen-Karat Yellow Gold, Diamond and Green Quartz Necklace, composed of six oval-shaped links set with cabochon-cut green quartz, surrounded by singlecut diamonds, with two teardrop-shaped gold dangles and two teardrop-shaped elongated cabochon-cut green quartz dangles with diamond-accented mountings, with an approximate total diamond weight of .98 carats, l. 18”, 119.0 grams total weight. [3000/5000] Illustrated 759

757 Fourteen-Karat Yellow Gold, Emerald and Diamond Ring, set with a central rectangular step-cut, cutcornered treated emerald, with an approximate weight of 2.73 carats, surrounded by fifty-four round brilliantcut diamonds, with an approximate total weight of 0.50 carats, size 7‑1/2, 4.8 grams total weight. [1400/1800] Illustrated

169

760 Fourteen-Karat Yellow Gold, Emerald and Diamond Ring, set with an oval cabochon-cut treated emerald, with an approximate weight of 8.78 carats, flanked on each side with two pear-shaped treated emeralds, with an approximate total weight of 0.59 carats, the whole accented with fifty-four round brilliant-cut diamonds, with an approximate total weight of 0.65 carats, size 7‑3/4, 7.5 grams total weight. [1400/1800] Illustrated

762

760

763 Eighteen-Karat Yellow Gold, Fourteen-Karat White Gold and Plique-a-Jour Dragonfly Pin, the large Art Nouveau-inspired brooch composed of ninety-seven round single-cut and mine-cut diamonds, with an approximate total weight of 1.00 carat, the plique-a-jour body set with an oval faceted emerald, with an approximate weight of 0.15 carats, and the head set with a round blue sapphire cabochon, with an approximate weight of 0.15 carats, h. 2‑1/4”, w. 3‑3/4”, 14.6 grams total weight. [800/1200] Illustrated

763 761 Pair of Eighteen-Karat Yellow/White Gold, Emerald and Diamond Earrings, each set with a rectangular cushion cabochon-cut emerald, with an approximate total weight of 28.79 carats for the pair, and sixty round-cut diamonds, with an approximate total weight of 1.09 carats for the pair, l. 1”, 24.0 grams total weight. [1500/2500] Illustrated

761

764 Custom-Designed Ten-Strand Iolite and Aquamarine Necklace, the bold necklace with ten strands of semi-faceted iolites interspersed with tumbled aquamarines, finished with a gold-tone clasp, l. 19”.

[500/800]

762 Fourteen-Karat Yellow Gold, Emerald and Diamond Ring, set with a square step-cut treated emerald, with an approximate weight of 1.55 carats, and seventy-six round brilliant-cut diamonds bordering the emerald and mounted on the shank, with an approximate total weight of 0.41 carats, size 7‑1/2, 3.6 grams total weight. [1200/1800] Illustrated

170

765 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with a central square cushion-cut heat-treated tanzanite, with an approximate weight of 6.65 carats, surrounded by fourteen round brilliant-cut diamonds, with an approximate total weight of 1.27 carats, size 7‑1/4, 8.0 grams total weight. [4000/7000] Illustrated

766 Eighteen-Karat White Gold and Diamond Dangle Earrings, set with sixty-six round-cut and twenty-four baguette-cut diamonds, with an approximate total weight of 1.18 carats, l. 1”, 3.0 grams total weight. [1800/2500]

768 Fourteen-Karat White Gold and Diamond Ring, set with a radiant-cut diamond, with an approximate weight of 0.57 carats, color J and clarity I1, accented with 150 round brilliant-cut diamonds, with an approximate total weight of 0.94 carats, color H-J and clarity SI2 to I2, size 7‑3/4, 4.2 grams total weight.

[1500/2500] Illustrated

765 768

767 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with a central cushion-mixed-cut heat-treated tanzanite, with an approximate weight of 5.73 carats, surrounded by fourteen round brilliant-cut diamonds, with an approximate total weight of 1.10 carats, size 8, 8.5 grams total weight. [4000/7000] Illustrated

769 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with a central pear-cut heattreated tanzanite, with an approximate weight of 9.96 carats, accented by seventy-six round brilliant-cut diamonds, with an approximate total weight of 0.86 carats, size 8, 6.9 grams total weight. [5000/8000] Illustrated

769

767

770 Fourteen-Karat White Gold and Diamond Ring, set with a central cushion-cut diamond, with an approximate weight of .51 carats, color I and clarity SI2, accented on either side by forty round brilliant-cut diamonds, with an approximate total weight of 0.32 carats, color G-I and clarity SI2‑I1, size 7‑1/2, 2.3 grams total weight. [1500/2500]

171

771

771 Eighteen-Karat White Gold and Diamond Chain-Link Bracelet, composed of twenty-one links, pave-set with diamonds, with an approximate total diamond weight of 14.89 carats, color G-I and clarity VS2‑SI2, l. 7”, 58.0 grams total weight. [15000/25000] Illustrated

772

772 Beautiful Eighteen-Karat White Gold and Diamond Necklace, the flexible diamond necklace with bezel-set diamonds, finished with a diamond-mounted box safety clasp, with an approximate total diamond weight of 7.38 carats, color G-I and clarity VS1‑SI1, l. 16”, 36.0 grams total weight. [14000/18000] Illustrated 773 Platinum and Diamond Engagement Ring, set with a central European-cut diamond, with an approximate weight of 0.76 carats, color I and clarity VS1, and six single-cut diamonds, with an approximate total weight of 0.19 carats, color I-J and clarity VS2‑SI1, size 7‑1/2, 4.0 grams total weight. [500/800] Illustrated

773

774 Fourteen-Karat White Gold, Diamond and Black Diamond Ring, pave-set with seventy-eight round brilliant-cut diamonds and forty-nine round brilliantcut black diamonds set in a zig-zag pattern, with an approximate total diamond weight of 0.50 carats, size 8, 3.3 grams total weight. [600/900] Illustrated

774

172

775 Eighteen-Karat Yellow Gold, Diamond and Black Onyx Ring, set with a central black onyx cabochon, measuring approximately 13.0 mm x 16.0 mm, and surrounded by twenty-three round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, size 6, 14.0 grams total weight.

[600/900] Illustrated

775

776 Fourteen-Karat Yellow Gold and Black Onyx Necklace, the heavy, long necklace divided into segments of twisted gold rope links separated by large ribbed elliptical beads, l. 30”, 99.0 grams total weight. [800/1200] Illustrated

779 Pair of Eighteen-Karat Yellow Gold, Freshwater Pearl and Pink Tourmaline Bracelets, each nomadicinspired bangle bracelet set with a polished tourmaline nugget flanked by four freshwater pearls, dia. 8‑1/4” and 8‑1/2”, 43.2 grams total weight for the pair. [800/1200]

777

780 Fourteen-Karat Rose Gold, Morganite and Diamond Ring, set with a cushion-cut morganite, with an approximate weight of 5.11 carats, surrounded by fifty round brilliant-cut diamonds, with an approximate total weight of 0.31 carats, size 7‑1/4, 5.1 grams total weight.

[1000/1500] Illustrated

778 776

780

777 Gentleman’s Fourteen-Karat Yellow Gold, Diamond and Black Onyx Ring, set with a rectangular black onyx, measuring approximately 8.0 mm x 12.0 mm, flanked on either side by five round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, size 14‑1/2, 8.2 grams total weight. [500/800] Illustrated 778 Eighteen-Karat Yellow Gold “L.U. Chopard” Wristwatch, the round seventeen jewels mechanical watch incorporated into a later eighteen-karat yellow gold bracelet, the watch case, dial and movement signed by L.U. Chopard, l. 7‑1/2”, 60.5 grams total weight. [1400/1800] Illustrated

173

781

783

781 Fourteen-Karat Yellow Gold, Sapphire and Pearl Hinged Bracelet, set with sixty-one pink sapphires, with an approximate total weight of 7.93 carats, twentyeight blue sapphires, with an approximate total weight of 2.94 carats, forty-four cultured pearls, measuring approximately 3.00 mm x 2.50 mm, and three ovalshaped synthetic color-change sapphires, l. 8”, 40.0 grams total weight. [600/900] Illustrated

782

784 Fourteen-Karat Yellow Gold, Freshwater Pearl, Diamond, Emerald, Sapphire and Ruby Duck Brooch, the whimsical design composed of a large baroque freshwater pearl as the body, the scarf composed of nine round faceted emeralds and eight round faceted sapphires, the head set with fourteen round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, and the eye set with a round ruby cabochon, with an approximate weight of 0.35 carats, h. 2‑1/4”, 27.4 grams total weight.

[500/800] Illustrated

784

782 Eighteen-Karat Yellow Gold, Amethyst and Diamond Brooch, the textured brooch set with an oval faceted amethyst, with an approximate weight of 42.50 carats, surrounded by nine round faceted amethysts randomly set in the design, and two round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, w. 1‑3/4”, 35.4 grams total weight. [600/900] Illustrated 783 Eighteen-Karat Yellow Gold, Amethyst and Diamond Ring, set with a large faceted oval amethyst, with an approximate weight of 25.0 carats, surrounded by thirtytwo round brilliant-cut diamonds, with an approximate total weight of 1.15 carats, size 8‑1/2, 20.6 grams total weight. [1000/1500] Illustrated

174

788

789 Gentleman’s Eighteen-Karat Rose Gold and Stainless Steel Omega Constellation Wrist Watch, the automatic calendar watch with a round stainless steel case, the top capped in rose gold, the stainless steel screw back with the Omega Constellation logo in rose gold, the original Omega pie-pan dial silver-white in color, with a later eighteen-karat rose gold band, watch, size 34.0 mm x 42.0 mm (without crown), 57.5 grams total weight.

[800/1200] 790

785 Two Cultured Pearl Necklaces, the five-strand handknotted baroque pearls in various shades of white, with a good luster, finished with a clasp set with thirty-nine single-cut diamonds, with an approximate total weight of 0.60 carats, l. 19”, and the single strand composed of graduated baroque freshwater pinkish-white pearls with a good luster, l. 82”. [500/800] 786 Fourteen-Karat Yellow/White Gold, Pearl and Diamond Ring, set with a central pearl, measuring approximately 6.50 mm, and eight European-cut diamonds, with an approximate total weight of 1.22 carats, color G-I and clarity SI2‑I1, size 7‑1/2, 5.0 grams total weight. [450/700]

790 Ten-Karat Yellow Gold and Ivory Cameo Ring, 18th century, set with a central carved “Grand Tour” ivory cameo of a Greek soldier, measuring approximately 29.0 mm x 36.0 mm, set in a later custom-fabricated tenkarat gold ring, size 10‑1/2, 19.0 grams total weight.

[1000/1500] Illustrated

791 Two Antique Fourteen-Karat Gold Pocket Watches with Gold-Filled Lady’s Watch Chain, late 19th century, American, including an 1899 Waltham hunter case watch, serial number 7148715, size 16, fifteen-jewel movement, with engine-turned Brooklyn Watch Case Co. case, monogrammed “AWS”, overall dia. 2”; an 1891 Elgin hunter case watch, serial number 4570820, size 6, sevenjewel movement, with an engraved Brooklyn Watch Case Co. case with bucolic scene, dia. 1‑1/2”; and a gold-filled lady’s long watch chain with black enamel and split pearl slide, l. 53”. [900/1200] Illustrated The interior back cover of the Waltham watch contains a presentation inscription to A. Wesley Skardon from his mother on the occasion of his 21st birthday, March 18, 1899. Ambrose Wesley Skardon of New Orleans was the son of Ambrose Wilson Skardon and his wife Susanne Woelper. He never married, and died in New Orleans on December 13, 1954.

787 Two Cultured Pearl Necklaces, the hand-knotted double-strand necklace composed of 8.0 mm round silverwhite pearls with a good luster, finished with a stylized white-gold clasp set with ten single-cut diamonds, with an approximate total weight of 0.10 carats, and a single strand composed of 8.0 mm round silver-white pearls with a high luster, l. 26”. [500/800] 788 Eighteen-Karat Yellow Gold and Mabe Pearl Bib Necklace, the large freeform necklace set with thirty-one pear-shaped cultured mabe pearls and one pear-shaped mother-of-pearl, ranging in size from 12.0 mm x 16.0 mm to 14.0 mm x 21.0 mm, l. 16”, 153.0 grams total weight.

[1800/2500] Illustrated

791

175

794 Gentleman’s Fourteen-Karat Yellow Gold Waltham Pocket Watch with Chain and Compass Fob, the open face, size ten, nickel-plated, fifteen-jewel movement signed “A.W.W. Co., Waltham, Mass, 15 Jewels” with the serial number 17574,xxx, the porcelain dial signed “Waltham” and the case marked “Elite W Co., 14K, 23xxx”, with a fourteen-karat yellow gold watch chain and gold compass fob, 76.5 grams total weight. [500/800] Illustrated

797

794

792 Fourteen-Karat Yellow Gold and Diamond Ring, set with eleven marquise-cut diamonds, with an approximate total weight of 1.03 carats, color F-G and clarity VS1‑SI1, size 8‑1/4, 3.0 grams total weight. [500/800] 793 Fourteen-Karat Yellow Gold Chain, the heavy chain with an anchor link design, l. 32‑1/2”, 76.0 grams total weight. [1200/1800]

795

795 Fourteen-Karat Yellow Gold Chain, the heavy, long chain designed with stylized lozenges separated by smooth, circled links, l. 30‑1/2”, 104.0 grams total weight.

[1800/2500] Illustrated 796 Fourteen-Karat Yellow Gold and Diamond Solitaire Ring, set with a European-cut diamond, with an approximate weight of 1.18 carats, color I and clarity VS2, size 6, 3.0 grams total weight. [1200/1800] 797 Fourteen-Karat Gold and Diamond-Set Lady’s Covered Watch Bracelet, third quarter 20th century, signed on the movement Joseph Boillat & Fils and on the dial LaFemme, the tiny circular silvered matte dial applied with disc and triangular chapters, revealed beneath a magnifying lens and hinged spring cover set with five starset single-cut diamonds totaling approximately .10 carats, attached to the original double rope-link “cow hitch” bracelet with two dangling tassels, with fixed safety chain, l. 6‑7/8”, total weight 46.6 grams. [700/1000] Illustrated

176

799

798 Eighteen-Karat Yellow Gold “Dunay” Ring, with a bypass design and a hammered finish, signed “Dunay”, size 6, 12.8 grams total weight. [500/800] 799 Fourteen-Karat Yellow Gold and Diamond “Geneva” Bracelet Wristwatch, the heavy flexible link fold-over bracelet with a stylized foliate clasp set with thirteen single-cut diamonds, with an approximate total weight of 0.30 carats, the seventeen jewels mechanical movement signed “Hebe Watch S.A.”, with a mother-of-pearl dial, total l. 10‑3/8”, 83.0 grams total weight. [1200/1800] Illustrated

801

803

803 Dramatic Deep Chocolate Brown Full-Length Mink “Galatoire’s” Cape, size 10, with a broad collar, two 10” vertical arm slits and three front hook closures, lined in black bowembroidered black satin with a small, deep on-seam pocket at the front, l. 46” from the back collar seam. Provenance: The Estate of Mickey Easterling, New Orleans, Louisiana.

This cape was worn in some of her many grand entrances at Galatoire’s, New Orleans’ iconic restaurant.

[1400/1800] Illustrated

804 Chic Dark Brown Long-Haired Mink Jacket, size 6‑8, with a convertible notched collar and set-in three-quarter sleeves, with three front hook closures and two small slip pockets at the front hem, lined in rose-embroidered pale taupe satin and embroidery-labeled: “Designed for Mickey Easterling by Tucker Furs, Inc.”, l. 22” from the back collar seam. Provenance: The Estate of Mickey Easterling, New Orleans, Louisiana. [500/800] Illustrated

804

800 Fourteen-Karat Yellow Gold Chain and Ram Pendant, the heavy “Turk” link chain with a pendant of a ram, chain, l. 20‑1/4”, 76.5 grams total weight. [1200/1800] 801 Eighteen-Karat Yellow Gold and Diamond Solitaire Engagement Ring, set with a transitional round-cut diamond, with an approximate weight of 0.90 carats, color H and clarity VS2, size 6‑1/2, 3.0 grams total weight.

