October 14-16, 2016 Estates Auction

New Orleans Auction galleries

O c t ober 1 4 - 1 6 , 2 0 1 6

F e at u r i n g P r o p e r t y F r o m : T he Es t a t e o f J a m e s C o o p e r We s t e r f ie ld J a c k s o n, M is s is s i p p i T he Es t a t e o f Ela ine S m it h Fr o s t W hit e H o us t o n, Tex a s a nd Ea s t H a m p t o n, N e w Yo r k T he Es t a t e o f D r. L ind a Wilb o ur n N a t c he z , M is s is s ip p i P r i v a t e C o lle c t io n At la nt a , G e o r g ia P r i v a t e C o lle c t io n B a t o n Ro uge , L o ui s ia na P r i v a t e C o lle c t io n L inc o ln C it y, O r e go n P ho t o g r a p hs f r o m t he Fo nv ille Win a ns Es t a t e C o lle c t io n Alex a nd r ia , L o uis ia na

Lot 747 Cover: Lot 1069 Back: Lot 1083

S e ss i o n I :

Exhibition:

Friday, October 14, 2016 1:00 p.m. CDT, Lots 1 - 302

October 3 - 13, 2016 9:00 a.m. - 5:00 p.m.

1:00

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2:00

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100 - 199

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4:00

200 - 302

Monday - Saturday, Closed Sunday

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Evening Reception: S e ss i o n II : Saturday, October 15, 2016 10:00 a.m. CDT, Lots 303 - 824 10:00 - 11:00

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402

11:00 - 12:00

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502

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503

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602

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2:00

603

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702

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703

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802

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3:20

803

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824

Thur sday, October 13, 2016 5:00 - 8:00 p.m.

S e ss i o n III : Sunday, October 16, 2016 10:00 a.m. CDT, Lots 825 - 1345 10:00 - 11:00

825

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900

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901 - 1000

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1001 - 1100

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2:00

1101 - 1200

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3:00

1201 - 1300

3:00

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3:45

1301 - 1345

New Orleans Auction Galleries 333 St. Joseph Street, New Orleans, Louisiana 70130

NewOrleansAuction.com | tel: 504-566-1849 | fax: 504-566-1851 | email: Info@NewOrleansAuction.com LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 | 25% Buyer’s Premium (3% Discount For Prompt Payments Made By Cash, Check, Or Wire)

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Evening Reception Highlights JULY 21, 2016

1. Eric Revel, Miranda Restovic,

Ronald Markham III & Francis James 2. Fred Hulett, Taylor Eichenwald

& Matthew Lee Green 3. Paul Karas & Laurie Fisher

4. Seth Angelico, Sara Warren &

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Ned Marshall & Tommy Westervelt

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Dick Roussel & Susan Spaht

George Polito 5. Ronnie Demilio, Doris Bentley Carlisle

& Reverend Michael E. Carlisle 6. Dr. Corky Willhite,

C.J. & Mary Ann Aucoin

l e t t er f r o m t he c e o Choices – our lives are filled with them. From what career to pursue to what to have for lunch, we are being asked to take turns along the roads of our lives’ journeys on a seemingly minute-by-minute basis. And when it comes to our homes, our places of retreat, they are no different.

Our homes are our shelters; havens we have created for ourselves. But when we step through our front doors, we open up ourselves to countless decorating choices. And some prove to be amazing and satisfying, and some are, well… perhaps not what we had hoped for.

I vividly remember the first house for which I had the opportunity to truly decorate. It allowed for a generous enough budget that I could expand my choices from buying at secondhand shops and flea markets to purchasing brand-new items and valued antiques. I was thrilled, but I was also scared. Maybe frozen like a rabbit in the road is a better way to put it.

The number of choices that lay before me were overwhelming.

I consulted with a couple of decorators, and of course, they had an abundance of ideas and plans; however, I still wrestled with decisions. As lovely as their choices were, somehow their presentations did not quite fit my somewhat unformed yet specific ideas of what I envisioned. I had not developed my own personal decorating criteria, which can make the simplest of choices daunting.

Time and experience helped, but through the years, I still made choices with the vague feeling the staff of Architectural Digest was looking over my shoulder, judging my choices as to their worthiness, style and creativity. My unwise choices were often made when I was trying for a look that I thought should be right but ultimately did not feel right.

One of the advantages of age is perspective. I finally realized nobody is going to arrest me for bad decorating choices. I have developed a certain decorating bravado, choosing what I love and am comfortable with.

I think the polite term for my style would be “eclectic.” My home is a hodgepodge of beloved pieces I have acquired through the years and cannot part with. Will Architectural Digest ever call me to photograph my house? Absolutely not.

Are my choices perfect? No. But perfect enough for me and my family. And that’s what makes me happy.

That eclectic style, in great part, is what draws me to the 1,345 choices in New Orleans Auction Galleries' Important Fall Estates Auction. The three-day sale features property from estates and collections throughout the country, including Natchez and Jackson, Mississippi; Birmingham, Alabama; Baton Rouge and New Orleans, Louisiana; Lincoln City, Oregon; Atlanta, Georgia; Houston, Texas and others.

Highlights include a monumental George Rodrigue painting of the “Cajun Highway Police” that was exhibited at the State Capital, Baton Rouge, Louisiana; an extensive and important collection of art glass; a lovely collection of Southern works on paper; a selection of 18th to early 20th century Continental and British carved wood artist’s lay figures and models; a large selection of lighting and much more.

I invite you to view these items in person at our reception on Thursday, October 13, from 5-8:00 p.m. As always, we will have delicious hors d'oeuvres and cocktails on hand to add to the fun. The hammer goes down and the bidding starts on Friday, October 14 at 1:00 p.m. and continues on Saturday and Sunday at 10:00 a.m.

I hope you join us, and I hope you find many pieces that speak to you and your personal style. Pieces that fit into your home … not because they are “right” or to be approved by anyone, but pieces, or more specifically choices, that are perfect enough and make you happy.

Susan D. Sarofim CEO

James Cooper Westerfield jackson, MISSISSIPPI

James Cooper Westerfield (Jim) was born August 11, 1933 in Jackson, Mississippi. He attended Jackson Public Schools (Bailey Jr. High and Central High School) and spent his freshman college year in Washington, D.C., ultimately returning home to enroll in Millsaps College.

Jim’s college years were interrupted by the draft in the U.S. Army, in which he served for two years. Stationed at Fort Sam Houston Medical Military Training, his tour of duty took him first to Korea for eighteen months; he completed his tour at Fort Jackson, South Carolina.

After returning to civilian life, Jim moved to New York to attend Interior Design School. He worked part time for several years with Bloomingdale’s in New York, but decided to move back to Jackson to begin his own interior design business, Westerfield Antiques & Interiors, Inc. For 55 years, Jim was retained by clients living in Los Angeles, Dallas, St. Petersburg, and Sarasota's Long Boat Key. The most recent project that he completed was at The Pinnacle on Grace Bay Road in Turks and Caicos.

His work has been published in numerous magazines including Veranda, Architectural Digest, Interior Design, The Design Specifier, Los Angeles Times and other notable publications.

New Orleans Auction Galleries is honored to offer furniture, fine art and decorative arts from the Estate of James Westerfield.

Elaine Smith Frost White houston, texas and east hampton, new york

Elaine Smith Frost White, a native Houstonian, was born in June 1904. She moved to New York to pursue an acting career, returning to Houston after completing her program.

Upon her return, Elaine caught the eye of legendary Texas oilman C.M. “Pete” Frost. Aside from his successful ventures in the oil business, Pete also owned Figure 4 Ranch, a 1,900 acre homestead specializing in Brahman and Charolais cattle. He was one of the earliest “pioneers” in the industry and among the first to import Charolais, a breed of cattle native to the Burgundy region of France.

Pete was enamored by Elaine at first sight; the two married in 1930. The young couple purchased the land at 2110 River Oaks Boulevard from the Hogg family and enlisted renowned architect John Staub to design and build their home. Elaine was an avid collector and loved to decorate.

Rarely did a day go by that she didn’t buy something. Many of the items offered in this sale are from the River Oaks home she shared with Pete. When the two divorced in 1953, Elaine remained in the house.

After her divorce, Elaine met Alfred T. White and the two later married. Elaine and Alfred traveled extensively, especially throughout Europe. They spent summers in the home that they purchased in East Hampton, New York. Alfred died in February 1992 and Elaine passed away in July 1993.

New Orleans Auction Galleries is honored to offer antiques and fine art from the Estate of Elaine Smith Frost White from her homes in Houston and East Hampton.

Dr. Linda Wilbourn Natchez, Mississippi

Dr. Linda Wilbourn was born in Jackson, Mississippi to Champion Wilbourn and Marjorie Barnett. She earned a Bachelor’s Degree in Accounting from Bellhaven University and a Doctorate Degree in Psychology from the University of Southern Mississippi. After completing her education, Linda started her own practice in Natchez, Mississippi, a rare feat for a woman in Southern Mississippi at the time and an accomplishment that garnered respect and admiration from many.

Her friends and family fondly remember Linda’s sharp, quick wit, her strong work ethic, elegant demeanor, kindness and generosity. She loved entertaining and was known for her lavish dinner parties, especially her annual Christmas celebration. She used the finest porcelain, silver and furniture to host her opulent gatherings.

Linda restored and remodeled several historic homes, including properties in Canton and Edwards, Mississippi, and most recently in Natchez. She also was an avid collector of jewelry and antiques, mainly French and Italian paintings, furniture and decorative arts, that was fueled by her love of travel. She ventured all over the world, including Ireland, India, Germany and others. No matter where she was in the world, Linda made sure to stop into the local antique shops and add to her venerable collection.

New Orleans Auction Galleries is pleased to offer the lifetime collection of Dr. Linda Wilbourn.

Se s sion I : F r iday, O ctobe r 1 4 , 2 0 1 6 Lots 1 - 3 0 2

Lot 262

3 Hollywood Regency-Style Gilded Mirror, second quarter 20th century, labeled by Milch & Sons, New York, the rounded base accented with inset engraved beveled mirror glass panels, and a central panel decorated with gilt flowers on a black ground, the upper portion molded with drapery and tassels, molded jabots on bowknots falling down each side, the crest comprised of an Egyptian lotus fan crowned with a sunburst and trailing flowers on each side, h. 54‑1/2”, w. 38”.

[700/1000] Illustrated

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1 Pair of Directoire-Style Polychrome Fauteuils, early 20th century, each with a tall padded back surmounted by a paneled and foliate-carved backswept crest, joined by paneled arms to the padded seat, raised on paneled sabre legs with ormolu palmetto mounts, h. 42”. [700/1000]

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2 Pair of Directoire-Style Polychrome Fauteuils, early 20th century, each with a tall padded back surmounted by a paneled and foliate-carved backswept crest, joined by paneled arms to the padded seat, raised on paneled sabre legs with ormolu palmetto mounts, h. 42”. [700/1000] Illustrated

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4 Forty-Nine-Piece Augarten Vienna Hand-Painted “Courage” Pattern Partial Dinner Service, 20th century, Vienna, Austria, decorated with Attic red griffins flanking a gilt neoclassical ornament, some pieces in all black or all Attic red, including a covered tureen, h. 9‑1/2”, w. 12”, d. 9‑1/2”, six covered bouillon cups with underplates, h. 5‑1/2”, dia. 8”, six “Courage” dinner plates, dia. 10”, six Attic red dinner plates, dia. 10”, twelve black bread and butter plates, dia. 6‑3/4”, six coffee cups, h. 2‑1/2”, and six saucers, dia. 5”. [600/900] Illustrated

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5 Fine Regency-Style Mahogany and RosewoodBanded Double-Pedestal Dining Table, manufactured by the Widdicomb Furniture Co., Grand Rapids, Michigan, each pedestal with brass mounts and paw feet, the top with an inlaid border and rosewood banding, with two 20” skirted leaves, h. 29‑1/2”, w. 46”, l. 78”, extended l. 118”.

[2500/4000] Illustrated

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6 6 Suite of Eight Regency-Style Mahogany and ParcelGilt Dining Chairs, manufactured by the Widdicomb Furniture Company, Grand Rapids, Michigan, consisting of two armchairs and six sidechairs, all with a domed foliatecarved crest above a pierced splat, the padded seat raised on tapering circular legs with a foliate gilt band, h. 38‑1/2”.

[2500/4000] Illustrated 7 Schneider “Marbrines” Art Deco Glass Vase, ca. 1922‑1924, French, in several shades of red, orange and burgundy glass cased in colorless glass, engraved “Schneider” on the side, h. 13”, dia. 7‑1/2”. [600/900] Illustrated 8 Tina Garcia (American, New Mexico, b. 1957) Santa Clara Pueblo Blackware Pottery Olla, of slightly oblate spherical form with raised collar, with impressed “bear paw” motif, signed sgraffito on the underside “Tina Garcia / San Juan / Santa Clara”, h. 6”, dia. 6‑3/4”. [600/900] Illustrated

9 Loredano Rosin (Italian/Murano, 1936‑1992), Calcedonia Glass Cobra Sculpture, third quarter 20th century, composed of aubergine and mauve glass, the cobra depicted with his head up and his hood spread, with an engraved “Loredano Rosin” mark, h. 19‑3/4”, w. 9‑3/4”, d. 10‑3/4”. [1200/1800] Illustrated The production of Calcedonia glass is a difficult technique which incorporates a precise amount of silver nitrate to produce the luminous, yet ultimately uncontrollable, striations of color. It was originally created in the mid-15th century in Murano, Italy; the technique was forgotten until the 19th century when it was briefly revived by the glass master Lorenzo Rad (1803‑1874). In the mid-70s, Loredano Rosin began to work with Calcedonia glass, believing the technique enhanced the smooth, fluid forms of his hand-sculpted glass. Rosin, a native of Venice, was trained - along with his siblings - in the ancient Murano glass blowing tradition. After serving his apprenticeship, during which he experimented with glass sculpting, he eventually opened his own studio. The cobra presented here, with its unexpected streaks of umber, purple and green, is a wonderful example of the serendipitous nature of this technique.

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10 10 French Patinated and Gilt-Accented Bronze Sculpture of “Levantate”, ca. 1900, after George de Chemellier (French, 1835‑1907), cast signature at edge of self-base, h. 24”, w. 8‑1/2”, d. 12”. [1200/1800] Illustrated 11 French Ebonized Steel and Wrought-Iron Conservatory Cabinet, early 20th century, the deep ogee-molded cornice above three doors, each inset with a glazed panel surrounded by a pierced steel frame with corner stained glass accents, the sides with decorative piercing, raised on a stand fitted with three short drawers on a graduated wrought-iron base with floral scroll and spiral wrought patterns, and ending in pad feet, h. 95”, w. 51”, d. 22”. [3000/5000] Illustrated 12 Unusual Pair of Art Deco Mahogany, Brass and Glass Cabinets, early 20th century, each with a pierced scrolling foliate backpiece above a mahogany top over a brass and glass case, the front with an applied decorative brass design, raised on square legs ending in pad feet, h. 24”, w. 17‑1/2”, d. 12‑1/2”. [700/1000] Illustrated 13 French Art Nouveau Gilt-Bronze Encrier, ca. 1900, cast

by Susse Freres after a design by Sem-Charles Guenardeau (French, 1870‑1945), molded with leaves and berries, marked “S. Guenardeau Sclp” on the front and marked with both “Susse Fd. Ed.t Paris” and the foundry seal mark on the rear, h. 2‑3/4”, w. 13”, d. 7‑1/2”. [500/800]

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14 Pair of Austrian Gold Iridescent Enameled Candia Papillion Vases, ca. 1900, attributed to Loetz, on scrolled brass bases, the vases with “oil spot” decoration and enameled with flowers, h. 6‑1/2”, dia. 3”. [700/1000] Illustrated 15 Emile Galle Cameo Glass Bottle Vase, first quarter 20th century, Nancy, French, layered with two colors of green over a pink shaded base, decorated with trailing vines and leaves, signed “Galle” on the lower portion, h. 6”, dia. 3”.

[500/800] Illustrated 16 Two Small Emile Galle Cameo Glass Vases, first quarter 20th century, Nancy, France, the taller example decorated with bleeding heart vines executed in amber overlay, signed “Galle” in cameo near the base, h. 5‑1/4”, dia. 1‑1/4”, and the shorter example decorated with ferns in various shades of green, signed “Galle” in cameo on the lower side, h. 4”, dia. 2‑1/2”. [500/800] Illustrated

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17 Group of Three Emile Galle Cameo Glass Miniature Vases, first quarter 20th century, Nancy, France, the largest example decorated with amber vines, leaves and berries on a pale green ground, signed “Galle” in cameo on the lower side, h. 5‑1/2”, w. 2‑1/2”, d. 1‑1/2”, the middle example decorated with amber flowers, signed “Galle” in cameo near the bottom, h. 4‑3/4”, dia. 1‑3/4”, and the smallest example decorated with aubergine bleeding heart vines, signed “Galle” in cameo above the decoration, h. 2‑3/4”, dia. 2‑1/2”. [800/1200] Illustrated 18 Unusual Pair of Emile Galle Cameo Glass Vases, third quarter 20th century, Nancy, France, decorated with mauve and green flowers on a pink shaded ground, signed “Galle” in cameo on the lower portion of the body, with a ground pontil on the base, h. 6‑1/2”, w. 3”, d. 1‑3/4”.

[600/900] Illustrated

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19 Daum Nancy Art Glass and Bronze Pendant Chandelier, second quarter 20th century, French, now set into a scrolled and pierced rococo-style frame, the Art Deco mottled orange and yellow shade marked “Daum, Nancy” on the side, h. 18”, dia. 23‑3/4”. [1500/2500] Illustrated

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20 Emile Galle Cameo Glass Vase, ca. 1904‑1905, French, composed of amber over green glass and depicting a flowering vine, signed “Galle” in cameo with a star, h. 7‑3/4”, dia. 5”. [700/1000] Illustrated 21 Rare Amalric Walter and G. Mourot Pate d’Email “Oie” Vide Poche, first quarter 20th century, Nancy, France, depicting a goose diving for a worm in a pool with lily pads, signed “A. Walter”, “Nancy” and “G. Mourot”, h. 2”, w. 6‑1/2”, d. 4”. [600/900] Illustrated

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22 Daum Nancy Carved, Enameled and SilverMounted Glass Oval Bowl, ca. 1920, French, on a silver base decorated with leaves and flowers, the pale amber bowl carved with flowers, leaves and berries, the red enamel flowers with carefully executed gilt details, signed “Daum Nancy” with a Croix de Lorraine on the bottom, h. 2‑3/4”, w. 5‑3/4”, d. 4”. [700/1000] Illustrated 23 Two Daum Nancy Berluze Solifleur Vases, ca. 1918‑1925, French, the larger amber and blue mottled example signed “Daum Nancy”, and with a Croix de Lorraine on the side, h. 21‑1/2”, dia. 5‑3/4”, and the smaller amber and brown mottled example unsigned, h. 7”, dia. 2”. [2000/4000] Illustrated

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26 26 French Cut Crystal Eight-Light Chandelier, Attributed to Baccarat, mid-20th century, the panel-cut glass standard set with a ring of prisms and a tulip-form top, the rope-twist arms terminating in molded candlecups and prism rings, hung with swags of drops and crystal bells, h. 38”, dia. 34”. [2000/4000] Illustrated

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27 Pair of Unusual French Crystal Three-Light Sconces, second quarter 20th century, on mirrored backplates trimmed with prisms, with twisted arms and glass bobeches hung with prisms, h. 8”, w. 18”, d. 12”. [500/800] Illustrated

24 Daum Nancy Berluze Pillow Vase, ca. 1918‑1925, French, composed of mottled green, blue and orange glass, signed “Daum Nancy” with a Croix de Lorraine on the side, h. 4‑3/4”, w. 6‑3/4”, d. 2‑1/4”. [700/1000] Illustrated 25 Pair of Continental Mahogany, Fruitwood and Marble-Top Cabinets, 20th century, each with an inset marble top above a case fitted with a single banded and parquetry-veneered cupboard door over two small drawers, raised on bun feet, h. 19‑1/2”, w. 11”, d. 11‑1/4”. [500/800] Illustrated

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33 Fifty-One-Piece Partial Service of Steuben “7917” Crystal Stemware in an Air Twist Pattern, ca. 1950‑1959, designed by George Thompson, Corning, New York, each piece signed, the service comprised of twelve champagne coupes, h. 4”, five water goblets, h. 5‑5/8”, eight wine glasses, h. 5‑1/4”, eight liquor cocktail glasses, h. 3‑3/4”, eleven sherry glasses, h. 4‑1/2”, six liqueur glasses, h. 3‑3/4”, and a decanter, h. 9”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York.

[700/1000] Illustrated

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28 Collection of Four Baccarat Swirl-Molded Crystal Candlesticks, second quarter 20th century, French, including three identical sticks, h. 9”, dia. 4‑1/2”, and a lower stick set with a nozzle, h. 6‑1/2”, dia. 4‑3/4”, signed with an etched mark.

[500/800]

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29 Unusual Gilt-Metal Armchair, the pierced oval back within a rope-form frame, joined by like arms to the pierced seat, raised on rope-modeled legs ending in knotted feet, h. 39”. [600/900] Illustrated 30 Pair of Bleached Mahogany End Tables, 20th century, each of oval form, the top with an inset diapered leather surface above two open shelves, each end with a metal grille upper section and a paneled lower section, raised on conforming plinth bases, h. 24”, w. 30‑1/2”, d. 22”. [700/1000] Illustrated

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31 Two Continental Rock Crystal Spheres on Stands, 20th century, the larger sphere on a brass stand with roping, h. 7‑3/4”, dia. 5‑1/4”, and the smaller sphere on a metal stand, h. 7‑1/4”, dia. 4‑1/2”. [500/800] 32 Tiffany Contemporary Crystal Centerpiece Bowl, 20th century, decorated with intaglio circles in various sizes, signed “Tiffany and Co.” in an etched mark, h. 3‑1/2”, dia. 13‑1/2”. [500/800] Illustrated

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34 Three Pieces of Signed Steuben Glass, mid-20th century, Corning, New York, the collection including a flaring centerpiece bowl on a ball-form pedestal, h. 9‑1/4”, dia. 11‑3/4”, a small flaring bowl, h. 2‑1/2”, dia. 7‑1/2”, and a decanter with an interior teardrop bubble in the stopper, h. 10‑3/4”, dia. 3‑3/4”, each engraved “Steuben” on the base. [500/800] Illustrated 35 Ilana Goor (Israeli, b. 1936), Iron and Glass-Top Coffee Table, third quarter 20th century, the cast iron base with a cat chasing a bird, the cat bearing the signature, h. 17”, w. 35‑1/2”, d. 35‑1/2”. [1000/1500] Illustrated 36 Pair of Continental Rock Crystal Obelisks, 20th century, carved with rectangular plinths with blocked trim, h. 12‑3/4”, w. 3”, d. 3”. [600/900] Illustrated 37 Continental Patinated Metal and Crystal Six-Arm Chandelier, 20th century, the pierced and scroll-molded frame set with continuous rows of prisms, two scrolled sprays of prisms decorating the interior and drops hung from each candle arm, set with foliate drip pans, h. 31”, dia. 27”. [900/1200] Illustrated

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38 Contemporary Rock Crystal and Silver Giltwood Two-Light Table Lamp, 20th century, probably French, composed of a single piece of rock crystal with a cove-molded silver-gilt base and cap, h. 26”, w. 9‑1/4”, d. 4”. [700/1000] Illustrated 39 Contemporary Brass, Argente and Glass Side Table, in the Directoire taste, the rounded rectangular glass top with a beveled edge, and raised on tapering circular legs headed by a quiverform capital, joined by an X-form stretcher and ending in toupie feet, h. 29‑1/4”, w. 53”, d. 28‑1/2”.

[3000/5000] Illustrated

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40 Blue and White “A Canne” Corseted Glass Vase, mid-20th century, attributed to Gio Ponti (Italian, 1891‑1979), for Venini, h. 8‑3/4”, dia. 3‑3/4”. [600/900] Illustrated 41 Venetian Murano Glass Table Lamp of Neoclassical Inspiration, 20th century, the column-form standard with Empire-style engine-turned bronze trim, mounted with a shade, h. 37”, w. 15”, d. 15”. [500/800] Illustrated 42 Venetian Murano Blue Glass Table Lamp, 20th century, of candlestick form, the top with darker blue applied leaves, mounted with a shade, h. 37‑1/2”, dia. 18‑1/2”. [500/800]

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47 43 44 Pair of Continental Gilt-Metal and Plate Glass Low Tables, mid-20th century, of neoclassical inspiration, on sweeping bamboo-molded legs, with crossed stretchers and galleries, and artichoke-form finials, h. 18”, w. 20”, d. 20”. [700/1000] Illustrated 45 Pair of Neoclassical-Style Brass and Bronze ThreeLight Chandeliers, 20th century, molded with crossed arrows, the lights on a horizontal reeded standard, h. 17‑3/4”, w. 44”, d. 11‑3/4”. [500/800] Illustrated

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43 Pair of French Steel, Brass and Glass Etageres in the Maison Jansen Style, mid-20th century, the steel frame on brass hoof feet, with brass lamb’s head finials, and steel X-form stretchers on the side, decorated with brass medallions, set with glass shelves, h. 77‑3/4”, w. 18”, d. 12”. [700/1000] Illustrated

46 Pair of Neoclassical-Style Brass and Bronze ThreeLight Chandeliers, 20th century, molded with crossed arrows, the lights on a horizontal reeded standard, h. 17‑3/4”, w. 44”, d. 11‑3/4”. [500/800] 47 Four-Piece Japanese Silver and Cloisonne Smoking Set, Meiji period (1868‑1912)/Taisho period (1912‑1926), the wireless work with a design of Mt. Fuji, a bay, boats and pine trees on a shaded blue ground, including a rosewood and silver-mounted tray, possibly

by Namikawa Sosuke, a cigarette box, matchbox and ashtray, overall, w. 12”, d. 8‑1/2”. [1800/2500] Illustrated

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48 Unusual Swiss Art Deco Onyx Clock, second quarter 20th century, retailed by A. L’Emeraude, Lausanne, signed on the dial, with a matching onyx and black marble stand, h. 41‑1/4”, dia. 12”. [500/800] Illustrated 49 French Dry-Plate Studio Camera, post-1880, composed of oak, brass, iron and glass, complete with plates and a lens, the three-section bellows instrument with seventeen brass adjustment knobs, the base fitted with three ratcheted cast iron height and tilt adjustment cranks, the lens engraved “Portrait 13, Extra Rapide”, h. 73”, w. 31‑1/2”, d. 25‑1/2”. Provenance: Koller Auctions, Zurich, Switzerland. [1500/2500] Illustrated 50 Seven-Piece Collection of Continental Malachite and Malachite-Clad Objets d’Art, 20th century, including a bird’s nest with three eggs, h. 2”, w. 3‑1/4”, d. 3”, a brass-inlaid table box, h. 1‑1/4”, dia. 4‑1/2”, a pyramid, h. 5‑1/2”, w. 4”, and an ashtray, w. 5”, d. 3‑1/2”. [500/800]

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51 Collection of Eight Decorative Hardstone Spheres, 20th century, probably Italian, of various sizes, including amethyst and lapis lazuli examples, dia. 3” to 4”. [400/700] Illustrated

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52 Jim Dine (American, b. 1935), “Eight Hearts”, 1970, color silkscreen, signed and dated in print lower center, sight 24‑3/4” x 29‑1/4”. Glazed, matted and framed.

[1000/1500] Illustrated 53 John Lennon (British, 1940‑1980), “Untitled” from Bag One, lithograph, signed in pencil lower right, numbered “281/300” lower left, sight 18” x 26”. Glazed, matted and framed. [1000/1500] Illustrated

54 Helen Frankenthaler (American, 1928‑2011), “Ramblas”, 1987/8, six-color etching, drypoint, and lithograph on Rives paper, signed and dated lower right, numbered “46/75” lower left, published by Ediciones Poligrafa, a “Stein Gallery, St. Louis, Missouri” label and “Ivey-Selkirk/Auctioneers” tag en verso, sight 34‑1/4” x 26‑3/4”. Float-mounted, glazed and framed. [1500/2500] Illustrated

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58

59 56 55 Alexander Calder (American, 1898‑1976), “Maree Basse (Low Tide)”, 1974, color lithograph on Chiffon de Mandeure paper, pencil-signed and numbered “81/100” lower margin, blind stamped, sheet 29‑3/4” x 45”. Presented in a floatmounted and glazed frame. Provenance: Martin Lawrence Gallery, New Orleans, Louisiana; Private collection, Florida.

[1500/2500] Illustrated This lithograph has been visually examined by photograph and approved by the Calder Foundation.

56 Alexander Calder (American, 1898‑1976), “Circles and Spirals”, 1975, color lithograph, pencil-signed and numbered “102/150” lower margin, sheet 29‑3/8” x 43‑1/4”. Glazed, matted and framed. Provenance: Private collection, Florida.

[1000/1500] Illustrated This lithograph has been visually examined by photograph and approved by the Calder Foundation.

14

57 Chinese Lapis Lazuli Carving on Stand, early 20th century, the brightly colored stone carved with figures in a mountain landscape, on a carved wooden stand, h. 7‑1/2”, w. 5”. [800/1200] Illustrated 58 Chinese Lapis Lazuli Carving on Stand, early 20th century, the brightly colored stone carved with figures in a mountain landscape, on a carved wooden stand, h. 7‑1/2”, w. 5”. [800/1200] Illustrated 59 Chinese Lapis Lazuli Bowl on Stand, early 20th century, carved as double gourds and foliage, on a fitted hardwood stand, h. 3‑1/4”, l. 10‑1/2”. [500/800] Illustrated

60

62

60 Chinese Jade Covered Jar on Stand, ca. 1950, the gray-green stone with apple green markings and areas of spinach green, carved with dragons, pearls and clouds in high relief, on a fitted hardwood stand, h. 6”, l. 7‑1/2”.

[500/800] Illustrated 61 Chinese Jade Carving, early 20th century, the stone of a pale green color with apple green markings, the carving of a winged mythical pi-hsieh animal, with a carved, fitted hardwood stand, h. 5”, l. 14”. [800/1200] Illustrated

61

63

62 Chinese Jade Carving, early 20th century, the large jade boulder of lavender and bright apple green color, carved with a monk in a mountain grotto, a Tao Kuang mark on the base with two seals, grotto-marked with three seal characters, on a carved wooden stand, h. 12‑1/4”, w. 8‑1/4”. [1500/2500] Illustrated 63 Chinese Jade Carving on Stand, ca. 1950, the lavendergray stone with areas of bright apple green, carved as three immortals with peaches, flowers and cranes, on a carved wooden stand, h. 6‑1/2”, l. 9”. [800/1200] Illustrated

15

64

65

66 Chinese Porcelain Vase, 20th century, the moon flaskform vase with underglaze blue and red decoration of the sun rising above the waves, Hsuan Te mark on the base, h. 12”, dia. 9‑1/2”. [700/1000] Illustrated 67 Suite of Three Asian Hardwood Nesting Tables, early 20th century, each with a rectangular top with incised floral and foliate designs and with applied wooden patterns, raised on molded square supports joined by pierced fretwork stretchers to shaped feet, h. 28”, w. 22”, d. 15‑1/2”. [700/1000] Illustrated

66 64 Chinese Jade Carving on Stand, 20th century, the stone carving of varying shades of green with brown markings, the seated figure of Milofo, with playing children, on a silver-inlaid fitted stand, h. 10”, w. 9”. [700/1000] Illustrated 65 Chinese Jade Vase, 20th century, the stone a bright spinach green color, relief-carved with figures on horseback and pavilions in a mountain landscape, a Chien Lung Fang Ku mark on the base, h. 12”, dia. 4‑1/4”. [600/900] Illustrated

67

16

68 Chinese Elmwood Altar Table, 19th/20th century, with heaven soaring ends and aprons carved and pierced with ju-i, h. 39”, w. 116”, d. 15”. [500/800] Illustrated 69 Two Chinese Porcelain Covered Jars, 19th century, of, respectively, oval and globular form, with famille rose decoration of children playing on one example and a pair of phoenixes, magpies, cranes, butterflies and flowers on the other, h. 9”, dia. 9”, and h. 13”, dia. 8”. [1000/1500] Illustrated 70 Chinese Embroidered Robe, 20th century, the blue silk with borders embroidered with flowers and the eight precious emblems, w. 50”, l. 29”. [800/1200] Illustrated 71 Chinese Porcelain Vase, 20th century, decorated with bats and clouds in underglaze blue and iron-red, with a Hsuan Tung mark on the base, h. 14”, dia. 9”. [600/900] Illustrated 70

69

71

68

17

72

73 74

72 Chinese Porcelain Vase, 20th century, Tou Tsai ware, of oviform shape with floral scrolling decoration, a Tian (Heaven) mark on the base, h. 3‑1/2”, dia. 3‑1/2”. [1200/1800] Illustrated 73 Chinese Embroidered Panel, late 19th/early 20th century, depicting the figure of the god of longevity, Shao Lao, with a child and a deer on a scarlet ground, framed and glazed, h. 59”, w. 23‑1/4”. [1000/1500] Illustrated 74 Three-Piece Collection of Chinese Export Porcelain Plates, first quarter 19th century, all trimmed in gilt and decorated with floral sprigs, mounted on a cloth-covered display board, w. 25”, d. 25”. [600/900] Illustrated 75 Chinese Four-Panel Screen, early 20th century, composed of wood panels carved in relief with designs of the “Hundred Antiques” with a gilded surface, and lacquer panels inset with the “Hundred Antiques” in jade, malachite and carnelian, with hardwood bases for the inlay, in lacquer frames, h. 79‑1/2”, w. 80”. [1500/2500] Illustrated

75

18

78

76

79

76 Large Chinese Carved Hardstone Dragon Boat, 20th century, comprised of sectional hardstone with flags and chains in a deep sea-green color, boat, h. 58”, l. 82”, d. 9”, stand, h. 33”, l. 70”, d. 12”. [1500/2500] Illustrated 77 Large Chinese Hardstone Dragon Boat, 20th century, the hardstone in an olive green color, h. 11‑1/2”, w. 25‑1/2”, d. 4”. [1000/1500] Illustrated 78 Chinese Pottery Censer, probably Han period (206 B.C.-220 A.D.), the cylindrical-form censer with bearshaped feet and decorated with bowstring marks, the green glaze with areas of iridescence, h. 5‑3/4”, dia. 8‑1/4”. [600/900] Illustrated

77

79 Chinese Pottery Wine Jar, probably Han period (206 B.C.-220 A.D.), with Tao Tich masks on the side, triangular feet and bowstring marks on the body, the green glaze with considerable iridescence, h. 13”, dia. 9‑1/2”. [1000/1500] Illustrated

19

80

85

80 African Hardstone Carving of an Elephant, 20th century, carved from green mottled stone, the elephant depicted standing with its head turned, h. 12‑1/2”, w. 13‑1/2”, d. 8”. [500/800] Illustrated 81 Large Chinese Jade Bowl on Stand, early 20th century, the stone of a bright spinach green color, the rectangular-form bowl with rounded corners, surface-carved with dragons, pearls and clouds, on a silver-inlaid rosewood stand, h. 5‑1/2”, w. 9‑1/2”, l. 14”. [2000/4000] Illustrated

81

82 Twenty Assorted Chinese Hardstone and Jade Carvings, 20th century, including a ritual Pi disk, dia. 4‑3/4”, four bracelets, six pendants, five plaques and four hairpins, dia. 2‑3/4” to 3”.

[600/900] 83 Indian Enameled Rock Crystal Elephant, 20th century, modeled with a raised trunk and decorated with floral scrolling in gold, red and green enamels, h. 3‑1/2”, l. 3‑1/2”. [500/800] 84 Pair of Chinese Porcelain Birds, early 20th century, the figures of phoenixes with peonies, standing on a rocky outcrop, decorated with famille rose enamels, h. 12‑3/4”, w. 4”.

[800/1200] Illustrated 85 Chinese Carved Hardwood Box, 19th century, Canton export work, carved with figures and pavilions in a palace garden, h. 2‑3/4”, w. 10”, d. 6”. [800/1200] Illustrated

84

20

86

87

88 86 Japanese Folding Screen, 20th century, the scene of a nobleman’s procession through a town in ink and colors on gold paper, h. 52”, w. 102”. [1000/1500] Illustrated 87 Western Tibetan Gilt-Bronze Figure of the Buddha, 16th century, seated in the “royal ease” position on a double lotus throne, with inlays of turquoise and lapis lazuli, h. 6”, w. 4‑3/4”. [3000/5000] Illustrated 88 Nepalese Bronze Figure of the Buddha, 20th century, the seated figure of Shadakshari Lokeshvara, h. 14”. [500/800] Illustrated 89 Chinese Lacquered Cabinet, early 20th century, with two doors over two smaller doors, and eight convex panels with figures in palace scenes in gold lacquer on a black ground, with a floral-carved crest, h. 88”, w. 34‑1/2”, d. 19”. [1800/2500] Illustrated 89

21

92 91

92 Chinese Table Screen, 20th century, the hardstone panel carved with horses in relief, in a carved and pierced rosewood frame, h. 12‑3/4”, w. 12‑3/4”. [500/800] Illustrated 93 Chinese Carved Marble Sculpture, early 20th century, the standing figure of the Buddha on a lotus base, h. 37”, w. 11”, d. 6”.

[500/800] Illustrated

90 90 Chinese Wood and Marble-Top Plant Stand, late 19th century, the octagonal top inset with a red marble plaque, the apron and legs carved and pierced with gourd plants, flowers and foliage, the cabriole legs with animal-paw feet, h. 36”, dia. 16”. [500/800] Illustrated 91 Chinese Bronze Censer, 19th century, on scrolled feet, the sides decorated with lotus leaves, a horse, a crab, a duck and a carp, trimmed with a Chinese fret border, the handles molded as salamanders, h. 8‑1/4”, w. 6‑3/4”, d. 5‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[1000/1500] Illustrated 93

22

97 Wang Qi (Chinese, 1776‑1840), ink on fan-shaped paper, depicting a “Mountainous Landscape with a Footbridge”, inscribed and with an artist seal, mounted on silk, fan, 6‑7/8” x 19‑1/2”, overall sight, 13‑1/2” x 25‑1/2”. Glazed and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1000/1500] Illustrated 98 Cai Jia (Chinese, 1686‑1779), ink and color on fanshaped paper, depicting a “Landscape with a Monastery”, inscribed and with two artist seals, mounted on silk, fan, 7” x 20‑1/2”, overall sight, 13‑1/2” x 25‑1/2”. Glazed and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [3500/5000] Illustrated 94

96

95

94 Chinese Mother-of-Pearl Box, 19th century, the surface carved and pierced with flowers on an engraved brocade ground, h. 3‑1/2”, w. 4”, l. 6”.

[800/1200] Illustrated

97

95 Chinese Blanc-de-Chine Wine Cup, 19th century, Te-hua ware, of libation cup form, the surface decorated in relief with a tiger, crane, deer and prunus flowers, h. 2”, w. 4”. [500/800] Illustrated 96 Wang Li (Chinese, 1813‑1879), ink and color on fan-shaped gold paper, depicting “Birds in Flight Over Pine Branches”, inscribed and with an artist seal, mounted on cream paper, fan, 7‑1/8” x 20‑3/4”, overall sight, 13‑1/2” x 25‑1/2”.

Glazed and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1000/1500] Illustrated

98

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99

101

99 Japanese Bronze Umbrella Stand, Meiji period (1868‑1912), decorated with birds and flowers, h. 23”, dia. 8‑3/4”. [600/900] Illustrated 100 Japanese Brass Floor Lamp, early 20th century, the champleve enamel lamp decorated with Tao Tich masks on a brocaded ground, h. 62”, dia. 11‑1/2”.

[600/900] Illustrated 101 Pair of Burmese Polychrome and Carved Wood Marionettes, second half 19th century, the male and female figures with hand-painted features and fine, impressive period costumes, h. 26”, presented in an ebonized shadowbox with gilt and floral trim, h. 47”, w. 42”, d. 8”. [1000/1500] Illustrated

100

24

104

102

102 Pair of Lokapala Figures, the champleve enamel figures in armor and decorated with flowers and brocade patterns, with diadems inset with malachite cabochons, h. 60”, w. 30”, d. 25”.

[2000/4000] Illustrated

103

103 Pair of Chinese Porcelain Covered Jars in the Famille Noir Palette, late 19th century, decorated with dragons, pearls, flames and clouds in San Tsai colors of green, yellow and aubergine on a black ground, wave borders at the base and a six-character Ch’eng Hua mark in underglaze blue on the base, h. 11”, dia. 12”. [1000/1500] Illustrated 104 Chinese Embroidery, 19th century, with chainstitch decoration of flowers and butterflies in two shades of blue, gold, yellow and green on a brocaded dark green ground, framed and glazed, h. 11”, w. 8‑1/4”. [500/800] Illustrated 105 Chinese Hardwood and Cloisonne Scepter, early 20th century, the hardwood carved with archaic scrolling and brocade patterns, and set with cloisonne panels of lotus flowers and the emblems of the immortals on a green ground, l. 21‑3/4”. [500/800] Illustrated

105

25

109 106

106 Chinese Cloisonne Planter, 20th century, of rectangular form, decorated with reserves of the “Hundred Antiques” on a lotus-scrolled turquoise ground, mounted with carved hardstone calla lilies, h. 22”, w. 6‑3/4”, l. 11”. [500/800] Illustrated 107 Chinese Cloisonne Bowl, 19th century, decorated with birds and flowers on a turquoise ground, with French ormolu mounts in the chinoiserie style, with dragon and prunus handles and elephant-head feet, h. 15‑3/4”, l. 19”.

[700/1000] Illustrated 107

108 Pair of Chinese Cloisonne Censers, 20th century, in the form of mythical animals, decorated with phoenixes and archaic scrolling on a deep turquoise ground, with gilded elements, h. 13”, l. 9‑1/2”. [1000/1500] Illustrated 109 Pair of Chinese Cloisonne Incense Burners, 20th century, the bull-shaped incense burners decorated with Tao Tich masks, dragons, bats and archaic scrolling on a turquoise ground, h. 10”, l. 17”. [500/800] Illustrated

108

26

112 110

110 Pair of Chinese Cloisonne Vases, 20th century, the baluster-form vases decorated with stylized lotus scrolls on a turquoise ground, with phoenix-form handles, and lionmask jump rings in gilt, h. 25‑1/2”, dia. 12”.

[1000/1500] Illustrated 111 Chinese Enameled Censer, 20th century, the plique-a-jour work decorated with flowers on a blue fish-scale ground, with lion-mask handles and gilt-metal feet, h. 3‑3/4”, w. 6”. [500/800] Illustrated 111

112 Japanese Cloisonne Bowl, Meiji period (1868‑1912), the standard cloisonne decorated with a duck and flowers on a black ground, with French ormolu mounts, h. 4”, dia. 13”.

[500/800] Illustrated 113 Anglo-Colonial Indian Rosewood Sideboard, mid-19th century, the shaped backpiece centered by an anthemion flanked to either side by deeply carved scrolling foliate patterns, the rectangular top with a recessed center section above a conforming frieze fitted with three reeded drawers, raised on two pedestals, each fitted with a cupboard door faced with a graduated columnar pattern, on gadroon-carved bases to ribbed bun feet, h. 50”, w. 67”, d. 26”. [2500/4000] Illustrated

113

27

115 Paul Jacoulet (French/Japanese, 1902‑1960), “Retour de la Jungel - Tondano: Celebes” and “La Nouvelle Robe - Metalanim, Penabe”, two colors woodblocks, each signed, stamped and titled, sights 16‑3/4” x 12” and 17‑1/4” x 14‑1/2” respectively. Each glazed and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1000/1500] Illustrated 116 Paul Jacoulet (French/Japanese, 1902‑1960), “Les Paradisiers - Menado, Celebes” and “Le Rocher de Jockadj - Ponape”, two color woodblocks, each signed, stamped and titled, sights 14” x 18‑1/2” and 18‑1/2” x 14” respectively. Both glazed and framed alike. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1200/1800] Illustrated

115

114 Anglo-Indian Brass-Mounted Carved Rosewood Coffer on Stand, early 19th century, from the Malabar Coast of India, the hinged rectangular top inset with numerous pierced brass plaques, and opening to two small lidded end compartments, the front with a nicely carved foliate panel, the sides with quarter-ribbed panels and pierced brass corner pieces, raised on a low stand fitted with four small drawers, raised on bracket feet, h. 28”, w. 52‑1/2”, d. 23‑1/2”. [1500/2500] Illustrated

116

114

28

117 Anglo-Indian Rosewood Planter’s Chair, 19th century, with a molded top rail and shaped back, the arms with swivel extensions on vasiform supports, spiral-reeded legs with ball feet, and caned seat and back, with pegged construction, h. 33‑1/2”. [800/1200] Illustrated 118 Indian Bone-Inlaid Mahogany Four-Panel Screen, 20th century, the top shaped as Moorish arches, the whole elaborately decorated with panels depicting palm trees, birds, lotus flowers, ibis, swirling scrolls and potted trees, h. 75‑1/2”, w. 89”. [2000/4000] Illustrated 119 Italian Carved Carrara Marble Bust of the Prophetess Miriam, fourth quarter 19th century, the front with a bas-relief panel depicting the discovery of Moses by the pharaoh’s daughter, h. 18‑1/2”, w. 8‑3/8”, d. 6‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated

119

117

118

29

120 Important Chinese Rosewood and Mother-ofPearl-Inlaid Tilt-Top Table, early 19th century, the top, pedestal and legs profusely inlaid with flowers, people, birds and seal characters, h. 28”, dia. 33”.

[3000/5000] Illustrated This table is illustrated in Erich Bruggemann’s, Kunst und Technik der Intarsien” (Art and Technique of Inlay Works), Munich, 1988, pp. 134‑135.

121

122

121 Egide Godfried Guffens (Belgian, 1823‑1901), “He Loves Me, He Loves Me Not”, oil on canvas, signed lower left, 35‑5/8” x 20‑1/2”. Framed. [1200/1800] Illustrated 122 Continental Polychromed Metal Sculpture of “Esmeralda”, 20th century, after Emmanuel Villanis (French, 1858‑1914), cast signature on base, h. 37‑3/4”, w. 15”, d. 13”. [2000/4000] Illustrated

120

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125

124

123 Middle Eastern Hammered Copper Cooking Vessel, mounted with two ring holders on leaf-incised scrolls, h. 14”, dia. 15”. [500/800] Illustrated 124 Large Indian Gilt-Copper Covered Jar, 19th century, of globular form, the body engraved with floral designs with reserves and borders of Arabic inscriptions, h. 28”, dia. 29”. [500/800] Illustrated 125 Franz Bergman (Austria, ca. 1838‑1894), coldpainted Vienna bronze Orientalist figure of a seated Arab girl, her lower dress stamped “B” within an urn and an indistinct number within the fold above it, h. 2‑3/4”. Illustrated: Joseph Zobel, Antique Vienna Bronzes (Atglen, PA: Schiffer, 2008), p. 145.

[600/900] Illustrated

127

126 Monumental French Barbotine Polychrome Figural Vase, fourth quarter 19th century, depicting an African boy in Moorish costume, carrying a market basket and standing before two tulip-shaped vases decorated with molded flowers, on a matching base, the bottom stamped “4979”, h. 31”, dia. 8”.

[500/800] 127 Orientalist Cold-Painted Vienna Bronze Figure of an Arab Teacher, ca. 1900, the figure holding a book and pointer, and seated on a stool centered on a fringed oriental carpet, h. 3”, w. 3‑/1/2”, d. 3‑1/4”.

[600/900] Illustrated

31

129 128

128 Moorish Cold-Painted Metal Lamp, first quarter 20th century, Vienna, Austria, depicting two Moorish figures with a camel, under a carpet awning concealing a lamp socket, backed with a wall with a Moorish arch, under the shade of a palm tree, h. 19‑1/4”, w. 7‑3/4”, d. 5”.

[1500/2500] Illustrated 129 Painted Metal Lamp, first quarter 20th century, probably Vienna, depicting two Moors and a donkey exiting a gate with a lantern hanging out front, the lantern set with red and green opaline glass and concealing a light socket, h. 13‑1/2”, w. 8‑3/4”, d. 5‑3/4”. [1000/1500] Illustrated

130

32

130 Austrian Cold-Painted Vienna Bronze Lamp, first quarter 20th century, depicting an Arabic nomad and his camel resting under a palm tree, mounted as a lamp, h. 12‑3/4”, w. 11‑1/2”, d. 7”.

[1000/1500] Illustrated

132

131

131 Moroccan Painted Tole Lantern, fourth quarter 19th century, the hexagonal-form lantern pierced on the sides and in the conforming, tapered top, with Maltese crosses decorating the lower section, h. 28”, dia. 9‑3/4”.

[500/800] Illustrated 132 Cold-Painted Bronze and Marble Figural Desk Set, first quarter 20th century, probably Bergman, Vienna, Austria, comprised of an encrier and a paperweight, both mounted on Portoro marble bases, the encrier depicting a Moorish teacher with three boys at their lessons, on an oriental carpet, a bronze tabouret with a book concealing a blown glass inkpot, and a carved pen tray insert in front of the marble, h. 5‑3/4”, w. 9‑3/4”, d. 8”, and the paperweight decorated with a single school boy on a carpet, h. 2‑1/2”, w. 4‑1/2”, d. 2‑3/4”. [1800/2500] Illustrated

133

133 Continental Gilt-Bronze Figure of a Bear, ca. 1900, probably Vienna, the bear holding a tasseled umbrella and a “jewel”-mounted lantern, h. 5‑1/2”, dia. 2‑1/2”. [500/800] Illustrated 134 Pair of Asian Hardwood Pedestals, 20th century, each with a circular top with a molded edge, and raised on three supports in the form of tusked elephant heads with the trunks continuing to become upturned feet raised on pegs, h. 34”, dia. 20”. [1500/2500] Illustrated

134

33

136

139

135 Pair of Continental Patinated Metal Figures of Soldiers, first quarter 20th century, h. 15‑1/2”, w. 5‑1/2”, d. 6‑1/4” and h. 14‑1/2”, w. 9‑3/4”, d. 9”. [500/800]

137

136 Wladyslaw Chmielinski (Polish, 1911‑1979), “The Wedding Party”, oil on canvas, signed lower right, 16‑1/4” x 20‑1/4”. Framed. [1500/2500] Illustrated 137 School of Adolf Schreyer (French/German, 1828‑1899), “Arabs on Horseback”, 19th century, oil on canvas, with a “W. Scahus” stamp, unsigned, 20‑1/8” x 28”. Presented in an antique giltwood and gesso frame. [1500/2500] Illustrated 138 Antique Hereke Silk Pictorial Carpet, 1’ 10” x 2’ 10”. [800/1200] Illustrated 139 Antique Isfahan Silk Carpet, 2’ 4” x 3’ 6”.

[800/1200] Illustrated

138

34

140 Verreries d’Art Lorrain Glass Centerpiece with a Hammered Iron Stand, ca. 1927‑1932, French, the pierced and scrolled stand holding the mottled mauve-colored bowl, engraved “Lorrain” on the side, h. 8‑3/4”, dia. 10‑1/2”. [600/900] Illustrated

140

141 Impressive Art Deco “Verrerie d’Art Degue” Glass and Iron Centerpiece, ca. 1926‑1930, French, in a bold scrollwork frame decorated with applied leaves, the glass insert composed of mottled mauve and green glass, signed “Degue” in etched script on one side, h. 11‑1/4”, w. 18‑1/2”, d. 10‑1/4”. [500/800] Illustrated 142 Legras Enameled Glass Baluster Vase, first quarter 20th century, French, decorated with views of a mountain lake, with trees in the foreground, against a mottled orange and yellow sky, signed “Legras” in enamel on the lower left ground, h. 10‑3/4”, dia. 4‑3/4”. [500/800] Illustrated

141

143 Verreries d’Art Lorrain Glass Bowl in an Iron Stand, ca. 1927‑1932, French, the handled iron stand decorated with roses and leaves. and holding the cylindrical orange and green mottled bowl, signed “Lorrain” in script on the side, h. 9”, dia. 10‑1/4”.

[600/900] Illustrated

143 142

35

146

144

145 Muller Freres Glass and Cast Iron Art Deco Table Lamp, second quarter 20th century, with an orange and aubergine mottled shade signed “Muller Freres Luneville”, with their stenciled mark, the handsome cast iron base with a “hammered” platform holding a pierced standard, in the style of Edgar Brandt and possibly from his atelier, h. 22‑1/2”, dia. 13”. [1500/2500] Illustrated 146 Daum Nancy and Louis Majorelle Art Deco Hammered Iron and Glass Blown-Out Vase, first quarter 19th century, French, composed of mottled orange, white and amber glass, signed “L. Majorelle” and “Daum Nancy” in engraved script, with a Croix de Lorraine between the Daum and Nancy, h. 10‑1/4”, dia. 8‑3/4”. [1000/1500] Illustrated 147 Austrian Art Nouveau Bronze and Glass Bowl in Stand, ca. 1900, attributed to Fritz Heckert, the bronze stand molded as trees and supporting the “Changeant” bowl, decorated with pulled silver threads on an iridescent cranberry ground, with a pinched neck, unsigned, h. 7‑1/2”, dia. 9”. [800/1200] Illustrated

145

144 Muller Freres Glass and Metal Art Deco Centerpiece Bowl, second quarter 20th century, French, the metal frame decorated with roses and vines, and holding the low frosted bowl, marked “Muller Freres Luneville” on the side of the bowl, h. 8‑1/2”, w. 11‑1/4”, d. 7‑1/2”. [700/1000] Illustrated

147

36

149

148

148 Monumental Legras Art Glass Vase in the Deco Style, second quarter 20th century, French, the clambroth glass mottled with amber and dark brown and cased in colorless glass, decorated with a wide band of incised flowers and birds, signed “Legras” in an incised, colored mark, and “Made in France” on the bottom, along with a retailer’s paper label, h. 25‑1/2”, dia. 8”. [1500/2500] Illustrated 149 Unusual Emile Galle Cameo Glass Vase, second quarter 20th century, French, divided into four panels by nearly black and dark red trees, framing vignettes of shorescapes with trees silhouetted against blue mountains, sky and water, with a ground under rim, polished pontil and a Galle signature on the lower portion of the vase, h. 14”, dia. 6”. [1500/2500] Illustrated 150 Galle Cameo Glass Stick Vase, first quarter 20th century, Nancy, France, decorated with mauve cut vines over a yellow shaded base, signed “Galle” in cameo near the base, h. 17‑1/2”, dia. 5”.

[1200/1800] Illustrated

150

37

151

152

153 Monumental Emile Galle Art Nouveau Cameo Glass Stick Vase, ca. 1904‑1905, French, layered with amber and green glass over pink shaded frosted glass, decorated with blooming plants, signed “Galle” with a star on the lower portion of the neck, h. 23”, dia. 6‑1/4”. [2000/4000] Illustrated 154 Emile Galle Cameo Glass Stick Vase, first quarter 20th century, French, decorated with green vines over a shaded pink ground, signed “Galle” in cameo on the lower neck, h. 13‑1/2”, dia. 3‑1/4”.

[1200/1800] Illustrated 155 Large Legras Cut, Engraved and Parcel-Gilt Glass Vase, first quarter 20th century, composed of olive green glass cut with leaves and flowers, the leaves with gilt and the flowers with silver gilt, signed “Legras” on the side in cameo, “Made in France exclusively for Paris Decorators” etched on the bottom, h. 10”, dia. 8”. [500/800] Illustrated

153

154

151 Legras “Serie Rubis” Engraved and Enamel Art Glass Bowl, first quarter 20th century, decorated with enameled cherries and leaves on a cracked ice ground, signed “Legras” in an enameled signature, h. 5‑1/4”, dia. 7‑1/2”.

[500/800] Illustrated 152 Three Pieces of Miniature Emile Galle Cameo Glass, first quarter 20th century, French, including a tapered vase layered in various shades of violet, and cut with flowers, signed “Galle” in cameo on the lower portion, h. 5”, dia. 2”, a trumpet-form orange-over-white vase cut with nasturtiums, signed “Galle” in cameo on the bulbous base, h. 3‑3/4”, dia. 1‑1/4”, and a mauve-over-white vase cut with flowers, signed “Galle” in cameo on the mid-section of the vase, h. 2‑1/4”, dia. 2‑1/4”. [600/900] Illustrated 155

38

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156

159

158

156 Rare Vitrified Cameo Glass Vase, Attributed to Daum, first quarter 20th century, French, with an outer vitrified layer carved as trees, cut to reveal an orange and yellow mottled sky, over a dark green horizon, the front panel carved with a village scene including a church tower, unsigned, the bottom drilled for a lamp, h. 11‑1/2”, dia. 4‑1/2”. [2000/4000] Illustrated 157 Legras Cut and Gilded Art Glass Ice Tub, ca. 1900, French, the rectangular emerald green tub decorated with gilt oak leaves and silver gilt acorns against a chipped ice ground, signed with a gilt “L.cie, St. Denis, Paris” on the bottom, h. 3‑3/4”, w. 6‑1/4”, d. 5”. [600/900] Illustrated

158 Handsome Legras Mont Joye Vase, first quarter 20th century, French, with a cracked ice surface and gilded oak leaves and acorns, blown with a ground base, signed “Mont Joye L&C” in gilt on the bottom, h. 10”, dia. 6”. [700/1000] Illustrated 159 Austrian “Crete Pampas” Glass Vase, Attributed to Loetz, ca. 1900, the pinched vase decorated with clear reticular threads over silberiris, unmarked, h. 9‑1/2”, dia. 4‑1/2”. [500/800] Illustrated

39

161

160 160 Monumental Austrian Art Glass Trumpet Vase, ca. 1900, attributed to Fritz Heckert “Changeant” glass, the emerald green vase with peacock blue iridescence and pulled bands, unsigned, h. 23‑3/4”, dia. 10”. [700/1000] Illustrated 161 Three Bohemian Iridescent Art Glass Biscuit Barrels, first quarter 20th century, probably Kralik, the largest example in Kralik’s “Cardiac” pattern, the middle example ribbed twisted, and the smallest example with an unknown decoration, all with chrome covers, h. 5‑3/4” to 9‑1/4”, dia. 4‑1/2” to 5‑1/2”.

[700/1000] Illustrated

162

162 One Hundred and Sixty-Five-Piece Set of Reed & Barton “Francis I” Sterling Silver Gilt Flatware, the pattern designed in 1907

by Ernest Meyers, Taunton, Massachusetts, comprising fourteen nine-piece place settings (six pieces lacking) with an additional thirtythree place pieces and twelve serving pieces, 192.67 total t. oz. (weighable silver). Detailed list of pieces available on request. [3000/5000] Illustrated 163 Reed & Barton “Francis I” Sterling Silver Gilt Bread Tray, the pattern designed in 1907

by Ernest Meyers, Taunton, Massachusetts, l. 11‑3/4”, w. 7‑1/2”, 14.58 t. oz. [500/800] Illustrated 163

40

164 Ninety-Seven-Piece Set of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, comprising twelve eight-piece place settings and a tablespoon, no monograms (some removals), 109.11 total t. oz. (weighable silver), presented in a fitted blue felt drawer inset with zippered closure, 19” x 12”. Detailed list of pieces available on request.

[3000/5000] Illustrated 165 Pair of Reed & Barton “Francis I” Sterling Silver Medium Compotes, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, h. 4‑3/4”, dia. 8”, 26.97 total t. oz.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated 164

166 Rare Set of Twelve Reed & Barton “Francis I” Sterling Silver Service Plates, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 10‑3/4”, 199.03 total t. oz.

[5000/8000] Illustrated

165

166

41

167 Eighty-One Assorted Pieces of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, all place pieces, including twenty-nine salad forks, twenty-seven teaspoons, ten place spoons and fifteen others, two pieces monogrammed, 104.63 total t. oz. Detailed list of pieces available on request.

[1800/2500] Illustrated 168 Pair of Reed & Barton “Francis I” Sterling Silver Large Vegetable Bowls, the pattern designed in 1907

by Ernest Meyers, Taunton, Massachusetts, dia. 11‑1/2”, 41.31 total t. oz. [1000/1500] Illustrated

167

171

168

169 Forty-Eight Assorted Reed & Barton “Francis I” Sterling Silver-Handled Place Knives, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, with steel blades, including seventeen with “New French” stainless blades, l. 9”, seven with plated “Blunt”-shaped blades, l. 8‑3/4”, twenty- two with stainless “Modern”-shaped blades, 8‑3/4”, one with stainless “Modern”-shaped blade, l. 9‑1/4”, and one butter spreader with stainless “Modern”-shaped blade, l. 6‑1/2”, those with “Blunt” blades variously monogrammed.

[1000/1500] 170 Three Pieces Reed & Barton “Francis I” Sterling Silver Hollowware, 1951, the pattern designed in 1907

by Ernest Meyers, Taunton, Massachusetts, including a large vegetable bowl, dia. 11‑1/2”, and a rare pair of wine coasters, dia. 7”, 32.15 total t. oz. [600/900] Illustrated 171 Set of Four Reed & Barton “Francis I” Sterling Silver Medium Bowls, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 8”, 38.91 total t. oz.