[700/1000] Illustrated 802 Two Italian Fourteen-Karat Yellow Gold Herringbone Chains, the two heavy beveled-edged chains measuring 1/4” x 18” and 5/16” x 20”, 82.0 grams total weight. [1000/1500]

177

805

806 Dark Chocolate Brown Mink and Black Fox Cocoon Vest, size 6, with a stand-up fox collar and fox trimmed sleeves, the front body curving to form a banded and slightly blouson back silhouette, with two conforming on-seam front pockets, lined in black silk and labeled: “Flemington Furs, Flemington, New Jersey, l. 29” from the back collar seam.

Provenance: The Estate of Mickey Easterling, New Orleans, Louisiana.

[600/900] Illustrated

807

807 Chocolate Brown “Black Jewel” Mink Stole, one size, with shaped back collar, lined in chocolate brown silk trimmed in narrow velvet ribbon accented with small bows, having two arm straps, labeled: “Tucker Furs/Chicago” and “Black Jewel”, l. 82”, w. 15”. Provenance: The Estate of Mickey Easterling, New Orleans, Louisiana. [500/800] Illustrated

808

805 Chocolate Brown Mink Coat, size 4‑6, with a bold, convertible notched collar, set-in straight sleeves and two on-seam pockets, the body fitted, with four front hook closures, includes a removable self sash, l. 64”, lined in chocolate brown satin trimmed with narrow velvet ribbon accented with small bows, l. 42” from the back collar seam. Provenance: The Estate of Mickey Easterling, New Orleans, Louisiana. [700/1000] Illustrated

806

178

808 Lustrous American Legend “Blackglama” Mink Coat, size 8, convertible small lapels with a button at the neck, the sleeves set in and subtly self-banded at the cuffs, with two velvet-lined on-seam pockets, hangs straight with three front hook closures, lined in satin and labeled: “Saks Fifth Avenue”, along with the serial-numbered “Blackglama” label, includes a Saks Fur Salon garment bag and the official Blackglama booklet, l. 40”. [800/1200] Illustrated

809

809 Two Pieces of Mid-19th-Century Missouri Coin (.900) Silver, by Jaccard & Co., St. Louis, Missouri, including a julep cup of traditional form, monogrammed “SAMS.”, h. 3‑3/4”, dia. 3‑1/4”, and a “Fiddle Swell” soup ladle, monogrammed “MW”, l. 12”, 9.32 total t. oz.

[500/800] Illustrated An identical cup and ladle are illustrated in Norman Mack, Missouri’s Silver Age: Silversmiths of the 1800s (Carbondale, IL: Southern Illinois University Press, 2005), pp. 87 & 93.

810 Three Good 19th-Century American Silver Serving Pieces, including a Gorham coin silver straining ladle, Providence, Rhode Island, retailed by George W. Webb, Baltimore, Maryland, with pierced, lobed bowl and “Old English” handle with applied caryatid finial, monogrammed “MGB”, l. 11‑1/2”, a Bailey & Co. sterling silver ice cream slice, Philadelphia, Pennsylvania, in the traditional “King’s” pattern with foliateengraved scimitar-shaped blade, monogrammed “B”, l. 13‑1/2”, and a Whiting sterling silver platter spoon, New York, New York, in their ornamental pattern no. 26, colloquially called the “Beautiful” pattern, with gilt bowl, twist stem and peony finial, l. 11‑1/4”, 6.49 total t. oz. (excluding filled-handle ice 811 (detail) cream slice). [500/800] Illustrated

810

811

811 Good 19th-Century Detroit Coin (.900) Silver Urn, dated 1857, by George Doty (1815‑1906), Detroit, Michigan, the ovoid body decorated with repousse strawberries, with arched handles and figural finial en suite, above an ogee domed foot, with milled leafand-cabochon banding throughout, engraved with a presentation inscription “S.T. Douglass / Justice Sup. Ct. Mich. / from the / Bar of Detroit / 1857” opposing the Horation quotation “Vilius Argentum est Auro, Virtutibus Aurum” [“Silver is of less value than gold, gold than virtue” Epist. I.I.52], h.10‑1/2”, w. 7‑1/4”, dia. 5‑1/4”, 24.49 t. oz.

[800/1200] Illustrated George Doty was born in Canadiagua, New York, but moved with his family to Mount Clemens, Michigan by 1822, eventually settling in Detroit in 1826. He returned to New York to learn the jeweler’s and watchmaker’s trade in Buffalo, working briefly in Albany before returning to Detroit in 1836. After a brief partnership with Edmund Kearsley, he opened his own shop in 1838, where he employed a small number of silversmiths. Business reversals occasioned by the Civil War forced him to close his workshop in 1863. Again after a brief partnership (this time with his father-in-law Daniel W. King) 1866‑1867, he once again opened his own shop which he ran until his retirement to Breckenridge, Colorado in 1874. He returned to Detroit shortly before his death on August 31, 1905. The recipient of this handsome urn was the Hon. Samuel Townsend Douglass (1814‑1898), who served as a Judge of the Wayne Circuit, and therefore as justice of the Michigan Supreme Court, from January 1852 until May 1857, when the state Circuit Courts were split from the Supreme Court.

Douglass, a Democrat, was nominated by his party for a seat on the bench, but the appointment was given by the overwhelmingly Republican state legislature to his opponent, James V. Campbell (who was coincidentally his brother-in-law and former law partner). This cup was doubtless presented to Douglass upon his 1857 retirement from the bench and return to private practice.

179

812

812 New Orleans Coin (.900) Silver Covered Sugar Bowl, third quarter 19th century, by Adolphe Himmel (1825/26‑1877) for Hyde & Goodrich, the pear-shaped body decorated with engraved scrolling clover centering opposing cartouches, with milled rim and foot-ring, crested “C”-scroll handles and fitted domed lid with floriform finial, monogrammed on one cartouche “RW”, h. 6‑1/2”, dia. 5”, w. 8”, 15.75 t. oz. [1800/2500] Illustrated 813 Antebellum New Orleans Coin (.900) Silver Platter, mid-19th century, by Hyde & Goodrich, (fl. 1828‑1861), New Orleans, Louisiana, of oval form, with an applied “leafand-lobe” border and raised on four openwork rocaille feet, the plateau engraved with a wide band of elaborate rococo cartouches on a diapered ground, monogrammed at the center “IHA”, w. 13‑3/4”, l. 18”, 53.5 t. oz. [4000/7000] Illustrated

815

814 American Sterling Silver Waiter, third quarter 19th century, by Bigelow Brothers & Kennard, Boston, Massachusetts (fl. ca. 1845‑1863), of circular form, with beaded rim and raised on three acanthus scroll feet, dia. 10‑1/2”, 17.55 t. oz. [600/900] 815 Samuel Kirk & Son Co. Sterling Silver Waiter, dated 1900, Baltimore, Maryland, of circular form, the rim decorated with repousse flowers in the Baltimore manner, with leaf-and-dart edge and raised on three cast eagle claw-and-ball feet, the plateau engraved with a laurel wreath cartouche on a ground of fleurs-delys, the cartouche monogrammed and dated “S/1900”, dia. 10‑1/8”, 17.74 t. oz. [800/1200] Illustrated

816

813

816 S. Kirk & Son Baltimore Standard (.917) Silver Platter, fourth quarter 19th century, Baltimore, Maryland, of oval form, with milled rose rim, the plateau with “daisy” patterned ground centering a laurel cartouche monogrammed “J”, l. 14‑1/2”, w. 10‑3/4”, 20.12 t. oz.

[700/1200] Illustrated

180

817 American Aesthetic Period Sterling Silver Cream and Sugar Set, third quarter 19th century, by Wood & Hughes, New York, New York, including a cream jug, h. 3”, l. 4‑1/2”, and a sugar bowl, h. 2‑1/2”, l. 6‑1/4”, each of bulbous partlobed cylindrical form, with “hammered” finish and decorated with acid-engraved hawthorn leaves, the bifurcated reeded handles with applied butterfly crest, 12.28 total t. oz.

[700/1000] Illustrated

820

817

820 Large American Sterling Silver Center Bowl, first quarter 20th century, by the Whiting Mfg. Co., Bridgeport, Connecticut, of oval form, with upswept ends and embossed and shaped rococo-scroll rim, raised on four feet en suite, h. 4”, l. 18‑1/4”, w. 14‑1/2”, 48‑54 t. oz.

[1000/1500] Illustrated

818 Reed & Barton “Love Disarmed” Sterling Silver Salad Serving Set, the pattern designed in 1899 by Charles A. Bennett, Taunton, Massachusetts, with gilt bowl/tines, l. 10‑1/2”, 15.23 total t. oz. [800/1200] Illustrated

821

819 Pair of American Silverplate and Cut Glass Fruit Stands, second quarter 20th century, by the Goldfelder Silver Co., Yalesville, Connecticut, in the Victorian taste, each with a figural standard of a putto raised on a waisted cylindrical base with four acanthus scroll feet and supporting a large vasiform nozzle fitted with a frosted glass bowl cut with foliate motifs, overall, h. 16‑1/2”, dia. 10‑1/2”. [600/900]

818

821 Forty-Five-Piece International “New Margaret” Sterling Silver Dessert Set, the pattern introduced in 1912, Meriden, Connecticut, including thirteen dessert forks and knives, with twelve teaspoons, six butter spreaders and a sauce ladle, all monogrammed “S”, l. 5‑1/2” to 9‑7/8”, 39.16 total t. oz. (weighable silver).

Detailed list available on request [600/900] Illustrated

181

822

823 One Hundred Forty-Six-Piece Set of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including twelve nine-piece place settings, with twenty additional place pieces and eighteen serving pieces, no monograms, 202.49 total t. oz. (weighable silver). Detailed list available on request. [5000/8000] Illustrated 824

822 Eighty-Two-Piece Set of Wallace “Renaissance” Sterling Silver Flatware, the pattern designed in 1925 by Henrik Hillbom (1863‑1928), Wallingford, Connecticut, including nine eight-piece place settings, with eight additional place pieces and two serving pieces, monogrammed “FFW”, l. 4” to 9‑5/8”, 76.78 total t. oz. (weighable silver), presented in a blue tarnish-resistant cloth-lined wooden box, 3‑1/2” x 16” x 11‑3/4”. Detailed list available on request. Provenance: Florence Fowler Wills (1901‑1972) of New Orleans, Louisiana and Houston, Texas, by descent through the family. [1400/1800] Illustrated Florence Braughn Fowler was born in New Orleans on December 17, 1901 to Henry Waller Fowler and his wife, Florence Bertha Braughn. In 1926 she married New Jersey-born Seward H. Wills (1899‑1975), a noted physician. The couple later moved to Texas, where Dr. Wills was a professor and chair of the Department of Obstetrics and Gynecology at Baylor University. Mrs. Fowler died in Houston on April 20, 1972.

824 Set of Twelve Reed & Barton “King Francis” Silverplate Service Plates, mid20th century, Taunton, Massachusetts, dia. 12”. [500/800] Illustrated 825 Seventy-Three-Piece Set of Wallace “Rose Point” Sterling Silver Flatware, the pattern designed in 1934

by William S. Warren (1888‑1965), comprising twelve six-piece place settings and one additional teaspoon, no monograms, l. 5‑3/4” to 9”, 64.95 total t. oz. (weighable silver), presented in a fitted, Pacific cloth-lined wooden case, 3‑1/2” x 17” x 11‑3/4”. Detailed list available on request. [1200/1800] Illustrated

823 825

182

826 Tiffany Art Deco Sterling Silver Cocktail Shaker, the pattern introduced in 1918, New York, New York, the body of slightly bulbous tapering cylindrical form, with incised banding, the lid with annular-banded rim and shot cup cap en suite, monogrammed “EC”, h. 9”, dia. 4”, 22.44 t. oz.

[500/800] Illustrated

827

826

828 Twelve Pieces of Peruvian Modernist Sterling Silver Tableware, mid-20th century, various makers including Kohler and Mario Canepa & Cia (SIAM), all pieces hand-crafted with hammered finish, comprising ten butter pats, dia. 3‑1/4”, an ovoid bowl, l. 9‑1/8”, and a leaf-shaped dish, l. 11‑1/4”, 27.77 total t. oz. [500/800] Illustrated

829

827 One Hundred Thirty-Four-Piece Set of Kirk “Calvert” Sterling Silver Flatware, the pattern designed in 1927

by Henry Child Kirk, Jr. (1868‑1932), Baltimore, Maryland, including twelve seven-piece place settings, with fortyfive additional place pieces and five serving pieces, no monograms, l. 3‑1/2” to 13‑1/2”, 140.24 total t. oz. (weighable silver), presented in a fitted, Pacific cloth-lined wooden case with a single drawer, 6‑3/4” x 14” x 11‑1/2”.

Detailed list available on request. [2500/4000] Illustrated

828

829 Mexican Sterling Silver Water Pitcher, third quarter 20th century,

by Salvador de la Serna, Mexico City, the pear-shaped body with integral spout, domed foot and annular-banded “S”-scroll handle, h. 10‑1/2”, dia. 4‑1/2”, l. 7”, 28.03 t. oz. [500/800] Illustrated

183

830 830 Robert Rucker (American/Louisiana, 1932‑2001), “Steamboat on the Mississippi”, oil on canvas, signed lower left, 18” x 24”. Framed. [2500/4000] Illustrated

831 832 Bror Anders Wikstrom (American/Louisiana, 1854‑1909), “Steamship on a Stormy Sea”, oil on canvas, signed and dated lower right “B. A. Wikstrom 1888”, 12” x 16”. Framed. Provenance: Estate of John Arthur Meade, New Orleans, Louisiana. [5000/8000] Illustrated

831 Robert Rucker (American/Louisiana, 1932‑2001), “Louisiana Landscape with a Cabin”, oil on canvas, signed lower right, 18” x 24”. Framed. [2500/4000] Illustrated

832

184

833 William Henry Buck (American/New Orleans, 1840‑1888), “Lookout Fishing Club on L & N Railroad, New Orleans”, 1883, oil on canvas, signed and dated lower right, a “Kennedy Galleries, Inc./N.Y.” label en verso, numerous old handwritten inscriptions verso on stretcher, 18” x 30”. Presented in the original giltwood frame. Provenance: Estate of A. Hays Town, Baton Rouge, Louisiana. [150000/300000] Illustrated One of the most acclaimed landscape artists of 19th-century Louisiana, William Henry Buck skillfully merges the Barbizon School plein air techniques he learned from his teacher Richard Clague with a personal appreciation of the romantic quality of his adopted homeland. The work presented here, with its color palette of intense greens, deep umbers and dashes of oranges and reds, is a moody representation of an identifiable locale. Buck adeptly combines the lush, verdant landscape with elements of the industrial, evidenced here by the barely visible train track that appears to merge seamlessly with the grass, plants and trees.

The end result is a work which adroitly represents the still and humid landscape of the Louisiana waterways.

185

834 834 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Twilight”, oil wash on paper, signed lower left, 19” x 29”. Matted, glazed and framed. [1500/2500] Illustrated

837 836 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Sunrise on the Bayou”, 1913, oil wash on paper, signed and dated lower left, 15‑3/4” x 23‑3/4”.