[1000/1500] Illustrated

170

42

172 English Gothic Revival Oak Hall Tree, fourth quarter 19th century, the central portion with a shaped beveled mirror and flanked by relief-carved Gothic panels fitted with wrought iron hooks, the lower portion with a glove drawer and a cane/umbrella holder, h. 90‑1/2”, w. 52”, d. 11‑1/2”. [800/1200] Illustrated

173

174

173 George III-Style Mahogany Gainsborough Chair of Diminutive Proportions, early 20th century, the domed and padded back joined by downswept arms to the padded seat, raised on chamfered legs joined by an H-form stretcher, upholstered in needlework in the style of “The Unicorn Tapestries”, h. 39”. [500/800] Illustrated 174 Flemish Hand-Woven Tapestry, ca. 1900, depicting musicians and maidens in an opulent park setting, 54” x 74”. [1000/1500] Illustrated

172

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175 Large English Gothic Revival Pine Bookcase, fourth quarter 19th century, the upper case with six tall glazed doors, the base with three side-by-side drawers above six blind doors, each with in-carved Gothic motifs, h. 115‑1/2”, w. 94‑1/2”, d. 21‑1/2”.

[2000/4000] Illustrated 176 Set of Twelve Hand-Painted Minton’s Cabinet Plates, ca. 1934, English, each with a gadrooned border against a bleu royale field and decorated with a central hand-painted panel depicting street vendors in 18th-century costume, artist signed “F. Nabney”, and marked on the back with Minton’s “globe” mark and the retailer, “W. H. Plummer & Co, New York”, dia. 10‑1/4”.

[900/1200] Illustrated

176

177 British School (Third Quarter 19th Century), “Coastal Landscape with Fisherfolk on the Beach” and “Coastal Landscape with a Fisherman and His Wife”, pair of oils on oval canvases, both unsigned, each 22” x 27”. Both framed alike. [1000/1500] Illustrated 178 Samuel Bough, RSA (British, 1822‑1878), “Cattle by a River with a View of a Hilltop Castle”, oil on canvas, signed lower right, 19” x 28‑1/2”. Presented in a period giltwood frame. [3000/5000] Illustrated

177 one of two

175

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178

181 George III Mahogany Wing Chair, early 19th century, the domed and padded back joined by shaped sides and outscrolled arms to the cushioned seat, raised on square legs joined by an H-form stretcher, h. 46”. [700/1000]

179

179 British School (Third Quarter 19th Century), “Fishing at Sunrise”, oil on board, unsigned, verso with “Russell Hartley Fine Paintings, San Francisco, California” label, 22‑1/2” x 38‑1/2”. Presented in a period giltwood and gesso frame. [1000/1500] Illustrated

182 Edwardian-Style Maitland-Smith Mahogany Lady’s Desk, the superstructure fitted with two drawers over a central cupboard and a secreted pull-out cupboard to either side, faced as three book bindings, flanked to either side by two banks of three small drawers, the bowed leatherinset top above a conforming frieze fitted with two drawers, raised on tapering square legs ending in spade feet, the whole accented with polychrome floral and musical accents, h. 43”, w. 40”, d. 24”. [600/900] Illustrated

180 Circle of George Morland (British, 1763‑1804), “The Labourer’s Respite”, oil on canvas, signed lower right, 15‑1/4” x 12‑1/2”. Framed. [2000/4000] Illustrated

180

182

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183 Edwardian Satinwood and Polychrome Dressing Table, early 20th century, the domed superstructure with a recessed mirrored compartment over a small bowed drawer, flanked to either side by a small cupboard door, each paneled and with a finely painted floral vase, the bowed top above a conforming case fitted with a single drawer, raised on slender tapering square legs ending in spade feet, the whole with delicate polychrome floral accents, h. 45”, w. 30‑1/4”, d. 18‑1/2”. [500/800] Illustrated 184 Exceptional Set of Twelve Royal Doulton Cabinet Plates, ca. 1928‑1973, English, decorated with various orchids, against an ivory-ground border with raised gilt garlands, baskets of flowers and scrollwork, artist-signed “W. Hargreaves”, marked with Doulton’s backstamp, a “J. E. Caldwell and Co., Philadelphia” retailer’s mark, the name of the orchid and possibly the gilder, dia. 10‑1/2”. [3500/5000] Illustrated

184

185

185 Victorian Gilt-Metal Epergne, fourth quarter 19th century, by Thomas Bradbury & Sons, Sheffield, the steeply domed base with six rising foliate stalks, three scrolling outwards, ringed with tendrils and blossoms and terminating in a basket fitted with a glass bowl with etched and cut floral decoration, the other three scrolling upwards and forming a receptacle for the center bowl (now lacking), h. 19”, w. 20‑1/4”. [800/1200] Illustrated

183

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186 Edwardian-Style Mahogany Occasional Table, by Baker Furniture, the oval top banded and quarter-veneered, above a conforming case with open shelving, each shelf with a flanged leather frieze, raised on waisted square legs ending in casters, the underside bearing a Baker label, h. 31‑1/2”, w. 28”, d. 21”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated 187 Edwardian Satinwood Armchair, late 19th century, in the Adam taste, the crest centered by a polychrome scene of two frolicking putti, over a slatted splat, joined by downswept arms to the padded seat, raised on tapering circular legs ending in toupie feet, the whole with delicate polychrome floral accents, h. 34”.

[500/800] Illustrated 188 Edwardian Mahogany and PaintDecorated Hanging Cabinet, ca. 1900, the central door with a painted allegorical scene, the sides fitted with open shelves with painted swags, the lower edge fitted with a pair of drawers, h. 41”, w. 35”, d. 9”. [500/800] Illustrated

186

188

187

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193 Set of Twenty-Four Wedgwood “Gold Florentine” Bone China Dinner Plates, 20th century, English, each with a delicately decorated border of dragons, chimeras, bucrania and scrollwork, dia. 10‑1/2”. [600/900] 194 Pair of Anglo-Irish Cut Glass Lustres, third quarter 19th century, of trumpet form, cut with honeycomb panels and hung with spear-point prisms alternating with shorter prisms, h. 13”, dia. 6‑1/2”. [500/800]

189 189 Pair of Anglo-Irish Cut Glass and GiltBronze Two-Light Sconces, mid-20th century, on gilt-bronze shell-molded backplates, set with pairs of cut glass arms with center glass spears, mounted with cut glass prism-hung canopies beneath star finials, the canopies mounted beneath the spire, hung with prisms and swags of drops mounted with shades, h. 26”, w. 16‑1/2”, d. 6‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[600/900] Illustrated 190 Six-Piece Collection of Early NineteenthCentury English Porcelain, first quarter 19th century, including a Flight, Barr & Barr oval cream jug decorated with sprigs, impressed “FBB”, h. 4‑1/4”, dia. 6”, a Derby coffee cup decorated with sprigs, with a hand-painted red Derby mark, h. 2‑1/4”, dia. 2‑1/2”, an unusual Worcester gilt and cobalt bowl with a solid blue underglaze crescent mark, h. 1‑3/4”, dia. 5‑1/2”, two unmarked shell dishes, one with sprig decoration and the other with scattered green flower sprigs, w. 7‑3/4”, dia. 7‑3/4”, and a signed Flight, Barr & Barr lobed dessert dish, w. 8‑3/4”, d. 8‑3/4”. [500/800]

191

191 Edwardian-Style Satinwood Cabinet, the rectangular rosewood top banded and with a polychrome floral band and deeply canted corners, above a conforming case fitted with two cabinet doors, each with a fabric panel, flanked to either side by three open concave shelves, raised on a plinth base, h. 32”, w. 48‑1/4”, d. 14‑1/2”. [800/1200] Illustrated 192 Edwardian-Style Mahogany Side Table, the rectangular top above a frieze fitted with two drawers and two end pull-out slides, raised on lyre-form supports joined by a turned stretcher and ending in splayed feet, the whole with polychrome accents, h. 25”, w. 32‑1/4”, d. 18”.

[500/800] Illustrated 192

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195

197 Edwardian-Style Mahogany Tiered Table, the rectangular top with a full pierced brass gallery, joined to two like lower shelves by a square standard, the whole raised on splayed legs ending in brass caps and casters, h. 38”, w. 37”, d. 18‑1/2”. [700/1000] Illustrated

196

195 Collection of Twelve English and Continental Blown, Molded, Engraved and Cut Glass Decanters, 19th/20th century, including a pair of Bohemian blown glass decanters, h. 13”, dia. 5”; a cylindrical decanter with stopper, h. 12‑1/2”, dia. 4”; a Bohemian blown glass tapered decanter, h. 11”, dia. 3‑1/2”; two 18th-century-style decanters, one engraved with grapes and initials, h. 14”, dia. 4‑3/4”, one with neck rings, h. 10‑1/2”, dia. 4‑1/2”, and two malletform decanters, h. 12‑1/4”, dia. 3‑3/4” and h. 14‑1/2”, dia. 4‑3/4; three Waterford-style molded and cut glass decanters, h. 11” to 11‑3/4”, dia. 4‑1/2” to 5‑1/4”; and a rectangular molded whiskey decanter, h. 10‑1/2”, w. 4‑1/2”.

[600/900] Illustrated 196 Erskine Nicol, RSA, ARA (Scottish, 1825‑1904), “A Spirited Struggle”, 1864, oil on wood panel, signed and dated lower right, 8‑3/8” x 7”. Framed. [1000/1500] Illustrated

197

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200

198

200 detail

198 French Neoclassical-Style Patinated Bronze Four-Light Lantern, second quarter 20th century, the cylindrical lantern set with segmented glass, and decorated with bowknots and pierced anthemion, the upper frame molded with acanthus leaves, h. 33”, dia. 15”.

[500/800] Illustrated 199 Edwardian Mahogany Display Case, ca. 1900, the molded breakfront cornice above a fluted inlaid frieze and three astragal-glazed doors, opening to a fabriclined interior, the conforming lower section fitted with three drawers, raised on tapering square legs ending in spade feet, the whole inlaid in delicate scrolling foliate, floral and urn patterns in the Adam taste, h. 91‑1/2”, w. 60”, d. 16‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [2500/4000] Illustrated

199

50

200 Extensive Royal Worcester “Pillament Cobalt” Pattern Bone China Partial Dinner Service, ca. 1951, English, comprised of seventeen dinner plates, dia. 10‑3/4”, twelve luncheon plates, dia. 9‑1/4”, eleven salad plates, dia. 8”, eleven bread and butter plates, dia. 6”, eighteen cups, h. 2‑3/4”, and fourteen saucers, dia. 6”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York.

[700/1000] Illustrated

201 Minton and Boyle Ironstone Covered Vegetable Tureen, ca. 1836‑1841, English, in the “Oriental Garden” pattern, decorated with flowers and butterflies, with a cobalt artichoke-form knop and scrolled handles, marked on the bottom, h. 7”, w. 10‑1/2”, d. 8‑1/2”. [500/800] 202 Edwardian Mahogany Desk, early 20th century, the rectangular top with a decorative foliate border surrounding a quarter-veneered surface centered by a foliate medallion, above a case fitted with a central drawer flanked to either side by two short drawers, all with scrolling foliate inlays, raised on tapering square legs, h. 31”, w. 47‑1/2”, d. 28”. [4000/7000] Illustrated 203 Unusual Victorian Inlaid Walnut Jewelry Case, fourth quarter 19th century, composed of walnut, the lightwood inlay accented with penwork, the front and sides inlaid with dragons, bellflowers and scrollwork, the cover with a goat cart driven by Eros, framed with bowknots, the cover opening to reveal a beveled oval mirror and two jewelry compartments, hinged and lifting to reveal a lower compartment, all lined with pink tufted fabric, h. 5”, w. 11‑1/4”, d. 6‑3/4”. [600/900] Illustrated

203

204 Victorian Oak Corner Chair, mid-19th century, the shaped crest with a carved masque, above two splats, each pierced and with floral carving, joined by scrolling arms to the padded seat, the foliate apron raised on cabriole legs ending in ball-and-claw feet, h. 31”.

[500/800] Illustrated 205 Pair of Victorian Painted Tole Coal Scuttles, third quarter 19th century, now used as jardinieres, decorated with chrome yellow striping on a red ground, the obverse with oval village scenes framed with scrollwork, h. 18‑3/4”, w. 17‑3/4”, d. 11‑3/4”.

[500/800] Illustrated

205

202 204

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206

208

206 Victorian Walnut Center Table, mid-19th century, the tilting circular top with piecrust veneers and an inlaid floral garland banding, raised on a bulbous acanthine-carved standard to three splayed legs ending in scrolled toes on casters, h. 29”, dia. 42”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[700/1000] Illustrated 207 Victorian Burl Walnut Dental Cabinet, fourth quarter 19th century, the upper section with a cylinder roll opening to an interior with a black marble deck, the mid-section with two banks of six drawers, each fitted with glass-bottom liners, the base with a pull-out work surface above a long drawer and a pair of cabinet doors below, h. 64‑1/2”, w. 33”, d. 16”. [1000/1500] Illustrated 208 Victorian Burl Walnut Revolving Book Mill, fourth quarter 19th century, the circular static top mounted to a turned standard fitted with two rotating shelves, each with spindle-turned galleries and raised on a tripodal base, h. 30”, dia. 18”. [700/1000] Illustrated

207

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209 Set of Twelve Hand-Painted George Jones Porcelain Dinner Plates, post-1921, English, retailed by Tiffany and Co., each with a cobalt and gilt-trimmed border with a ring of hand-painted flowers against a field of turquoise enamel “jewels”, with the George Jones printed mark, “Tiffany & Co., New York”, and the decorator’s hand-painted number, dia. 10‑1/4”. [500/800] Illustrated 209

210 Set of Twelve Tiffany-Retailed Royal Crown Derby “Portman Oak” Luncheon Plates, ca. 1921‑1965, hand-painted with gray oak leaves and gilt acorns, marked with backstamp and “Tiffany & Co., New York”, dia. 9‑1/2”.

[500/800] Illustrated 211 Ambitious English Burr Walnut-Veneered Tiered Sewing Cabinet, third quarter 19th century, raised on turned feet, with reed-turned trim, the three-tier cabinet fitted with drawers set with turned pulls, the top set with a pair of spool holders and a pin cushion holder, the drawers with quilted liners, h.15”, w. 15‑1/4”, d. 10”.

[700/1000] Illustrated

210

212 Edwardian Mahogany Lady’s Desk, late 19th century, the shaped crest above a superstructure fitted with three central drawers flanked to either side by a cabinet door opening to two slatted compartments over two small drawers, the top hinged and opening out to an inset leather surface, above a single long drawer, raised on tapering square legs ending in spade feet, h. 50”, w. 31”, d. 15‑1/4”; together with an Anglo-Colonial Rosewood Armchair, mid19th century, with a ribbed crest over a pierced scrolling splat, the caned seat raised over a ribbed curule-form base, h. 34” (two total pieces).

[500/800] 213 Edwardian Banded Mahogany Drop-Leaf Sunderland Table, ca. 1900, with swing-leg supports with the end legs joined by a fretwork stretcher, the top with satinwood banding, h. 29”, w. 30”, extended l. 38”. [500/800]

211

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214 Edwardian Mahogany Occasional Table/ Bookcase, early 20th century, the rounded rectangular top with raised corners, above a case with open shelved and slatted ends and a central tall cupboard, raised on chamfered legs to casters, h. 29”, w. 27‑1/4”, d. 18”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated

215 Pair of Royal Doulton Lambeth Art Nouveau Stoneware Vases, ca. 1902‑1922, English, of baluster form, with a cobalt glaze and raised flowers, the interior with an amber mottled glaze, impressed with a “1902‑22” mark and “7115”, h. 10‑1/4”, dia. 5‑1/4”. [500/800] Illustrated

215

216

216 William IV Mahogany Wash Stand, second quarter 19th century, with turned legs, the top now fitted with an ironstone wash basin, with a drain pipe, the lower shelf with a vasiform ironstone waste water receptacle, the ironstone made by Brownhead, Moore & Co., England, in their “Teutonic” pattern, fourth quarter 19th century, h. 32‑1/2”, dia. 24”. [500/800] Illustrated

214

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217

218

217 Pair of Minton’s Ironstone Luncheon Plates, fourth quarter 19th century, English, decorated with flowers in the Imari palette, with Minton’s globe mark on the bottom, dia. 9”. [500/800] Illustrated

218 Collection of Seven Minton’s Blue “Indian Tree” Soup Plates, ca. 1891‑1912, decorated in the chinoiserie style, with both the blue printed and impressed marks, dia. 10”.

[500/800] Illustrated

219

219 Fourteen 17th- and 18th-Century Leather-Bound Volumes of History and Poetry, with volumes of the Duke of Sully’s Memoirs, Bletterie’s Life of Julian, Gray’s Poems and works by Maimbourg, d’Orleans and Rollin, the largest 10‑1/2” x 8‑3/4”, the smallest 6‑1/2” x 4”.

[700/1000] Illustrated Detailed list available on request.

219 detail

55

220 221 220 Eight 17th- and 18th-Century Continental Leather Bindings of Latin Theological Texts, including works by Alexandre, Billuart, Collet, Hamel, Salvian and St. Vincent of Lerins, average size 7” x 5”.

[700/1000] Illustrated Detailed list available on request.

222

221 detail 221 Four 17th- and 18th-Century Continental Leather-Bound Bibles and New Testament Texts, including a handsome 17th-century German blind-stamped pigskin folio-size vulgate bible (Mainz, 1685), a French New Testament (Paris 1764), and single, odd volumes of St. Paul’s Espistles (Paris 1724) and a French New Testament (Paris 1730), the largest 10‑1/2” x 8‑3/4”, the smallest 7” x 4‑1/2”. [500/800] Illustrated Detailed list available on request.

222 Pierre Collet (1693‑1770), Institutiones Theologiae, Lyon: Jean Marie Bruyset, 1768, complete in 7 volumes (Scholasticae I & II; Moralis I, II & III; and Sacramenta I & II), duodecimo, in full tan leather, the spines with raised bands and gilt lettering and decoration, the edges cut and tinted, 6‑3/4” x 4‑1/4”.

[500/800] Illustrated 222 detail

56

223

224 detail

224

223 Ten 17th- and 18th-Century French LeatherBound Books on Medicine & Theology, including St. Augustine’s Letters, de Grenade’s Guide des Pecheurs, Nicole’s Tradition de l’Eglise and Nouveau Dictionnaire de Medecine, average size 7” x 5‑1/4”.

[500/800] Illustrated Detailed list available on request.

224 Ten 16th- to 19th-Century Leather and Parchment Volumes of Classics, including works

by Aristotle (Venice 1572 & 1593), Cicero (Lyon 1689, 1723/26 & 1812), Ovid (Paris 1836) and Virgil (Paris 1770), the largest 7” x 4‑1/4”, the smallest 7‑3/8” x 3‑1/4”. [900/1200] Illustrated

224 detail

Detailed list available on request.

225 Eight 17th- and 18th-Century French Leather Bindings of Latin Theological and Philosophical Works, including works by Collet, Contenson, Gaspard le Pere, Quintilian and Vertrieu, average size 6‑3/4” x 4‑1/4”. [500/800] Illustrated Detailed list available on request.

225

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227

226

226 Twenty-Four 17th- and 18th-Century French Leather-Bound Devotional and Other Books, including works by St. Alphonso Rodriguez, Babin, Charlevoix, Flechier, Gaillard, Polinier, Richard and others, average size 5‑3/4” x 4‑1/4”. [1000/1500] Illustrated Detailed list available on request.

227 Thirty-Five 18th-Century French Duodecimo Leather Bindings, including religious, historical and grammatical works by d’Orleans, Durand de Maillaine, Pluche, Crevier, Duperray, Berville, Bossuet and Pothier among others, average size 6” x 4”.

[500/800] Illustrated

228

Detailed list available on request.

228 Six 16th- and 17th-Century Continental Small Leather or Parchment-Bound Books on Theology and Philosophy, including works of St. Augustine, Aulus Gellius and Justinian, among others, and published by Antonius Gryphius and Guillaume Rouille of Lyon, Arnout van Blakel of Antwerp and Baltazar d’Egmond of Cologne, average size 4‑3/4” x 3‑1/4”. [700/1000] Illustrated Detailed list available on request.

229 Twelve 17th- and 18th-Century LeatherBound Books on French History, including works by Delaporte, Desfontaines and Meseray, with seven volumes of Garnier’s Histoire de France, all approximately, 6‑1/2” x 4”. [500/800] Detailed list available on request.

228 detail

228 detail

58

230 Claude Fleury (1640‑1723), Histoire Ecclesiastique, Paris: Emery, Mariette, Guerin, Martin & Coignard, 1717‑1738, 36 volumes (in 38) with 4 volume index, French text, duodecimo, in full brown leather with gilt dentelle edges, the spine with raised bands, red panel and gilt lettering, rule and decoration, with marbled endpapers, the edges cut and tinted, with bookplate of Serafin Malfiat, 6‑3/4” x 4‑1/2” [Nantes 35166; 42 books total]. [500/800] Illustrated

231 Poets of Great Britain, London: Samuel Bagster et al., 1807, 122 volumes (of 124; lacking volumes 107 & 109), reprint of Bell’s edition of 1782 with the addition of seven poets, duodecimo, in quarter red leather on marbled boards with gilt annulated fillet, the spines with gilt lettering, rule and lyre decoration, the edges cut and tinted, with engraved frontispieces, 5‑1/2” x 3‑1/2”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [500/800] Illustrated

230

231

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233

232

232 Charles Dickens (1812‑1870), Works, London: Chapman & Hall, 1873‑1876, “Illustrated Library Edition”, complete in 30 volumes, demy octavo, in three-quarter green leather on marbled boards, the spines with gilt lettering, rule and decoration, with marbled endpapers and edges, bookplate of T. H. Riches, 8‑3/4” x 6‑1/2”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York.

[600/900] Illustrated James Cook’s 1879 bibliography of Dickens notes that “the prospectus of this edition was issued in 1873

by Messrs. Chapman & Hall, and consisted of eight pages demy octavo, four of these being occupied with specimen pages of a portion of “Nicholas Nickleby” to show the proposed size of type and page.” The prospectus noted that the larger demy octavo size was to permit the reproduction of all the original illustrations, which were to be printed with the original “steels and blocks on which the artists were themselves engaged”. The first volume was published in November, 1873, with new volumes following monthly until April, 1876, at a cost of ten shillings each (equivalent to about $50 today).

235

233 Tiffany & Co. Fourteen-Karat Gold “Scottie” Bookmark, second quarter 20th century, New York, New York, of triangular form with figural Scottish Terrier finial, l. 2‑3/4”, 3.9 gr., presented in the original Tiffany gilt-edged cream pasteboard and velvet-lined box with grosgrain stay, 3‑1/2” x 1”.

[500/800] Illustrated 234 William H. Vanderbilt (1821‑1885) and Edward Strahan (b. Earl Shinn, 1837‑1886), Mr. Vanderbilt’s House and Collection. The Holland Edition. New York, Boston and Philadelphia: George Barrie, 1883‑84, 10 volumes, numbered 5/1000, cream paper-covered boards, 19‑1/4” x 13‑3/4”.

[700/1000] Illustrated

234

60

235 Booth Tarkington (1869‑1946), Works, Garden City, New York: Doubleday, 1918‑1932, complete in 27 volumes, limited autographed edition, number 51 of 565, autographed by the author on the limitation page of volume 1, octavo, in three-quarter brown leather on brown cloth with gilt fillet, the spines with raised bands and gilt lettering, rule and decoration, the top edges cut and gilt, bookplate of Reuben Jay Flick, 8‑5/8” x 5‑3/4”. [600/900] Illustrated

236 Louis XVI-Style Polychrome Daybed, late 19th century, the headboard and footboard both with a shaped and dentillated cornice over a paneled back, joined by rails and raised on tapering square legs, h. 41”, inside, w. 42”, l. 78”, outside, w. 44”, l. 81”.

[500/800] Illustrated 237 Unusual French Neoclassical Wooden Altar Stick, first quarter 19th century, now mounted as a lamp, decorated with parcel-gilding and sitting on hoof feet, the fluted column-form base set with a baluster-turned standard with fluting and leaf carving, set with two light sockets, electrified, h. 63”, dia. 12”. [500/800] Illustrated 238 Frederic Braconier (French, 1901‑1985), “A Verdant Landscape”, oil on canvas, signed lower left, 25” x 36”. Framed. [1000/1500] Illustrated 239 Arras Wrought and Cast Iron Garden Table, late 19th/early 20th century, the circular top on a base with shaped legs joined by a riveted ring, the stretchers joined by a cast spider and adorned with wrought scrolls, h. 29”, dia. 40”. [800/1200] Illustrated

237

238

236

239

61

240 Pair of Arras Wrought Iron Garden Armchairs, each retaining a brass plaque inscribed “Usine St. Sauveur Arras”, and each with a continuous seat and back of parallel bent tubes, on a curule-inspired base with pad feet, h. 32” and 31‑3/4”. [1500/2500] Illustrated 241 Pair of Arras Wrought Iron Garden Armchairs, each retaining a brass plaque inscribed “Usine St. Sauveur Arras”, and each with a continuous seat and back of parallel bent tubes, on a curule-inspired base with pad feet, h. 31‑3/4” and 31‑1/2”. [1500/2500] 242 Arras Wrought and Cast Iron Garden Table, late 19th/early 20th century, the circular top on a base with shaped legs joined by a riveted ring, the stretchers joined by a cast spider and adorned with wrought scrolls, h. 29”, dia. 40”. [800/1200] 244

240 245

243 Pair of Grassin Arras Wrought and Cast Iron Armchairs, late 19th/early 20th century, each with a cast label “Grassin A Arras” at the juncture of the legs on the curule-inspired base, on cast paw feet, the shaped seat and back of parallel tubes and joined to scrolled arms, h. 30‑1/2”. [1500/2500] Illustrated 244 Guy Cambier (French, 1923‑2008), “A Gypsy Camp”, oil on canvas, signed lower right, 26” x 32”.

Framed. Provenance: Galerie D’Art de la Place Beauvau, Paris, France, 1976; The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [1000/1500] Illustrated 243

62

245 Brass-Mounted Cast Iron and Marble-Top Baker’s Table, of traditional form with an ornate pierced and cast iron apron mounted to a scrolled iron base, h. 30‑1/2”, w. 29”, l. 48”. [700/1000] Illustrated

246 French Provincial Chestnut Cabinet, 19th century, the molded cornice above a fluted frieze and a case fitted with four cupboard doors, each paneled and centered by a floral patera, separated by a central drawer, raised on shaped feet, h. 85”, w. 56‑1/2”, d. 18”. [800/1200] Illustrated 247 Unusual Pair of Cast Metal Charging Bulls, second quarter 20th century, probably Continental, h. 18”, w. 28‑1/2”, d. 9”. [700/1000] Illustrated 248 Continental Provincial Oak and Fruitwood Linen Press, early 19th century, the domed and heavily molded cornice with canted corners, above a conforming case fitted with two paneled doors over a lower section fitted with three long paneled drawers, raised on molded block feet, h. 97”, w. 63”, d. 24”.

[1200/1800] Illustrated

247

248

246

63

250 Spanish Mahogany Guard Room Table, 19th century, of traditional form, the long rectangular top raised on shaped end supports joined by scrolling iron stretchers and ending in shaped feet, h. 30”, w. 36‑1/2”, l. 102”. [2000/4000] Illustrated 251 Regence Fruitwood Commode, 18th century, the rectangular top with a shaped front and molded edge, above a conforming case fitted with two short drawers over two long drawers, each with shaped panels, raised on block feet, h. 31”, w. 42‑1/2”, d. 21”. [1500/2500] Illustrated 252 Pair of French Terracotta Busts of a Man and Woman, ca. 1872, after Leopold Lefebvre (French, 1851‑1928), the busts depicted in 19th-century dress, each signed in script “L. Lefebvre. 1872”, h. 17‑1/2”, w. 12”, d. 7‑1/2” and h. 18”, w. 13”, d. 8”.

[500/800]

249

249 Regence-Style Fruitwood Fauteuil, late 18th century, the padded back with a shaped crest, joined by padded scrolling arms to the like seat, raised above a scalloped foliatecarved apron on cabriole legs headed by shell carving, joined by an X-form stretcher and ending in scrolled toes, upholstered in antique needlepoint and petit point, featuring a panel of three minstrels, h. 41”. [1000/1500] Illustrated

251

250

64

254 Flemish-Style Fruitwood Armchair, the domed and cushioned back joined by padded arms to the cushioned seat, raised on molded sabre legs joined by a bowed front stretcher, upholstered in leopard velvet, h. 38”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [800/1200] Illustrated 255 Louis XVI-Style Oak and Walnut Drop-Leaf Dining Table, late 19th century, the circular top opening to accommodate three 14‑1/2” leaves, raised on turned and fluted tapering legs, h. 29‑1/2”, w. 44‑1/2”, l. 43‑1/2”, extended l. 87”. [900/1200] Illustrated

254

253 Provincial Louis XVI-Style Fruitwood and MarbleTop Commode, late 18th century, the rectangular marble top with turreted corners, above a conforming case fitted with three long banded drawers, flanked to either side by a fluted upright continuing to tapering circular feet, h. 34”, w. 45‑1/2”, d. 21‑1/2”. [800/1200] Illustrated

255

256

253

256 Unusual Fruitwood and Rattan Cocktail Table, the top consisting of a large antique dough bowl of dished rectangular form, with copper strapwork repairs, raised on a decorative rattan base with coordinating upper accents, h. 17”, w. 40”, d. 27”.

[500/800] Illustrated

65

257

257 Eight-Piece Collection French Copper and Iron Cookware, 19th/20th century, including a bainmarie top and cover, h. 4‑1/4”, dia. 9”, a saute pan, h. 2‑3/4”, dia. 12”, four saucepans, one marked, h. 2‑1/2” to 3‑1/4”, and a small saucepan, h. 2”, dia. 6‑1/2”. [500/800] Illustrated

259 Two Continental Provincial Wood Carvings, 19th century, one depicting Salvator Mundi (Savior of the World), as a child, dressed in a skirt and sitting upon rocks, holding an orb, h. 20”, w. 6‑1/2”, d. 6‑1/2”, and the other a seated hen, h. 8‑1/4”, w. 8‑1/2”, d. 11‑1/2”. [500/800]

258 Victorian-Style Wrought Iron and MarbleTop Conservatory Table, the rectangular Portoro marble top above a conforming pierced palmetto frieze, raised on scrolling supports joined by stretchers and ending in casters, h. 31‑1/2”, w. 42‑1/2”, d. 26”. [800/1200] Illustrated

260 Provincial Louis XV-Style Fruitwood Vasselier, the molded and rounded rectangular cornice above a central open section with three back rack shelves, flanked to either side by a tall bi-paneled cupboard, the lower section fitted with three drawers over three paneled cupboards, raised on scrolled toes, h. 86”, w. 67”, d. 20”. [1200/1800] Illustrated

258

260

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262

261

261 Brussels Hand-Woven Verdure Tapestry, 18th century, with a central tree motif and an urn and acanthine border, remnants of silk backing, 111‑1/2” x 43‑1/2”. [500/800] Illustrated 262 Emil Barbarini (Austrian, 1855‑1933), “Autumnal Village Scene with a Figure on Horseback”, oil on canvas, signed lower right, 27” x 40‑1/2”. Presented in a period, deeply carved and molded giltwood and gesso frame in the rococo style. [2500/4000] Illustrated 263 French Gilt-Bronze of “Petit Macon”, first quarter 20th century, after Louis Kley (French, 1833‑1911), cast signature and stamped “LZP” on self-base, on a rouge marble plinth, overall, h. 8‑3/8”, w. 3‑7/8”, d. 3‑7/8”. [600/900] Illustrated

263

67

264 French Bronze of “Le Petit Savoyard”, first quarter 20th century, after Emile Victor Blavier (French, 19th Century), cast signature and with an illegible date at edge of self-base, on an ebonized plinth with giltaccented grapevines, overall, h. 27‑1/2”, w. 10‑1/2”, d. 10‑1/2”. [800/1200] Illustrated 265 Louis XV-Style Fruitwood Cabinet, early 20th century, the trisected molded and domed cornice centered by a foliate shell crest, above an astragalglazed center cabinet flanked to either side by a tall paneled cabinet, with open storage spaces below, the lower section fitted with two drawers over two paneled cupboard doors, raised on scrolled toes, h. 106”, w. 70‑1/2”, d. 23”. [1000/1500] Illustrated

266

266 Provincial Louis XV-Style Fruitwood Dining Table, 19th century, the rounded rectangular top above a shaped frieze, raised on cabriole legs ending in pad feet, h. 31‑1/2”, w. 36‑1/2”, l. 76‑1/2”.

[1200/1800] Illustrated 267 Provincial Regence-Style Fruitwood Commode, the serpentine top above a conforming case fitted with two long drawers, all with scrolling foliate patterns, above a shaped and pierced shell-carved apron, raised on cabriole legs ending in scrolled toes, h. 35”, w. 52”, d. 23”. [1500/2500] Illustrated

264

265

68

267

268 English Carved Pine Artist’s Lay Figure, second quarter 19th century, with fully articulated ball joints and incised facial features, h. 19, w. 5‑1/2”. Provenance: The Flatt Collection. [600/900] Illustrated 269 French Carved Walnut Artist’s Lay Figure in the Form of a Woman, second quarter 19th century, fully articulated with brass ball joints, stamped on back “Maquette Francaise sur Armature Articulee/Brevetee S.G.D.G/Paris B”, h. 20”, w. 6”, d. 3‑1/4”. Provenance: The Flatt Collection. [700/1000] Illustrated Lay figures/mannequins are truly the “silent partners” in the history of art. It is purported that they were employed as anatomical aids by Ancient Greek sculptors, though no true evidence of them predates the Italian Renaissance, during which they were used by some of the most talented artists of the time. Michelangelo used them in his commission of the Sistine Chapel to better register light, shadow and perspective, while lying on his back on a ceiling scaffold, and Fra Bartolomeo, according to Giorgio Vasari, was the first artist to devise a fully articulated lifesize lay figure in wood. As Jane Munro states in her book Silent Partners: Artist and Mannequin from Function to Fetish, lay figures were never “artistic ‘props’ designed to assist artists of limited conceptual and technical abilities”. Since the Renaissance, the smaller lay figures/ maquettes, made of secondary woods like pine and walnut/fruitwoods, were used to rehearse a movement or pose, in much the same way sculptors use modelli. As these lots illustrate, they were typically androgynous and came in a range of sizes generally under twenty-four inches. Larger life-size figures and mannequin bust were almost exclusively used for modelling drapery.

268

269

270 Antique English Cloth-Covered PapierMache and Carved Pine Mannequin Bust, with articulated ball joint arms and hands, on a finialed baluster stand with a molded circular foot, overall, h. 49‑1/2”, w. 18”, dia. 11”. Provenance: The Flatt Collection. [600/900] Illustrated

270

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273

271 English Carved Pine Artist’s Lay Figure, second quarter 19th century, with fully articulated ball joints and incised facial features, h. 22‑1/2”, w. 5‑1/2”.

Provenance: The Flatt Collection. [700/1000] Illustrated 272 Antique Pine Marionette Lay Figure, of block form with nail and eye hook joints, lead soles and carved facial features, h. 20”, w. 5‑3/4”; together with a wooden ladder, h. 20”, w. 3‑3/4”. Provenance: The Flatt Collection. [500/800] Illustrated 273 Group of Three Antique Carved Pine Artist’s Models, including an articulated figure with a handpainted face, h. 10”, w. 3”, a large hand, h. 9”, w. 5”, and a ladder, h. 20”, w. 3‑3/4”. Provenance: The Flatt Collection. [500/800] Illustrated

272

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274 English Carved Pine Artist’s Lay Figure, first half 19th century, with fully articulated ball joints and incised facial features, h. 15‑1/2”, w. 4‑1/2”.

Provenance: The Flatt Collection. [600/900] Illustrated 275 Antique Continental Carved Wood Artist’s Lay Figure, in the form of a female, with geometric body parts and fully articulated ball joints, h. 22‑1/4”, w. 6”. Provenance: The Flatt Collection. [700/1000] Illustrated 276 Antique Continental Pine Artist’s Lay Figure, in the form of a female, with carved facial features and articulated rope joint arms and torso, h. 14‑3/4”, w. 3‑1/2”. Provenance: The Flatt Collection.

[700/1000] Illustrated

274

275

276

71

277

278 277 English Carved Pine Artist’s Lay Figure, first half 19th century, with fully articulated ball joints, incised facial features and a brass-banded bone prosthetic on one leg, h. 25‑1/2”, w. 6‑1/2”.

Provenance: The Flatt Collection. [700/1000] Illustrated 278 Continental Carved Fruitwood Artist’s Lay Figure, fourth quarter 19th century, in the form of a female, with fully articulated ball joints, h. 26”, w. 7”. Provenance: The Flatt Collection.

[700/1000] Illustrated 279 Continental Carved Walnut Artist’s Lay Figure, fourth quarter 19th century, of geometric form with fully articulated ball joints, h. 22”, w. 6”.

Provenance: The Flatt Collection. [700/1000] Illustrated

279

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280

281

280 Antique Carved Fruitwood Milliner’s Head, probably German or English, with incised features, mounted on a metal pole on a bronze base, head, h. 9”, w. 5‑1/2”, d. 7”, overall, h. 24‑1/2”.

Provenance: The Flatt Collection. [500/800] Illustrated 281 Fine Continental Carved Pine Bust, second half 18th century, in the likeness of Michelangelo’s “David”, mounted on a metal pole on a bronze base, bust, h. 9”, w. 7”, d. 7‑1/2”, overall, h. 23‑1/4”. Provenance: The Flatt Collection.

[500/800] Illustrated 282 English Carved Mahogany Bust, second half 18th century, with finely carved and incised facial hair and features, mounted on a metal pole on a bronze base, bust, h. 9‑3/4”, w. 5”, d. 6”, overall, h. 19”. Provenance: The Flatt Collection.

[500/800] Illustrated

282

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284

283 Antique Serapi Carpet, 5’ x 6’ 5”. [2500/4000] Illustrated 284 Turkish Angora Oushak Carpet, 11’ 10” x 15’.

[1800/2500] Illustrated 285 Turkish Angora Oushak Carpet, 9’ 3” x 11’ 10”.

[1000/1500] Illustrated

285

74

286

288

286 Turkish Angora Oushak Carpet, 8’ 2” x 9’ 9”.

[800/1200] Illustrated 287 Turkish Oushak Carpet, 9’ x 12’. [800/1200] 288 Turkish Oushak Carpet, 11’ 4” x 14’ 9”. [3000/5000] Illustrated 289 Uzbek Shirvan Runner, 2’ 6” x 12’ 7”. [600/900] 290 Antique Lavar Kerman Carpet, 10’ x 17’. [700/1000] Illustrated 291 Agra Sultanabad Carpet, 8’ x 15’ 8”. [1000/1500] 292 Turkoman Carpet, 4’ 2” x 6’ 1”. [600/900]

290

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293

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296

293 Semi-Antique Sarouk Carpet, 6’ x 9’. [500/800] Illustrated 294 Semi-Antique Kazak Runner, 3’ x 9’ 6”. [500/800] 295 Peshawar Sultanabad Carpet, 7’ 8” x 12’. [700/1000] Illustrated 296 Antique Tabriz Carpet, 8’ 1” x 11’ 11”. [1200/1800] Illustrated 297 Antique Shirvan Runner, 3’ 4” x 12’. [500/800] 298 Isfahan Carpet, 13’ 4” x 9’ 3”. [800/1200] Illustrated 299 Semi-Antique Tabriz Carpet, 4’ x 6’ 4”. [600/900] Illustrated 300 Semi-Antique Yahyali Prayer Rug, 2’ 9” x 5’ 1”. [600/900] Illustrated 301 Semi-Antique Heriz Carpet, 8’ 8” x 11’ 11”. [1200/1800] Illustrated

298

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302 Semi-Antique Bokhara Carpet, 10’ 8” x 15’ 4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [1200/1800] Illustrated

299

300

301

302

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Se s sion I I : S at u r day, O ctobe r 1 5 , 2 0 1 6 Lots 3 0 3 - 8 2 4

Lot 304

303 Italian Carved Walnut Sacristy Cabinet, 17th century, the rectangular top banded and above a case fitted with three frieze drawers and two small end drawers, over two cabinet doors, each with a carved scene of St. George and the Dragon, centered by a recessed arched panel with a deeply-carved draped figure, above a carved and molded plinth base, the whole finely carved in masque, foliate and geometric patterns, h. 42”, w. 79‑1/2”, d. 24”.

[7000/10000] Illustrated

303 detail

303 detail

303

80

304 Pierre (Henri Theodore) Tetar van Elven (Dutch, 1828/1831‑1908), “Busy Morning on the Square”, 1866, oil on canvas, signed and dated lower left corner, 59‑1/4” x 41‑1/2”. Presented in a period giltwood and gesso frame; together with a photocopy of a letter of authentication issued in 1997 by the conservator and appraiser Antonio Loro, Ph.D., AAA, Houston, Texas. Provenance: Purchased in Milan, Italy in the 1960s by Rudolfo Gazzardi and his wife Josephine Doddis; thence by descent.

[30000/50000] Illustrated 304

Pierre Tetar van Elven, royal court painter to VictorEmmanuel II, King of Sardinia, had a very successful career as an architectural genre painter, chronicling cityscapes abroad, including splendidly “exotic” places like Sardinia, Jerusalem and Morocco. Tetar van Elven was born into an artistic “Dutch School” family, from whom he received his early training. His father, Jan Baptiste Tetar van Elven (1805-1839), was an accomplished painter, lithographer and metal engraver of architectural scenes, as was his uncle/cousin Paul Tetar van Elven (1823-1896), who was but a mere five years his senior. After studying with his father, Tetar van Elven attended the Academy of Fine Art in Amsterdam and later the Royal Academy of Art in the Hague where he was a student of Jacobus Everhardus Josephus van den Berg (Dutch, 1802-1861), the accomplished portraitist and genre painter. From 1856 to 1861 he went on to study first in Paris, France, and then in Italy, before returning to Paris in 1861 where he exhibited widely over the next five years, receiving many prestigious honors and accolades, including the sale of a painting “La Soiree au Tuileries” to Emperor Napoleon III and the order of knight by the King of Sardinia.

The painting offered here exemplifies Tetar van Elven’s mature style- a unique blend of architectural (disegno) realism that appealed to the French and Italian academies that privileged finely drawn “Grand Tour” historical sceneshence the highly coveted “Prix de Rome” in the French Salon, with Romantic lighting and fascination with the exotic in a distinctly Dutch genre- vignettes of daily life, called “Genre painting”. Here a mundane scene of commoners congregating around the plaza fountain to wash and water their livestock is elevated to an art that rivals the Gothic splendor of the cathedral and buildings that frame it.

References: Champlin, John Denison. Cyclopedia of Painters and Paintings. Charles Scribner’s Sons: New York, 1913. P. 262. “Pierre Henri Theodore Tetar van Elven.” Oxford Art Online. 2007-2016.

Web. 21 Sept. 2016.

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305

306

305 Theodore Gerard (French, 1829‑1895), “The King’s Guard”, oil on panel, signed lower right, 16” x 8‑1/4”. Framed. [1400/1800] Illustrated 306 French Bronze Hexagonal Six-Light Lantern in the Baroque Taste, 20th century, set with arched panels, each framed with urn and laurel swag-molded crest, each side with ripple molding trimmed in scrollwork, the serpentine top frame supporting six candle arms, h. 39”, dia. 20”. [1800/2500] Illustrated 307 French Patinated Bronze of a Northern Renaissance Gentleman, fourth quarter 19th century, after Albert-Ernest Carrier-Belleuse (French, 1824‑1887), cast signature at back, on a self-socle base, overall, h. 18‑3/4”, w. 14”, d. 7‑3/4”. [1000/1500] Illustrated

307

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308 Handsome Set of Six Continental Well-Painted Miniature Portraits, ca. 1800, painted in grisaille on copper, the portraits of Dutch and Flemish artists of the 15th and 16th centuries, in period oval brass frames, h. 4‑1/4”, w. 3‑3/4”.

[1000/1500] Illustrated 309 Two Old Master Drawings, comprised of “Cupids at Play”, 18th century, in the manner of Francois Boucher, red chalk on laid paper, unsigned, 10‑3/8” x 15”, and “Study of a Boy”, first half 19th century, Continental School, red chalk on laid paper, unsigned, 12” x 8‑1/2”. Each unframed.

[1000/1500] Illustrated

308

310 Lengthy Italian Carved Walnut Cassone, ca. 1900, of sarcophagus form, the recessed rectangular top with a foliate- and guilloche-carved banding, hinged and opening to a void interior, the tapering, reeded body centered by a carved shield, above a scrolling apron, raised on paw feet, h. 27”, w. 68”, d. 25”. [3000/5000] Illustrated The 16th-century version is conserved at the Walters Art Museum, Mount VernonBelvedere, Baltimore, Maryland.

309 one of two

309 two of two

310

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312

311

311 Pair of Baronial-Style Carved Oak Armchairs, 19th century, each with a carved back depicting an allegorical masque over a cartouche supported by lions, the stiles with masque finials, the open arms terminating in carved heads and the legs joined by beaded H-form stretchers, h. 47‑3/4”. [600/900] Illustrated

313

312 Continental Pressed Brass Wall Clock in the Renaissance Revival Style, fourth quarter 19th century, decorated with scrollwork, satyr’s masques and guilloche trim, the central clock with a chapter ring of enameled numerals and a sunburst pendulum with a masque, h. 20‑3/4”, w. 15‑3/4”. [500/800] Illustrated 313 French Bronze Card Receiver in the Form of a Renaissance-Style Sleigh, fourth quarter 19th century, decorated with a winged dragon figurehead, the shell-form sleigh with a cherub alighting on the rear, h. 7‑3/4”, w. 13”, d. 7”. [600/900] Illustrated 314 Russian Icon of the “Mother of God with the Infant Jesus”, fourth quarter 19th century, on a wood panel, h. 15”, w. 10‑3/4”. [500/800] Illustrated

314

84

315 Russian Icon of Saints Peter and Paul, fourth quarter 19th century, the saints with plated oklands, supporting the Church with Jesus overlooking, the back with horizontal slats, h. 17”, w. 12‑3/4”. [500/800] Illustrated 316 Pair of Victorian Embroidered Felt, Brass and Gilt-Metal Candle Screens, third quarter 19th century, on gilt-metal and molded bases with spiral-reeded standards, the felt bannerform screens trimmed with braiding and fringe, h. 20‑3/4”, w. 9”. [500/800] Illustrated 317 Pair of French Restauration Giltwood Altar Sticks, second quarter 19th century, on paw feet, with molded crosses on the round bases, the reeded Corinthian column standards decorated with acanthus leaves, and the candle prickets set with tole drip pans, h. 28‑1/2”, dia. 7‑1/2”. [1200/1800] Illustrated

315

316 317

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319

318

318 Unusual Giltwood Mirror of Baroque Inspiration, fourth quarter 19th century, probably Italian, the mirrored surround framed with egg-and-dart molding on the outside and scrollwork on a stippled ground on the inside, and decorated with scroll-framed corner medallions with applied masques and trailing flowers, h. 57”, w. 47”. [1200/1800] Illustrated 319 Two Handsome KPM-Style Hand-Painted Porcelain Plaques, fourth quarter 19th century, German, each mounted in a period Italian pierced giltwood frame, comprising an oval example depicting the “Madonna della Seggiola”, after Raphael (Italian, 1483‑1520), and a rectangular example depicting a luminously painted pious young lady of the mid-19th century, wearing a lace skull cap and carrying a prayer book, h. 12”, w. 9‑1/2” and h. 12‑1/4”, w. 10‑1/2”.

[500/800] Illustrated

320

320 Bohemian Glass Decanters in a Britannia Metal Holder, late 19th century, the pair of Bohemian cased glass decanters plated white-over-blue and decorated with cut panels and grapes, and set with matching stoppers, in a Britannia pierced metal holder with a pierced flower-molded handle, h. 14‑1/2”, w. 8”, d. 3‑1/2”. [500/800] Illustrated 321 Bohemian Covered, Lobed Dish, Attributed to Julius Muhlhaus, “Haida” Glass, first quarter 20th century, Austrian, decorated with gilt-trimmed and frosted flowers and leaves on a cobalt flashed ground, h. 10”, dia. 4”. [500/800] Illustrated

86

321

322

323 322 Blown and Polished Trumpet Vase, Attributed to Julius Muhlhaus, “Haida” Glass, first quarter 20th century, Austrian, the cranberry-flashed vase gilt-trimmed with Persian- or Iznik-inspired decoration, h. 9‑1/4”, dia. 6”. [600/900] Illustrated 323 German Needlepoint of the Holy Family, 1885, wool threads on canvas, dated and inscribed in German along lower right edge, sight 45” x 34”. Glazed and framed.

[700/1000] Illustrated 324 Continental Needlepoint of “Pilgrimage End”, fourth quarter 19th century, 49” x 43”.

Glazed and framed. [700/1000] Illustrated

324

87

325 Pair of Italian Giltwood Altar Sticks in the Neoclassical Taste, third quarter 19th century, on scrolled feet, the bases trimmed with carved lotus leaves, and supporting leaf-carved and fluted standards with fluted tole drip pans set under silver gilt urn-form candle sockets, h. 47‑1/4”, dia. 9”.

[1800/2500] Illustrated 326 Fine American Gesso and Giltwood Frame

by W. K. O’Brien & Bros., New York, 19th century, the elaborate oval-aperture frame with an acanthine and egg-and-dart border, with a “W. K. O’Brien & Bros./New York” label en verso, now containing a 19th-century oil on canvas of the “Madonna della Sedia” after the ca. 1513/14 painting by Raphael (Italian, 1483‑1520) at the Palazzo Pitti, Florence, overall, 40‑3/4” x 40‑1/2”.

[1500/2500] Illustrated

326

327

325

88

327 French Bronze and Marble Mantel Clock, fourth quarter 19th century, decorated with a figure of the Madonna and Child, after Raphael’s Colonna Madonna, the unusual trefoil-shaped marble base fluted and set with gilt-bronze pierced scrollwork, medallions and gilt-bronze swags of flowers, the dial marked “Marshall et Fils, Paris” and framed with a gilt-bronze door molded with bowknots and leaves, the bronze patine et dore Madonna sitting on top, h. 17‑1/4”, w. 9‑1/2”, d. 5‑1/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated

328

330

328 French Onyx, Enamel and Porcelain Holy Water Font, ca. 1900, on an onyx back, with a molded bronze frame decorated with enamel and outlining an Art Nouveau gilt-bronze holy water font, under a porcelain plaque of a Madonna and Child, inspired by Raphael’s Madonna della seggiola, in a molded bronze frame with a cross in its crest, h. 18‑3/4”, w. 12‑1/2”. [500/800] Illustrated 329 French Onyx and Champleve Enamel Holy Water Font, first quarter 20th century, the green onyx backplate with enamel corners, cross and lidded font, and supporting the carved bone figure of Christ hanging in the center, a rosary in his hand, h. 13”, w. 8‑1/2”. [700/1000] Illustrated

329

330 Georges Moreau de Tours (French, 1848‑1901), “Mary Magdalene in the Wilderness”, 1880, oil on canvas, signed and dated upper right, 36” x 49”. Framed.

[1500/2500] Illustrated 331 Diminutive Italian Carved Mahogany Cassone, late 19th century, the front with a recessed relief-carved panel of a nude male figure and flanked by vertical panels with lion’s masques and fruit, raised on scroll-carved feet with mythological masques, h. 20‑1/2”, w. 36”, d. 18”. [500/800] Illustrated

331

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332

333 332 Baroque Carved Walnut Casket, ca. 1700, on paw feet, the ogee sides carved with sprays of leaves on a stippled ground, the cover supported on cotter pin hinges, carved with a panel of carved scrollwork and flowers, bordered with acanthus leaves, the interior now lined with damask, formerly fitted with a till, h. 8‑1/4”, w. 17‑1/4”, d. 12‑3/4”.

[500/800] Illustrated 333 German Porcelain and Bronze Plaque in the Renaissance Style, fourth quarter 19th century, the plaque with a carefully rendered depiction of Mary, Queen of Scots, dressed in a high collar with jewels in her hair and around her neck, the pierced brass frame decorated with putti, shells and scrollwork, marked “1676” on the back, dia. 17‑1/2”. [500/800] Illustrated 334 French Patinated Metal Sculpture of Christopher Columbus, first quarter 20th century, after Albert-Ernest Carrier-Belleuse (French, 1824‑1887), cast signature at edge of base, inscribed “C. Colomb” at front, h. 31”, w. 12”, d. 11”. [500/800]

335

335 Fritz Wagner (German, 1902‑1976), “Planning an Expedition”, oil on canvas, signed lower right, 25‑3/4” x 32”. Framed.

[4000/7000] Illustrated 336 A. De Loisy (French, 19th Century), “Merry Cavaliers”, oil on canvas, signed lower right, 21‑3/8” x 25‑1/2”. Presented in a giltwood frame with a linen liner affixed with artist plaque. [1000/1500] Illustrated

336

90

338 Flemish Hand-Woven Tapestry, 19th century, the central motif of an ebullient floral bouquet in a vase, all set within an arch, an elaborate border incorporating floral and architectural vignettes, 137” x 99”.

[4000/7000] Illustrated 339 Pair of Iberian-Style Polychrome and Parcel-Gilt Fauteuils, late 19th century, each with a padded square back joined by acanthine-scrolled arms to the padded seat, raised on block and reeded legs joined by a front pierced stretcher and ending in runner feet on scrolled toes, h. 48”. [500/800] Illustrated

338

337 Spanish Fruitwood Guard Room Table, 18th century, of traditional form, the rectangular top raised on scrolling lyre-form supports joined by a shaped stretcher and ending in up-scrolled toes, h. 30‑1/2”, w. 32”, l. 72‑1/2”. [1800/2500] Illustrated

339

337

91

340 Continental School (Second Half 19th Century), Possibly Carlos de Haes Y Fortuny, “Seascape Harbor”, oil on canvas, signed “C. Fortuny” lower right, 14‑1/4” x 28‑1/4”.

Framed with affixed brass artist plaque. [2000/4000] Illustrated

340

341

341 Pair of Germanic Bronze and Bone Drinking Horns, fourth quarter 19th century, each with a molded, footed base supporting a putto holding aloft a drinking horn fitted with molded bronze trim, h. 16”, w. 8”, d. 4‑1/2”. [700/1000] Illustrated

92

342

342 German Black Forest-Style Twelve-Light “Antler” Chandelier, 20th century, the brass standard with a ball finial and holding molded antler-style arms set with brass candle sockets on two levels, electrified and mounted with shades, h. 37”, dia. 46”. [1000/1500] Illustrated

343 Continental School (First Quarter 19th Century), “Nature Morte with Game Fowl and Vegetables”, pair of oils on canvas, unsigned, each 23” x 30”. Both framed alike. [2000/4000] Illustrated 344 Continental School (18th Century), “Chasing a Swan”, oil on canvas, unsigned, 24” x 29‑1/2”.

Framed. [1000/1500] Illustrated

343 one of two

345 Pair of Italian Hand-Carved Wooden Altar Sticks in the Baroque Style, 20th century, on scrolled feet, the bold turned standards carved with scrollwork and flowers, and set with large matching candle holders, h. 40‑1/2”, dia. 12‑1/2”. [500/800] Illustrated

343 two of two

345

344

93

347

346

346 Italian Carved Wood Altar Figure of Jesus Christ, 18th century, modeled standing and holding an open Bible, a look of sorrow on his face, retaining traces of paint, h. 38”, w. 13”, d. 9”. [1000/1500] Illustrated 347 Continental Oak Coffer, 18th century, in the Gothic taste, the rectangular top banded and above a case with a paneled front featuring Gothic tracery patterns, the sides with linenfold-carved panels, raised on block feet, h. 31‑1/2”, w. 65”, d. 25‑1/2”. [1500/2500] Illustrated 348 Unusual Continental Mirror, fourth quarter 19th century, decorated with silver gilt gadrooning and ivory paint, trimmed with silver-gilt beading, h. 41”, w. 33‑1/4”.

[500/800] 349 Pair of Flemish-Style Mahogany Fauteuils, each with a padded and domed hide-upholstered back joined by large scrolling arms to the padded seat, raised on turned and tapering circular legs joined by an urn-centered X-form stretcher and ending in Flemish feet, h. 49”. [500/800]

94

350

350 Continental Carved Oak Coffer, 18th century, the hinged rectangular top paneled and opening to a void interior, the front with an arched, carved frieze over three panels, all with floral-centered diamond carvings, raised on block feet, h. 25‑1/4”, w. 48‑1/4”, d. 22”. [1500/2500] Illustrated

351

352

351 Fine Continental Silk-on-Silk Floral Embroidery, fourth quarter 18th century, depicting a vase overflowing with blooms within a vine wreath, delicately rendered in satin and chain stitch, initialed and dated “F.S.1787” at bottom center, 19” x 14‑3/4”.

Glazed, float-mounted and framed. [500/800] Illustrated 352 Unusual Baroque Revival Bronze SixteenLight Chandelier, ca. 1900, on a molded, pierced standard decorated with acanthus leaves, molded ivy and scrolled strapwork alternating with flowers, set with vigorously scrolled candle arms set in two tiers and decorated with scrollwork, the reeded candle holders with beaded edges, h. 32‑1/2”, dia. 34‑1/2”. [1500/2500] Illustrated 353 Continental Fruitwood Cabinet, late 19th century, the molded and domed crest above a shield- and fruit-carved frieze, above two glazed doors flanked to either side by shaped open shelves, the lower D-form section fitted with a long drawer over two paneled cupboard doors, flanked to either side by imbricatecarved uprights and further flanked by carved panels and uprights, raised on a conforming plinth base, h. 104”, w. 81”, d. 22‑1/2”.

[2500/4000] Illustrated

353

95

354 German Black Forest Carved Walnut Jewel Casket, third quarter 19th century, on grapecarved feet, the casket with a pierced skirt and side carvings of grapevines and leaves, the cover carved with roses, the interior lined in white satin, h. 7‑1/2”, w. 11‑1/2”, d. 8‑1/4”. [500/800] Illustrated

356 354

355 Italian Fruitwood and Marble-Inlaid Slate-Top Center Table, the circular slate top with decorative foliate banding and a central anthemion-patterned medallion, and raised above a pierced apron on molded acanthine supports joined by a foliate finial and continuing to scrolled toes, h. 29”, dia. 32”. [700/1000] Illustrated

356 Gilt-Bronze and Crystal Fifteen-Light Chandelier of Baroque Inspiration, first quarter 20th century, the glass-clad standard set with a single socket, the bellflower-molded bronze frame terminating with bold acanthus leaves at the top, two light sockets on one side and five sockets on the other two, within scrollwork molded with leaves and flowers, h. 48‑1/4”, w. 43”, d. 25‑1/2”.

[1500/2500] Illustrated

355

96

357 Continental Carved Mahogany and Marble-Top Cabinet, 20th century, the rectangular Portoro marble top with projecting corners, above a conforming case fitted with a foliate-carved frieze over two cabinet doors, each paneled and centered by a carved floral arrangement, flanked to either side by a scrolling acanthine-carved upright and a ring-turned pilaster, raised on a conforming foliate-carved plinth base, h. 38”, w. 62”, d. 25”. [1000/1500] Illustrated

358 Continental Giltwood Mirror of Baroque Inspiration, second quarter 20th century, the segmented mirrored surround decorated with carved leaves, the acanthuscarved frame with pierced rocaille work medallions at all corners, the lobed upper portion with a pierced crest carved with scrollwork and trailing bellflowers, h. 69”, w. 41‑1/2”. [600/900] Illustrated

358

359

357

359 Imposing French Gilt-Metal Covered Chalice in the Renaissance Style, fourth quarter 19th century, on an enamel metal base with a dolphin-molded standard, the urn-form body decorated with putti reining hippocampi, the cover with a putto emerging from a shell, h. 23‑3/4”, dia. 9‑1/2”. [500/800] Illustrated

97

360 Northern Italian Walnut and Polychrome Side Table, 18th century and later, the rectangular top with a foliate-carved edge and raised above a lotus-carved frieze, on two end supports, each shaped with a polychrome shield above the figure of a cherub holding a swag and standing on a satyr masque, flanked to either side by scrolling patterns and grape clusters, joined by a shaped shield-centered stretcher and ending in scrolled toes, h. 31”, w. 72‑1/2”, d. 32”. [2500/4000] Illustrated 361 Pair of Medieval-Style Carved Oak Brackets, fourth quarter 19th century, English, in the manner of classically scrolled brackets with the addition of angel heads, and scrolled bases, the shelf edges gadrooned and leaf-carved, h. 18‑1/4”, w. 9‑1/2”, d. 8”.