Matted, glazed and framed. [2000/4000] Illustrated

835 835 Alexander John Drysdale (American/New Orleans, 1870‑1934), “The Live Oak”, ca. 1915, oil wash on paper, signed and faintly dated lower left, 16” x 23‑1/2”. Matted, glazed and framed. [2000/4000] Illustrated

836

186

837 Alexander John Drysdale (American/New Orleans, 1870‑1934), “The Bather, On the Lake Shore”, 1922, oil wash on canvas, signed and dated lower right, titled en verso stretcher, also inscribed with the artist’s studio address, 20” x 16”. Framed. [3000/5000] Illustrated 838 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Louisiana Bayou Landscape at Moonlight”, 1932, oil wash on board, signed and dated lower right, sight 20” x 30”. Glazed, matted and framed. [2500/4000] Illustrated

838

839 After John James Audubon (American, 1785‑1851), “Great White Heron”, No. 57, Plate CCLXXXI, from Birds of America, hand-colored engraving by Robert Havell, the elephant folio watermarked “J. Whatman 1836”, sheet size 25‑1/4” x 39‑5/8”.

Unframed. [20000/40000] Illustrated

187

840 Exceptional Cherry, Walnut and Tiger Maple Federal Chest, first quarter 19th century, probably Kentucky, with an oxbow top and center bank of drawers, crossbanded with tiger maple and unusual elongated maple escutcheons, h. 41”, w. 39‑1/2”, d. 20‑1/4”. [5000/8000] Illustrated

842

842 American Federal Mahogany Games Table in the Sheraton Taste, first quarter 19th century, Philadelphia, the shaped and reeded fold-over top above a conforming apron, raised on tapering reeded legs with ball feet, h. 29‑1/4”, w. 36”, d. 18”, extended l. 36”. Provenance: The Estate of Parker John Buck, Seattle Washington.

[700/1000] Illustrated

840

841 American Federal Cherrywood and Holly Inlaid FourDrawer Chest, first quarter 19th century, Tennessee or Kentucky, with splayed legs and a fan-inlaid valance, and pegged construction throughout, h. 39”, w. 40”, d. 21”.

[4000/7000] Illustrated

843 American Federal Mahogany D-End Dining Table in the Sheraton Taste, first quarter 19th century, Philadelphia, in two parts, each with a figured single-board top and like drop leaf, over a conforming apron with reeded bottom edge, the leaves supported by a fly leg, and the tapered reeded legs ending in ball feet, h. 29”, w. 45‑3/4”, d. 21‑3/4”, extended l. 86”. Provenance: The Estate of Parker John Buck, Seattle Washington. [2000/4000] Illustrated

844

841

188

844 American Classical Mahogany Fold-Over Games Table, second quarter 19th century, Boston, with inset brass stringing and cast brass paw feet, h. 29‑1/2”, w. 36‑1/2”, d. 19”. [800/1200] Illustrated

847 American Classical Marble, Parcel-Gilt and Gilt-MetalMounted Mahogany Pier Table, second quarter 19th century, with a rectilinear marble top over a cyma-molded apron, with brass trim at its lower edge supported by marble columns with gilt-bronze capitals and bases, the back with a period looking glass and marble pilasters, a serpentine lower shelf and carved paw feet, h. 38”, w. 42”, d. 20”.

[2000/4000] Illustrated

843

845 American Late Classical Mahogany Four-Post Bed, second quarter 19th century, probably Baltimore, with boldly reeded posts and acanthus-carved details, h. 92”, inside, w. 54”, l. 75”, outside, w. 61”, l. 81”. [1800/2500] Illustrated 846 Exceptional Paris Porcelain Footed Bowl, Attributed to Darte, first quarter 19th century, decorated with carefully painted Chinese figures on gilt reserve panels against a rose ground, and supported by gilt monopodia feet terminating in masques, h. 5”, dia. 7‑1/2”. [500/800] Illustrated

846

845

847

189

848 Paris Porcelain Hand-Painted Garniture Urn, second quarter 19th century, the paw feet supporting the ovoid urn, the lower portion of the urn molded with matte-gilt acanthus leaves, the winged griffin handles with matte-gilt heads, the obverse decorated with a hand-painted panel of a couple in Elizabethan dress and the reverse with tooled trophies, h. 13‑1/4”, w. 7‑1/2”, d. 3‑3/4”.

[600/900] Illustrated

848

849 Unusual Assembled Pair of Paris Porcelain Cylindrical Vases, second quarter 19th century, probably Darte, of spill vase form but much larger, the vases decorated with black-ground panels employing raised gilt, alternating with pink-ground panels of greenpainted Oriental figures in pagodas, one trimmed with horizontal ribbing, the other plain, one vase with a rubbed partial “Da” signature in green, h. 8‑1/2”, dia. 5‑1/4”. [500/800] 849 Illustrated 850 American Late Classical Stenciled Mahogany Secretary Bookcase, second quarter 19th century, New York, in two parts, the upper section with a projecting cornice over a pair of glazed and mullioned doors backed with pleated upholstery framed by mirror plates, the base with a fold-out work surface opening to reveal an interior fitted with drawers and niches, a shallow drawer below flanked by drawers, on a trestle base with foliate-stenciled columnar supports and scroll feet, all of the interior desk drawers signed in pencil script under their bottoms “A. D. Barnet, New York”, h. 86‑1/4”, w. 43‑1/2”, d. 20”. [1800/2500] Illustrated 851 American Late Classical Mahogany Scroll-Arm Sofa, mid-19th century, with a foliate-carved scroll crest rail, the arms with like carving, raised on cornucopia-carved paw feet, h. 35‑1/2”, w. 87”, d. 25”. [500/800] Illustrated

190

850 852 Unusual American Late Classical Mahogany DropLeaf Extension Table, second quarter 19th century, with ten turned and acanthus-carved legs, the accordion runners opening to accommodate the two 13” leaves, h. 28”, w. 50‑1/2”, l. 26” (leaves closed), l. 54” (leaves opened), l. 80” (fully extended with leaves). [900/1200] Illustrated The accordion runners of this table permit it to be potentially expanded to a length of 171” with the manufacture of additional leaves.

851

852 853 American Late Classical Mahogany Tester Bed, second quarter 19th century, the cyma- and cove-molded tester supported by pineapple- and acanthus-carved posts, the paneled headboard with a shell and scroll crest, h. 107”, inside, w. 54”, l. 76”, outside, w. 60”, l. 83‑1/2”.

[4000/7000] Illustrated 856 855 Pair of American Late Classical-Style Mahogany Sideboards, partially composed of antique elements, each with a row of three side-by-side drawers, large columns and raised on carved paw feet, h . 39‑1/2”, w. 74”, d. 23”. [3000/5000] Illustrated 856 American Late Classical Walnut Armoire, mid19th century, the cyma-molded cornice over a pair of paneled doors opening to reveal a bisected interior with drawer, raised on ogee bracket feet, h. 93”, w. 63”, d. 22”.

[1000/1500] Illustrated 854 854 American School (Second Quarter 19th Century), “Portrait of a Husband and Wife”, pair of oils on canvas, unsigned, 30” x 25”. Presented in matching giltwood frames. Provenance: Descended in the family of the sitters. [2000/4000] Illustrated

855 one of a pair

853

191

857 American Late Classical Mahogany Display Cabinet/ Bookcase, second quarter 19th century, of large scale, the top with a flared cornice above a pair of glazed doors, raised on pineapple-carved legs, h. 83”, w. 68‑1/4”, d. 25‑1/2”. [1000/1500] Illustrated

857

861

858 American Colonial Revival Mahogany Corner Cabinet in the Chippendale Taste, 20th century, in two parts, the upper section with a scrolling open arch pediment over two doors, the base with a drawer over a pair of doors, raised on ball-and-claw feet, h. 94‑1/2”, w. 36”, d. 20‑1/2”.

[1200/1800] 859 Antique Caucasian Kazak Runner, 4’ x 9’ 9”. [700/1000] 860 Persian Bidjar Runner, 5’ 1” x 18’ 2”. [1500/2500] Illustrated 861 Bidjar Silk Carpet, 10’ x 14’ 1”.

[7000/10000] Illustrated

860 862

192

866 Semi-Antique Bokhara Carpet, 12’ 2” x 14’ 7”.

[800/1200] Illustrated 867 Semi-Antique Persian Kerman Carpet, 10’ x 18’.

[2500/4000] Illustrated 868 Turkish Angora Oushak Runner, 2’ 7” x 15’ 10”.

[500/800]

863 862 Antique Kerman Carpet, 10’ 9” x 17’ 7”.

[1500/2500] Illustrated

866

863 Antique Sarouk Carpet, 8’ x 11’.

[1500/2500] Illustrated 864 SemiAntique Persian Kerman Carpet, 8’ 7” x 11’ 6”.

[1800/2500] Illustrated 865 Agra Serapi Carpet, 9’ x 12’.

[1000/1500] 864

867

193

872 869

869 Agra Bakshaish Carpet, 9’ x 12’. [1200/1800] Illustrated 870 Turkish Angora Oushak Carpet, 10’ x 14’. [1500/2500] Illustrated

194

870

871 Antique Sarouk Carpet, 9’ 4” x 12’ 2”. [600/900] 872 Turkish Angora Oushak Carpet, 9’ 3” x 12’ 3”.

[1200/1800] Illustrated

873

875

875

873 Semi-Antique Peking Chinese Carpet, 10’ 2” x 13’ 10”.

Provenance: Purchased in 1976 from Stark Carpets, New York, New York. [1500/2500] Illustrated 874 Semi-Antique Sultanabad Carpet, 8’ 4” x 9’ 1”. [600/900] 875 George Rodrigue (American/Louisiana, 1944‑2013), “Blue Dog with Polka-Dotted Tie”, double-sided painting, acrylic on shaped wood panel, signed at edge and inscribed “To Jim Steinmeyer, Mon amie”, h. 16”, w. 10”, d. 1‑1/4”.

[10000/15000] Illustrated 875 detail

195

876 George Rodrigue (American/Louisiana, 1944‑2013), “Balloons 45 Cents”, oil on canvas, signed lower left, signed and titled en verso canvas, 40” x 30”. Framed. [15000/25000] Illustrated

196

877 George Rodrigue (American/Louisiana, 1944‑2013), “Live Oak on Old Bayou Road”, 1996, acrylic on canvas, signed lower left, 24” x 20”. Framed.

[18000/25000] Illustrated

197

878 George Rodrigue (American/Louisiana, 1944‑2013), “A Basket of Azaleas”, oil on canvas, signed lower right, signed and dated en verso “1982”, with a later inscription en verso, sight 24” x 24”. Presented in a giltwood and gesso frame with a circular liner. [14000/18000] Illustrated

198

881 Ida Kohlmeyer (American/ Louisiana, 1912‑1997), “Seascape”, 1972, mixed media on canvas, signed and dated lower right, 15” x 17”. Glazed, float mounted and framed. [5000/8000] Illustrated 882 Ida Kohlmeyer (American/ Louisiana, 1912‑1997), a collection of six color screenprints from the “Diminutive” series, 1972, all pencil initialed, dated and numbered “91/100”, sheet sizes from 6‑5/8” x 4” to 7‑1/2” x 7‑1/2”. All glazed, float mounted and framed alike. [1500/2500] Illustrated

879 879 James Michalopoulos (American/Louisiana, b. 1951), “Shadow Study #2”, oil on canvas, signed lower left “Mitchell”, 30” x 40”. Glazed and framed. [3000/5000] Illustrated 880 Hunt Slonem (American, b. 1951), “Green Singers”, 2004, oil on board, signed, dated and titled en verso, sight 23‑1/2” x 19”. Presented in an antique giltwood and gesso frame. [1800/2500] Illustrated

880

882 one of six

881

199

883

883 (detail)

883 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Composition 94‑31”, 1994, oil on canvas, signed and dated bottom center, 25‑1/2” x 48”. In a thin gallery frame. [15000/25000] Illustrated 884 Lin Emery (American/Louisiana, b. 1928), “Petal Forms”, polished aluminum, signed on base, h. 13‑1/2”, w. 8”, d. 7”. [1400/1800] Illustrated

884 (detail) 885 Adele Sypesteyn (American/Louisiana/ Contemporary), “Intrinsic”, mixed media on canvas, signed lower right, 36” x 36”. Unframed. [2500/4000] Illustrated

200

884

885 886 Adele Sypesteyn (American/Louisiana, Contemporary), “Accentrate”, mixed media on canvas, signed lower right, titled en verso on stretcher, 60” x 48”.

Unframed. [2500/4000] Illustrated 887 887 Adele Sypesteyn (American/Louisiana, Contemporary), “Waiting”, mixed media on canvas, signed lower right, titled en verso on stretcher, 60” x 48”.

Unframed. [2500/4000] Illustrated 888 Pair of Victorian-Style Gothic Revival Cast Iron Garden Benches, each with a back modeled as a row of quatrefoils amidst arches, with an openwork seat and scroll apron, h. 34”, w. 55‑1/2”, d. 20‑1/2”. [2000/4000] Illustrated

888

886

201

891 Near Pair of American Gothic Revival Walnut Child’s Armchairs, mid-19th century, New York, one with spiraltwist turnings on the front posts, and the other with bobbin turnings, h. 31‑1/2”, w. 16”, d. 18”. [600/900] Illustrated

890

889 Pair of American Gothic Revival Rosewood Sidechairs, third quarter 19th century, h. 45‑1/2”.

[1000/1500] Illustrated

892 American Late Classical Mahogany “Wig” Dresser in the Gothic Taste, mid-19th century, attributed to Mitchell and Rammelsberg, Cincinnati, Ohio, the upper section with a molded cornice over a rectilinear looking glass, a cabinet supports the base with a marble top over a pair of drawers flanked by cupboard doors, h. 85”, w. 49”, d. 22”.

[1000/1500] Illustrated

889

890 Rare American Gothic Revival Rosewood and Marble-Top Table, second quarter 19th century, probably Baltimore, and bearing numerous penciled inscriptions on the underside of the marble: “Birkay Fry”, “Nancy Walker”, “Kate Owings” and the date “Jan. 1, 1849”, h. 29‑1/2”, w. 32‑1/2”, d. 19”. [5000/8000] Illustrated

202

891

893 Manner of Thomas Sully (British/ American, 1783‑1872), “Portrait of a Little Girl”, oil on canvas, 23‑1/2” x 19‑1/4”.

Presented in a handsome giltwood and gesso oval frame.

[500/800]

897 one of a pair

894 Cornelius Bronze, Glass and Marble Solar Lamp, mid-19th century, Philadelphia, 894 Pennsylvania, the double-step marble base supporting the opaline and cobalt pillar-molded standard, set with a labeled Cornelius font, the shade ring hung with back-cut spear-point prisms and set with a period cut, engraved and frosted glass bell-form shade decorated with tulips and grapes, h. 32‑1/2”, dia. 7”. [450/700] Illustrated

895 Rococo Revival Bronze and Glass Banquet Lamp, mid19th century, the rococo revival tripartite standard decorated with scrolls and dolphins, now mounted with a blue cased cut-to-clear oil font and set with a ruffled 19th-century shade, h. 27‑1/2”, dia. 8‑3/4”. [500/800] 896 Continental Rococo Revival Patinated Bronze Lamp, mid-19th century and later, the scrolled standard set with a gilt “vintage” pattern bobeche, electrified and set with a mid19th-century blown, cut and etched glass bell-form shade, h. 26”, dia. 7‑3/4”. [500/800] 899

897 Pair of English Cut and Frosted Glass Six-Light Chandeliers, third quarter 19th century, the standards clad with frosted vasiform elements with cut ribs and leaf-molded ends, the lower frosted pans cut with alternating fluting, ending in faceted ball finials, hung with spear-point prisms and set with a full set of rare “Russian” pattern period gas shades, h. 50”, dia. 33‑1/2”. [3000/5000] Illustrated 898 American Prism-Hung Hall Light, third quarter 19th century, formerly fitted for gas, now electrified, h. 28”, dia. 13”. [600/900]

899

899 American Rococo Revival Rosewood Fold-Over Games Table, third quarter 19th century, attributed to Charles A. Baudouine, the front apron fitted with a drawer for playing cards and chips, h. 30”, w. 51”, d. 18”, extended d. 36”.