[500/800] Illustrated

361

362 Pair of Continental Patinated Bronze Figural Planters, 20th century, in the Baroque style, each with a figure of Eros balancing a scroll-molded planter on his head, above a hexagonal paw-footed base molded with shells and acanthus leaves, h. 48‑1/4”, w. 16‑1/4”, d. 12‑1/4”. [1200/1800] Illustrated

362

360

98

363 364

365 Pair of Italian Pierced Giltwood Sconces, mid-20th century, the backplates carved with tulips and leaves bound with a bowknot, the gilt-metal scrolled arms set with carved wood candle cups in the form of trumpet flowers, h. 15”, w. 8‑1/4”, d. 4‑1/4”. [500/800] Illustrated

365

366 Italian Carrara Marble Bust of a Young Girl, fourth quarter 19th century, inscribed “PL Carrara” at back, h. 18”, w. 10”, d. 9”.

[800/1200] Illustrated

363 Pair of Labeled Borghese Gilt-Plaster Phoenix Birds, second quarter 20th century, Gaithersburg, Maryland, depicted as a true pair, the birds standing among lotus blossoms, h. 14”, w. 3”, d. 4‑1/4”.

[500/800] Illustrated 364 Italian Baroque-Style Parcel-Gilt Mirror, second quarter 19th century, the tapered frame decorated with bold leaf carving and scrollwork, terminating at its base in a pair of paw feet, with blue-painted panels inset on each side, set with an antique mirror glass, h. 34‑1/2”, w. 25‑1/2”.

[800/1200] Illustrated

366

99

368

367

369 Italian Polychrome Commode, the rounded, rectangular top with polychrome banding, above a case fitted with three long paneled drawers, each with two painted portrait medallions amidst scrolling patterns, the sides en suite, raised on cabriole legs, h. 38‑1/4”, w. 47”, d. 20”. [700/1000] Illustrated

367 Venetian-Style Cut and Engraved Mirror, with a beveled mirror center plate, and a frame engraved with sprays of flowers and cut edges matching the cut interior trim, decorated with applied mirrored medallions and teardrops, h. 38‑1/4”, w. 30‑3/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[700/1000] Illustrated 368 Eighteen-Piece Partial Service of Venetian Gilt-Spangled Stemware, 20th century, the set probably made in Murano, with folded feet and twisted stems, comprised of eleven red wine goblets, h. 8‑1/2”, dia. 3‑3/4”, and seven white wine goblets, h. 7‑1/2”, dia. 3”. [700/1000] Illustrated

369

100

370 Continental Specimen Marble Center Table, the circular top with a molded edge and various scrolling and circular patterns centering a sunburst inlay, all in various marbles, raised on a fluted columnar standard to a concave tripartite base with applied giltwood scrolling foliate carvings, to the molded marble feet, h. 34‑1/2”, dia. 43”.

[2500/4000] Illustrated

370

371

371 Italian Painted and Parcel-Gilt Hanging Cabinet, early 19th century, with a slightly arched top with a delicately carved leaf and vine border, two glazed doors flanked by painted panels and scenic friezes, h. 27”, w. 51”, d. 7”.

[600/900] Illustrated 372 Pair of Venetian-Style Polychrome and Parcel-Gilt Blackamoor Torcheres, each with a traditional Blackamoor figure holding a six-light electrified torchere aloft, raised on a rocky base on a paneled pedestal with corner gilt acanthine accents, h. 76”. [600/900] Illustrated

372

101

375

373

374

373 Pair of Venetian-Style Carved and Parcel-Gilt Sconces, 20th century, Italian, on drapery-carved backplates, in the form of verdigris-painted carved hands with silver gilt cuffs, supporting carved cornucopias set with candle nozzles, h. 31‑1/2”, w. 6‑1/2”, d. 12‑1/4”.

[500/800] Illustrated 374 Venetian Polychrome and Parcel-Gilt Jardiniereon-Stand, early 20th century, the jardiniere of scrolling cradle form and fitted with a conforming metal liner, raised on a stand with an exaggerated ogee-molded frieze to scrolling toes ending in foliate-carved toes, h. 29”, w. 27”, d. 15‑1/2”. [500/800] Illustrated

102

376

375 Continental School (First Quarter 19th Century), “An Extensive Harbor Scene with Fishermen Casting a Net”, oil on canvas, unsigned, 24” x 34”. Framed. [1000/1500] Illustrated 376 Nicholas Briganti (American/Italian, 1861‑1944), “Fishing Boats in the Harbor”, oil on canvas, signed lower right, 20‑3/4” x 31‑1/2”. Framed. [1000/1500] Illustrated

379 Suite of Twelve Continental Mahogany Dining Chairs, early 20th century, consisting of two armchairs and nine sidechairs, each with a padded shield-form back surmounted by an ormolu shell and foliate crest, the padded seat raised above a shaped frieze on cabriole legs ending in sabots, all now upholstered in crimson cut velvet, h. 40‑1/2”.

[800/1200] Illustrated

378 377 Tortoiseshell-Inlaid Cabinet on Stand, fourth quarter 17th century and later, Antwerp School, the facade decorated with ebonized and molded drawer fronts with tortoiseshell panels outlined in stringing, the sides and top veneered with fruitwood, and pierced brass mounts decorating the corners, the velvet-lined drawers fitted for jewels, on a later inlaid mahogany stand, h. 45‑1/4”, w. 23‑1/4”, d. 12‑1/2”.

[1800/2500] Illustrated 378 Continental School (Fourth Quarter 19th Century), “Portrait of a Seated Gypsy Holding a Tambourine”, oil on canvas, signed lower right “E. Van Berckelaer”, 20‑1/2” x 17”. Presented in a molded giltwood and gesso frame.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1000/1500] Illustrated

379

377

103

382 380

380 French Restauration Bronze Dore et Patine Mantel Clock, second quarter 19th century, with a silvered dial and decorated with the figure of a sailor, the base with trophies, including an anchor and a cornucopia, h. 17‑3/4”, w. 12‑1/2”, d. 4‑3/4”. [800/1200] Illustrated 381 Continental Pickled Hardwood and MarbleTop Center Table, early 20th century, of Louis XIV inspiration, with carved aprons and scrolled legs with acanthine details, with an unusual undulating carved stretcher joining the legs to a central carved finial, h. 31‑1/2”, w. 46”, d. 27”.

[1200/1800] Illustrated 381

382 Printed Linen Wall Panel of a Masquerade Garden Fete, 20th century, depicting masked galantes in fancy dress cavorting in a walled garden, backed with fabric, h. 70”, w. 90”. [1000/1500] Illustrated 383 Italian Carved and Painted Blackamoor Wall Bracket, second quarter 20th century, the figure wearing silver-gilt clothing with polychrome scrollwork and flowers, against a swagged and tasseled red-painted backplate supporting a blackpainted serpentine shelf with carved gilt trim, stamped “Made in Italy”, h. 13‑1/2”, w. 12”, d. 6‑3/4”.

[500/800] Illustrated 383

104

384

385

384 Pair of Italian Venetian-Style Mirrored Two-Light Sconces, 20th century, the mirrored backplates with serpentine crests, engraved with chinoiserie figures, outlined with glass beading and mounted with brass two-light candle holders, h. 29”, w. 8”, d. 5‑1/2”. [500/800] Illustrated 385 Pair of Venetian-Style Octagonal Mirrors, 20th century, Italian, engraved along the “frame” with sprays of flowers, trimmed with faceted mirror panels back-cut with roundels, trimmed with cut mirror leaves at the joints, the crest formed of pierced scrollwork with cut decoration, the initial “B” engraved in a mirror oval in the center, h. 55”, w. 33‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [2000/4000] Illustrated

387 Continental Mahogany and Burlwood Dining Room Cabinet, 20th century, the bowed central section with a mirrored back, over a marble top above a single drawer and banded cabinet, flanked to either side by a tall shelved cabinet with a beveled glass door, raised on splayed legs ending in sabots, h. 70‑1/2”, w. 59”, d. 21”. [800/1200] Illustrated

386 Pair of Continental Mahogany Jardinieres, early 20th century, each of hexagonal form and with a conforming metal liner, each side paneled and centered by a carved plaque, raised on cabriole legs ending in upturned toes, h. 17”, dia. 17‑1/2”.

[1000/1500] Illustrated

387 386

105

389

390

388

388 Pair of Continental Mahogany and Marble-Top Bedside Tables, 20th century, each with a shaped rectangular Carrara marble top within a full raised edge, above a frieze fitted with a single deep drawer, joined to a lower shelf by shaped supports ending in sabots, h. 27‑1/4”, w. 23”, d. 15”. [700/1000] Illustrated

106

389 Pair of Giltwood Mirrors in the Italian Baroque Taste, late 19th century, the pierced scroll- and flower-carved mirror-backed surround with carved drops on the base, the crest decorated with baskets of flowers framed with scrollwork, h. 56‑1/2”, w. 16‑1/2”.

[1000/1500] Illustrated 390 Northern Italian Oak and Fruitwood Secretary, late 18th century, the molded broken swan’s-neck pediment above two arched doors, each banded and with a parquetry panel, the lower section fitted with a like parquetry panel and opening to a central cupboard flanked to either side by a band of three short drawers over three long serpentine drawers, raised on shaped bracket feet, h. 92”, w. 45”, d. 22‑1/2”. [1500/2500] Illustrated

392

391

391 Italian Giltwood Pier Mirror of Rococo Inspiration, fourth quarter 19th century, resting on flower-carved cornucopia-form feet, and trimmed with pierced swags of flowers and leaves at the base, the crest formed from a framed oval mirror plate crowned with giltwood and wire flowers, framed by ho-ho birds and decorated with pierced swags of flowers, h. 68‑1/2”, w. 33”.

[600/900] Illustrated 392 Continental School (Second Quarter 19th Century), “Venus and Cupid”, oil on canvas, unsigned, 20” x 24”. Framed.

[1000/1500] Illustrated

393

393 Pair of William IV Gilt-Bronze Candlesticks, second quarter 19th century, modeled as whippets reclining before leaf- and flower-molded candle branches set with grape-molded drip pans, engine-turned candle cups and leaf-molded bobeches, and raised on flat bases on bun feet, h. 7”, w. 6‑1/4”, d. 3”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[600/900] Illustrated

107

394 Pair of Neoclassical-Style Brass DolphinForm Bookends, the contemporary bookends on black bases and marked with a “C” in a circle and “MMA 1990”, h. 6‑1/2”, w. 4‑3/4”, d. 2‑1/2”. [500/800] 395 Pair of Italian Empire Giltwood Center Tables, early 19th century, each with a later octagonal top raised on a tiered standard, the upper tier composed of an inverted Corinthian capital and the lower tier composed of three sphinx supports surrounding a central bulbous standard, raised on a concave tripartite base on block feet, h. 33”, dia. 26”. [3000/5000] Illustrated 395

396 Italian Fruitwood, Giltwood and MarbleTop Table, the rectangular verde antico marble top with D-ends and inset into a gadroon-carved edge, above a conforming scrolling foliate frieze, raised on legs in the form of winged maidens to a stretcher base on flattened foliate-carved bun feet, h. 32”, w. 88”, d. 39‑1/2”. [2500/4000] Illustrated 397 Pair of Italian Bronze Planters, 20th century, the monopod supports molded as satyrs supporting pierced, picketed planters mounted with handles, h. 35‑1/2”, dia. 16‑1/2”. [1500/2500] Illustrated

397

396

108

398

399

398 Continental School (20th Century), “Architectural Capriccio”, oil on canvas, signed lower right “N. Bertin”, 36” x 48”. Framed.

[1000/1500] Illustrated 399 Italian Patinated and Gilt-Accented Bronze of Alexander the Great and His Horse Bucephalus, ca. 1900, after the Roman figure excavated at Herculaneum (itself a copy of a portion of a 1st century BCE Greek monumental sculptural group) now at the Museo Archeologico Nazionale Napoli, numbered “1/299” and with a “Fonderia Chiurazzi” foundry mark at edge of self-base, h. 18‑3/4”, w. 19‑1/2”, d. 11”. [800/1200] Illustrated 400 Pair of Continental Neoclassical-Style Parcel-Giltwood Plant Stands, second quarter 20th century, in the form of censers, supported on three monopodia terminating in lion’s heads and a central vase-shaped standard, the bowl sides decorated with egg-and-dart carving, h. 34”, dia. 19‑1/2”.

[500/800] Illustrated

400

109

401

401 Italian Patinated Bronze of Narcissus, fourth quarter 19th century, after the antique sculpture excavated in 1862 from Pompeii now at the Museo Archeologico Nazionale, Naples, Italy, a “Chiurazzi, Naples” foundry stamp on base, h. 24‑1/2”, base dia. 10”. [1200/1800] Illustrated

110

402

402 Continental Patinated Bronze of “Discobolus”, 20th century, after the 1st century Roman bronze (itself after the 5th century BCE sculpture by Myron) now at the Museo Nationale, Rome, on a square marble plinth, h. 15‑1/2”, w. 8”, d. 7”. [1200/1800] Illustrated

403 David Eugene Henry (American, b. 1946), “The Warrior”, 2005, patinated bronze, cast signature, dated, copyright marked, and inscribed “Roman Bronze Foundry” at edge of self-base, h. 26”, w. 18”, d. 10‑1/2”.

[1000/1500] Illustrated 404 Italian Patinated Bronze Bust of “Artemis”, 20th century, after the Roman sculpture discovered in the peristyle of the Villa of the Papyri at Herculaneum and now at the Museo Archeologico Nazionale, Naples, Italy, a “Fonderia Chiurazzi Napoli” stamp at back edge, on a thin black marble plinth, h. 27‑1/2”, w. 13‑1/2”, d. 13”. [500/800] Illustrated Reference: Mattusch, Carol C., The Villa Dei Papiri at Herculaneum, J. Paul Getty Museum: Los Angeles, 2005.

405 Continental Patinated Bronze Bust of Homer, first quarter 20th century, after the Imperial Roman copy of a 2nd century BCE Greek sculpture now at the Musee du Louvre, Paris, on a marble socle base inscribed with the poet’s name in Greek, overall, h. 10‑1/4”, w. 4”, d. 4‑1/2”. [600/900] Illustrated 403

404

405

111

406

407

406 Handsome French Carved and Parcel-Gilt Wooden Dessus de la Porte, ca. 1900, painted white with gilt ribbon, formed from an arched swag of laurel leaves, with crossed ribbon-bound palm fronds, h. 15‑1/2”, w. 42”. [600/900] Illustrated 407 Pair of Italian Marble Obelisks, 20th century, the mauve and gray mottled marble obelisks on rectangular plinths with block trim, h. 19”, w. 4‑1/4”, d. 4‑1/4”. [500/800] Illustrated

112

408

408 Five Nineteenth-Century Continental Bronze, Rock Crystal and Marble Objets de Vertu, the collection including an Italian Grand Tour bronze Trajan’s triumphal column, h. 8‑1/4”, w. 3‑1/4”, a German patinated bronze and brown marble bust of Diana, the Huntress, signed “A.G. H. Cladenhek & Sohn” on the back, w. 3‑1/4”, d. 2‑1/2”, and three French rock crystal obelisks, h. 3‑1/4” to 6”, w. 1‑1/2” to 1‑3/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[500/800] Illustrated

409 Italian Giltwood and Marble-Top Center Table, the circular specimen marble top inset with various types of marble in a tiered petal pattern centering a floral medallion, all within a geometric banding, raised on a fluted standard to three carved lion’s heads on paws, raised on a concave tripartite base, h. 29”, dia. 35‑1/4”. [1000/1500] Illustrated 411 410 Pair of Italian Neoclassical-Style Two-Light Sconces, third quarter 20th century, on delicately carved backplates decorated with gilt urns carved with leaves and fluting, and bellflower carved drops, the urns supporting crossed quiver and torch trophies under crossed arrows and a spray of carved wheat, the scrolled gilt-metal arms terminating in giltwood candlecups and drip pans, and supporting swags of bellflowers, electrified, h. 32‑1/2”, w. 13”, d. 4‑1/2”. [600/900] Illustrated

411 Pair of Italian Giltwood Plaques, early 20th century, decorated with carved drums, crossed cannons, muskets, flags and branches of laurel, h. 21‑1/2”, w. 21‑1/2”. [1200/1800] Illustrated

410

409

409 detail

113

414

415

412

412 Continental Neoclassical Fruitwood Commode, early 19th century, the rectangular top banded and inlaid with two quarter-veneered panels, above a conforming case fitted with three long drawers, all bi-paneled and with decorative banding, raised on short fluted circular legs, h. 38”, w. 49‑3/4”, d. 24‑1/2”. [1500/2500] Illustrated 413 Italian Walnut and Mixed Woods Sorrentino Center Table, early 19th century, the tilting circular top with geometric banding and edge, centered by a marquetry-inlaid panel of a child’s riding lesson, within an inlaid parquetry field, raised on a large turned bulbous standard to three splayed shaped legs, the base with decorative chevron and geometric inlaid patterns, h. 31”, dia. 58”. Provenance: Lucullus, New Orleans, Louisiana.

[2500/4000] Illustrated 414 Italian Carved Marble Sculpture of a Nymph Riding a Wave, ca. 1900, h. 26‑5/8”, w. 9‑1/2”, d. 12”.

[1000/1500] Illustrated

114

413 415 Russian-Style Mahogany and Giltwood Mirror, second quarter 20th century, decorated with gilt fluting and square medallions along the base, and gilt fluting surrounding the beveled mirror plate, the crest formed of two gilt plinths on either side of a central plinth fitted with a biscuit roundel depicting a classical family after Bertel Thorvaldsen (Danish, 1770‑1844), h. 56”, w. 29‑1/2”. [800/1200] Illustrated 416 Viennese Enamel Perfume Casket, fourth quarter 19th century, Austrian, on a molded bronze curule base, decorated in the classical taste with polychrome scenes of Eros and Psyche, h. 2‑1/4”, w. 2‑1/8”. [500/800]

417 Neoclassical-Style Opaline Glass Jewel Casket, mid20th century, Murano, Italy, decorated with gilt and black neoclassical scenes, the cover with brass hinges and trim, with a “Cenedese Glass Murano” paper label on the inside cover, h. 4”, w. 5‑1/4”, d. 3‑1/2”. [600/900] Illustrated 418 Collection of Italian Plaster Grand Tour Souvenir Medallions, second quarter 19th century, each decorated with profiles of notables, mounted in a shadowbox and presented in an early 19th-century faux-bois frame, h. 18‑1/2”, w. 15”. [600/900] Illustrated

420

419 Italian Carved Marble Sculpture of “Apollo and Daphne”, fourth quarter 19th century, after the ca. 1625 sculpture by Gian Lorenzo Bernini (Italian, 1598‑1680) at the Galleria Borghese, Rome, presented on a later marbleclad stand, sculpture, h. 49‑1/4”, w. 28‑1/2”, d. 18”, overall, h. 75‑1/4”, w. 57‑1/2”, d. 21‑1/4”. Provenance: Cesare Della Seta Galleria di Antichita, Rome; The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [3500/5000] Illustrated 420 Assembled Pair of Bisque Figures of Apollo and Diana, fourth quarter 19th century, probably English, after the Antique, on integral socles, stamped with numbers, h. 11”, w. 5‑3/4” and 7‑1/2”, d. 3‑1/2” and 4”.

[600/900] Illustrated

418

419

417

115

421 Italian Giltwood Six-Light Chandelier in the Baroque Taste, first quarter 20th century, the frame hung from a laurel-carved canopy with segmented wooden “chains”, the leaf-carved candle cups attached to scroll-carved brackets to the wreath-and-ribbon-carved ring-form standard, h. 60”, dia. 33‑1/2”. [700/1000] Illustrated 422 Italian Neoclassical Polychrome and Marble-Top Side Table, late 18th century, the deep Carrara marble top with concave corners, above a conforming frieze, paneled and with polychrome lattice-pattern accents, raised on tapering square legs ending in slightly splayed feet, h. 37”, w. 52‑1/4”, d. 25‑1/2”. [1500/2500] Illustrated

423 Pair of Unusual Northern European Neoclassical Giltwood and Marble-Top Side tables, late 18th century, each with a thick rectangular marble top above a scroll, anthemion- and shell-carved frieze emanating from a lotus-form standard terminating in claw feet on a paneled and molded plinth base, h. 36”, w. 34”, d. 12‑1/2”.

[1500/2500] Illustrated 424 Italian Carved Marble Bust of the “Diana of Versailles”, fourth quarter 19th century, after the 1st or 2nd century BCE Roman sculpture (itself a copy of a Greek original attributed to Leochares) now at the Musee du Louvre, Paris, a faint and illegible signature at back, on a socle base, overall, h. 18”, w. 9‑1/2”, d. 5‑1/2”. [500/800] Illustrated

423 421

422

424

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426

425

427

425 Italian Carved Carrara Marble of “The Nike of Samothrace”, fourth quarter 19th century, after the 2nd century BCE Hellenistic sculpture excavated in 1863 on the island of Samothrace and now at the Musee du Louvre, Paris, the goddess of victory with removable outstretched wings, on a columnar verdigris marble plinth, pedestal, h. 40”, w. 17”, d. 17”, sculpture, h. 38‑1/2”, w. 26”, d. 27”, overall, h. 79”, w. 29”. [2500/4000] Illustrated

427 Directoire-Style Fruitwood Commode, early 19th century, the rectangular top above a conforming case fitted with three long drawers, each with three banded panels, raised on tapering square legs, h. 33”, w. 47”, d. 22‑1/4”. [1000/1500] Illustrated

426 Handsome Portuguese Blanc-de-Chine CampanaForm Neoclassical Urn, 20th century, made by Vista Alegre for Mottahedeh, with a fluted base, the glazed urn decorated with a frieze of Grecian dancers left in biscuit porcelain, with egg-and-dart upper borders, the handles terminating in molded masques, with both Vista Alegre and Mottahedeh marks, h. 16‑3/4”, dia. 14”. [1200/1500] Illustrated

428 Two French Bronze and Tole Bouillotte Lamps in the Neoclassical Taste, third quarter 20th century, comprising a three-light lamp with an engine-turned base and candle arms in the form of horns, h. 24‑1/2”, w. 15”, d. 15‑1/2”, and a two-light lamp with a fluted column-form standard and beaded candle sockets and drip pans, h. 24”, w. 10”, d. 5‑1/2”, each with an adjustable tole shade.

[500/800]

117

431 429 Pair

432

430 429 Pair of Continental Gilt-Metal Bas-Relief Bust Plaques of Mercury and Minerva, fourth quarter 19th/first quarter 20th century, now attached to wooden supports, each overall, h. 23‑3/4”, w. 16”. [1500/2500] Illustrated 430 French Polished Bronze Bust of The God Zeus, fourth quarter 19th century, after Alfred Pierre Richard (French, 1844‑1884), on a bronze socle, modeled wearing armor and a helmet, signed “Richard Sculpt” on the back, h. 18‑1/2”, w. 11”, d. 7‑1/2”. [500/800] Illustrated 431 Biedermeier-Style Blonde Fruitwood Side Table, mid-19th century, the rectangular top above a frieze fitted with a single drawer, raised on three ebonized columnar supports to each end, the middle one resting on the figure of a lion, ending on plinth bases, each unusually fitted with a small drawer, h. 30‑1/2”, w. 45‑1/2”, d. 22”. [500/800] Illustrated 432 Continental Fruitwood and Burlwood Bureau Plat, early 20th century, the large rectangular top with turreted corners and an inset leather surface, above a conforming frieze fitted with three fluted drawers to either side, raised on waisted, fluted tapering circular legs ending in toupie feet, h. 31”, w. 93”, d. 49”. [2500/4000] Illustrated

118

433

433 Pair of Marble Busts of Johann Goethe and Friedrich Schiller, fourth quarter 19th century, probably Italian, with “Goethe” and “Schiller” carved into the lower edges, on matching marble socles, h. 22‑1/2”, w. 11”, d. 7”.

[700/1000] Illustrated

434

435

436

437

434 Biedermeier Bird’s-Eye Maple Firescreen, second quarter 19th century, the shaped and pierced crest above a quatrefoil-inlaid frieze, the screen with an oval needlework floral spray within a moire matting, raised on splayed legs ending in paw feet on casters, h. 38‑1/2”, w. 25‑1/4”.

[500/800] Illustrated 435 Pair of Biedermeier-Style Fruitwood Cabinets, of circular form, each with a round banded top above a conforming case fitted with a single cupboard door, raised on a plinth base, h. 24‑1/4”, dia. 20”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [600/900] Illustrated

436 Suite of Four Neoclassical Mahogany Sidechairs, 19th century, in the Jacob style, each with a rectangular back with X-form splats, the padded seat raised above a paneled frieze on ring-turned tapering circular legs ending in toupie feet, h. 36”. [800/1200] Illustrated 437 Large Rouge Marble Pedestal, 20th century, with a large oval platform top above a Doric-style column and square base, h. 34”, w. 30”, d. 21”. [500/800] Illustrated

119

438 Neoclassical Ebonized and Parcel-Gilt Window Seat, 20th century, the padded seat flanked to either side by eagle’s head hand rests joined by a ribbed stretcher, raised on splayed legs ending in paw feet, h. 27”, w. 39”, d. 18”.

[600/900] Illustrated

440 Pair of Continental Patinated Bronze Torches in the Egyptian Revival Style, 20th century, the figures posed contrapposto, wearing striped Egyptian headdresses and sashes, holding their torches aloft, h. 45”, w. 15‑1/4”, d. 9”.

[1500/2500] Illustrated

439 Pair of Continental Pierced Bronze Jardinieres in the Egyptian Revival Style, 20th century, the circular paw-footed bases decorated with molded laurel swags and supporting seated sphinxes mounted with flaring pierced baskets, h. 31”, dia. 18”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1000/1500] Illustrated

441 Assembled Pair of Wedgwood Basalt Egyptian Revival Candlesticks, 19th century, English, each decorated with paw-footed monopodia supporting sphinx heads set with “silk stripe” candle cups, one impressed “Wedgwood” in upper/lowercase, and the other basalt drip example marked “Wedgwood” in larger, all uppercase letters, h. 6‑1/4”, dia. 4”. [700/1000] Illustrated

438 439

441

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442 Unusual Continental Painted Egyptian Revival Mirror, 20th century, the frame carved with scrollwork and acanthus leaves, the pierced crest carved with a pair of winged sphinxes flanking a reeded urn, h. 64‑1/2”, w. 34‑1/2”. [1200/1800] Illustrated 443 Unusual Continental Painted Egyptian Revival Mirror, 20th century, the frame carved with scrollwork and acanthus leaves, the pierced crest carved with a pair of winged sphinxes flanking a reeded urn, h. 64‑1/2”, w. 34‑1/2”. [1200/1800] Illustrated 444 Pair of Italian Onyx and Marble Obelisks, 20th century, the square bases decorated with black cove-molded marble trim and supporting the brown mottled onyx obelisks, h. 25‑1/4”, w. 5‑1/2”, d. 5‑1/2”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated

444

121

446

450 445 Turkish Angora Oushak Runner, 2’ 7” x 23’ 9”.

[500/800] 446 Semi-Antique Mahal Carpet, 10’ 3” x 13’ 1”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [3000/5000] Illustrated 447 Tabriz Silk Prayer Rug, 4’ 1” x 6’ 7”. [1000/1500] Illustrated 448 Antique Shirvan Carpet, 4’ 11” x 5’ 9”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [500/800] 449 Bamboo Silk Carpet, 8’ 8” x 11’ 10”. [1500/2500] Illustrated

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447

452

449

454

450 Antique Turkoman Carpet, 10’ 5” x 14’ 8”. [1200/1800] Illustrated 451 Antique Sarouk Carpet, 3’ 9” x 4’ 11”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [500/800] 452 Tabriz Silk Carpet, 8’ x 12’. [3000/5000] Illustrated 453 Louis XV-Style Needlepoint Carpet, 10’ 9” x 15’ 6”.

[800/1200] 454 Antique Oushak Carpet, 10’ 9” x 15’ 6”. [10000/15000] Illustrated

458

456

457

455 Antique Kayseri Silk Prayer Rug, 2’ 9” x 4’ 8”.

[600/900]

460

459

458 Antique Yahyali Prayer Rug, 3’ 8” x 6’ 6”. [700/1000] Illustrated

456 Antique Heriz Runner, 3’ x 15’. [2500/4000] Illustrated

459 Semi-Antique Persian Heriz Carpet, 9’ 9” x 12’ 3”.

[1800/2500] Illustrated

457 Semi-Antique Sarouk Carpet, 11’ 3” x 14’ 2”.

[1000/1500] Illustrated

460 Antique Shiraz Carpet, 7’ 9” x 10’ 5”. [700/1000] Illustrated

123

461 Directoire Giltwood Trumeau Mirror, ca. 1800, with an ogee-molded giltwood surround, the upper painting with a curved crest depicting three putti painted in brown grisaille, h. 64‑1/4”, w. 27‑1/4”. Provenance: Karla Katz Antiques, New Orleans, Louisiana. [800/1200] Illustrated 462 French Gilt-Bronze and Crystal Six-Light Basket Chandelier, first quarter 20th century, the bronze canopy molded with leaves supporting the bronze frame, molded with urns of fruit and laurel wreaths over a lion’s head-molded ring, set with pierced bronze Eros panels alternating with strands of crystals, the candle arms set with molded glass drip pans and gilt-bronze candle cups, electrified, h. 26”, dia. 25‑1/2”. [1800/2500] Illustrated

463 Directoire-Style Gilt-Metal and Marble-Top Occasional Table, early 20th century, the circular marble top within an ormolu banding, and raised on three turned double-column supports joined by a mahogany concave tripartite stretcher, to splayed legs ending in casters, h. 28‑1/4”, dia. 24”. [600/900] Illustrated 464 Small French Bronze Pocket Watch-Form Wall Clock, second quarter 19th century, trimmed with engine turning, the clock hanging from the top ring, h. 5‑3/4”, dia. 3‑1/2”.