[1500/2500] Illustrated

203

902 Large Rococo Revival Giltwood Oval Mirror, mid-19th century, probably American, with a fruit-molded liner, the scrollwork surround with lattice panels and a pierced crest with a cartouche decorated with raised stars, h. 78”, w. 36‑1/2”. [800/1200]

900

900 Pair of Paris Porcelain Rococo Revival Garniture Vases, mid-19th century, school of Jacob Petit, with eaglemolded bases, the bodies with winged caryatid handles, decorated with Elizabethan court scenes on a green ground, h. 10‑1/4”, w. 6‑1/2”, d. 3‑1/2”. [1500/2500] Illustrated 901 American Restauration Mahogany Dressing Bureau, mid-19th century, probably made for the Antebellum New Orleans market, the hexagonal looking glass on wishbone supports, joined to a base with a marble top, the case with a molded drawer over two graduated drawers, framed with beaded molding, h. 70‑1/2”, w. 42‑1/4”, d. 21‑1/2”.

[500/800] Illustrated 901

903 American Transitional Late Classical into Rococo Revival Walnut Four-Post Canopy Bed, mid-19th century, probably manufactured by C. Lee, Manchester, Massachusetts, and made for the Southern Market, with tapering cluster columns and a fruit-carved headboard, the tester present but dis-assembled h. 112”, inside, w. 59”, l. 77”, outside, w. 73”, l. 88”. [5000/8000] Illustrated

903

907

204

904 American Late Classical Walnut Armoire, ca. 1850, with an ogee-molded cornice over a pair of doors with arched panels, raised on ogee bracket feet, h. 96”, w. 66”, d. 23”. [800/1200]

907 American School (Second Quarter 19th Century), “Portrait of a Woman Seated Next to a Draped Table” and “Portrait of a Man with an Open Notebook and an Inkwell”, pair of oils on canvas, unsigned, 14‑1/2” x 11‑1/2”. Both framed alike. [800/1200] Illustrated

908

908 Near Pair of American Rococo Revival Rosewood Armchairs, mid-19th century, attributed to Elijah Galusha, Troy, New York, h. 47” and 49”, w. 25”.

[1200/1800] Illustrated A nearly identical chair to the taller model here is in the collection of the Munson-Williams-Proctor Institute, Utica, New York, and illustrated in Masterpieces of American Furniture by Anna Tobin D’Ambrosio, page 99.

905

905 American Late Classical Mahogany Armoire, ca. 1850, with an ogee-molded cornice over a pair of doors with arched panels, raised on ogee bracket feet, h. 99”, w. 74”, d. 28”. [800/1200] Illustrated

909 Interesting Oil-on-Wood Panel, “Le Vieux Carre De La Ville”, mid-20th century, depicting the New Orleans harbor and a view of the French Quarter, with various armorials painted along the lower edge, h. 36”, w. 36”.

[1500/2500] Illustrated

906 Extensive French Hand-Painted Partial Dinner Service, mid-19th century, Limoges or Paris, decorated with hand-painted flowers and melon borders rimmed with bleu de roi and gilt rocaille, the set including a pair of covered tureens, dia. 9‑1/4”, a gravy boat and stand, h. 5‑3/4”, two platters, w. 15” and 18”, seventeen dinner plates, dia. 9‑1/4”, eleven salad/dessert plates, dia. 7‑1/4”, eight custard dishes, dia. 5‑1/4”, seven tea cups, h. 2‑3/4”, eight coffee cups, h. 2‑1/4”, ten saucers, dia. 5‑3/4”, and an odd lid. [800/1200] Illustrated

906

909

205

910

910 Civil War Era Capital and Field Surgical Sets Belonging to Doctor Theophilus, third quarter 19th century, each produced in Philadelphia, the brass-bound mahogany case including the capital set, which appears to be complete, the instruments stamped “Snowden”, for Snowden and Brother of Philadelphia (1832‑1872), h. 2‑1/2”, w. 17”, d. 9‑1/2”, the field set marked by D. W. Kolbe of Philadelphia (1851‑1878), with a pen and ink “T. H. Turner” label in the Fraktur style, w. 5‑1/2”, l. 10‑1/4”, and Turner’s signed copy of “The Principles of Comparative Physiology”, h. 9”, w. 6‑1/4”. [700/1000] Illustrated Turner started his military career as an “assistant surgeon by contract” at Fort Delaware, a federal prison.

In August 1864, he left to join the Army of West Virginia at Harrisonburg under General Crook. In 1866, he was assigned to Fort Lawrence, Kansas, where he was an amateur paleontologist, in addition to his military medical career. He made a major dinosaur discovery nicknamed “Dr. Turner’s Dragon” or “Thof’s Dragon”. He sent it home to the Pennsylvania Academy of Arts and Sciences where it remains on display as an important discovery.

911 American Renaissance Revival Burled Walnut and Walnut Double-Door Armoire, third quarter 19th century, the bonnet top flanked by finials, over a pair of arched paneled doors with shaped raised panels, the returns with like decor, on a base with a pair of drawers, on bracket feet, h. 102”, w. 64”, d. 24”. [1200/1800] Illustrated 911

206

912 Abraham Hulk the Younger (British, 1851‑1922), “Aldbury Park”, oil on board, signed and inscribed lower left, 22” x 18”. Framed. [700/1000] Illustrated 913 Carleton Wiggins (American, 1848‑1932), “Cattle in a Pasture by the Sea”, oil on canvas, signed lower left, 40” x 54”. Presented in a giltwood exhibition frame.

[3000/5000] Illustrated

914

913

914 Rudolph Helmut Sauter (British, 1895‑1977), “The Waning Moon, Tucson”, 1931, oil on canvasboard, signed and dated lower left, signed, titled, dated, and with old artist’s label en verso, 9‑1/2” x 13”. Framed. [500/800] Illustrated

912

207

915 915 Ida Marie Perrault (American, 1872‑1929), “Young Girl with Mimosas”, 1910, oil on canvas, signed and dated lower right, 18” x 14”. Framed. [1500/2500] Illustrated

917 918 Loran Speck (American, b. 1943), “Still Life with Figs”, oil on board, signed lower left, 9‑1/2” x 11‑1/4”.

Framed. [1000/1500] Illustrated

916 Nell Walker Warner (American, 1891‑1970), “The Sprigged Muslin Dress”, 1916, watercolor on paper, signed and dated lower right, 28” x 17‑3/4”. Matted, glazed and framed. [800/1200] Illustrated

919 William Constable Adam (American, 1846‑1931), “Pacific Grove, California”, oil on board, signed bottom center, 19” x 26”. Framed. [2000/4000] Illustrated 920 Victor Joseph Gatto (American, 1893‑1965), “Tigers in the Jungle”, oil on canvas, signed lower right, 25” x 30‑1/2”. Framed. [2000/4000] Illustrated

917 916 Walter M. Brackett (American, 1823‑1919), “The Big Catch, a Salmon on a River Bank”, 1878, oil on canvas, signed and dated lower right, 26” x 42”. Framed. Provenance: Sold Christie’s, London, October 1, 2013 as lot 121. [2500/4000] Illustrated

919

918

208

920

921

921

921

921

921 921 Twelve-Piece American Carved Oak Dining Set in the Rococo Revival Taste, fourth quarter 19th century, possibly by Alexander Roux, New York, and made for the Southern Market, including a round table with five leaves, h. 29”, dia. 62”, extended l. 155”, six sidechairs, h. 47”, w. 21”, two armchairs, h. 52”, w. 25”, a sideboard, h. 71”, w. 62”, d. 24”, a china cabinet, h. 63”, w. 50”, d. 15”, and a server, h. 50”, w. 56”, d. 19”. Provenance: From a French Quarter Estate. [5000/8000] Illustrated

209

922 Cut and Engraved Cobalt Cased Glass Pokal, probably Czechoslovakian, the baluster-cut base holding the cup, decorated with the arms of Russia, h. 20‑1/2”, dia. 6”. [800/1200] Illustrated

928 Pair of Bohemian Cranberry Glass Banquet Lamps, fourth quarter 19th century, decorated with enamel and gilt, the pontil-marked standards decorated with enamel beading and gilt vermicelli, with gilt grape leaves on the front, h. 19”, dia. 5”. [500/800] 929 American Late Victorian Mahogany and Curved Glass China Cabinet/Vitrine, ca. 1900, the carved crest with winged angels, h. 74”, w. 51”, d. 19”. [1200/1800] Illustrated 930 Pair of Continental Patinated Bronze Busts, fourth quarter 19th century, possibly depicting Henry Hudson and Giovanni da Verrazano, each wearing a laurel wreath and mounted on an ebonized wooden base, h. 18”, w. 9”, d. 8”.

[900/1200] Illustrated

923 Mauve Cased Cutto-Clear Bottle Vase, probably Czechoslovakian, the bulbous latticecut base supporting the cylindrical body, cut with leaves and flowers, h. 12‑1/4”, dia. 4‑1/4”.

[450/700]

931 Veryl Goodnight (American, b. 1947), “Preening”, 1978, bronze, signed, dated, and numbered “19/50” at underside of branch, on a shaped wood base, h. 8‑1/2”, w. 8”, d. 9”. [800/1200] Illustrated

924 922 Exceptional Bohemian Cut and Engraved Cased Ruby Glass Stein, fourth quarter 19th century, cut with thumbprints, seven of which are engraved with identified buildings, the others with scrollwork, flowers and animals, the pewter cover set with a porcelain plaque, h. 10‑1/2”, dia. 4‑1/4”. [500/800] Illustrated

932 Pair of American Cast Iron Garden Armchairs and a Pub Table, the chairs in the “Lyre and Rose” pattern, in production from about 1840 into the 20th century, h. 32”, the Victorian cast iron pub table with a circular marble top and masques atop the legs, h. 31‑1/4”, dia. 20”.

[800/1200]

925 Pair of BohemianStyle Engraved RubyStained Glass Pokals, engraved with deer in a landscape, the covers cut with bull’s eyes and engraved with scrolls, h. 13‑3/4”, dia. 4‑3/4”.

[600/900] 926 Pair of Bohemian Cut and Engraved RubyStained Glass Tazzas, fourth quarter 19th century, the trumpetform bases with low bowls, engraved with stags in landscapes and Gothic edges, h. 9”, dia. 7”. [600/900] 927 Pair of Bohemian 924 Neo-Grec Cranberry Glass Banquet Lamps, fourth quarter 19th century, etched with Greek keys and anthemia, and set with burners marked “Stobwasser, Berlin”, now electrified, base, h. 21”, overall, h. 26‑1/2”, dia. 6‑1/4”. [700/1000] Illustrated

210

927

933

929 933 Pair of Baccarat Molded Crystal Hurricane Lamps, ca. 1900, signed with molded signature on the base, the colorless base in a “snail”-type pattern, the green candle cup drip pans with molded cabochons and set with spearpoint prisms, the shades cut in a diamond thumbprint pattern, h. 24‑1/2”, dia. 5‑1/2”. [1200/1800] Illustrated

930

934 Pair of Bohemian-Style Mantel Lustres, early 20th century, enameled in pale green and cut to clear, decorated with enameled roses and hung with spearpoint prisms, h. 9”, dia. 5‑1/2”. [500/800]

931

211

935 American Rococo Revival Giltwood Mirror, mid-19th century, framed with rocaille and scrollwork, the richly ornamented pierced crest with cornucopias flanking a ho-ho bird, decorated with molded fruit, h. 68‑3/4”, w. 37”.

[1200/1800] Illustrated

935

936 939 American Gilt-Bronze-Mounted Mahogany TripleSection Bookcase, early 20th century, in the Empire taste, the mounts labeled “P. E. Guerin 744”, the frieze with avian bronze mounts, over three doors flanked by pilasters capped by a classical masque and with bronze feet at their base, h. 58‑1/2”, w. 72”, d. 17‑1/8”. [1800/2500] Illustrated P. E. Guerin has been in continuous operation since 1857 with a bronze foundry in New York City, providing mounts to the nation’s finest cabinetmakers.

936 American Renaissance Revival Pickled Fruitwood and Gesso-Decorated Marble-Top Side Table, fourth quarter 19th century, the circular white marble top set within a deeply molded picture frame surround and mounted to a base with three seated winged griffins, h. 31”, dia. 20”. [700/1000] Illustrated 937 Dresden Hand-Painted and Flower-Encrusted Porcelain Banquet Lamp, ca. 1888‑1901, marked with crossed swords and “T”, the mark of Carl Thieme, Potschappel, set with a signed “Handel” glass ball shade and electrified, h. 35‑3/4”, w. 8‑1/2”, d. 8‑1/2”.

[700/1000] 938 Pairpoint Reverse-Painted Table Lamp, early 20th century, New Bedford, Massachusetts, the tropical scenic “Seville” shade bearing “The Pairpoint Corp” stamp in gold and an artist’s signature “Hirshel”, the base signed “Pairpoint” and “E8000”, h. 27‑1/2”, dia. 16”. [1200/1800] Illustrated

212

938

939 940 Handsome Pair of Beaux Arts Cast Bronze TorchForm Sconces, first quarter 20th century, each torch fluted and trimmed with laurel and acanthus leaves, and set with an Argandstyle cut and etched glass shade, probably Pairpoint, h. 20‑3/4”, w. 6‑3/4”, d. 7‑3/4”. [500/800] Illustrated

942 one of a pair 942 Matched Pair of French Cast and Stamped Brass Hall Lights, late 19th century, each with three angels mounted along their rims and suspended with cast brass chains, formerly designed for oil, now electrified and fitted with later carnival glass flame shades, h. 27”, dia. 13”. [800/1200] Illustrated 943 American Late Victorian Embossed Brass FiveLight Chandelier, ca. 1900, fitted with mold-blown carnival glass shades, h. 26”, dia. 24”. [500/800]

940

941 American Cast Brass Eight-Light Chandelier, ca. 1900, decorated with molded leaves and terminating in a tassel finial, h. 24”, dia. 20”.

[500/800] 945

213

946 Interesting American Aesthetic Movement Stained Pine Umbrella/ Walking Stick Cabinet, fourth quarter 19th century, with leaf- and vine-carved details, the top fitted with a hinged lid opening to a glove box, and a pair of cabinet doors in the front for cane and umbrella storage, probably originally ebonized, h. 53”, w. 19”, d. 13‑1/2”. [600/900] 947 Quezal Silver Overlay Gold Iridescent Glass Vase, ca. 1901‑1924, New York, signed “Quezal” over a scroll, the floriform overlay probably Alvin, h. 8”, dia. 4”. [700/1000] Illustrated 948 944 French Gilt-Metal Hall Chandelier, early 20th century, fitted with later blue/purple iridescent art glass shades, h. 39”, dia. 16”. [600/900]

948 Thomas Hart Benton (American, 1889‑1975), “Homecoming - Kaw Valley 1951”, lithograph, signed and titled in plate, together with a letter dated October 13, 1951 from Benton to a member of Congress, lithograph sight 12‑1/2” x 15‑1/2”. Letter and lithograph glazed, matted and framed together. [800/1200] Illustrated

949 947

945 American Victorian Horn Settee, fourth quarter 19th century, the steer horns joined to support a central steer-head-shaped back cushion, with upholstered seat and flaring horn legs, h. 38”, w. 56”, d. 23”. [1200/1800] Illustrated

214

949 Thomas Hart Benton (American, 1889‑1975), “Sunset”, 1941, lithograph, pencil-signed lower right and titled lower left, sight 10‑1/2” x 14”. Matted, glazed and framed. [800/1200] Illustrated 950 Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Elks Lodge”, ink and watercolor on paper, unsigned, sight 20‑1/4” x 13‑1/4”. Matted, glazed and framed. To be sold for the benefit of the Ogden Museum of Southern Art. [600/900] Illustrated

952 Albert Hirschfeld (American, 1903‑2003), “Vladimir Horowitz”, lithograph, signed in pencil lower right, numbered lower left “23/100”, sight 17‑7/8” x 17”. Glazed, matted and framed. [500/800] Illustrated

950 951 Sadie Irvine (American/New Orleans, 1887‑1970), “Ruth Bultmann”, ca. 1930, woodblock print, sight 11” x 8”.

Matted, glazed and framed. To be sold for the benefit of the Ogden Museum of Southern Art. [600/900] Illustrated

952 953 Wayne Thiebaud (American, b. 1920), “Cherry Cakes”, 1979, etching and aquatint, from “Recent Etchings II”, pencilsigned and dated lower right, numbered “37/50”, published by Parasol Press, New York, sight 18” x 26”. Matted, glazed and framed. [4000/7000] Illustrated

953 951

215

958 Jose Maria Cundin (Spanish/Louisiana, b. 1938), “Angel in a Pink Dress”, 1986, oil on panel, signed and dated lower right as well as en verso, 4” x 5”. Presented in a carved and hand-painted frame. [800/1200] Illustrated

954 954 Allison Stewart (American/Louisiana, b. 1941), “Shrine II”, 1992, triptych, mixed media on paper, with an “Arthur Roger Gallery” label en verso, 30” x 40”. Glazed and framed. [1000/1500] Illustrated 955 Jean Geraci (American/Louisiana, Contemporary), “Untitled”, collage and mixed media on paper, signed lower right, sight 26” x 38”. Glazed and framed. [500/800] Illustrated 956 959 Jose Maria Cundin (Spanish/Louisiana, b. 1938), “Portrait of a Woman Wearing a Hat”, oil on panel, signed upper right, 4” x 5”. Presented in a carved and handpainted frame. [800/1200] Illustrated

955 956 Zella Funk (American/Louisiana, 1917‑2009), “Odalisque”, 1990, mixed media on canvas, signed and dated lower right, titled lower left, 46” x 48”. Framed.

[1000/1500] Illustrated 957 Maria Scotti (American, 1942‑2012), “Catch” (Woman & Child), mixed media on paper, verso with a “Sylvia Schmidt Gallery” label, 44” x 33”. Glazed, gallery float mounted, matted and framed. [700/1000] Illustrated

957

216

962 Reverend McKendree Robbins Long (American/ North Carolina, 1888‑1976), “Red Lady Standing with Flower Arrangements”, oil on canvas board, signed lower left, 20” x 9”. Framed. Exhibited: Weatherspoon Gallery, University of North Carolina at Greensboro, 1984‑97. To be sold for the benefit of the Ogden Museum of Southern Art. [800/1200] Illustrated

958

959 960 Robert Gordy (American/Louisiana, 1933‑1986), “Hesperides”, 1972, silkscreen, pencil-signed lower right and numbered “86/100” lower left, 21” x 29”. Matted, glazed and framed. [500/800] 961 Robert Gordy (American/Louisiana, 1933‑1986), “Study for River Bathers I”, color silkscreen, signed lower left “R. Gordy”, numbered lower right “54/65”, sight 20‑3/4” x 20‑3/4”. Glazed and framed. [500/800]

962 963 Josephine Sacabo (American, b. 1944), “El Cemeterio”, 1997, silver gelatin print, from the “El Mundo Inalcanzable de Susana San Juan” series, edition of 25, 18‑1/2” x 14‑3/4”. Matted, glazed and framed.

Provenance: A Gallery for Fine Photography, New Orleans, Louisiana. [500/800]

217

964 964 R.C. Davis (American/New Orleans, b. 1950, Richard Christopher), “St. Charles Avenue”, 2014, oil on board, signed and dated lower right, 15” x 24”. Framed.

[1000/1500] Illustrated 965 R.C. Davis (American/New Orleans, b. 1950, Richard Christopher), “Canal Street”, 2014, oil on board, signed and dated lower right, 15” x 24”. Framed. [1000/1500]

966

968 (1 of 2) 966 Adrian Deckbar (American/Louisiana, b. 1950), “View of Sorrento: Twilight”, pastel on paper, signed lower right, sight 37‑1/2” x 29‑1/2”. Glazed, matted and framed. [600/900] Illustrated

969 967 Vera Wise (American/Texas, 1892‑1978), “California Pines”, 1964, watercolor on paper, signed and dated lower right, image 14” x 21‑1/2”. Matted, glazed and framed. To be sold for the benefit of the Hartford Community Center, Hartford, Alabama. [700/1000] Illustrated 968 Christopher Inglis Stebly (American/Mississippi, b. 1967), “Houdini” and “Banana Plant”, 2002, two watercolors on paper, both signed and dated lower right, sheet size 14‑1/2” x 11” and 8‑1/4” x 10‑3/4”. Both glazed, float mounted, matted and framed. [1000/1500] Illustrated 969 George Dureau (American/Louisiana, 1930‑2014), “Male Nude Within a Rondel”, charcoal on paper, signed lower center “Dureau”, sight 39” x 35”. Glazed, handsomely matted and framed. [1500/2500] Illustrated

967

218

970 Francois-Raoul Larche (French, 1860‑1912), “Loie Fuller”, ca. 1900, gilt-bronze lamp, cast signature and a “Siot. Decauville. Paris” foundry mark on base, wired, h. 17‑1/2”, w. 9”, d. 7”.

[10000/15000] Illustrated

219

971

971 971 Three-Piece American Art Nouveau-Style Mahogany Bedroom Suite, ca. 1900, attributed to Karpen Furniture Company, consisting of a high-back bedstead, h. 68”, inside, w. 57”, l. 75”, outside, w. 65”, l. 80”, a mirrored dressing bureau, h. 76”, w. 62”, d. 28”, and a mirrored tall chest, h. 81”, w. 41”, d. 24”, all featuring carved female figures and acanthus details. [2500/4000] Illustrated

972 Art Nouveau Mahogany Two-Tiered Table, late 19th century, the graduated turtle-form tiers with inlaid foliage patterns, raised on cabriole legs ending in upturned molded feet, h. 33”, w. 37”, d. 27”. [800/1200] 973 Rachel Marshall Hawks (American, b. 1879), “Dancer”, patinated bronze, cast signature, “Roman Bronze Works Inc, N.Y.” foundry mark along edge of base, h. 20”, w. 9‑1/2”, d. 7‑1/2”.

[1500/2500] Illustrated

973

974 Galle Cameo Glass Vase, first quarter 20th century, French, decorated with oak leaves and acorns, signed “Galle” in cameo, h. 4‑3/4”, dia. 5‑1/2”.

[500/800] Illustrated 975 Unusual Continental Art Nouveau Patinated and Parcel-Gilt Table Lamp and Stand, ca. 1900, depicting a heron standing under water amid intertwined aquatic plants, a lily pad, adjacent to his head, serving as the table, the central plant stalk set with a light socket concealed in a flowerhead, h. 91”, w. 25”, d. 16”. [1500/2500] Illustrated 974

971

220

976 French Sterling Silver-Clad Art Glass Vase, ca. 1900, possibly Daum, the Art Nouveau silver exterior with a partially illegible mark, the glass in a matte finish and trimmed in gilt, h. 5‑1/4”, dia. 3‑3/4”.

[500/800] Illustrated

975

979 Pair of Swedish Functionalist Era Modernist Birch Armchairs, second quarter 20th century, upholstered in taupe ultrasuede, h. 33‑1/4”.

Provenance: Svenska Mobler, Chicago, Illinois.

[1200/1800] Illustrated 980 Swedish Mixed Woods Functionalist Era Table, 977 second quarter 20th century, in the Biedermeier taste, the circular top with a sunburst inlay and raised on a columnar standard to a circular base above three ebonized feet, h. 24”, dia. 29‑3/4”. Provenance: Svenska Mobler, Chicago, Illinois. [700/1000] Illustrated 979

977 Luigi Corbellini (Italian, 1901‑1968), “Le Petit Oiseau”, oil on canvas, signed lower left, verso with a “Findlay Galleries” label, 24” 15”. Framed. [800/1200] 978 Handsome Blown and Cut Crystal Cylindrical Vase in the Japonesque Taste, ca. 1900, possibly French, the bamboo-form vase cut with bamboo leaves and flowering plum branches, with a ground pontil base, h. 11‑3/4”, dia. 4”. [450/700] Illustrated

976

980

221

983 Erte (Romain de Tirtoff, Russian/French, 1892‑1990), “Heat”, 1989, cold-painted and patinated bronze, cast signature at edge, dated, numbered “8/375” and inscribed “Chalk and Vermilion and Seven Arts”, on a square black base, h. 19”, w. 12‑1/2”, d. 6‑1/2”.

[700/1000] Illustrated

981 981 Art Deco Mahogany and Upholstered Sofa, early 20th century, the padded and domed back joined by padded sides and urn-pierced uprights to the cushioned seat, raised on molded tapering square legs, h. 37‑1/2”, w. 68”, d. 31”.

[500/800] Illustrated

985

984 Unusual French Gilt-Bronze, Ruby Glass and Mahogany Bed Tray, ca. 1900, in the Louis XVI style, the pierced, tapered legs holding the mahogany frame set with a ruby glass top, h. 10‑1/4”, w. 22‑3/4”, d. 11‑1/4”.

[700/1000]

982

983

222

982 Imposing Suite of Four Art Deco Leather and Oak Chairs, second quarter 20th century, each with a tall back on tapering stiles, with a carved spray of wheat at the base, the shaped tapering front legs with a single board running the length of each side, the front face of the rear legs similarly adorned, the underside of each chair with the impressed stamp “MAE”, followed by four digits, h. 49”. [1500/2500] Illustrated

986

985 Fine Art Deco Figured Mahogany and Marble-Top Cabinet, second quarter 19th century, probably French, the rectilinear inset brescia marble top with canted corners, over a conforming case with a pair of doors in plum pudding veneer, raised on tapering legs, h. 40‑1/2”, w. 47”, d. 17‑3/8”. [600/900] Illustrated

988 Ismael Guardado (Mexican, b. 1942), “Danza de Arcos”, 1984, acrylic on paper, signed and dated lower right, 30” x 22”. Glazed, float-mounted and framed.

Provenance: Carmen Llewellyn Gallery, New Orleans, Louisiana. [800/1200] Illustrated

987 986 Pair of Contemporary Alabaster Lamps, fourth quarter 20th century, with pyramidal-form alabaster shades, each lamp with double sockets lighting the base interior, h. 23”, w. 12”. [800/1200] Illustrated 987 Ismael Guardado (Mexican, b. 1942), “Mujar Sacado la Lenguna”, 1984, acrylic on paper, signed and dated lower right, 30” x 22”. Glazed, float-mounted and framed.

Provenance: Carmen Llewellyn Gallery, New Orleans, Louisiana. [800/1200] Illustrated

990 989 Leonardo Nierman (Mexican/American, b. 1932), “Abstract with Red”, 1965, oil on board, signed and dated lower left, 16” x 24”. Mounted and framed. [800/1200] 990 Leonardo Nierman (Mexican/American, b. 1932), “Night Flight”, acrylic on board, signed lower left, titled en verso, 24” x 16”. Handsomely framed. [800/1200] Illustrated 991 Mississippi Studio Furniture Ebony-Strung Console Table, ca. 2000, designed and crafted by Stuart True, the shaped plank top revealing the ebony-strung frame, with tapering legs, probably birch, h. 31‑3/4”, w. 89”, d. 17‑1/2”. Provenance: Southside Gallery, Oxford, Mississippi. [500/800] Illustrated

991

988

223

994

995 Alvar Sunol Munoz Ramos (Spanish, b. 1935), “Woman with Bird”, bronze, signed and numbered “18/300” at edge, on a black resin base, h. 9‑1/2”, w. 5‑3/4”, d. 5”. [500/800] Illustrated 996 Alvar Sunol Munoz Ramos (Spanish, b. 1935), “Barcelona”, 1977, a suite of six lithographs with embossing, three sheets of text and a title page, edition “XLII/LX”, published by “Perspective”, sheet size 29‑1/2” x 22”. Presented in a custom burgundy linen-covered portfolio box. [800/1200] Illustrated

992 American Art Deco Iron Caduceus, second quarter 20th century, incised detailing to wings and entwined snakes, with original mounting brackets, 52‑3/4” x 51”.

[800/1200]

995

996

997 Alvar Sunol Munoz Ramos (Spanish, b. 1935), “Alhambra”, 1978, a suite of six lithographs with embossing, seven sheets of text and a title page, edition “139/225”, published by “Perspective, Etc.”, sheet size 29‑1/2” x 22”. Presented in a custom khaki linen-covered portfolio box. [800/1200] Illustrated

997

993 Alvar Sunol Munoz Ramos (Spanish, b. 1935), “Tete de Torero”, composition sculpture, signed and numbered “29/300” at edge, h. 12‑1/2”, w. 9‑1/2”, d. 5”. [500/800] 994 Alvar Sunol Munoz Ramos (Spanish, b. 1935), “Mother and Bird”, bronze, signed and numbered “29/300” at edge, on a black resin base, h. 9”, w. 6‑1/4”, d. 6‑1/2”.

[500/800] Illustrated

224

998 Tibetan Carpet, 9’ x 12’. [2500/4000] Illustrated 999 Scandinavian Modern Design Runner, 2’ 10” x 17’ 7”.

[700/1000]

1001 Jacques Villon (French, 1875‑1963), “L’Italienne”, 1926‑1927, etching with aquatint, after Amedeo Modigliani (Italian, 1884‑1920), pencil-signed “Jacques Villon”, numbered “20/200” and blindstamped lower left, stamped “Modigliani” signature lower right, sight 21” x 13”. Glazed, matted and framed. [1500/2500] Illustrated

998 1000 Shin’ichi Nakazawa (Japanese, b. 1956), group of three foil-enhanced etchings, including “Take Five”, numbered “30/45”, “A Double Meaning”, numbered “26/45” and “Longitude I”, numbered “12/20”, each pencil-signed lower right with artist’s blind-stamp and titled bottom center, first two sight 10‑3/4” x 9‑1/2”, third 19” x 18‑1/2”. All matted, glazed and framed. [500/800] Illustrated

1000 one of three

1001 1002 Reimond Kimpe (Belgian, 1885‑1970), “Untitled”, oil on canvas, signed lower left, 21‑1/4” x 16‑1/4”. Framed.

[2000/4000] Illustrated

1002

225

1003 Orient and Flume Iridescent Art Glass Trumpet Vase, post 1972, Chico, California, decorated with blue dahlias, and signed by artist Bruce Sillars, retaining its paper label, h. 13”, dia. 5‑1/2”.

[700/1000] Illustrated 1004 Pair of Contemporary Macassar EbonyStained and Suede Armchairs, one retaining the paper label of “Thonet”, each with a shaped and pleated back cushion, tufted seat and bentwood arms joined to a frame with square legs, h. 31”.

[800/1200] Illustrated

1006 1008 After Gilbert Poillerat (French, 1902-1988), wrought iron and gilt tÔle mirror, h. 65”, w. 37”. [3000/5000] Illustrated 1003

1009 Pair of Continental Wrought Iron Dragon Andirons, 20th century, in the manner of Edgar Brandt, h. 15‑1/2”, w. 9‑3/4”, d. 19”. [500/800]

1004

1005 Mario DeNoto (American, Contemporary), “Pure Form #1”, tooled marble abstract sculpture, signed “DENOTO” on bottom edge, on a gray marble plinth, h. 18‑1/2”, w. 8”, d. 4‑3/4”. [800/1200] Illustrated 1006 Henry Moore (British, 1898‑1986), “Four Sheep Grazing”, etching, pencil-signed lower right, numbered “18/30” lower left, sight 9‑1/2” x 14‑3/4”.

Matted, glazed and framed.