[600/900] Illustrated

462

461

464 463

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467 466

465 French Gilded Age Gilt-Bronze Gas Table Lamp, fourth quarter 19th century, decorated with figures of the Three Graces, on paw feet, the cove-molded base decorated with a lotus border, guilloche, egg-and-dart, and swags of laurel, the molded gas key mounted above the muses, now electrified and mounted with a shade, h. 29”, dia. 15”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated 466 Louis XVI-Style Mahogany and Marble-Top Commode, 19th century, the rectangular marble top with turreted corners, above a conforming case fitted with three short drawers over two long drawers, all with decorative banding and ormolu mounts, raised on fluted tapering circular legs ending in foliate brass caps on pegs, h. 35”, w. 49‑1/2”, d. 22‑1/2”. [1500/2500] Illustrated

467 Louis XV-Style Giltwood Trumeau Mirror, ca. 1900, the surround carved with leaf-bound reeding and an arched top with a rocaille crest, the painting depicting a group of classical maidens bathing, their dog swimming in the pool, set with an antique mirror glass, h. 60‑1/2”, w. 28”. [1500/2500] Illustrated 468 Louis XVI-Style Kingwood Occasional Table, the banded parquetry-veneered oval top with an ormolu band, above a conforming chevron-veneered frieze fitted with a single drawer, joined to a lower shelf by tapering square legs terminating in brass caps, h. 29‑1/4”, w. 24”, d. 18”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated

125

469 Unusual French Belle Epoque Gilt-Bronze Desk Clock, fourth quarter 19th century, the clock hanging on a frame, both the case and stand decorated with scrollwork and shells, the clock set with an enamel dial behind beveled glass, h. 8”, w. 6‑1/2”, d. 3‑3/4”. [600/900] Illustrated 470 Directoire-Style Gilt-Metal and Marble-Top Occasional Table, the circular marble top within a banding and raised on slender square legs joined by vertical X-form stretchers and ending in paw feet, h. 26‑1/2”, dia. 17”. [500/800] Illustrated 471 French Gilt-Bronze Floor Lamp of Neoclassical Inspiration, second quarter 20th century, the tapered base decorated with bound reeds, and supporting the reeded standard with a vasiform base decorated with bellflowers, and a leaf-molded adjustable lamp arm, h. 62”, w. 16‑1/2”. [1500/2500]

472 Rare French Bronze Dore et Patine Eight-Light Billiards Chandelier, first quarter 20th century, the faceted standard terminating with a vasiform section beneath pierced anthemia, a bronze patine sphere “pierced” with gilt arrows supporting cupid’s bow-form arms terminating in swan’s heads, holding two fourlight bronze chandeliers terminating in artichoke finials, h. 55‑1/2”, w. 58‑1/2”, d. 10”. [6000/9000] Illustrated 473 French Neoclassical-Style Giltwood Mirror, ca. 1900, the surround lined with ribbon carving and supporting a rectangular tablet decorated with panels of mirror-backed interlocking rings, flanking a portrait of Minerva, Roman goddess of war, on a stippled ground, h. 59‑3/4”, w. 39”.

[1200/1800] Illustrated

472

473

470 469

126

474 Continental Patinated Bronze of “Diana”, ca. 1900, after Jean-Antoine Houdon (French, 1741‑1828), incised inscription “HOUDON/Sculpt” at back, on a self-socle, h. 27”, w. 15”, d. 8”. [1500/2500] Illustrated 475 Two Neoclassical Patinated Busts, one a French patinated bronze bust of Homer on a variegated marble socle, third quarter 19th century, and the other a patinated brass bust of Athena, 20th century, h. 15‑3/4”, w. 9”, d. 5‑3/4” and h. 15‑3/4”, w. 8”, d. 3‑3/4”. [500/800] 476 Directoire-Style Fruitwood Center Table, 19th century, the circular top within an ormolu banding, and raised on three slender legs joined by a small circular stretcher and ending in block feet, h. 28‑1/4”, dia. 32”.

[600/900] Illustrated

477 Pair of French Neoclassical-Style Terracotta Garden Urns, of campana form, on tapered acanthus-molded bases, the fluted bowls decorated with lion’s heads beneath egg-and-dart rims, h. 21”, dia. 21”. [500/800] Illustrated 478 French Painted Terracotta Figural Group, ca. 1900, with the figures of a satyr and bacchante feeding grapes to a child, after Claude Michel, known as Clodion (French, 1738‑1814), handsomely molded with the satyr wearing a wreath of grapes and the nude bacchante holding a dish down to a reaching child, impressed “Clodion” on the back, h. 21‑1/2”, dia. 9‑1/4”. [500/800] Illustrated

478

474

477 476

127

482

479

481 480 Louis XVI-Style Fruitwood and Marble-Top Center Table, early 20th century, the circular marble top within a full pierced brass gallery, above a conforming frieze with decorative inlays, raised on tapering square legs headed by inlaid bellflowers, joined by an X-form stretcher and ending in peg feet, h. 30”, dia. 27”. [800/1200] Illustrated

480

479 Louis XVI-Style Giltwood Mirror, 20th century, French, the molded surround set with carved square corner medallions and a beveled mirror plate, set with a pierced, scrolled crest decorated with a sheaf of wheat and crossed agricultural trophies, h. 63”, w. 32”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[800/1200] Illustrated

128

481 Handsome Continental Porcelain Cockatoo, first half 19th century, with gilt-trimmed and molded feathers, the bird standing in a hydrangea bush, a strand of foliage in its beak, with exceptional modeling and encrusted flowers, marked with an overglaze hand-painted gold anchor on the base, h. 12‑1/2”, w. 10”, d. 6‑1/4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [600/900] Illustrated 482 Pair of French Bagues-Style Two-Light Sconces, second quarter 20th century, the gilt-metal tapered backplates set with vine-form candle branches with leaves and terminating in molded glass candle cups, the branches hung with rock crystal drops, the upper portions with molded glass phoenix birds, h. 18”, w. 9”, d. 4‑1/2”.

[600/900] Illustrated

483

484

486

485 483 Pair of Paris Porcelain Directoire Period Fruit Coolers, fourth quarter 18th century, made by Locre, gilttrimmed and decorated with delicately painted borders of mauve scrollwork, gilt sprigging, bellflowers and roundels of roses, with gilt-trimmed scrolled handles, and sprigs of flowers painted on the lower sides, each with Locre’s underglaze blue crossed arrows mark, formerly fitted with liners, h. 8‑1/4”, w. 7‑3/4”, dia. 8”. [1000/1500] Illustrated 484 Carl Thieme Meissen-Style Porcelain Urn-Form TwoLight Table Lamp, post-1901, made by Carl Thieme, Potschappel, Germany, on a yellow ground, the fluted base supporting the body, decorated with encrusted swags of flowers and masques with flowers in their hair, and with oval panels of franboise-painted putti in the center, marked with Thieme’s intertwined initials and a mark guaranteeing it was hand-painted, urn, h. 14”, overall, h. 22‑1/2”, w. 6‑3/4”, d. 5”. [500/800] Illustrated

485 Directoire-Style Polychrome Settee, 19th century, the low padded rectangular back joined by closed downswept arms to the padded seat, raised on fluted tapering square legs ending in peg feet, h. 35”, w. 51”, d. 23”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [800/1200] Illustrated 486 Pair of Directoire-Style Polychrome Sidechairs, 19th century, each with a square back centered by a pierced architectural-patterned splat, the caned seat raised on tapering square legs, the whole with delicate polychrome floral accents, h. 35”. [600/900] Illustrated

129

487 Pair of Italian Neoclassical-Style Carved, Parcel-Gilt and Polychrome Panels, third quarter 20th century, with allegories of spring and autumn, the “spring” panel decorated with a bird supporting a basket of flowers from a bowknot, and the “fall” panel with grapes and a wine ewer, each with parcel-gilt and blue-painted ogee frames, marked “Made in Italy” on the rear, h. 5‑3/4”, w. 34‑1/2”.

[3500/5000] Illustrated 488 Pair of French Gilt-Bronze and Marble Figures of Muses, third quarter 19th century, on sienna marble column-form bases, one classically draped figure representing sculpture, holding a hammer, and the other representing painting, holding a palette, h. 6‑3/4”, w. 2‑1/4”, d. 2‑1/4”. [500/800] Illustrated

489 Handsome Paris Porcelain Hand-Painted Restauration Urn, second quarter 19th century, on a marbleized base, the claret-ground urn decorated with a bucolic scene depicting milkmaids with cows in a meadow, and set with well-molded swan’s-head handles with matte and tooled gilt, the obverse decorated with a tooled gilt lyre, h. 17”, w. 8”, d. 5‑1/2”. [600/900] Illustrated 490 Diminutive Louis XVI Fruitwood Fauteuil, late 18th century, the padded oval back within a molded frame, joined by padded arms to the like seat, raised on stopfluted tapering circular legs ending in toupie feet, h. 34”.

Provenance: Royal Antiques, New Orleans, Louisiana.

[600/900] Illustrated

489

487 Pair

488

130

490

491 Conradyn Cunaeus (Dutch, 1828‑1895), “Waiting for Mistress”, oil on canvas, signed lower right, verso with a label inscribed in pen “Leeuwhondje, C.Cunaeus...”, 34‑1/2” x 27‑3/4”. Presented in a 20th-century giltwood frame. Provenance: Sara Davenport Paintings, London, U.K., 1994. [12000/18000] Illustrated 492 Arthur Heyer (German, 1872‑1931), “Kittens at Play”, oil on board, signed lower right, verso with “Newman Galleries” label, 10” x 15”. Presented in a period giltwood and gesso frame affixed with artist plaque. [1000/1500] Illustrated

493 Louis XVI-Style Mahogany and Marble-Top Etagere, late 19th century, the bowed white marble top with a three-quarter pierced brass gallery, above a case fitted with four short drawers, all banded and quarter-veneered, and all flanked to either side by two curved and mirrored galleried marble shelves, raised on bulbous ribbed legs, h. 57‑1/2”, w. 35”, d. 15‑1/2”. Provenance: Manheim Galleries, New Orleans, Louisiana. [1800/2500] Illustrated 494 Louis XVI-Style Mahogany and Marble-Top Cabinet, early 20th century, the D-form marble top above a conforming case fitted with a single drawer over a cupboard door, both paneled and with brass banding, flanked to either side by two marble-inset open bowed shelves, raised on tapering square legs ending in brass caps, h. 35‑1/2”, w. 35‑1/4”, d. 16‑1/2”. [500/800] Illustrated

492

491

494

493

131

497 496

498 495

495 Louis XVI-Style Mahogany Tiered Table, early 20th century, the circular upper tier with a pierced brass gallery joined by columnar standards to a banded circular top, raised on ring-turned tapering circular legs ending in toupie feet, h. 38‑1/2”, dia. 27”. [500/800] Illustrated 496 Louis XVI-Style Fruitwood Fauteuil, 20th century, the padded square back surmounted by a floral crest, joined to the cushioned seat by foliate-carved and padded arms, raised on fluted circular legs ending in toupie feet, upholstered in chocolate brown and white ikat, h. 37‑1/2”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated

132

497 French Patinated Bronze of a Bacchanale, fourth quarter 19th century, after Claude Michel, known as Clodion (French, 1738‑1814), presented on a round molded marble plinth, h. 18”, w. 8”, d.8”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[700/1000] Illustrated 498 Louis XVI-Style Giltwood Bench, late 19th century, the cushioned and padded oval top above a conforming ropecarved frieze, raised on fluted tapering circular legs headed by foliate capitals, joined by a shaped stretcher and ending in block on toupie feet, h. 21”, w. 38”, d. 15”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[600/900] Illustrated

502

500

501 499

499 Louis XVI-Style Giltwood Bergere avec Orielles, mid19th century, the trisected padded back surmounted by a ribband crest, joined by downswept arms to the cushioned seat, raised on stop-fluted tapering circular legs headed by a floral capital and ending in toupie feet, h. 38‑1/2”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated 500 Georgian-Style Ebonized Wood and Gilt-Bronze Bracket Clock, pre-1933, made by Winterhalder & Hofmeier, Schwarzenbach, Germany, on gilt-bronze paw feet, the tombstone-form dial with a silver chapter ring, a silent/chime setting and a time adjustment setting, trimmed with pierced gilt-bronze spandrels, marked “W & H, Sch” on the back of the works, h. 27‑1/4”, w. 16‑3/4”, d. 11‑1/4”. [800/1200] Illustrated

501 Pair of French Gilt-Metal and Porcelain Neo-Grec Figures of the Goddesses Ceres and Iris, fourth quarter 19th century, each on paw feet, the bases set with oval porcelain portrait medallions, Ceres, goddess of the harvest, carrying a sheaf of wheat and a scythe, and Iris clutching a caduceus, both resting on period giltwood bases with serpentine sides and molded rope-turned decoration, h. 20‑3/4”, w. 6‑3/4”, d. 6‑3/4”. [800/1200] Illustrated 502 Pair of Diminutive Louis XVI-Style Giltwood and Marble-Top Console Tables, 20th century, each with a shaped marble top inset into a molded edge, above a conforming frieze fitted with a single drawer, raised on a single cabriole support headed by floral carving and ending in scrolled toes, h. 33‑1/2”, w. 17‑1/2”, d. 8”. [500/800] Illustrated

133

504 503

505 506 503 Napoleon III Giltwood Mirror, third quarter 19th century, with rounded upper corners, the bolectionmolded frame with a bright burnished center section with a matte gilded lower section, h. 60”, w. 36”. Provenance: Karla Katz Interiors, New Orleans, Louisiana. [800/1200] Illustrated 504 Louis XVI-Style Giltwood Bergere avec Orielles, early 20th century, the padded and trisected back surmounted by a foliate crest and annulated finials, joined by downswept imbricate-carved arms to the cushioned seat, raised on spiral-fluted tapering circular legs ending in peg feet, h. 39”. [1200/1800] Illustrated

134

505 Sevres-Style Gilt-Bronze-Mounted Porcelain Urn, ca. 1900, French, the campana-form urn with a cobalt ground and decorated with a raised gilt crest of the French royal family, with extensive gilt-bronze trim on the upper rim edge, scrolled handles, waist trim and molded leaves on the bottom of the urn and base, h. 19‑1/2”, w. 10‑3/4”, d. 6‑3/4”. [800/1200] Illustrated 506 French Neoclassical Bronze-Mounted Pottery Vase, first quarter 20th century, now mounted as a lamp, on bronze paw feet, the lamp with a cyan ground and decorated with classical figures and urns, with gilt porcelain goat-head handles on each side, vase, h. 12‑3/4”, overall, h. 27”, dia. 5‑1/2”. [500/800] Illustrated

507 508

510 507 French Giltwood Mirror, ca. 1900, in the Louis XVI taste, the surround decorated with egg-and-dart molding and carved corner medallions, the pierced crest with a crossed quiver and torch with an arch of carved flowers, against a spray of ribbon-bound laurel, h. 51”, w. 32‑1/2”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York.

[700/1000] Illustrated 508 Louis XVI-Style Mahogany and Burlwood Armoire, early 20th century, the molded D-form crest surmounted by an ormolu-ribband crest, above a case fitted with two long beveled mirrored doors, with a single long drawer below, raised on toupie feet, the whole accented with ormolu mounts, h. 91‑1/2”, w. 47‑1/2”, d. 16”. [700/1000] Illustrated

509 509 Restauration Mahogany Settee, mid-19th century, the padded rectangular back surmounted by a wreath and ribband crest, joined by closed downswept arms to the padded seat, raised on sabre legs headed by bellflower carving, h. 40”, w. 54”, d. 24”. [800/1200] Illustrated 510 Pair of Paris Porcelain Gothic Revival Urns, second quarter 19th century, now mounted as two-light lamps, with well-painted obverse panels depicting scenes of figures in Elizabethan costume, possibly theatrical, on matte blue grounds, the reverse with gilt Gothic arches, mounted with tooled- and bright-gilt handles with heads of Psyche, now on giltwood bases, urn, h. 17”, overall, h. 33”, dia. 5”. [700/1000] Illustrated

135

511 Hans Buchner (German, 1856‑1941), “The Love Letter”, oil on wood panel, signed and localized “Munchen” lower left, “J. Loggen & Zoon, Amsterdam” label on frame backing, 19” x 11‑1/2”. Presented in a period giltwood frame. [6000/9000] Illustrated

513 Diminutive Empire Mahogany Gondola Chair, late 18th century, the padded back surmounted by a rounded crest and joined to the cushioned seat by downswept arms, raised on square legs, the whole accented with ormolu mounts and millwork, h. 33‑1/2”. [500/800] Illustrated

512 French Bronze Dore et Patine Mantel Clock, second quarter 19th century, the base decorated with shells, scrollwork and fluting, a cavalier on the top, the silvered dial marked by the retailer, “Aubque a Paris”, and the works marked by the maker, “Grange et Betout”, h. 14‑3/4”, w. 10‑1/4”, d. 4‑1/4”. [700/1000] Illustrated

514 Empire-Style Mahogany and Marble-Top Torchere, the circular marble top above a paneled ormolu-applied frieze, raised on four tapering square legs, each headed by an ormolu maiden and ending in brass paws, h. 45”, dia. 14”. [500/800] Illustrated

512

511

513

136

514

515 Empire-Style Burlwood Writing Table, early 20th century, the canted rectangular top with an inset leather surface, above a conforming case fitted with a central drawer flanked to either side by a deeper short drawer, raised on tapering square legs headed by ormolu urn mounts and ending in caps, h. 29‑1/2”, w. 59”, d. 32”.

[800/1200] Illustrated 516 Constantin Kluge (Russian/French, 1912‑2003), “Avenue Matignon”, oil on canvas, signed lower right, 29” x 39”. Presented in a carved polychrome frame with a linen liner affixed with artist plaque. Provenance: Wally Findlay Galleries, Inc., New York, New York, 1971; The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [3000/5000] Illustrated

517

517 Paul-Emile Pissarro (French, 1884‑1972), “Le Clos a St. Remy”, oil on canvas, signed lower right, titled en verso, 18” x 21‑1/2”. Provenance: Wally Findlay Galleries, Inc., New York, New York, 1971; The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York.

Presented in a giltwood frame affixed with artist plaque.

[3000/5000] Illustrated 518 Paul Renard (French/Dutch, b. 1928), “Place de la Republique, Paris”, oil on canvas, signed lower left, 31” x 39”. Framed. [3000/5000] Illustrated

516

515

518

137

519

521

519 Jean Lefort (French, b. 1948), “In the Rose Garden”, oil on wood panel, signed lower right, 24” x 30‑1/4”. Framed.

[1800/2500] Illustrated 520 Ellen Holmes (American, 20th Century), “The Pink Parasol”, oil on wood panel, signed lower right, 24” x 30‑1/4”. Framed. [1800/2500] Illustrated

138

520

522

521 Niek van der Plas (Dutch, b. 1954), “Terrace Cafes on Leidseplein Square, Amsterdam”, oil on panel, signed lower left, signed and titled en verso, 11‑1/2” x 15‑1/2”.

Framed. [1800/2500] Illustrated 522 Niek van der Plas (Dutch, b. 1954), “Beach Scene”, oil on wood panel, signed lower right and en verso, 23” x 30‑1/2”. Framed. [3000/5000] Illustrated

526

523

524

525

523 Louis XV Old Standard (.944) Silver Coffeepot, 1771‑1772, Lille, by Jean-Baptiste-Joseph Leroux (1724‑1793; master 1746), the pear-shaped body decorated with spiral flutes, with hinged, domed lid en suite with acorn finial, with “duck’s beak” spout and turned wooden handle, the whole raised on three acanthuscrested Flemish-scroll feet, h. 12”, l. 12”, dia. 6‑1/4”, 44.83 t. oz. (including wooden handle). [2500/4000] Illustrated 524 Rare Pair of Louis XV Old Standard (.944) Silver Rechauds, third quarter 18th century, Cambrai, each waisted and with serpentine panels, with shaped molded rim, the upper portion pierced, recessed burner and three scrolling legs above turned wooden feet and surmounted by bifurcated scroll platter supports, with turned wooden handle, monogrammed on the body “FD”, h. 6‑1/2”, l. 13”, dia. 6‑1/2”, 62.02 total t. oz. (including wood elements).

[3000/5000] Illustrated

525 Rare Pair of Empire Belgian Second Standard (.800) Silver Candlesticks, 1809‑1813, by Henri Becker (1775‑1815), Brussels, each of columnar form with a tapering standard with fluted acanthus calyx, surmounted by an acanthus capital candle nozzle and detachable bobeche, raised above a cavetto-domed circular base with acanthus dart banding, h. 11‑1/4”, dia. 5‑3/4”, 24.56 total t. oz. [1000/1500] Illustrated 526 French Empire First Standard (.950) Silver Ecuelle, 1809‑1819, by Jean-Baptiste-Claude Odiot (1763‑1850), Paris, of short everted cylindrical form, with chased narrow scroll banding and applied gadrooned rims, with elaborate cast-and-applied putti-mantled openwork mascaron handles, h. 1‑5/8”, dia. 4‑7/8”, w. 8‑1/4”, 8.72 t. oz.

[600/900] Illustrated

139

527

529

528

527 French Empire First Standard (.950) Silver Coffeepot, 1800‑1809, Paris, by Nicolas-Theodor Cailliez, with ovoid body and waisted collar, decorated with narrow milled palmette banding, the hinged, cavetto-domed lid with toupie finial and banded en suite, the “gooseneck” spout with lion’s-masque finial, with arched wooden handle and raised on three acanthus-crested legs ending in lion’s paw feet, engraved below the spout with a double armorial, h. 12‑3/8”, l. 8‑1/4”, dia. 4‑1/2”, 30.61 t. oz. (including wooden handle). [1800/2500] Illustrated 528 French Restauration First Standard (.950) Silver Covered Bowl, 1822‑1838, by Medard Fanot (fl. 1822‑1833; d.1854), Paris, of slightly tapering short cylindrical form, the body with leaf-and-dart and annulated banding, the fitted lid with gadroon rim and palmettemounted laurel wreath finial handle, the interior gilt, h. 5”, dia. 5‑3/4”, 11.67 t. oz. [600/900] Illustrated

140

530

529 Five-Piece Christofle First Standard (.950) Silver Tea Set with Silverplate Tray, 1897‑1898, Paris, designed in 1889 by Joseph-Francois Joindy (1832‑1906), in the “Louis XV Celerie” pattern, including a teapot, h. 8”, l. 10”, a coffeepot, h. 9‑1/4”, l. 7‑3/4”, a chocolate pot, h. 10‑1/2”, l. 8‑1/4”, a creamer, h. 5‑7/8”, l. 5‑1/4”, and a covered sugar bowl, h. 7‑3/4”, w. 7‑1/4”, each with inverted pear-shaped body, spiral fluted and decorated with elaborate acanthus scrolls, 125.36 total t. oz., the silverplate tray curved with reed-and-acanthus rim and handles, the plateau engraved with acanthus and grapevine scrolls, l. 27‑1/2”, w. 22” (six total pieces).

[6000/9000] Illustrated 530 French Bronze Argente Jardiniere, fourth quarter 19th century, by Victor Saglier (1809‑1894), Paris, of oval form, the waisted sides decorated with broad fluted banding and trailing oak branches centering rococo cartouches, with shaped reed-and-ribbon rim, laurel-banded base and bifurcated acanthus-scroll handles, the whole raised on four acanthus feet, h. 4‑1/2”, l. 17”, w. 8”. [600/900] Illustrated

531 532

533 Thirty-Piece Set

531 Fine Maison Puiforcat French First Standard (.950) Silver Tureen, ca. 1900, Paris, of oval form with reeded rim and well-chased robust acanthus handles and feet, the fitted lid with a large, realistically detailed pomegranate finial handle, monogrammed on the body “AS”, h. 9”, l. 14”, w. 8‑1/2”, 100.08 t. oz. [1800/2500] Illustrated 532 French First Standard (.950) Silver-Mounted Glass Six-Piece Cordial Set, fourth quarter 19th century,

by Maison Odiot, Paris, comprising a decanter, h. 7”, dia. 3‑3/4”, and five cordials, h. 2‑1/4”, dia. 1‑1/2”, the decanter with spherical glass body with tall slender neck, mounted with a finely chased silver rocaille collar and foot joined by an acanthus-scroll handle, with fitted gadrooned cap, the cordials en suite. [500/800] Illustrated

533 Fine Cased Thirty-Piece French First Standard (.950) Silver Dinner Service, ca. 1900, by Andre Aucoc (1856‑1911), Paris, including three pairs of graduated oval platters, l. 17‑1/4”, 19‑1/2” and 20‑1/2”, three pairs of graduated circular platters, 12‑1/4”, 13‑1/8” and 13‑3/4”, a pair of vegetable dishes, w. 10‑1/4”, twelve glass-lined salt cellars, dia. 2‑1/8”, a pair of glass-lined mustard pots, h. 3‑3/4”, dia. 2‑5/8”, and a pair of sauceboats-on-stand, each with two liners, h. 6‑1/4”, l. 10‑1/4”, each quarter lobed and decorated with molded rim with well-chased acanthus scrolls, with applied or engraved crest of of a demi-lion rampant out a ducal coronet and the motto “Semper Progrediens”, together with a set of twelve later wine coasters en suite, dia. 5‑7/8”, 855.71 total t. oz., presented in the original brass-capped, fitted russet baizelined oak canteen with lift-out tray, the outer lid centered with a brass plaque engraved with the same crest, the inner lid with the gilt stamp of Andre Aucoc, 17‑1/2” x 23‑1/4” x 19‑1/2” (forty-two total pieces). [40000/70000] Illustrated

141

537 details

537

536

534 535

534 Three Pieces of Christofle Silverplate “Laque de Chine” Hollowware, second half 20th century, Paris, including a cream and sugar set, dia. 2‑1/8” and 2‑5/8”, and a tea tray, 18‑3/4” x 12‑3/8”. [500/800] Illustrated 535 Georg Jensen Sterling Silver Medium “Grapes” Cup, designed in 1928 by Georg Jensen (1866‑1935), this example 1945‑1951 by Jensen & Wendel, Copenhagen, pattern number 296A, h. 3‑7/8”, dia. 3”, 4.27 t. oz.

[800/1200] Illustrated

142

536 Buccellati Sterling Silver Wine Cradle, fourth quarter 20th century, by Ilario Pradella, Milan, of batteau form, decorated with large pierced and embossed acanthus scrolls, with molded rim, foot ring and hinged handle, h. 6‑3/4”, l. 12”, w. 5”, 23.05 t. oz. [700/1000] Illustrated 537 Fine Italian Sterling Silver Wine Cooler, fourth quarter 20th century, by Renato Raddi, Florence, hand-crafted of thistle form with wavy rim, decorated with a repousse marsh scene of bulrushes and ducks in flight, with applied frogs on lily pads, the whole raised on four figural turtle feet, h. 8‑3/4”, l. 13‑1/2”, w. 11‑3/4”, 63.26 t. oz.

[2000/4000] Illustrated

538 one of three

538 two of three

538 three of three

538 Sylvester Martin (British, Active 1856‑1906), “The Meet at Beoley, Warwickshire”, “Off to the Meet”, and “Breaking Cover”, three oils on canvas, each signed, former further inscribed en verso, each 18” x 50”. Framed alike. Provenance: Sotheby’s, New York, New York, June 1, 2000, lot 137. [2500/4000] Illustrated

143

539 one of two

539 two of two

541

542

539 Edward Benjamin Herberte (British, 1857‑1893), “Full Cry” and “On the Scent”, pair of oils on canvas, each signed and dated lower right, each with “Omell Galleries, London, UK” label en verso, each 16” x 24”. Framed alike.

[3000/5000] Illustrated 540 Continental Patinated Bronze of a Rearing Horse, first quarter 20th century, after the ca. 1605‑1610 sculpture by Adriaen de Vries (Dutch, ca. 1556‑1626) now in the J. Paul Getty Museum, Los Angeles, California, numbered “71299” and with an illegible foundry mark along the side edge of base, h. 17‑3/4”, w. 20”, d. 7‑3/4”.

[800/1200] Illustrated 541 Paul Van der Vin (Belgian, 1823‑1887), “Horses in a Field”, oil on canvas, signed lower left, 31” x 48”. Framed.

[5000/8000] Illustrated

144

540 542 Jean Lefort (French, b. 1948), “The Sleepy Puppies”, oil on canvas, signed lower right, 27” x 35‑1/2”. Framed.

[1400/1800] Illustrated

543 Pair of Continental Nineteenth-Century-Style Cast Metal Garden Figures, 20th century, in the form of retriever dogs seated on plinths, a game bird at their feet, h. 36‑1/2”, w. 16‑3/4”, d. 38‑1/2”. [1800/2500] Illustrated

547 English Cast Iron Book Press, second quarter 19th century, with a fluted base, the brackets supporting the press molded as dolphins, h. 17‑1/2”, w. 18‑1/2”, d. 11‑1/2”. [500/800]

544 French Patinated Bronze of “Pointer on the Scent”, first quarter 20th century, after Thomas Francois Cartier (French, 1879‑1943), cast signature at front edge of selfbase, h. 11”, w. 23‑3/4”, d. 7”. [1500/2500] Illustrated

548 William IV Oak Press, second quarter 19th century, the functioning screw-form press raised above a chest base fitted with two graduated long drawers, raised on bun feet, h. 56‑1/2”, w. 37”, d. 19”. [700/1000] Illustrated

545 Collection of Four Miniature Bronze Dogs, first quarter 20th century, probably Vienna, Austria, including a poodle, bull terrier, dachshund and an unidentified dog, h. 1‑3/4” to 2‑1/2”, w. 2” to 3‑1/4”. [500/800]

549 Set of Eighteen Royal Doulton Ornithological Cabinet Plates, ca. 1902‑1922, English, painted by Joseph Birbeck Sr., each carefully hand-painted, artist-signed plate with an eye-catching landscape, each identified on the back with Royal Doulton’s underglaze green mark and the retailer’s mark, “Tiffany & Co., New York”, dia. 9‑1/2”.

[1500/2500] Illustrated

546 Collection of Four Small Bronze Dogs, 19th/20th century, including a bronze whippet on an oval black marble base, English, a West Highland terrier marked “Austria” on the bottom of one foot, and a spaniel and Scottish terrier, probably Vienna, h. 1” to 3‑1/4”, w. 1‑3/4” to 5‑1/4”. [500/800]

549

548

543

544

145

550 Unusual English Oak Settee, partially composed of antique elements, the back with a shaped crest over five banded panels, joined by out-scrolled leather-upholstered arms to the cushioned seat, raised on cabriole legs ending in pad feet, h. 42”, w. 81”, d. 26”. [700/1000] Illustrated 551 Continental School (First Quarter 19th Century), “Mountainous Landscape with Washerwomen and a Bridge in the Background”, oil on canvas, unsigned, 33‑1/2” x 46”.

Framed. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1000/1500] Illustrated

551

552

146

552 Suite of Four Jacobean-Style Walnut Chairs, 18th/19th century, with turned legs and stretchers, with mortise and peg construction throughout, the back with later alterations from square to arched tops, h. 44”.

[700/1000] Illustrated 553 Queen Anne Walnut Lowboy, 18th century and later, the rectangular top quarter-veneered and with chevron banding, above a case fitted with a central drawer over an arched opening, flanked to either side by a short deeper drawer, all banded, raised on tapering circular legs with waisted capitals and ending in pad feet, h. 29‑1/2”, w. 30”, d. 19‑1/2”. [500/800] Illustrated

553

550

554 George III Mahogany Cellarette, late 18th century, the banded octagonal top hinged and opening to a metal-lined interior, the conforming slightly tapering body with brass banding, now raised on a stand of splayed tapering square legs, h. 26”, dia. 19‑1/4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [700/1000] Illustrated

556 George III Mahogany Wing Chair, fourth quarter 18th century, the padded rectangular back joined by shaped sides and outscrolled arms to the cushioned seat, raised on square legs joined by an H-form stretcher, h. 47”.

[700/1000] 557 Queen Anne Walnut Chest, 18th century, the rectangular top banded and quarter-veneered and with a molded edge, above a case fitted with a central cupboard door flanked to either side by two short drawers, over three graduated long drawers, all with inlaid string banding, raised on bracket feet, h. 39”, w. 34”, d. 19”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[1000/1500] Illustrated

555 Royal Crown Derby “Red Aves” Partial Bone China Dinner Service, mid/late 20th century, English, the assembled set comprised of eight dinner plates, dia. 10‑1/2”, seven salad plates, dia. 8‑1/2”, eight bread and butter plates, dia. 6‑1/4”, eight footed cups, h. 2‑1/4”, with eight matching saucers, dia. 5‑3/4”, two cream jugs, h. 3‑3/4” and 4‑3/4”, a pair of candlesticks, h. 10‑1/2”, an open sugar bowl, h. 2‑1/2”, dia. 5”, and a Marquis footed bowl, h. 3‑1/4”, dia. 10‑1/4”. [600/900] Illustrated

555

557

554

147

559 560

559 William and Mary-Style Walnut and Seaweed Marquetry Chest, 18th century and later, the rectangular top banded and with a central medallion and corner pieces of intricate seaweed marquetry, above a conforming case fitted with two short drawers over three graduated long drawers, all with like panels, the sides quarter-veneered and inlaid en suite, raised on later shaped bracket feet, h. 35”, w. 39‑1/2”, d. 23‑1/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [3000/5000] Illustrated

558

558 George II-Style Mahogany Stool, 19th century, the inset padded rectangular seat raised on cabriole legs headed by shell carving, joined by a turned H-form stretcher and ending in pad feet, bearing the label “James Reese Ltd. Antique Dealers & Cabinet Makers, 11‑14 Cumberland St. Birmingham”, upholstered in tiger-print silk velvet, h. 17‑1/2”, w. 22”, d. 18”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[600/900] Illustrated

148

560 British School (First Quarter 19th Century), “Portrait of Dorothy, Lady Knatchbull, nee Honywood”, oil on canvas, unsigned, likely after a painting by Cornelius Johnson (Cornelis Janssens van Ceulen, Dutch/British, 1593‑1661, active England 1618‑1643), expository inscription along upper edge revealing sitter’s name and lineage, 30” x 24‑3/4”. Framed. [1000/1500] Illustrated The sitter of this painting was born in 1611 to Sir Robert Honywood and Alice Barnham (erroneously transcribed as Bunham on the inscription). She was married firstly to Sir Edward Steward of Essex and secondly to Sir Norton Knatchbull, 1st Baronet of Marsham Hatch, Kent. A portrait of her sister Judith, Lady Pelham was completed in 1635 by Cornelius Johnson, then the official painter of the Court of Charles I. That portrait is very similar in size, composition and the placement and wording of the inscription to the work presented here, suggesting that this painting of Lady Knatchbull is possibly a copy of an earlier work (now location unknown) by Johnson.

References: Finberg, A. J., A Chronological List of Portraits by Cornelius Johnson or Jonson. The Tenth Volume of the Walpole Society 1921‑1922. Oxford: Frederick Hall at the University Press, 1922. pp. 1‑37.

561 Charming English Hand-Painted Enamel Bonbonniere, fourth quarter 18th century, decorated with people strolling on the coast, beside a docked sailboat, the cover hinged, on a brass stand possibly of later vintage, h. 3‑1/4”, dia. 1‑3/4”. [700/1000] Illustrated 562 George II-Style Mahogany Stool, early 20th century, the padded rectangular top above a shell-carved frieze, raised on cabriole legs headed by bellflower carving and ending in hairy hoof feet, upholstered in rose silk damask, h. 20‑1/2”, w. 24”, d. 18‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated

564 Suite of Twelve George II-Style Mahogany Dining Chairs, 20th century, comprised of four armchairs and eight sidechairs, each with an eared crest above a baluster-form splat, the padded saddle seat raised on cabriole legs headed by shell carving and ending in pad feet, h. 39‑1/2”. [800/1200] Illustrated

563 Queen Anne Walnut Highboy, 18th century and later, the ogee-molded cornice above a case fitted with three short drawers over three graduated long drawers, all banded, the lower section fitted with a central drawer over a shaped apron, flanked to either side by a deep short drawer, raised on cabriole legs ending in pad feet, h. 66‑1/2”, w. 41‑1/4”, d. 19”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1000/1500] Illustrated

562

563

561

564

149

565 567

566

565 Handsome George II Giltwood Mirror, 18th century, with a shell-carved scalloped lower apron and a swan’sneck pediment terminating in flowers, the shield-form finial with gadrooned edges, a carved flower and a stippled ground, the whole with carved rocaille work, h. 43”, w. 22‑3/4”. [1000/1500] Illustrated

150

566 Queen Anne-Style Giltwood and Marble-Top Side Table, late 19th century, the inset rectangular mottled marble top above a floral guilloche-carved frieze centered by a female masque and with pendant acanthine patterns and laurel leaf swags, raised on cabriole legs headed by satyr masques and ending in carved dolphin feet, h. 36”, w. 42”, d. 23”. Provenance: Christie’s, New York, January 21, 1999, lot 392; The Flatt Collection. [2000/4000] Illustrated 567 Pair of George III Polychrome Sidechairs, late 18th century, each with a serpentine crest above a padded back, the padded saddle-form seat raised on cabriole legs headed by foliate shield carving and ending in ball-andclaw feet, the whole with gilt and polychrome accents in the chinoiserie manner, upholstered in antique needlework in figural and animal patterns, h. 36”. Provenance: The Flatt Collection. [1000/1500] Illustrated

568 569

568 Georgian Fruitwood Armchair, late 18th century, the padded rectangular back joined by shepherd’s crook arms to the padded seat, raised on cabriole legs headed by scroll carving and ending in pad feet, upholstered in antique needlework depicting various pastoral scenes, h. 35”.

[600/900] Illustrated 569 Italian Pietra Dura Plaque Depicting a Woman in an Elizabethan Costume, 20th century, composed of mixed marble and hardstone, the woman luxuriously dressed and wearing a wimple, standing on a checked marble floor, mounted in a parcel-gilt frame labeled with an Amsterdam framer, h. 19”, w. 11”. [800/1200] Illustrated 570 George III-Style Walnut and Mahogany Side Table, late 19th century and later, the rectangular banded and quarter-veneered top above a gadroon- and scroll-carved frieze, raised on cabriole legs headed by acanthine capitals and ending in scrolled toes, h. 32”, w. 54‑1/4”, d. 29‑3/4”.

[2000/4000] Illustrated

570

151

575

574 571 Queen Anne-Style Walnut Secretary, the domed and molded cornice above two doors, each inset with a beveled glass panel, the lower section fitted with a slant front opening to a variety of drawers and cubbyholes, over three long bowed drawers, raised on bracket feet, h. 88‑1/2”, w. 38”, d. 21”. [700/1000] Illustrated 572 Near Suite of Eight Queen Anne-Style Mahogany Sidechairs, each with a slightly concave crest above a vasiform splat, the padded seat raised on cabriole legs ending in pad feet, the suite with two sets of four identical chairs, with slight variations of the splat and height between the sets, h. 40” to 42”. [800/1200] 573 Queen Anne Walnut Lowboy, 18th century, the rounded rectangular top with an inset leather surface, above a case fitted with a single long drawer over a central arched opening flanked to either side by a short drawer, all banded, raised on cabriole legs ending in pad feet, h. 28”, w. 30‑1/2”, d. 20”. [500/800] 574 Chinese Export Porcelain Gu-Form Vase in the Rose Medallion Pattern, fourth quarter 19th century, decorated with panels of peonies and birds alternating with Mandarin scenes, h. 15‑1/2”, dia. 10‑1/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[500/800] Illustrated 575 Seven Pieces of Chinese Export Rose Medallion Porcelain, third quarter 19th century, including a hat stand with a pierced wooden base and cap, now mounted as a lamp, electrified and fitted with a shade, overall, h. 23”, dia. 5”, a covered sauce tureen, h. 6”, w. 7”, a handsome pair of miniature covered urns, h. 8‑1/4”, dia. 2‑3/4”, a covered toothbrush/razor box, h. 2‑1/4”, w. 7”, and two dessert dishes: a heart-shaped dish, w. 10‑1/4”, d. 8”, and a shell-form dish, w. 9‑1/4”, d. 10‑1/2”. [500/800] Illustrated

571

152

576

577

579

580

576 Five Pieces of Chinese Export Porcelain in the Rose Medallion Pattern, third quarter 19th century, the collection including a teapot with a globe-form cover, h. 10”, w. 10”, d. 6”, a pair of baluster vases with gilt foo dog handles and gilt salamanders on the shoulders, on carved wooden stands, h. 16”, dia. 6”, and a smaller pair of baluster vases with foo dog-head handles grasping rings, on carved wooden stands, h. 13‑1/2”, dia. 5”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[700/1000] Illustrated 577 Nest of Three Chinese Rose Medallion Oval Platters, mid-19th century, decorated with armorial center medallions, the armorials reading “with the badge of Ormiston, of Kelson, Scotland”, decorated in the typical manner with panels of Mandarin figures alternating with panels of peonies and phoenix birds, w. 13” to 16”, d. 10‑1/2” to 13”. [500/800] Illustrated 578 Three Pieces of Chinese Export Rose Medallion Porcelain, fourth quarter 19th century, the collection comprising a bottle vase, on a wooden stand, h. 14‑1/2”, dia. 7‑1/2”, a punch bowl, h. 5‑1/4”, dia. 11‑1/2”, and a charger, dia. 15‑3/4”. [500/800] 579 Collection of Five Chinese Export Rose Medallion Porcelain Vases, fourth quarter 19th century, decorated with panels of Mandarin scenes, peonies and birds, all with foo dog handles and gilt salamanders on the shoulders of the vases, h. 10” to 17‑1/2”, dia. 3‑3/4” to 7‑1/4”.

[500/800] Illustrated

581 580 Three-Piece Sino-French Bronze-Mounted Rose Medallion Porcelain Garniture Set, fourth quarter 19th century, on pierced bronze scrollwork bases decorated with swags, the set comprised of a pair of baluster vases with foo dog handles, h. 17‑3/4”, dia. 6”, and a matching oval centerpiece with scrollwork handles, h. 11‑1/2”, w. 16‑1/4”, d. 8”, all three pieces mounted with pierced bronze rims. [500/800] Illustrated 581 Queen Anne Oak Lowboy, 18th century, the rectangular top above a case fitted with a central drawer flanked to either side by a short deep drawer, all banded, raised on cabriole legs ending in pad feet, h. 30”, w. 34”, d. 20”.

[700/1000] Illustrated

153

582

585

583 584 582 George II-Style Parcel-Gilt Mirror, second quarter 20th century, English, the interior frame painted blue and decorated with shells in each corner, the edges with gilt leaf carving, and the pitch pediment crest carved to match, h. 68‑1/2”, w. 45”. [1000/1500] Illustrated 583 Pair of Franco-Chinese Porcelain and Bronze Moderator Lamps, third quarter 19th century, the porcelain vases in the Rose Mandarin pattern and mounted with French gilt-bronze fittings to form the oil lamp, now electrified and mounted with shades, vase, h. 17”, overall, h. 28‑1/2”, dia. 15”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [1000/1500] Illustrated

154

584 Georgian-Style Mahogany Armchair, the imbricatecarved fan-form crest above a ribbed shell splat, joined by shaped acanthine-carved arms to the padded seat, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 39”. [500/800] Illustrated 585 George II-Style Giltwood and Composition Mirror, 20th century, English, with a shell-carved and stippled skirt, the swan’s neck-carved pediment with flowers on the medallions, flanking a crest-carved finial, trailing pierced leaves carved on the sides, the frame carved with bas-relief scrollwork, h. 49‑3/4”, w. 24”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[1000/1500] Illustrated

588

589

586 586 Pair of Sino-French Bronze-Mounted Rose Medallion Pattern Vases, last half 19th century, now mounted as lamps, the baluster vases mounted with unusual gilt handles in the form of two double-gourd vases, with panels of peonies with bugs, and panels of Mandarin decoration, on French gilt-bronze bases, the vases mounted with lion masque pulls grasping rings, electrified and mounted with shades, overall h. 30”, dia. 16”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated 587 Georgian Walnut Games Table, 18th century, the banded rectangular top with central scrolling foliate inlay and turreted corners, hinged and opening to a leatherinset gaming surface and various recessed compartments, above a like-inlaid shell-carved frieze fitted with a single drawer, raised on cabriole legs headed by acanthine carving and ending in Flemish toes, h. 31”, w. 35”, d. 17‑1/4”. [700/1000] Illustrated

587

588 Alexander Rosell (British, 1859‑1922), “A Surprise Meeting”, oil on canvas, signed lower left, 18” x 22”.

Presented in a period frame. [1000/1500] Illustrated 589 Helen Allingham (British, 1848‑1926), “Two Girls in a Surrey Landscape”, oil on board, signed lower right, verso frame with “Nahan Galleries, New Orleans” label, 12” x 9”. Attractively framed. Provenance: The Estate of Alvin Richard Christovich, New Orleans, Louisiana. [1000/1500] Illustrated

155

590

592

590 Theodore Alexander Weber (German, 1838‑1907), “The Rescue”, oil on canvas, signed lower right, 22” x 36”. Framed.

[2500/4000] Illustrated 591 George II Parcel-Gilt and Burr Walnut Pier Mirror, second quarter 18th century, decorated with carved giltwood against a walnut ground, the two-part antique mirror plates with shallow beveled edges, and the pitch pediment crest trimmed with leafcarved giltwood and a pierced cabochon-carved finial, h. 69”, w. 28‑1/4”. [800/1200] Illustrated 592 Pair of Diminutive George II-Style Walnut Sidechairs, 19th century, each with a domed crest above a vasiform splat, the slip-in saddle seat raised on cabriole legs headed by shell carving and ending in ball-and-claw feet, h. 36”.

[600/900] Illustrated

591

593 George III Mahogany Linen Press, fourth quarter 18th century, the broken swan’s-neck pediment centered by an ormolu classical bust above a dentillated cornice, the case fitted with two doors, each inset with an oval banded panel centered by a patera, the lower section fitted with two short drawers over three graduated long drawers, all with corner patera accents, raised on shaped bracket feet, one drawer stamped “Edwards & Roberts”, h. 98”, w. 50”, d. 22”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [2500/4000] Illustrated

156

593

594 Circle of Sir Joshua Reynolds (British, 1723‑1792), “Portrait of Sir John Taylor, Baronet of Lysson Hall, Jamaica”, oil on canvas, unsigned, 30‑1/2” x 20‑1/4”. In an attractive cove-molded giltwood frame.

[2000/4000] Illustrated

Sir John Taylor was the son of Patrick Talizour and Martha Taylor. His mother was from a prominent and prosperous Jamaican merchant family and shortly after the marriage his father adopted the Taylor name; this name change was likely a nuptial condition put forth by the bride’s family.

The younger Taylor attended St. John’s College, Oxford and upon completion of his studies in 1770, embarked on the obligatory Grand Tour of Europe. During his travels he became acquainted with the artist John Zoffany (German, 1733‑1810) , and was one of the models for the grand historical painting “The Tribunal of Uffizzi”.

Upon his return to London, Taylor’s interest in art and antiques, which had been piqued by his travels, resulted in the formation of numerous friendships and associations with collectors, artists, and fellow admirers of art. In 1776, he was elected a member of the exclusive and somewhat secretive Society of Dilettanti, a club which had formed ca. 1734, ostensibly as a dinner club for gentlemen who had taken part in the Grand Tour to gather and reminisce.

The writer Horace Walpole once commented that the Society was a club “…for which the nominal qualification is having been in Italy, and the real one, being drunk.”

Taylor ultimately became an integral part of the Society.

There are several portraits of Taylor, most well-known of which is the ca. 1777-1779 group portrait of the members of the Society Dilettanti, completed by fellow member Sir Joshua Reynolds; in this painting Taylor is pictured second from left, a glass of wine in one hand, the other dangling a woman's beribboned garter. While the Society had a reputation as being somewhat wild in its early years, it eventually became crucial to the formation of the Royal Academy, and was responsible for the creation of numerous scholarships, travel grants and exhibitions.

The well-liked Taylor was considered a bit of a dilettante and roue, and his proposal of marriage in 1774 to Elizabeth Haughton was initially dismissed by her family who rightfully feared his lifestyle was too wild and dissolute to properly accomodate a wife. By 1778, after he inherited the Baronetcy of Lyssom Hall and had proved himself an ultimately responsible Englishman, the family changed their mind and the two wed. They eventually had six children together. There are several portraits of Taylor, most well-known of which is the ca. 1777‑1779 group portrait of the members of the Society Dilettanti; in this painting Taylor is pictured second from left, a glass of wine in one hand, the other dangling a woman’s beribboned garter.

References: Cotton, William. A Catalogue of the Portraits painted

by Sir Joshua Reynolds, KNT, PRA, (Compiled from his Autograph Memorandum Books and from Printed Catalogues, etc). London: Messrs. Longman, Brown, Green, Longmans, and Roberts, 1857; Cust, Lionel and Colvin, Sidney. History of the Society Dilettanti.

London: Macmillan + Co, 1914.; Graves, Algernon FSA and Cronin.

William Vine. A History of the Works of Sir Joshua Reynolds PRA, in Four Volumes. London: Henry Graves and Co., Limited/Chiswick Press by subscription, 1899‑1901.; Redford, Bruce. Dilettanti - the Antic and the Antique in Eighteenth-Century England.Los Angeles: J.Paul Getty Museum, 2008.; Dorment, Richard.”The Dilettanti: Exclusive Society that Celebrates Art”. Telegraph, 02 September, 2008.; The Taylor and Vanneck-Arcedenke Papers, Cambridge university Library and Institute of Commonwealth Studies, University of London.

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595 British School (19th Century), “Portrait of a Poet, Possibly Alexander Pope”, oil on canvas, unsigned, erroneously attributed to William Hogarth (British, 1697‑1764) on artist plaque, 48” x 37‑1/2”. In a carved giltwood frame. [2000/4000] Illustrated 596 After Sir Joshua Reynolds (British, 1723‑1792), “The Calling of Samuel”, 19th century, oil on canvas, unsigned, 36” x 27‑1/2”. Framed. [1000/1500] Illustrated

597 George III Mahogany Lectern Table, fourth quarter 18th century, the rectangular top with a molded edge and hinged central section, lifting to an easeled back, each side fitted with a swing-out candle stand, of adjustable height, raised on a stop-fluted columnar standard to three cabriole legs headed by foliate shield carving and ending in balland-claw feet, h. 29” to 41”, w. 25‑1/2”, d. 19”. [600/900] Illustrated

596

595

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158

601 600

598

598 Suite of Four Queen Anne-Style Walnut Sidechairs, each with a back-curved and foliate-carved crest above a shaped splat, the padded saddle seat raised on cabriole legs headed by foliate shell carving and ending in hairy paw feet, h. 40”. [500/800] Illustrated 599 Georgian-Style Mahogany Armchair, possibly Irish, the shaped crest above a pierced inverted fan-form back, joined by molded scroll-carved arms to the tufted seat, raised on cabriole legs headed by acanthine carving and ending in hairy paw feet, h. 41”. [700/1000] Illustrated 600 Unusual Sino-French Chinese Imari Urn, third quarter 18th century, now mounted as a lamp, the urn decorated with a molded heart-shaped panel of a woman with a chicken and eggs, the later pierced scrolled gilt-bronze fittings in the Louis XV style, fourth quarter 19th century, mounted with a shade, urn, h. 15‑1/2”, overall, h. 26‑1/2”, dia. 14‑1/2”. [600/900] Illustrated

599

601 Pair of Exceptional Sino-French Bronze-Mounted Ch’ien Lung Plates in the Famille Rose Palette, fourth quarter 18th century, the octagonal plates decorated with borders of peonies alternating with butterflies, the central panels decorated with raised peonies, baskets of fruit and gilt and brown ducks, on late 19th-century French gilt-bronze bases, h. 4‑1/2”, dia. 8‑1/2”. Provenance: Purchased from Sotheby’s, Chicago; The Estate of James C. Westerfield, Jackson, Mississippi [700/1000] Illustrated

159

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602

604

602 George II Scottish Sterling Silver Bullet Teapot, unmarked, second quarter 18th century, of slightly flattened oval form, the shoulder and rim of the flush lid engraved with a scrolling rocaille band, with fluted “gooseneck” spout, crested double-scroll handle, domed foot ring and baluster finial, h. 6‑1/2”, l. 11”, dia. 5‑1/2”, 22.03 t. oz. [700/1000] Illustrated 603 Pair of Early George III Sterling Silver Entree Dishes, hallmarked London, 1764‑1765, by Thomas Heming, each of concave rectangular form with in-peaked corners, with gadrooned rim and addorsed scroll handles, the fitted lid with stirrup ring handle and engraved with a quartered armorial, the inner wall of the dish engraved with a crest, the underside with later monogram “DFR”, h. 3”, l. 10”, w. 6‑5/8”, 44.76 total t. oz. [2000/4000] Illustrated

160

605

604 Two Georgian Sterling Silver Sideboard Plates, both hallmarked London, one 1783‑1784 by (probably) William Pitts, the other 1811‑1812 by Richard Cook, each of circular form with wavy rim, decorated with a flowering fruit-plant in the center and banding the rim, dia. 9‑1/4”, 23.94 total t. oz. [600/900] Illustrated 605 Good George III Sterling Silver Center Bowl-onStand, hallmarked London, 1789‑1790, by John Wakelin & William Taylor, of oval form, the bowl with pierced wavy rim above a pierced bellflower fluting, with ribboned oval cartouches and ringed ram’s masque handles all on four toupie feet, the conforming stand en suite, engraved, on the cartouches, with an armorial, fitted with a glass liner of later date, overall, h. 8‑1/4”, l. 15‑1/4”, w. 10‑7/8”, 84.61 total t. oz. (excluding glass liner). [8000/12000] Illustrated

detail

607

606

608

606 George III Bateman Family Sterling Silver Water Pitcher, hallmarked London, 1802‑1803, by Peter, Anne and William Bateman, of baluster form, decorated with later repousse flower baskets and rococo scrolls centering a cartouche en suite, with gadrooned rim, the handle a later replacement hallmarked 1966, engraved on the cartouche with a crest of a stag’s head erased, h. 13”, dia. 5‑3/4”, l. 7‑1/2”, 36.57 t. oz. [900/1200] Illustrated 607 Pair of Early Paul Storr (1771‑1844) Sterling Silver Entree Dish Covers, hallmarked London, 1801‑1802, each of rectangular form, with reeded band and ring handle, engraved with the badge of Williams of Temple House, h. 3‑1/4”, l. 11‑1/4”, w. 7‑7/8”, 52.78 total t. oz.

[2000/4000] Illustrated 608 Late George III Sterling Silver Inkstand, hallmarked Sheffield, 1808‑1809, by Nathaniel Smith & Co., of rounded rectangular form, with gadrooned band, coquille feet and squared handles, fitted with a pair of pen trays and three receptacles for cylindrical molded gadrooned glass pounce pot and ink and water wells, with silver caps, the taperstand cap of later date (hallmarked London, 1835‑1836, by Charles Fox), the silver elements engraved with the crest of Wilson of Stowlangstoft Hall, Suffolk and monogrammed “KM”, overall, h. 5‑3/4”, l. 8‑1/2”, w. 6‑3/4”, 28.31 t. oz (excluding glass wells). [1000/1500] Illustrated

610

609 Ninety-Five-Piece Assembled Georgian and Later Sterling Silver Flatware Set, hallmarked London, 1784‑1824, the knives 1935‑1937, in the traditional “Old English” and “Hanoverian” patterns, with bright-cut decoration and crest of a goat’s head erased, comprising twelve eight-piece place settings (one dessert spoon lacking), by approximately sixteen different makers, including Richard Crossley, members of the Bateman, Barker, Sumner and Chawner and Sumner families, among others, 83.44 total t. oz. (weighable silver). Detailed list of pieces, dates and makers available on request.

[2000/4000] 610 Pair of William IV Sterling Silver Platters, hallmarked London, 1836‑1837, by Thomas Mitchell & Co. (fl. 1831‑1845), each of oval form with a gadrooned edge, engraved on the rim with the arms of Acheley quartering four others, 16” x 11”, 94.04 total t. oz. [2000/4000] Illustrated

161

611 612

613

614 611 Pair of Victorian Silverplate and Davenport Porcelain Imari Condiment Stands, fourth quarter 19th century, Goldsmiths and Silversmiths Co., Ltd., London, each stand of tube and sphere construction with central ring handle and fitted with a silverplate-mounted porcelain mustard pot, pepperette and salt cellar, all in Davenport’s Imari pattern number 2614, 1870‑1886, complete with associated silverplate mustard and salt spoons, h. 4‑3/4”, l. 4‑1/2”, w. 4”. [500/800] Illustrated 612 Set of Eight Late Victorian Sterling Silver Service Plates, hallmarked London, 1899‑1900, by John Bodman Carrington (1843‑1926; free 1888) & Co., each of circular form, hexagonally serpentine-lobed with gadrooned rim, engraved with a crest of a griffin’s head erased, charged on the breast with a fleur-de-lis gules, dia. 11”, 191.64 total t. oz.; together with four contemporaneous near-identical silverplate service plates by Creswick & Co., Sheffield, dia. 11” (twelve total pieces). [3500/5000] Illustrated

162

613 Fine Victorian Elkington Silverplate and Motherof-Pearl Cased Fish Set, 1857‑1858, Birmingham, comprising twelve fish forks, l. 7‑1/2”, and twelve fish knives, l. 8‑3/4”, each with a pointed mother-of-pearl handle carved in a diaper pattern, the scimitar-shaped silverplate blades engraved with elaborate scrolls centering a lakeside scene of a fishing heron, the fourpronged forks scroll-engraved en suite, presented in the original burl walnut case with rounded front opening to reveal the ruched bright blue satin interior and four dark blue velvet-lined fitted tiers, overall, h. 4‑3/4”, l. 10‑3/4”, w. 8‑3/8”. [600/900] Illustrated 614 Large Victorian-Style Silverplate Epergne, mid-20th century, with a standard and three bifurcated scrolling arms in the form of a realistically detailed grapevine, the center and each arm ending in a reticulated basket fitted with a glass bowl wheel-engraved en suite, above a a cavetto-canted triangular plinth base centering a pigeage bucket with a putto on its rim and raised on three robust acanthus scroll feet, h. 26‑1/4”, w. 20‑3/4”. [3000/5000] Illustrated

615

618

616 617

615 Large George V Silverplate Assembled Venison Dish, first quarter 20th century, including an oval dome, quarter-lobed and decorated with elaborate embossed floral rococo scroll cartouches and surmounted by a rocaille ring handle, and an oval well-and-tree platter with hot water reservoir, with gadrooned rim and floral scroll handles and feet, overall, h. 14‑3/4”, l. 25‑1/2”, w. 16‑3/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated 616 Two Late Victorian Sterling Silver-Mounted Tortoiseshell Boxes, the silver mounts hallmarked Chester, 1894‑1896, by Saunders & Shepherd, including a sarcophagus-form tea caddy with silver cartouche, escutcheon, stirrup handles and feet, the hinged lid opening to reveal an inner lid and foil-lined compartment, h. 4”, w. 5‑1/8”, d. 3‑1/4”, and a rectangular card box, the rounded lid with four silver “card suit” spandrels and a silver-framed Jack of diamonds, retaining two period decks of German playing cards, one complete, the other lacking three cards, h. 2‑1/2”, w. 4”, d. 2‑7/8”. [500/800] Illustrated

617 Two Pairs of George V Sterling Silver-Mounted Tortoiseshell Candlesticks, Hallmarked Sheffield, one 1922‑1923, by Walter Latham & Sons, the other 1926‑1927, by Frank Cobb Co. Ltd., each in the form of a Corinthian column with slightly tapering tortoiseshell shaft, the capital with cavetto-canted square nozzle, the square base cavetto domed and beaded, the Cobb example with fixed beaded-edge bobeches, the Latham pair with bobeches lacking, h. 9”, w. 4”, weighted. Provenance: Christie’s, Sale 9056, “British Interiors”, January 21, 1999, lot 526. [1000/1500] Illustrated 618 Edwardian Sterling Silver Punch Bowl, hallmarked Birmingham, 1904‑1905, by William Aitken, of hemispherical form, embossed with a wide fluted band centering oval scroll-framed cartouches on an imbricate ground, with a molded “Monteith” rim, stirrup-ringed lion’s masque handles and raised on a gadrooned, domed foot ring, h. 19‑1/4”, dia. 12‑1/4”, 83.39 t. oz. [1500/2500] Illustrated

163

619 Victorian Silverplate “Aesthetic” Tray, fourth quarter 19th century, by George Bowen & Sons, Birmingham, of rectangular form, the plateau engraved with a central floral band within a broad foliate-scroll, palmette and fan band, with a tubular gallery with shaped handles and sides and spherical connectors, raised on six flattened spherical feet, h. 3‑1/2”, w. 14‑5/8”, l. 20‑3/4”. [700/1000] Illustrated

621 George V Sterling Silver Drinks Tray, hallmarked London, 1913‑1914, by Lionel Alfred Crichton, of rectangular form with molded rim and in-peaked corners, with molded handles en suite, engraved with the arms of Kavanaugh of Borris House and Grace of Gracefield for the heirs of Morgan Kavanagh (1765‑1806) and Alicia Grace (1769‑1854), l. 18‑1/2”, w. 10”, 44.08 t. oz. [600/900] Illustrated

620 Monumental English Twelve-Piece Silverplate Surtout de Table, contemporary, Sheffield, in the Victorian Orientalist taste, including a four-dish epergne, h. 21‑1/2”, w. 15”, a pair of four-light candelabra, h. 19‑1/4”, w. 14”, a pair of trumpet vases, h. 17‑1/2”, dia. 8”, a pair of compotes, h. 11‑1/2”, dia. 10‑1/4”, and a five-section mirrored plateau, overall, l. 97”, w. 15”, the standing pieces each with baluster standards surrounded by a trio of recumbent camels on a cavetto-sided, canted and gadrooned triangular plinth base raised on scroll-mantled lion’s paw feet, with diamond-molded glass fittings, the plateau with rocaille edge and lion’s paw feet.