[800/1200] Illustrated 1007 Bronze Flamingo-Form Floor Lamp, the flamingo modeled standing in a clump of grass, a lamp mounted on his neck, h. 64‑3/4”, w. 28”, d. 15”.

[450/700]

226

1005

1008

1010 1010 John Richard, Greenwood, Mississippi, Argente and Mirrored Glass “Eglomise” Buffet, late 20th century, of breakfront form, the projecting center with a deep foldout drawer opening to form a writing surface backed by a fitted interior, over a bank of three drawers and flanked by a drawer over a door, the mirror plates lightly distressed by design, h. 39”, w. 60”, d. 18”. [700/1000] Illustrated

1012

1011 After Pierre Jeanneret le Corbusier (1887‑1965), a tubular steel and leatherette “LC2” settee for two, with quilted back and seat cushion, h. 32”, w. 59”, d. 32”.

[600/900] Illustrated

1011

1012 Rock Crystal Table Lamp, composed of rock crystals on a footed wooden base, fitted with a shade, base, h. 20”, overall, h. 34”, dia. 17”. [1800/2500] Illustrated

1014

1013 Deborah Crosby (American/New Orleans, Contemporary), “Rough Seas”, 2005, oil on canvas, signed lower right, 18” x 24”. Framed. [800/1200] 1014 Lisa Conrad (American/Louisiana, Contemporary), “Girl in Tide Pool”, 2014, color photograph, signed and dated en verso, 36‑1/2” x 43”. Glazed and presented in a brushed aluminum frame. [1400/1800] Illustrated 1015 Lisa Conrad (American/Louisiana, Contemporary), “Boys with Shark”, 2014, color photograph, signed and dated en verso, 40‑1/2” x 47‑1/2”. Glazed and presented in a brushed aluminum frame. [1500/2500] Illustrated

1015

227

1016 (one of two) 1016 Lev Meshberg (Ukrainian/New York, 1933‑2007), “Quiet Evening” and “The Autumn Walk”, 1986 and 1987, two watercolors on paper, both signed and dated lower right, the latter with a “Bowles/Sorokko Galleries” exhibition sheet en verso, sheet size 11” x 13‑3/4” and 18” x 13”. Both glazed, float mounted, matted and framed.

[1000/1500] Illustrated 1018

1020 Suite of Four Tubular Steel and Enameled Dining Chairs, late 20th century, each of barrel form, with shaped back and seat, the arms encircling the back rest, h. 30”. [1000/1500] Illustrated

1019

1017 1017 Lev Meshberg (Ukrainian/New York, 1933‑2007), “Artist and His Muse”, oil on canvas, signed, titled and dated en verso stretcher, 51” x 59”. Framed. [3000/5000] Illustrated 1018 Frederick Elliott Hart (American, 1943‑1999), “The Lovers”, 1991, acrylic resin, inscribed signature, dated, and numbered “285/350” at edge, h. 19‑1/2”, w. 10”, d. 6‑3/4”. [2500/4000] Illustrated 1019 Pair of Lalique “Bagatelle” Vases and a Pair of “Mesanges” Candlesticks, each marked “Lalique France”, the vases depicting bowers with birds, h . 6‑3/4”, and the candlesticks depicting birds in a pierced wreath, h. 6‑3/4”. [500/800] Illustrated

228

1020

1023 Pair of Mies van der Rohe, Polished Steel “Brno” Chairs, by Knoll International, h. 22”, w. 22‑1/2”, d. 21”.

[800/1200] Illustrated

1021

1022

The chair was originally designed for van der Rohe’s iconic Tugendhat House, Brno, Czech Republic.

1024 Pedro Friedeberg (Mexican, b. 1936), “Nietzche’s Last Picnic”, 1969, oil, pen and ink on board, signed and dated “MCMLXIX” mid-right, 15” x 20”. Glazed and framed.

Provenance: Glade Gallery, New Orleans, Louisiana.

[1500/2500] Illustrated

1023

1021 (detail) 1021 Helmut Newton (German/California, 1920‑2004), “SUMO”, London: Taschen, 1999; signed and numbered limited edition 5,295/10,000; edited by June Brunell Newton (b. 1923), atlas folio, photograph-printed cloth boards with blue endpapers, 464 pages, 27‑3/4” x 20‑1/4”, being a collection of the artist’s iconic works from his various photographic disciplines including portraiture, fashion and erotica, presented on the original chromed metal folding bookstand designed by Philippe Starck (b. 1949), 29‑3/4” x 20‑1/4” x 23‑1/4”. [3000/5000] Illustrated 1022 Philip and Kelvin LaVerne ( American, 1907‑1987 and b.1937), “Chan” Side Table, 1960’s, the acidetched and patinated bronze and pewter abbreviated oval top raised on a hexagonal bronze-sheathed base, signed: “P. K. LaVerne”, h. 18”, w. 19‑3/4”, d. 18‑3/4”.

[1500/2500] Illustrated 1024

229

1027 Carlos Merida (Guatemalan, 1895‑1984), “Cielos Luminicos”, 1941, color screenprint, pencil-signed lower right and numbered “96/100” lower left, sight 23‑1/4” x 18”. Glazed and framed. [700/1000] Illustrated

1025 1025 Pedro Friedeberg (Mexican, b. 1936), “Untitled”, silkscreen in colors, pencil-signed bottom right, numbered “98/175” lower left, 22‑3/4” x 22‑3/4”. Matted, glazed and framed. [600/900] Illustrated

1027 1028 Rogelio Polesello (Argentine, b. 1939), “Surmandalismo”, 1971, silkscreen, pencil-signed, titled and numbered “82/100” along bottom edge, 30” x 22‑1/4”.

Unframed. [500/800]

1026 1026 Fernando de Szyszlo (Peruvian, b. 1925), “Untitled”, silkscreen in color, pencil-signed and numbered “82/100” lower left, 30” x 22‑1/4”. Unframed. [700/1000] Illustrated 1029

230

1032 Wook Kyung Choi (Korean, 1940‑1985), “Stop Segregation”, 1968, ink on blue paper, signed and with artist’s seal at upper right, 18” x 24”. Matted, glazed and framed.

Provenance: Estate of the artist. Published: National Museum of Modern Art, “W. K. Choi”, Seoul, 1987, no. 20, p. 50.

[1500/2500] Illustrated Stirred by the assassination of Martin Luther King, Jr. in April of that year, this work attempts to articulate the grief and pain of generations of oppression.

1031 1029 Sol LeWitt (American, 1928‑2007), “Untitled”, 2008, serigraph, silkscreen print, signed and numbered “66/108” lower right, verso with a “Galerie Simonne Stern” label, 39” x 45‑3/4”. Glazed, matted and framed. [1500/2500] Illustrated

1034

1032 1030 Omar Rayo (Colombian, 1928‑2010), “La Pasion”, embossed print, pencil-signed and numbered “7/20” and titled lower left, 30” x 22”. Matted, glazed and framed.

[500/800] 1031 Wook Kyung Choi (Korean, 1940‑1985), “Untitled”, 1979, graphite on paper, signed and dated lower middle, 5” x 8‑1/4”. Matted, glazed and framed. Provenance: Estate of the artist. [500/800] Illustrated

1033

1033 Wook Kyung Choi (Korean, 1940‑1985), “A Party on Saturday”, 1966, acrylic on board, signed and dated lower right, 16‑1/8” x 21‑7/8”. Framed. Provenance: Estate of the artist. Literature: Gallery Hyundai, Seoul, 1996, illustration plate #53. [3000/5000] Illustrated 1034 Wook Kyung Choi (Korean, 1940‑1985), “The Three Rapports”, 1966, oil on canvas, signed and dated, artist label en verso from the “Brooklyn Museum Art School Exhibition”, 54” x 70”. Provenance: Estate of the artist. Exhibited: Brooklyn Museum of Art, 1966. [4000/7000] Illustrated 1035 Ken Kelly (American, b. 1955), “Yarn”, oil and acrylic on canvas, signed, titled and dated en verso, verso stretcher with a “Greg Kucera Gallery” label, 48” x 42”.

Provenance: Greg Kucera Gallery, Seattle, Washington.

[1000/1500] Illustrated 1035

231

1036 Gregory C. Palmer (American/Texas, 20th Century), “Nameless Days”, 1969, oil on canvas, signed, dated and titled en verso canvas, 46” x 40”. Exhibited: 13th Annual Delta Art Exhibition, Little Rock, Arkansas. [800/1200] Illustrated

1038 Pierre Doutreleau (French, b. 1938), “Third and Down”, 2003, oil on canvas, signed lower right, titled en verso on stretcher, dated en verso canvas, 51” x 77”.

Unframed. [2000/4000] Illustrated

1038 1039 William Ludwig (American/New Orleans, 1935‑2011), “Transformation”, 1976, bronze, signed and dated at edge, numbered “3095” and “22”, on a carved wooden plinth, overall, h. 27”, w. 11‑1/4”, d. 8”.

[800/1200] Illustrated

1036 1037 Mihail Chemiakin (Russian/American, b. 1943), “Still Life with Oyster Shells”, 1986, mixed media on canvas, signed and dated middle right and lower left, verso with a “China Basin Designs” label, 18” x 18”. Handsomely framed. [1000/1500] Illustrated

1039

1040 Allen Wynn (American/Contemporary), “Fisherman with Spear”, mixed media sculpture, artist’s monogram in red, h. 84”, w. 13‑1/2”, d. 13‑1/4”. Provenance: D.O.C.S. Gallery, New Orleans, Louisiana. [3000/5000] Illustrated 1037

232

1041

1041 Jean-Jacques Gaudel (French/Alabama, b. 1946), “Nubian Princess/Salome”, automaton sculpture, carved cedar, cast iron head, feet and hands, inset glass eyes, and brass fittings, from the “Dummies with Souls” series, h. 66”, w. 15”. [4000/7000] Illustrated

1040

1042 Richard Johnson (American/Louisiana, b. 1942), “Green Goddess”, 1985, acrylic on canvas, signed, dated and titled verso canvas, verso stretcher with “Galerie Simonne Stern” label, 48” x 52”. Framed. [2500/4000] Illustrated

1042

233

1044 1043 Erin Currier (American/ Taos, b. 1975), “Victoria Claflin Woodhull”, mixed media, a “Parks Gallery/ Taos, NM” label en verso, 24” x 12”. Framed. [800/1200] Illustrated 1044 Jay Phillips (American, 1954‑1987), “Sycamore”, 1983, enamel on aluminum triptych, signed, titled and dated en verso, verso with a “Roy Boyd Gallery” label, 60” x 144”. Provenance: Roy Boyd Gallery, Chicago, Illinois. [4000/7000] Illustrated 1043 1045 Frank Piatek (American, b. 1944), “Untitled”, 1993‑1998, acrylic on canvas, signed and dated en verso, verso canvas with a “Klein Art Works, Chicago, IL” gallery label, 70” x 72”. [3000/5000] Illustrated

1045

1046 Robert Kinsell (American, Contemporary), “Regulated”, 1997, oil and acrylic on canvas, signed and dated lower left and en verso canvas, titled on a gallery label en verso stretcher, 40” x 40”. Framed. [600/900] 1047 Japanese Writing Desk, Meiji Period (1868‑1912), the surface carved with Mt. Fuji, dragons, waves, iris and chrysanthemums, with dragon-shaped feet, h. 52”, w. 36”, d. 25”. [800/1200] Illustrated 1048 Japanese Gilt and Lacquer Tonsu, probably Taisho period (1912‑1926) to Showa period (1926‑1989), the wooden etagere with gilded lacquer cabinets, the gilded sliding cabinet doors decorated on both sides, the outside with a motif of peacock feathers and maple leaves, h. 44‑1/2”, w. 14‑3/8”, l. 38”. [600/900] Illustrated

234

1047

1051 1049 Japanese Two-Fold Screen, late Meiji period (1868‑1912) to Taisho period (1912‑1926), the two-fold screen with a patchwork of Kimono fabric on gilt paper, overall, h. 56‑3/4”, w. 49”. [450/700]

1050

1048

1050 Japanese Six-Fold Screen, Kano School (16th-19th century), late Edo period (1615‑1868), the screen depicting a pair of cranes along a river bank, composed of mineral pigments on gold leaf on paper, h. 67‑1/2”, overall, l. 96”. [800/1200] Illustrated 1051 Pair of Japanese Six-Panel Folding Screens, late 19th/early 20th century, the two heavily gilded screens in the Tosa School style (14th-19th century), depicting the Gion Festival in the streets of Kyoto, ink, color and gilt on mounted paper, each screen, h. 68”, w. 150‑3/4”.

[2000/4000] Illustrated 1052 Japanese Wedding Kimono, early/mid-20th century, the quilted silk robe with woven gold threads, embroidered with pine motifs, the interior with red lining, w. 50”, l. 70”.

[500/800] Illustrated

1052

235

1055 Japanese Takatori Ware Vase, Edo period (1615‑1868), probably 18th century, the small gourdshaped brown and black glazed vessel with flowering prunus limbs, h. 8‑3/4”, dia. 3‑5/8”. [800/1200] Illustrated

1053 1053 Japanese Lacquer Tray, late Edo period (1615‑1868) / early Meiji period (1868‑1912), the rectangular tray with a motif of pine and prunus trees along a lake, the outside of the tray adorned with swirling gilded clouds, building walls and plant limbs, the underside in black lacquer with scattered gold flecks, h. 2‑1/2”, w. 10‑1/4”, l. 13”.

[450/700] Illustrated

1054

The Takatori kilns were the official potters for the Kuroda daimyo from the 17th century and for nine generations.

Known for fine tea wares like this piece, Takatori ware represents a valuable contribution to Japanese history and material culture.

1055

1056 Two Japanese Satsuma Vases, probably early 20th century, now mounted as lamps, each vase depicting a procession of immortals, vase, h. 19‑1/4”, overall, h. 36”, dia. 8”. [1500/2500] Illustrated 1057 Pair of Kutani Vases, probably late Meiji period (1868‑1912), the two baluster-form vases with flared mouths and elephant lugs, now mounted as lamps, the undersides inscribed with Kutani kiln marks and the artist’s signature, not drilled or cut, vase, h. 14”, overall, h. 24‑1/2”, w. 8”. [700/1000]

1056

1054 Japanese Porcelain Figure of a Peacock, probably late Meiji period (1868‑1912) to Taisho period (1912‑1926), the gilded and enameled porcelain figure standing on a rock overlooking a pine tree and stream, the underside unmarked, h. 13‑1/2”, w. 7”. [1200/1800] Illustrated

236

1058 Pair of Japanese Kutani Lidded Vases, probably 19th century, the two ovoid bodied Kutani vases with scalloped mouths, each lid with a knop depicting a seated drummer, drilled and bolted to gilt-brass mounts, h. 22”, dia. 8”.

[1000/1500] Illustrated

1062 Pair of Dutch Mahogany and Marquetry Sidechairs, late 18th century, each with a domed crest above a shaped splat, the padded seat raised on cabriole legs ending in pad feet, the whole with elaborate marquetry inlays in floral, avian and figural patterns, h. 41‑1/2”. [550/800] Illustrated

1058

1063 George III Mahogany Tripod Table, late 18th century, the tilting circular top above a birdcage support on an acanthinecarved vasiform standard, to three splayed cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 29”, dia. 35‑1/2”.

[500/800] Illustrated

1059 Dutch Marquetry Tantalus, first quarter 19th century, set with Regency carrying handles, the interior lined with watered silk, h. 14”, w. 12”, d. 9”. [700/1000]

1061

1062

1060 Dutch Mahogany and Marquetry Games Table, mid19th century, the hinged rounded rectangular top with an inlaid foliate, avian and urn inlay, opening to a baizelined gaming surface and inlaid with gaming patterns, raised on a reeded columnar standard to a concave base to in-scrolled feet, h. 30”, w. 33”, d. 16‑1/2”. [1800/2500] Illustrated

1060

1061 Flemish Baroque Tortoise and Brass Looking Glass, fourth quarter 17th century and later, the oak back with an unusual hinged brace allowing removal of the plate, h. 19”, w. 16‑1/2”. [2000/4000] Illustrated

1063

237

1064 George III-Style Mahogany and Marble-Top Demi-lune Cabinet, the demi-lune marble top above a conforming case fitted with a single drawer and with patera and swag inlays, above two cupboard doors, quarterveneered and with decorative inlay, raised on cabriole legs to scrolled toes, h. 33‑1/2”, w. 42‑1/2”, d. 19‑1/2”.

[1000/1500] Illustrated

1066

1066 George III-Style Mahogany Bowfront Sideboard, late 19th century, the brass rail with urn-form finials, above a bowed top with an inlaid scrolling foliate band over a conforming case fitted with a cutlery drawer over a recessed deeper drawer, flanked to either side by a cupboard door, the whole with decorative scrolling foliate patterns, raised on tapering square legs ending in spade feet, h. 53”, w. 76‑1/2”, d. 29‑1/2”. [2000/4000] Illustrated

1064

1065 Chinese Export Rockefeller Palace Ware Dinner Plate, ca. 1800, with panels of rose decoration on a gilt ground, with alternating birds and flowers in the border, the center painted with figures at leisure, dia. 9”.

[450/700] Illustrated

1067

1067 Suite of Twelve George III-Style Mahogany Dining Chairs, in the Hepplewhite Taste, early 20th century, consisting of two armchairs and ten sidechairs, each with a shield-form back with reeded foliate spindles emanating from a lower foliate sunburst pattern, the padded seat raised on tapering square legs ending in spade feet, h. 38”.

[1500/2500] Illustrated

1065

238

1068 Pair of Chinese Export Cut-Corner Vases, probably Qianlong period (1736‑1795), the two hexagonal vases with reserves depicting genre scenes with figures, with gilt edges and borders, in a famille rose palette, h. 11‑1/2”, dia. 5‑1/2”. [2000/4000] Illustrated

1070

1068 1069 English Handsomely Carved Giltwood Mirror in the Chippendale Taste, 20th century, framed with pierced scrollwork and rocaille ornament, the beveled oval plate flanked by a pair of ho-ho birds, the top with a pagodastyle finial, h. 53”, w. 34”. [1500/2500] Illustrated 1070 Suite of Six George III-Style Mahogany Sidechairs, late 19th century, each with a padded rectangular back above a padded seat, raised on square legs joined by an H-form stretcher, h. 40”. [1200/1800] Illustrated

1071 George III Pine Breakfront Bookcase, fourth quarter 18th century, in the Adam taste, the molded and dentillated broken pediment, above a frieze with applied patera and bellflower patterns, over four astragal-glazed doors, the lower section consisting of four cabinet doors, each inset with an oval panel and with corner patera mounts, the whole raised on ogee-molded bracket feet, h. 118”, w. 111”, d. 26”. [8000/12000] Illustrated 1072 George II-Style Carved Deal Mirror, third quarter 19th century, the gadrooned surround set with a carved crest of a shell framed with leaves, h. 40‑1/2”, w. 39”. [800/1200]

1069

1071

239

1073

1073 Extensive Assembled Spode “Indian Tree” Earthenware Dinner Service, 20th century, English, hand-painted on a transfer-printed ground, with various dates and marks, including twelve dinner plates, dia. 10‑1/2”, fourteen large rim soup plates, dia. 8‑3/4”, twenty-two salad/dessert plates, dia. 7‑3/4”, twenty-two bread and butter plates, dia. 6‑1/4”, twelve cream soup bowls and underplates, h. 2”, dia. 7”, ten rim soup plates, dia. 7‑3/4”, eleven fruit/dessert bowls, dia. 5‑1/4”, six demitasse cups and saucers, h. 2”, dia. 4‑3/4”, thirteen footed cups, h. 2”, eight flat cups, h. 2‑3/4”, twentytwo saucers, dia. 5‑3/4”, a square open vegetable dish, w. 9”, an oval vegetable dish, w. 10”, two oval platters, w. 14‑3/4” and 12‑3/4”, a covered sugar bowl, h. 4‑1/4”, and a cream jug, h. 3‑1/2”. [1000/1500] Illustrated

1074 George III-Style Mahogany Bookcase, late 19th century, the molded and dentillated cornice above two astragal-glazed doors, the lower section fitted with two paneled cupboard doors opening to an arrangement of nine small drawers, raised on a plinth base, h. 81”, w. 45”, d. 16”. [1000/1500] Illustrated

1075

1075 George III-Style Mahogany Sideboard, early 20th century, the rectangular breakfront top banded and above a conforming case fitted with a central drawer flanked to one side by a cupboard door and to the other side by a deep drawer, raised on tapering square legs ending in spade feet, h. 38”, w. 54‑1/2”, d. 21‑1/2”. [700/1000] Illustrated 1076 George III-Style Mahogany Wing Chair, late 19th century, the padded rectangular back joined by shaped sides and outswept arms to the cushioned seat, raised on cabriole legs headed by foliate carving and ending in balland-claw feet, h. 41”. [800/1200] Illustrated 1077 George III Mahogany Chest, fourth quarter 18th century, the rectangular top above a case fitted with two short drawers over three graduated long drawers, raised on bracket feet, h .37”, w. 42‑3/4”, d. 21‑1/2”. [700/1000] Illustrated 1074

240

1078

1076

1080 George III Mahogany Pembroke Table, fourth quarter 18th century, the banded top with rounded ends and ovoid like-banded drop leaves, above a frieze fitted with a single end drawer, raised on tapering square legs ending in brass caps and casters, h. 33”, w. 28‑1/2”, l. 24”, extended l. 45”.

[700/1000] Illustrated

1078 English Regency Tortoiseshell Tea Caddy, second quarter 19th century, with plated escutcheon and cover medallions, the interior in two sections with tortoise covers, raised on ball feet, h. 5”, w. 6‑1/2”, d. 4”.

[1400/1800] Illustrated

1079

1077

1079 Three Chinese Export Plates, including a blue and white hexagonal clobbered dish, late 18th century, a small rose medallion saucer, 18th century, and a round mandarin pattern dish, late 18th/early 19th century, the largest, dia. 9”. [500/800] Illustrated

1080

241

1081

1081 Large Japanese Imari Fishbowl/Jardiniere, 19th/20th century, the large basin in a blue and red palette with heavy gilding and reserves depicting landscapes and arrangements of birds and flowers, fish and aquatic plants adorn the inside of the vessel, the underside with a two-character mark in a red cartouche, h. 18”, dia. 21”.

[800/1200] Illustrated

1083

1082

1082 George III Mahogany Bowfront Sideboard, early 19th century, the banded and bowed top above a conforming case fitted with a central drawer flanked to one side by a cupboard door and to the other by a short drawer over a deep drawer, all banded and with inlaid line and banded patterns, raised on tapering square legs ending in spade feet, h. 37”, w. 64‑1/2”, d. 29‑1/4”. [1000/1500] Illustrated 1083 Very Large Japanese Imari Vase, late 19th century, the exceptionally large porcelain vase rendered in blue and red enamels with gilt accents, the inner lip with a scrolling vine motif delicately applied in red, the underside unmarked, h. 36‑1/2”, dia. 17”. [3000/5000] Illustrated

1084

242

1084 George III Mahogany Bookcase, fourth quarter 18th century, the molded and dentillated cornice above a blind fret-carved frieze over two astragal-glazed doors, the lower section fitted with two paneled cupboard doors, raised on ogee-molded bracket feet, h. 89”, w. 36‑1/2”, d. 16‑1/2”. [1000/1500] Illustrated

1087 Pair of Chinese Peking Glass Vases, 20th century, the two baluster-form yellow vases with a taotie design alluding to archaic bronzes, h. 9”, dia. 5”. [5000/8000] Illustrated

1089 1088 Chinese “Peking” Glass Bottle, 19th/20th century, the cobalt blue vase with indented foot and long neck, h. 9”, dia. 4”. [900/1200]

1086

1085 Chinese Porcelain Dragon Vase, 19th/20th century, the red and white porcelain vase covered with a motif of three dragons chasing a flaming pearl, the underside marked with a Daoguang reign inscription, h. 9‑1/2”, dia. 4”.

[800/1200]

1089 Pair of Chinese “Eggshell” Porcelain Bowls, the two very finely potted blue-glazed bowls with white interiors, the undersides marked with a painted blue six-character Guangxu reign mark (1874‑1908) and probably of the period, h. 1‑3/4”, dia. 4”. [600/900] Illustrated 1090 Chinese Peking Glass Vase, probably early 20th century, the blue and white glass vase depicting a sage walking in a garden with a youthful attendant, the underside unmarked, h. 8‑1/2”, dia. 4‑1/4”. [700/1000] 1091 Pair of Chinese Porcelain Bottles after Wang Bu, 20th century, the blue and white bottle-shaped vessels depicting a scene of geese taking flight from a river bank, the back of each vase inscribed with poetry, the underside of each vase marked “Wang Bu”, h. 14‑1/2”, w. 6”.

[500/800] Illustrated

1087

1086 Pair of Chinese Peking Glass Vases, late 19th/early 20th century, the two long-necked vases in red and white, the undersides unmarked, h. 8‑3/4”, dia. 4”. [4500/7000] Illustrated

1091

243

1092

1096 Three Chinese “Peach Bloom” Vases, late 19th/early 20th century, the two meiping vases and one doublegourd-form vessel with mottled green and red glazes, the white undersides marked with a blue and white concentric circle mark, the tallest, h. 9‑1/4”, dia. 4‑1/8”. [700/1000] Illustrated

1096

1092 Chinese Blue and White Porcelain Bowl, probably late 19th century, the round bowl with flared lip and scrolling floral motif on both the exterior and interior, the underside unmarked and unglazed, h. 5‑1/8”, dia. 12‑1/4”.

[500/800] Illustrated

1093

1097 Chinese “Peach Bloom” Vase, late Qing Dynasty (1644‑1912), the vase with an ovoid body, long neck and flared lip, covered in a mottled green and red “peach bloom” glaze, the underside marked with two blue concentric circles on a white ground in the Kangxi style, h. 8‑1/2”, dia. 3‑1/2”. [450/700]

1098

1093 Chinese Qingbai Dish, Song Dynasty style, 19th/20th century, the pale blue glaze over a “hidden decoration” incised pattern of children playing among lotus flowers, thinly potted with a Qingbai glaze, unmarked, h. 2‑3/4”, dia. 8‑1/4”. [500/800] Illustrated 1094 Large Chinese Porcelain Water Pot, 20th century, the apple-shaped vessel with a smooth black-glazed exterior and pale craquelure interior, the underside unmarked, h. 5‑3/8”, dia. 8‑1/2”. [700/1000] 1095 Chinese Purple Flambe-Glazed Vase, 19th/20th century, the baluster-form vase with flared lip and foo dog lugs, each with a ring in its mouth, h. 11”, dia. 7‑1/4”.

[450/700]

244

1098 Five Chinese Copper Red-Glazed Vessels, 19th/20th century, the assortment of porcelain with lang yao hong and sang de boeuf glaze, two with Qianlong reign marks and one with Kangxi concentric circles, the largest, h. 12‑3/4”, w. 4”. [600/900] Illustrated 1099 Chinese Porcelain Lidded Jar, 19th/20th century, the jar with a red flambe glaze, the underside unmarked, h. 17‑1/2”, dia. 9”. [600/900]

1100 Chinese Polychrome Lacquer Box, probably 19th century, the lid and side panels depicting figures in an idyllic garden setting, painted on lacquer, h. 6‑1/4”, w. 13‑1/2”. [450/700]

1104 Chinese Carved Zitan Wood Brush Pot, late Qing Dynasty (1644‑1911), the dark reddish wood pot carved with traces of gilding, with round reserves depicting bird and flower scenes, the sides carved with the characters “Fu” and “Gui”, h. 7”, dia. 5‑3/4”. [500/800] Illustrated

1101

1104

1101 Chinese Lacquer Box, probably late Qing Dynasty (1644‑1912), the red lacquer box with a subtly sculpted edge covered with a pattern of flower scrolls, two phoenixes on the center of the lid, the sides of the box with eight lotus blooms, and the inside lined with black fabric, h. 4‑1/2”, w. 16”. [800/1200] Illustrated

1102

1105 Chinese Lacquer Brush Pot, probably 19th century, the hexagonal box with red panels depicting figures accented with gilt, the black lacquer borders modeled after bamboo, the foot and lip adorned with gilt floral scrolls, the underside with a gilt two-character mark that reads “Maji”, h. 7”, dia. 6‑3/4”. [500/800] 1106 Two Chinese Polychrome Wood Carvings, probably 19th century or earlier, the two carved architectural elements depicting groups of immortals and their youthful attendants, both pieces finished in a palette of red, blue and white, h. 25”, w. 16”. [500/800] Illustrated

1106 1102 Chinese Cinnabar Lacquer Box and Undertray, possibly Ming Dynasty (1368‑1644), the square lidded box with a peony and cloud motif on the lid, the tray with a motif of kui dragons, flaming pearls and key-fret meanders, unmarked, h. 3”, l. 8‑3/4”. [1800/2500] Illustrated 1103 Chinese Bamboo Reticulated Brush Pot, probably late Qing Dynasty (1644‑1911), the front carved and pierced to depict three figures walking among pine trees and bamboo, h. 7‑1/2”, w. 5‑1/2”. [500/800]

245

1109

1112 Chinese Inlaid Hardstone Four-Panel Folding Screen, late 19th century, the black lacquer screen with gilt decoration, inlaid stones and mother-of-pearl, depicting beautiful court ladies in an idyllic palace courtyard, signed on the reverse, each panel, h. 72”, w. 17‑1/2”. [600/900]

1113

1107 Large Chinese Elmwood Altar Table, probably 19th century, the large carved wood table with ruyi pierced forms on each leg, h. 34”, w. 19”, l. 98‑3/4”. [1400/1800] 1108 Chinese Carved Wooden Stand, 19th/20th century, the low rectangular stand with molded feet and pierced sides, h. 10”, w. 14”, l. 22‑1/2”. [500/800]

1111

1113 Chinese Eight-Panel Coromandel Screen, Qing Dynasty (1644‑1911), the painted eight-panel folding screen in black lacquer, depicting a scene from the Chinese epic “The Water Margin”, each with a bird and flower panel on top, and a different animal on the bottom, a mountain scene on the reverse, each panel, h. 95‑3/4”, w. 16”, overall, w. 128”. [1500/2500] Illustrated

1114

1109 Chinese Carved Wood Foot Rest, 19th/20th century, the carved hardwood stool with a bamboo motif with cloud scroll feet, h. 7‑1/2”, l. 14‑1/2”. [450/700] Illustrated 1110 Pair of Chinese Wooden Stands, 19th/20th century, the four-legged, square hardwood table stools, or vase stands, with carved and pierced decoration, h. 20”, w. 17‑1/2”.

[600/900] 1111 Chinese Rosewood and Marble-Top Stand, 19th/20th century, the stand with mother-of-pearl inlay ornamentation and pierced sides, h. 11‑3/4”, w. 15‑1/2”, l. 18”. [600/900] Illustrated

246

1116

1117 Pair of Chinese Carved Hardwood Chairs, late 19th/ early 20th century, the pair of elm and fir chairs with rounded backs carved with a motif of deer in a forest, h. 45”. [800/1200] Illustrated 1118 Pair of Chinese Carved Wood Folding Doors, probably 19th century or earlier, comprising four elmwood and pine panels carved and pierced with scrolling plant motifs, the lower panels including an archaistic vessel containing various plants and flowers, each panel, h. 115”, w. 21‑1/2”, overall, w. 86”. [2000/4000] Illustrated

1114 Chinese Export Coromandel Lacquer Cabinet, 19th/20th century, the cabinet with a carved polychromed single door with a motif of figures of women and children in a garden setting, with shaped shelves on either side and three shelves contained within, h. 53”, w. 52”, d. 19‑1/4”.

[800/1200] Illustrated

1117

1115 Chinese Red Lacquer Coffee Table, 20th century, with a motif of peonies and scholar’s rocks across the top and a scrolling floral design on the sides, h. 16‑1/2”, w. 18”, l. 40”. [450/700] 1116 Pair of Chinese Lacquered Demi-lune Side Tables, probably 19th century, the red-lacquered wood tables with gilded reserves depicting animals, the tables lock together to form a round table, each, h. 34”, w. 41‑1/2”, extended l. 83”. [1000/1500] Illustrated

1118

1119 Chinese Carved Wooden Chamber Bed, Qing Dynasty (1644‑1911), the large carved yewwood bed with a small ante room, intricately carved panels depicting phoenixes, dragons and sprays of flowers, and quatrefoil railings, fitted for a queen-sized mattress, h. 96‑1/2”, w. 91‑1/4”, inside l. 62‑1/2”, outside l. 103‑1/2”. [3000/5000] Illustrated

1119

247

1120 Armando Morales (Nicaraguan, 1927‑2011), “Bodegion”, 1980, lithograph in color, pencil-signed lower right and numbered “12/75”, 22” x 30”. Matted, glazed and framed. Provenance: Charles Michael Gallery, Ephrata, Pennsylvania. [800/1200] Illustrated

1122 Armando Morales (Nicaraguan, 1927‑2011), “Tres Baristas”, 1980, lithograph in colors, pencil-signed lower right and numbered “38/75”, 22” x 30”. Provenance: Charles Michael Gallery, Ephrata, Pennsylvania.

[800/1200] Illustrated

An accomplished painter and printmaker, and one of the most acclaimed Nicaraguan artists, Morales studied at the Escuela Nacional de Bellas Artes deManagua and, later, at the Pratt Graphic Art Center in New York. In 1956 he was awarded first prize at the Central American Painting contest “15 de Septiembre”; the winning painting was later purchased by the Museum of Modern Art, New York. The following year, Morales received a Guggenheim Fellowship which allowed him the opportunity to visit New York. His works are in numerous private and public collections.

1122 1123 Armando Morales (Nicaraguan, 1927‑2011), “Las Pescaderas”, 1979, lithograph in colors, pencil-signed and numbered “36/75”, 21‑1/2” x 33‑3/4”. Glazed, matted and framed. Provenance: Charles Michael Gallery, Ephrata, Pennsylvania. [1200/1800] Illustrated

1120 1121 Armando Morales (Nicaraguan, 1927‑2011), “Desnudo En Frente De Espejo Concava”, 1980, lithograph in color, pencil-signed lower right and numbered “38/80”, 22” x 30”. Matted, glazed and framed. Provenance: Charles Michael Gallery, Ephrata, Pennsylvania.

[1500/2500] Illustrated

1124 Mario Orozco Rivera (Mexican, 1930‑1998), “Untitled”, 1959, oil on canvas, signed and dated lower left, 39‑1/2” x 32”. Framed. Provenance: Glade Gallery, New Orleans, Louisiana. [1000/1500] Illustrated

1123 1125 Teodulo Romulo (Mexican, b. 1943), “Untitled”, lithograph in color, signed and numbered “89/110”, 19‑3/4” x 27‑3/4”. Matted, glazed and framed. [500/800] 1121

248

1126 Rufino Tamayo (Mexican, 1899‑1991), “Tajadas de Sanidas”, 1969, lithograph in colors, pencil-signed lower right, and numbered “105/150” lower left, sight 28‑1/2” x 20‑1/2”. Glazed and framed. [1800/2500] Illustrated

1127 Oswaldo Guayasamin (Ecuadorian/Maryland, 1919‑1999), “The Burden”, 1940, watercolor on paper, initialed “OGC” and dated lower right, 9‑1/4” x 10‑1/2”.

Matted, glazed and framed. [1500/2500] Illustrated Guayasamin attended the School of Fine Arts in Quito where he studied painting, sculpture, and architecture, and graduated with top honors. His first major exhibition was attended by the businessman and philanthropist Nelson Rockefeller who purchased several paintings and later arranged for the young artist to receive a grant to visit the United States. Guayasamin later visited Mexico and traveled across Latin America; it was during this time that he became involved in the various political situations of the region. A staunch defender and supporter of indiginous peoples, he was honored by the United Nations Educational, Scientific, and Cultural Organization for his lifework towards peace.

1124

1127 1128 Feliciano Bejar (Mexican, 1920‑2007), “From My Studio”, 1965, mixed media on board, signed and dated lower right, 15‑1/2” x 11‑1/2”.

Framed.

[500/800] Illustrated

1126

1128

249

1129 1129 Francisco Toledo (Mexican, b. 1940), “Resumida”, 1984, lithograph in color, pencil-signed and numbered “8/26” lower left, 21” x 25”. Glazed and framed.

Provenance: Carmen Llewellyn Gallery, New Orleans, Louisiana. [450/700] Illustrated

1132 1131 Jose Fors (Cuban, b. 1958), “Untitled”, oil on canvas, 18‑1/2” x 51”. Framed. [700/1000] Illustrated 1132 Alejandro Alfonso (Spanish, 20th Century), “The Town Square”, 1948, oil on canvasboard, signed and dated lower right, 26‑1/2” x 20‑1/2”. Framed. [800/1200] Illustrated 1133 Persian Tabriz Carpet, 11’ 5” x 16’ 1”. [8000/12000] Illustrated 1134 Persian Heriz Carpet, 7’ 7” x 10’ 7”. [1200/1800] 1135 Turkish Angora Oushak Carpet, 10’ x 13’ 10”.

[1500/2500] Illustrated 1130 1130 Aldo Luongo (Argentinian, b. 1940), “Gallery of Olds”, oil on canvas, signed mid-right, 49” x 49‑1/2”. In a thin gallery frame. [1200/1800] Illustrated

1136 Persian Karaja Carpet, 12’ 10” x 13’ 4”. [7000/10000] 1137 Sarouk Carpet, 4’ 9” x 7’ 2”. [1500/2500] Illustrated 1138 Turkish Angora Oushak Carpet, 8’ 10” x 12’.

[1200/1800] 1139 Kashan Carpet, 9’ 4” x 12’ 8”. [1200/1800] 1140 Turkish Angora Oushak Runner, 2’ 8” x 19’ 5”.

[600/900] Illustrated

1131

250

1133

1137

1140 1135

251

I n d e x of A rt i s t s a nd P r in t m a k e r s

J u ly 2 6 - 2 7 , 2 0 1 4

Adam, William Constable 919

Didier, Luc 141

Adams, John Clayton 239

Doutreleau, Pierre 1038

Alfonso, Alejandro 1132

Drysdale, Alexander John 834, 835, 836, 837, 838

American School 854, 907

Dureau, George 969

Asti, Angelo 344

Ellison, Thomas 242

Audubon, John James (after) 839

Emery, Lin 884

Barye, Antoine-Louis (after) 126

Erte 983

Bejar, Feliciano 1128

Fitzmarshall, John 273

Benton, Thomas Hart 948, 949

Fors, Jose 1131

Brackett, Walter M. 917

French School 562

Bril, Paul (manner) 407

Frerichs, William Charles 195

British School 17, 250, 251, 254, 260, 262, 268, 280, 494

Friedeberg, Pedro 1024, 1025

Brose, Carl (after) 658

Funk, Zella 956

Buck, William Henry 833

Gascars, Henri (follower) 519

Buckmaster, Ernest William 533

Gatteaux, Jacques-Edouard 628

Ceribelli, Cesar Constantino 197

Gatto, Victor Joseph 920

Champion, Mrs. H. 290

Gaudel, Jean-Jacques 1041

Chauray, Jean Claude 201

Geraci, Jean 955

Chemiakin, Mihail 1037

Giraud, Victor Julien (after) 643

Choi, Wook Kyung 1031, 1032, 1033, 1034

Gisson, Andre 550

Cole, George Vicat 267

Goodnight, Veryl 931

Conrad, Lisa 1014, 1015

Gordy, Robert 960, 961

Continental School 206, 614, 649

Guardado, Ismael 987, 988

Corbellini, Luigi 977

Guayasamin, Oswaldo 1127

Corder, Rosa 289

Habert, Alfred-Louis (after) 652

Crosby, Deborah 1013

Hart, Frederick Elliott 1018

Cundin, Jose Maria 958, 959

Hawks, Rachel Marshall 973

Currier, Erin 1043

Henderson, John 21

Da Bologna, Giovanni (after) 341, 636

Herzog, Hermann Ottomar 194

Davis, R. C. 964, 965

Hill, Robin 476

De Szyszlo, Fernando 1026

Hirschfeld, Albert 952

Deckbar, Adrian 966

Hulk, Abraham, the Younger 912

Delarue, Lucien 143

Hull, Marie Atkinson 950

Desjardins, Martin (after) 84

Hunt, Aubrey 279

Devaulx, Francois Theodore (after) 396

Icart, Louis 566, 567

I n d e x of A rt i s t s a nd P r in t m a k e r s

J u ly 2 6 - 2 7 , 2 0 1 4

Irvine, Sadie 951

Piatek, Frank 1045

Jansons, Ivars 472, 474

Picault, Emile Louis (after) 338

Jardon, L. E. 643

Pinggera, Heinz 581

Johnson, Richard 1042

Plassan, Antoine Emile 565

Kelly, Ken 1035

Polesello, Rogelio 1028

Kelly, Mary Kirk 450, 451, 452, 453, 454, 455, 456, 457, 458

Pritchard, George Thompson 265

Kimpe, Reimond 1002

Ramos, Alvar Sunol Munoz 993, 994, 995, 996

Kinsell, Robert 1046

Rayo, Omar 1030

Kipps, Erich 446

Reinicke, Rene 417

Kohlmeyer, Ida Rittenberg 881, 882, 883

Renard, Paul 551

Langlois, Paul 401

Rivera, Mario Orozco 1124

Larche, Francois-Raoul 970

Rodrigue, George 875, 876, 877, 878

LaVerne, Philip and Kelvin 1022

Romulo, Teodulo 1125

Leighton, Frederic (manner) 282

Rowlandson, George Derville 492

LeWitt, Sol 1029

Rucker, Robert 830, 831

Long, McKendree Robbins 962

Sacabo, Josephine 963

Ludwig, William 1039

Saito, Kiyoshi 325, 326

Luongo, Aldo 1130

Sauter, Rudolph Helmut 914

Manzel, Ludwig O.E. 436

Scotti, Maria 957

Marcinie, Max 445

Slonem, Hunt 880

Merida, Carlos 1027

Speck, Loran 918

Meshberg, Lev 1016, 1017

Stebly, Christopher Inglis 968

Michalopoulos, James 879

Stewart, Allison 954

Minns, Benjamin Edwards 475

Sully, Thomas (manner) 893

Modigliani, Amedeo (after) 1001

Sypesteyn, Adele 885, 886, 887

Mohr, Albert 139

Tamayo, Rufino 1126

Moigniez, Jules (after) 125, 127

Teniers, David, the Younger (follower) 400

Moore, Henry 1006

Thiebaud, Wayne 953

Morales, Armando 1120, 1121, 1122, 1123

Tischbein, Johann, H.W. (follower) 95

Nakazawa, Shin’ichi 1000

Toledo, Francisco 1129

Nierman, Leonardo 989, 990

Toshusai, Sharaku (after) 321

Ortega, Martin Rico (attributed) 408

Utagawa, Hiroshige 318

Palmer, Gregory C. 1036

Utagawa II, Hiroshige (b. Shigenobu) 319

Pautrot, Ferdinand (after) 431

Utagawa III, Hiroshige 320

Perrault, Ida Marie 915

Utagawa, Kunisada 322

Phillips, Jay 1044

Utagawa III, Kunisada 323

I n d e x of A rt i s t s a nd P r in t m a k e r s

J u ly 2 6 - 2 7 , 2 0 1 4

Utagawa, Toyokuni 321 Van der Straeten, Georges (after) 110 Van Os, Jan (school) 388

Glossary

Villanis, Emmanuel 109 Villon, Jacques 1001 Vonnoh, Bessie Potter (manner) 651 Wang, Xuetao (attributed) 611 Wang, Yuanqi (manner) 610 Warner, Nell Walker 916 Wiggins, Carleton 913 Wikstrom, Bror Anders 832 Wise, Vera 967 Wood, C. Dudley 473 Wynn, Allen 1040

New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere.

The Artist’s Name: In our qualified opinion, a work by the artist.

Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist.

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

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

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

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

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

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

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

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

New Orleans Auction Galleries

(d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

Paddle Number:

2. BEFORE THE AUCTION

Conditions of Sale:

(a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER.

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

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

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer.

(i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance.

Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

Rev. 10/2013

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

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

Rev. 10/2013

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. (d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence

by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders.

Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. AFTER THE AUCTION (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 23% of the Hammer Price (discounted to 20% if the method of payment is by check, cash, or wire transfer by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 801 Magazine Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express).

Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

Rev. 10/2013

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs;

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

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

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

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

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

(x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate.

In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both

AGREED AND ACCEPTED: __________________________________________ PRINTED NAME: ___________________________________ I have read and agree to the Conditions of Sale, including without limitation all of the waivers of warranties set forth in Section 2.

Rev. 10/2013

New Orleans Auction Galleries 801 Magazine Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: info@neworleansauction.com

Absentee / Telephone Bid Form Name (Please Print): ______________________________________________ Date: ____________________ Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _________________________ Address: ____________________________________________________________________________________ City: _____________________________________________ State: ____________ ZIP: _________________ Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_____________ E-mail Address: _____________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

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

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ CVV #: _______________

Expiration Date: __________

I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 23% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): __________________________________________________________________________

*Please fax this form by 5:00 p.m. the Thursday before auction weekend to 504-566-1851 or scan and email to info@neworleansauction.com 2

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

Lot #

______________________________________

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

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

3

New Orleans Auction Galleries Susan Krohn

Tessa Steinkamp

CEO

Director of Auctions

Ashton Thomas President

consignments FINE ARTS:

ASIAN FINE & DECORATIVE ARTS:

DECORATIVE ARTS:

Jelena Restovic James

Ireys Bowman

Continental and American; Prints and Maps

Continental and English

Felicia Sailey Yao

British and American; Sculpture

American, Continental and English

Greg S. Kowles

BOOKS, MANUSCRIPTS & EPHEMERA:

FURNITURE:

Thomas Halverson

Charles C. Cage

Michele M. Carolla

American

Ireys Bowman

Jewelry:

SILVER:

Continental and English

Kim Lemon

Charles C. Cage

Greg S. Kowles

American, Continental and English

FINE CARPETS & TEXTILES:

Thomas Halverson

MUSEUM & NON-PROFIT SERVICES:

Sean Ranson

American

Jelena Restovic James

administration Kim Lemon

Burke

Colleen Ryan

Customer Service Manager

Designer

Charles C. Cage

Gary Michael Gittelson

Office Manager

auctioneers Tessa Steinkamp Ashton Thomas Robin Ruiz Michael DeGeorge C. Davin Boldissar

Director of Human Resources

Denise Haik

Photographer

Office Administration

Christa Ougel

Graphic Designer; Marketing

Taylor Eichenwald

Marketing & Public Relations

consultants

ope r at ion s

Ellen McKenzie

Cedric Roberts

English and Continental Furniture

Ira Savoie

Independent Certified Gemologist Appraiser

Bryce Reveley

Textiles; Vintage Couture

James Callahan Asian Arts

Sean Ranson Bennie Amos Emmitt Kendrick, Jr. Eddie Daigrepont Gerald Hampton Juanita Bazile