[10000/15000] Illustrated

619

620

620 detail

164

621

621 detail

623

622

624 622 Handsome English Giltwood Mirror in the Rococo Taste, mid-19th century, the carved and pierced surround decorated with rocaille work and trailing fruits and flowers, and Chinese masques on the top corners, a phoenix carved on the center of the crest, poised for flight, h. 57”, w. 34”.

Provenance: The Flatt Collection. [700/1000] Illustrated 623 Waterford Smoked Cut-Glass Six-Light Chandelier in the Georgian Taste, ca. 1900, on a cut glass standard decorated with urn-and vase-form sections, set with two glass canopies hung with drops and swags of crystals, set with eight faceted cut glass candle arms terminating with matching cut glass candle cups and drip pans, and the cut glass arms terminating in glass spines, with swags of glass drops, h. 45”, w. 28‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [2500/4000] Illustrated

624 Exceptional Twenty-Piece “Church Gresley” Pattern Hand-Painted Partial Dessert Service, first quarter 19th century, English, attributed to Coalport, each with a border of yellow-ground lozenges decorated with cornflowers, the central panels of flora against a brilliantly colored orange ground with gilt stars, the set comprised of an oval fruit bowl, h. 3‑3/4”, w. 12‑1/4”, four oval dessert dishes, w. 11”, d. 7‑1/2”, a pair of square dessert dishes, w. 8‑1/4”, d. 8‑1/4”, a pair of shell dishes, w. 8”, d. 8”, a pair of covered sauce tureens, h. 6”, w. 6‑1/2”, and nine dessert plates with notched rims, dia. 8”. [500/800] Illustrated

165

625 Pair of George III-Style Giltwood and Satinwood Demi-lune Side Tables, each demi-lune top triple banded and with a central patera inlay, above a conforming bellflower-carved frieze, raised on like-carved tapering square legs ending in toupie feet, h. 33”, w. 57‑1/2”, d. 21”.

[1800/2500] 626 Rare, Magnificently Decorated Carved Wood Chinoiserie Tea Shop Figure, second quarter 19th century, probably Venetian for the English market, on a giltwood plinth decorated with a carved shell and tea plant leaves and seeds, the figure depicted dressed in richly embroidered silks, one foot in embroidered slippers, resting upon his turban, dressed in a gold jacket, his hair in a queue, one hand balancing a sign holder atop his head, now mounted with a brass-covered shell, and his other hand poised to hold a teacup in an aristocratic fashion, h. 67”, w. 23”, d. 19‑1/2”. Provenance: Galerie Gabrielle Laroche, Paris, France. [4000/7000] Illustrated 627 George II Japanned Cabinet, mid-18th century, set with engraved strapwork hinges and pierced escutcheons, decorated in gold and red with Chinese scenes, framed with peonies and vines and a Chinese meander, h. 17‑1/2”, w. 21‑1/2”, d. 8‑3/4”. [900/1200] Illustrated

626 627

625

166

628 Chinoiserie Polychrome Cabinet, 20th century, the pagodaform crest with winged dragon-form corner finials, above a case fitted with a single door with overlaid pierced fretwork, the sides en suite, raised on a stand with a shaped frieze to circular legs ending in paw feet, the whole with gilt and polychrome accents in the chinoiserie taste, h. 86”, w. 32”, d. 17‑1/2”. [2500/4000] Illustrated 629 George III-Style Ebonized Chest, mid-19th century, the rectangular top above a case fitted with two short drawers over two graduated long drawers, raised on bracket feet, the whole with elaborate gilt and polychrome accents and banding in the chinoiserie, taste, h. 31‑1/2”, w. 30‑1/2”, d. 16‑1/2”.

[800/1200] Illustrated 630 Chinoiserie Ebonized Cocktail Table, the shaped rectangular top with a full raised edge and a gilt and polychrome oriental landscape, and raised on an ogee-molded frieze on cabriole legs ending in pad feet, h. 16”, w. 39”, d. 21”. [800/1200] 629

631 Fine Richard Ellis, Westminster, Chinoiserie Tall Case Clock, ca. 1800, the front of the case decorated with Chinese village scenes, the sides with foliate and bird decoration, with a time and strike movement, second hand dial and numerical calendar dial, h. 97”, w. 20”, d. 10”.

[2000/4000] Illustrated

628

167

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633

635 634

632 Set of Twelve Royal Crown Derby Lushly Decorated Dinner Plates, ca. 1890‑1921, English, each with raised gilt scrollwork, cartouches and ivy leaves on a cobalt ground, signed with Derby’s Osmaston Road mark, illegible impressed marks and decorator’s numbers, dia. 10‑1/4”.

[2000/4000] Illustrated 633 Regency Revival Gilt-Brass and Cut Glass Epergne, first quarter 20th century, in the manner of Thomas Hope, English, on a tripartite base supported by seated sphinxes, under a frieze decorated with bas-relief classical panels and anthemia, a leaf-molded standard supporting the center bowl, and leaf-molded arms terminating in medallions supporting three side dishes, h. 17”, dia. 25”.

[2000/4000] Illustrated

168

634 Handsome Pair of English Porcelain Inkwells, first quarter 19th century, attributed to Chamberlain’s, Worcester, supported on winged monopodia wearing headdresses, decorated with hand-painted classical figures on a yellow ground, unmarked, h. 3”, dia. 4”.

[600/900] Illustrated 635 Suite of Four William IV Mahogany Hall Chairs, second quarter 19th century, each with a rounded crest above a waisted back with scroll carvings, centering a shield panel with a polychrome rampant lion, the wooden seat raised on spiral-ribbed circular legs ending in peg feet, h. 33”. [1200/1800] Illustrated

636 Late Regency Gilt-Bronze-Mounted Rosewood Occasional Table, first quarter 19th century, the circular top with a raised and ribbed edge and centered by a molded medallion, above a turned and bulbous standard to a concave tripartite base on annulated scrolling feet, the feet mounted with gilt-bronze scrolls and beading, h. 25‑3/4”, dia. 17”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated 637 English Regency Stripped Pine Convex Mirror, second quarter 19th century, cove-molded and affixed with wooden spheres, the convex mirror plate with a reeded ebonized liner, dia. 24‑1/2”. [500/800]

638 British Painted Terracotta Bust of a Young Boy, fourth quarter 19th century, after George Halse (British, 1826‑1895), signed “G. Halse sc.” at back, on a turned socle, h. 21‑1/2”, w. 11‑3/4”, d. 7”. [500/800] 639 William IV Mahogany Cellarette, second quarter 19th century, the ovoid opening with a gadroon-carved edge and fitted with a metal liner, the tapering body raised on bun feet, h. 18”, w. 37”, d. 22”. [1000/1500] Illustrated 640 Regency Rosewood Music Stand, first quarter 19th century, the double-sided stand with adjustable racks, each with a pierced and carved lyre-form splat, with a swinging brass candle arm to either side, raised on a ribbed and graduated standard on a concave tripartite base to bun feet, h. 47”, w. 19”. [600/900] Illustrated

639

640

636

169

641 Regency Figured Mahogany Tilt-Top Breakfast Table, second quarter 19th century, the circular top mounted to an inverted tapering standard with a carved lower ring and mounted to an outstretched triangular platform base and scrolled feet, h. 29”, dia. 47‑1/2”.

[1000/1500] Illustrated 642 Eight-Piece William Adams & Sons Ironstone Partial Dinner Service, ca. 1850, English, with gilt-trimmed claret and ivory borders and transfer-printed polychrome village scenes, the set comprised of four dinner plates, dia .10”, two graduated platters, w. 14‑1/4”, d. 11‑1/2” and w. 19”, d. 14”, and a pair of covered vegetable dishes with melon knops, h. 7‑3/4”, w. 12‑1/4”, d. 9”. [500/800] Illustrated

643 Regency Mahogany Beau Brummel, early 19th century, the rectangular top hinged and opening to a central mirror with an adjustable easel back, flanked to either side by various bottle and storage compartments, the front fitted with a central drawer with space for a wash basin, flanked to either side by two small drawers, raised on tapering square legs ending in brass caps and casters, h. 30‑1/2”, w. 31”, d. 19‑1/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated 644 Regency Mahogany Chest, first quarter 19th century, the rectangular top with a reeded edge, above a conforming case fitted with two short drawers over three graduated long drawers, flanked to either side by inlaid uprights, raised on bracket feet, h. 41”, w. 46‑3/4”, d. 20‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1400/1800] Illustrated

642

643

641 644

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645 Regency Tortoiseshell Tea Caddy, first quarter 19th century, on ball feet, with a segmented metal-inlaid cover, the two-compartment foil-lined interior with tortoiseshell covers, h. 6”, w. 5”, d. 3‑1/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[600/900] Illustrated 645

646

646 English Tortoiseshell Bombe-Form Tea Caddy, fourth quarter 19th century, on bun feet, with a deeply coved cover, over a two-compartment foil-lined interior, set with tortoise lids, h. 6”, w. 7‑1/2”, d. 4‑1/2”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.^ [700/1000] Illustrated 647 Collection of Eleven Tortoiseshell Objets de Vertu, 19th/20th century, English, including an Edwardian velvet-lined jewel box, h. 2‑3/4”, w. 7‑1/2”, a tortoiseinlaid snuff box, h. 1”, w. 3‑1/4”, a miniature lute inlaid with mother-of-pearl, h. 6”, w. 1‑3/4”, a small metallined jewel box, h. 1‑1/4”, w. 3”, four card cases in a range of tortoiseshell patterns, one with metal inlay and another with oxbow sides, h. 4” to 4‑1/4”, w. 2‑3/4” to 3”, an octagonal-sided and foil-lined personal tea caddy, h. 4‑3/4”, w. 2”, a purse lined with blue silk and paper with accordion compartments, h. 4”, w. 3”, and a card case with Aesthetic silver inlay, with a silk interior, h. 4”, w. 2‑1/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated 648 George III Mahogany Linen Press, fourth quarter 18th century and later, the molded cornice above two cupboard doors, each inset with a banded panel, the lower section fitted with a drop-front secretary drawer opening to an inset leather surface and a variety of drawers and cubbyholes surrounding a central paterainlaid cupboard, over three graduated long drawers, raised on bracket feet, h. 97‑1/2”, w. 48”, d. 23‑3/4”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [800/1200] Illustrated

648

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649 Regency-Style Mahogany Metamorphic Library Steps/Table, the rectangular table top hinged and inset with two leather surfaces, opening to a four-step ladder, each rung with an inset leather surface, raised on ringturned circular legs, folded, h. 17‑1/2”, overall, h. 28”, w. 28”, d. 18”. [500/800] Illustrated 650 Pair of Chinese Export Famille Verte Ginger Jars, fourth quarter 19th century, on pierced wood bases, h. 12”, dia. 7‑1/2”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York.

[1000/1500] Illustrated

172

651

651 English Regency Plum Pudding Mahogany Tea Caddy, first quarter 19th century, trimmed with line inlay and rosewood crossbanding, the tapered body and covemolded cover with the original interior aqua paper, the interior with two lidded compartments, h. 5‑1/4”, w. 8”, d. 4‑3/4”. [500/800] Illustrated 652 Regency Mahogany Sofa Table, first quarter 19th century and later, the rectangular top with two canted drop leaves, above a frieze fitted with two drawers, raised on lyre-form supports to a concave base on splayed legs ending in brass paws on casters, h. 28”, w. 37‑3/4”, d. 27”, extended w. 59‑3/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [800/1200] Illustrated

654

655

654 Extensive Partial Service of Wedgwood “Runnymede” Porcelain, ca. 1972‑1998, English, the dark blue porcelain service comprised of thirty-one dinner plates, dia. 10‑3/4”, thirty salad plates, dia. 8”, thirty-five bread and butter plates, dia. 6”, twenty-four cream soup bowls, dia. 4‑1/2”, fifteen cream soup underplates, dia. 6”, thirty footed cups, h. 2‑3/4”, and thirty-three saucers, dia. 5‑3/4”. [700/1000] Illustrated 653

653 Manner of Sir Thomas Lawrence (British, 1769‑1830), “The Yellow Dress - Portrait of a Young Girl and Her Dog”, oil on canvas, unsigned, 61‑1/2” x 38‑1/2”.

In an antique giltwood and gesso frame. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [3000/5000] Illustrated

655 William IV Mahogany Sideboard, second quarter 19th century, the banded D-form top above a conforming case fitted with a central compartmented cutlery drawer flanked to one side by two short graduated drawers and to the other by a single cupboard, all with inlaid decorative banding, raised on ring-turned tapering circular legs ending in brass caps and casters, h. 36‑1/2”, w. 71”, d. 30”.

[2000/4000] Illustrated

173

656 Pair of Regency Bronze and Marble Candlesticks, Together with a French Gilt-Bronze Thermometer, first quarter 19th century, the candlesticks with patinated bronze seated sphinx standards, mounted with swagmolded and gilt-bronze candle cups and leaf-molded drip pans, the sphinxes resting on white marble plinths mounted with gilt-bronze flowers sitting on black marble bases, h. 9”, w. 4”, d. 2‑1/4”; the French obelisk-form thermometer, third quarter 19th century, mounted in a gilt-bronze case of exceptional quality, the base decorated with fluting and corner medallions below a cove molding with laurel swags, the obelisk with the thermometer on an inset silvered panel on the obverse, the three remaining sides panel-molded and stippled, with raised scrollwork on the sides, a finial depicting a flower bud, h. 7”, w. 2‑1/2”, d. 2‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated

657 Regency-Style Parcel-Gilt Overmantel Mirror, late 20th century, English, gilt-decorated on a black ground, with pairs of Ionic pilasters flanking the beveled mirror plate and upper tablet, decorated with scrollwork and a shell, the cove-molded crest set with spherules, h. 38‑3/4”, w. 52”. [600/900] Illustrated 658 Regency Mahogany Sofa Table, first quarter 19th century, the rectangular top with two drop leaves, above a frieze fitted with two drawers, raised on columnar end supports joined by a turned stretcher and ending in splayed legs headed by a carved medallion and ending in brass paws on casters, h. 30”, w. 42‑1/2”, d. 22‑3/4”, extended w. 63‑1/2”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [700/1000] Illustrated 659 Handsome Regency Tortoiseshell Swell-Front Tea Caddy, first quarter 19th century, on brass ball feet, the cover with a cove-molded edge and a raised center panel, veneered with dark amber tortoiseshell on the front, and a blonder veneer on the sides and interior covers, over the foil-lined compartments, h. 6‑1/4”, w. 7”, d. 4‑1/2”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated

657 659

658 656

174

660 Late Regency Rosewood Teapoy, second quarter 19th century, the stepped top hinged and opening to a now void interior, the case with a lower band of applied floral patera, raised on a columnar support to a waisted standard on a concave base ending in ribbed bun feet, h. 31‑1/2”, w. 17”, d. 13”. [500/800] Illustrated

662 Chinese Blue and White Porcelain Pitcher, Qing Dynasty (1644‑1911), probably 18th century, drilled for a lamp and marked with a partially obscured seal, decorated with bands of floral scrolls and lappets, the vessel with a curved handle and a delicately molded spout, h. 11‑3/4”, w. 6‑3/4”. [1000/1500] Illustrated

661 Two Chinese Blue and White Porcelain Bowls, the first Transitional period, 17th century, of klapmuts form, decorated with reserves of warriors and brocade borders, the exterior with ju-i and flowers, a six-character Cheng Hua mark on the base, h. 2‑3/4”, dia. 13‑3/4”, and the second example 18th century, with underglaze blue decoration of peony flowers, h. 2‑1/4”, dia. 14”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1000/1500] Illustrated

663 Regency-Style Mahogany Etagere, late 19th century, with four open shelves and a single drawer fitted below the second shelf, with turned standards at the four corners supporting each section, h. 58”, w. 17”, d. 16”. [700/1000] Illustrated

661

662

660

663

175

668

667

666 664

664 Chinese Porcelain Bowl, Ming Dynasty (1368‑1644), 17th century, Kraak ware, with underglaze blue decoration of deer in a landscape and floral borders, dia. 7‑3/4”.

[1000/1500] Illustrated 665 Two Chinese Porcelain Vases, late 19th century, the bottle-form vases decorated with dragons, pearls, clouds and borders of acanthus leaves and juri, h. 16‑1/2”, dia. 11”. [600/900] 666 Regency Mahogany Sofa Table, first quarter 19th century, the rectangular top with a molded edge and two rounded drop leaves, above a frieze fitted with two drawers, raised on end supports joined by a turned stretcher and paneled splayed legs ending in brass caps and casters, h. 28‑1/4”, w. 36”, d. 27”, extended w. 60”.

[1200/1800] Illustrated

176

667 Pair of Anglo-Irish Cut Glass Hurricane Lamps, second half 19th century, with cut glass feet and a turned, cut standard, set with matching shade holders and prism rings cut with oval panels, the shades decorated with panels of diamond-point cutting, hung with spear-point prisms, h. 30‑1/4”, dia. 6”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [600/900] Illustrated 668 Lucien Whiting Powell (American, 1846‑1930), “Classical Landscape with Ruins, Figures and Pond”, oil on canvas, after James Mallord William Turner (British, 1775‑1851), signed and inscribed “After J.M.W. Turner/ Copied in the National Gallery London” at lower left, a partial canvas stamp en verso, 30‑1/2” x 50‑1/2”. In an attractive carved giltwood frame. [2000/4000] Illustrated

669 Regency Mahogany Bowfront Chest, first quarter 19th century, the bowed top with string banding, above a conforming case fitted with two short drawers and three graduated long drawers, raised on splayed bracket feet, h. 40”, w. 42‑1/2”, d. 20‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated 670 Handsome Pair of French Bronze Dore et Patine Chinoiserie Three-Light Candelabra, ca. 1900, on pierced bases draped with laurel swags, each supporting a gilt-bronze dais decorated with carefully executed details and holding a patinated bronze figure of a Chinese musician, one playing a lute and the other a pan pipe, under a raised bronze frame with laurel swags supporting the urn-form, swag-molded candle cups, h. 21‑1/2”, w. 17”, d. 6‑3/4”. Provenance: M.S. Rau Antiques, New Orleans, Louisiana. [2500/4000] Illustrated

671 Louis XV-Style Ebonized and Marble-Top Commode, the shaped marble top above a conforming bombe case fitted with two drawers, both with gilt figural chinoiserie scenes, raised on splayed legs ending in sabots, h. 34”, w. 33‑1/2”, d. 18”. Provenance: Manheim Galleries, New Orleans, Louisiana. [600/900] Illustrated 672 French Fin-de-Siecle Tortoiseshell and Gilt-Brass Jewelry Casket, fourth quarter 19th century, with scrolled feet mounted on the coved sides, the hinged cover with brass trim and scrollwork corner mounts, with a padded silk interior, h. 4”, w. 11‑1/2”, d. 9‑1/2”. [500/800] Illustrated

672 670

669

671

177

673

675

676 674 673 Louis XIV-Style Boulle Work Bracket Clock, fourth quarter 19th century, French, of small size, on bronze scrolled feet and decorated with brass-inlaid tortoiseshell, the corners trimmed with bronze scrollwork and flowers, a bronze door covering the dial, with enamel chapter ring numbers on a brass face, set with “Mongin” signed works, a bronze basket of flowers serving as the finial, h. 13‑1/2”, w. 7”, d. 4”. [500/800] Illustrated 674 Pair of Baroque-Style Bronze, Glass and Marble SixLight Candelabra, second quarter 20th century, French, with bronze- and glass-clad standards, the six bronze candle branches set in the lower portion, and mounted with molded glass drip pans hung with prisms and beaded bronze candle cups, swags of drops hung between them, with two tiers of sprays and drops hung with swags of prisms about the branches, with spires serving as finials, h. 31‑3/4”, dia. 17”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated

178

675 Pair of French Bronze and Crystal Four-Light Candelabra, first quarter 20th century, in the Louis XV style, on elaborately molded bases, each vasiform standard molded with scrollwork, flowers and rocaille work, and set with prism-hung leaf-molded scrolled candle arms on two tiers, around a central crystal spire, h. 31‑1/2”, w. 12”, d. 7‑1/2”. [700/1000] Illustrated 676 Impressive French Fin-de-Siecle Bronze and Crystal Twenty-Eight-Light Chandelier, fourth quarter 19th century, probably Baccarat, the standard comprised of a rope-twist-molded vasiform crystal set within a giltbronze frame, the top decorated with a spray of scrolls hung with swags of drops and molded glass medallions, the standard set with eight arms, alternating between five lights, with glass spires, and two lights, all with molded glass drip pans and Aesthetic bronze candlecups molded with flowers, multiple swags of drops hanging between the arms and from the standard to the arms, h. 47”, dia. 44”.

[7000/10000] Illustrated

679

677 680

678 French Boulle Work Bracket Clock in the Louis XIV Style, fourth quarter 19th century, the inverted bronzemounted, pear-shaped case decorated with brass and tortoiseshell inlay, with a bronze door mounted with a phoenix bird on scrollwork, and a finial of shells and rocaille work, h. 25”, w. 15”, d. 5‑1/4”. [1500/2500] Illustrated

678 677 French Giltwood Mirror, mid-20th century, in the Louis XIV style, with a mirror-inset surround framed with carved egg-and-dart and lotus-leaf molding, the mirror-inset arched crest carved with scrollwork and flowers and a pierced rocaille finial, h. 62”, w. 29”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[2000/4000] Illustrated

679 Monumental Pair of French Gilded Age Gilt-Bronze Fifteen-Light Sconces, ca. 1900, in the Baroque taste, on backplates decorated with masques on molded anthemia, framed with pierced leaves and scrollwork, the scrolled and leaf-molded candle arms set with vasiform standards on three levels, set with beaded drip pans and molded matching candle cups, electrified, h. 30”, w. 23‑1/2”, d. 22‑3/4”. [3500/5000] Illustrated 680 Monumental Pair of French Gilded Age Gilt-Bronze Fifteen-Light Sconces, ca. 1900, in the Baroque taste, on backplates decorated with masques on molded anthemia, framed with pierced leaves and scrollwork, the scrolled and leaf-molded candle arms set with vasiform standards on three levels, set with beaded drip pans and molded matching candle cups, electrified, h. 30”, w. 23‑1/2”, d. 22‑3/4”. [3500/5000] Illustrated

179

681 French Gilt-Bronze and Crystal Twelve-Light Chandelier, 20th century, in the Louis XIV taste, the scrolled bronze frame supporting two tiers of candle arms, the lower tier alternating with cut glass spires, set with foliate drip pans and cylindrical candle cups, hung with prisms, two sprays of drops decorating the upper portion, h. 33”, dia. 27”. [900/1200] Illustrated 682 Impressive Pair of French Gilded Age Giltwood Mirrors in the Louis XV Taste, fourth quarter 19th century, the oval-form mirrors decorated on the outside with boldly molded rocaille work and sprays of flowers, the lower edge with a pierced anthemion, the segmented mirrored inner edge framed with cabochon molding, with oval paterae covering the seams, h. 58‑1/2”, w. 40‑1/2”.

[3000/5000] Illustrated

683 Pair of French Bronze Chenets in the Louis XV Style, fourth quarter 19th century, molded with scroll and rocaille work, with putti warming their hands, nestled in the large scrolls, now on pierced brass bases, h. 20‑1/2”, w. 13‑1/2”, d. 4‑3/4”. [500/800] Illustrated 684 French Gilt-Bronze Sunburst Cartel Clock, fourth quarter 19th century, in the Louis XIV style, the circular clock signed “Planchon a Paris”, and crowned with a torch bearing Eros, encircled with gilt-bronze roses, leaves and other flowers, all framed with sunburst “rays”, dia. 23”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [800/1200] Illustrated

682

681

683

180

684

685 Louis XIV-Style Mahogany and Marble-Top Cabinet, the marble top with convex sides and turreted corners, above a conforming case fitted with two drawers over two cupboard doors, with an elaborate ormolu lion’s masque shield emanating flags, quivers and branches, flanked to either side by ribbed columnar uprights, raised on massive claws on bun feet, h. 39”, w. 64”, d. 21”. Provenance: Manheim Galleries, New Orleans, Louisiana. [1800/2500] Illustrated 686 French Molded and Pierced Bronze Mantel Clock in the Baroque Style, fourth quarter 19th century, mounted with a putto holding a vase and calipers, representing the metal arts, the clock extensively molded and pierced with scrollwork and leaves, with masques decorating the frieze over the silvered dial, the mansard roof with pierced trim and an artichoke finial, h. 18‑1/2”, w. 2‑3/4”, d. 8‑3/4”.

[1000/1500] Illustrated

687 Louis XV Giltwood Mirror, mid-18th century, with a segmented mirror surround framed in giltwood and set with a shallow-beveled antique mirror plate, probably original, the lobed top decorated with a shell-carved crest flanked by pierced scrollwork, h. 56”, w. 26‑1/2”.

[700/1000] Illustrated 688 Louis XV-Style Mahogany Dining Table, 20th century, the shaped rectangular top banded and with a molded edge and chevron veneers, above a scalloped frieze with foliate inlays, raised on large cabriole legs headed by scrolling ormolu mounts and ending in sabots, with four 19‑1/2” conforming leaves, h. 31”, w. 50‑1/2”, l. 52”, extended l. 130”. [1500/2500] Illustrated

688

687

685

686

181

690 691

689 692

689 Regence-Style Kingwood and Marble-Top Cabinet, 20th century, the thick shaped marble top above a conforming case fitted with a single long drawer over two cupboard doors, each with banding and elaborate inlaid patterns, flanked to either side by a single quarterveneered cupboard, the whole raised on splayed feet ending in sabots, h. 41”, w. 72”, d. 25”. [1200/1800] Illustrated 690 Pair of French Rosso Antico Marble and Bronze Seven-Light Candelabra, ca. 1900, in the Louis XV style, now mounted as lamps, on marble bases sitting on scrolled feet, supporting inverted pear-form marble standards in rocaille-molded bronze mounts, the scroll-molded arms set with matching candle cups and drip pans, set with fringed silk shades, h. 40”, dia. 20‑1/2”. [500/800] Illustrated

182

691 French Fin-de-Siecle Gilt-Bronze and Rock Crystal Twelve-Light Chandelier, fourth quarter 19th century, possibly Bagues, in the Louis XV style, the vasiform bronze frame set with gilt bronze candle cups and drip pans, hung with rock crystal drops, with sprays of rock crystal drops overhanging glass flowers on the frame and a spray of drops decorating the top, h. 37”, dia. 21”. [3000/5000] Illustrated 692 Exceptional French Fin-de-Siecle Hand-Painted Porcelain, Gilt-Bronze and Champleve Enamel Centerpiece, fourth quarter 19th century, on an acanthus-molded tripartite base inlaid with carefully detailed turquoise and red enamel, set with three torchform bowl supports, the torches inlaid with enamel and mounted to the bowl with bronze swags terminating with flame-form finials, the bowl hand-painted with pairs of cupids catching butterflies, harvesting wheat and releasing a caged bird, with a gilt brass liner, h. 16‑1/4”, dia, 12‑3/4”.

[1400/1800] Illustrated

693

694

693 Pair of Louis XV-Style Giltwood Fauteuils, each with a padded shaped back surmounted by a pierced foliate crest, joined by padded arms to the cushioned seat, raised on cabriole legs headed by foliate carving and ending in scrolled toes, h. 39”. [1200/1800] Illustrated

697

694 Venetian Murano Hand-Blown Glass Six-Light Chandelier, third quarter 20th century, Italian, composed of smoky quilted glass, the standard decorated with applied roses, and standing leaves and roses interspersed with the rope-twist candle arms, terminating in bobeches trimmed with green leaves and pink berries, h. 28”, dia. 27”. [1500/2500] Illustrated 695 Nineteenth Century French Aubusson Tapestry, 9’ 6” x 11’. [2000/4000] Illustrated 696 Pair of Meissen-Style Porcelain Figural Two-Light Candelabra, ca. 1865‑1906, German, made by C. G. Schierholz & Son, Plaue, one candelabrum depicting Diana, goddess of the hunt, with her dog, and the other depicting Athena, goddess of war, both decorated with encrusted flowers, h. 7‑1/4”, w. 8‑3/4”, d. 5”. [500/800] 697 Pair of Paris Porcelain Bonbonnieres by Jacob Petit, mid-19th century, on gilt-trimmed rococo bases, each depicting a flower seller in 18th-century costume, one male and one female, with a pair of baskets set with flowerencrusted lids, signed “JP” in underglaze blue, h. 5‑3/4”, w. 6‑1/2”, d. 3”. [500/800] Illustrated 695

183

698 Pair of Louis XV-Style Polychrome Fauteuils, late 19th century, each with a padded rounded back surmounted by a floral crest, joined by padded scrolling arms to the like seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 37”.

[600/900] Illustrated 699 Pair of Louis XV-Style Polychrome Fauteuils, late 19th century, each with a padded rounded back surmounted by a floral crest, joined by padded scrolling arms to the like seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 37”.

[600/900] 700 Transitional Louis XV-into-Louis XVI-Style Kingwood and Exotic Woods Occasional Table, early 20th century, the shaped rectangular top banded and with parquetry inlay centered by an inlaid torchere, above a conforming frieze fitted with a single drawer, joined to a banded floral basket-inlaid lower shelf by cabriole supports terminating in splayed feet, h. 26”, w. 17‑3/4”, d. 14‑1/4”.

Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [600/900] Illustrated

701 Pair of Royal Copenhagen “Flora Danica” Porcelain Bottle Coolers, ca. 1985‑1991, Danish, both marked “3571”, with hand-painted botanical decoration and molded and encrusted flowers trimming the vine-form handles, each marked with the maker and the name of the plant illustrated, Convolvulus sepium coloratus on one and Rubus sciaphilus lge on the other, as well as Royal Copenhagen’s 1985‑91 mark and three-way blue lines, h. 6‑1/4”, w. 9‑1/2”, d. 7‑1/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated 702 Flora Danica Hand-Painted Tureen and Undertray, ca. 1964‑1974, made by Royal Copenhagen, Denmark, all pieces marked “3562”, with crabstock handles with encrusted flowers, the cover decorated with anemones, the tureen with arnica and geraniums, and the undertray with morning glories, all identified with Latin names on the back, marked with the Royal Copenhagen green mark, a line under the G, three wavy blue lines and a decorator’s mark, h. 11‑1/4”, dia. 11‑1/4”. [2500/4000] Illustrated

701

702

698

184

700

706

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704

705 703 Four Dutch Hand-Colored Copperplate Engravings of Botanicals, ca. 1700, after Abraham Munting (Dutch, 1628‑1683), from his 1696 “Naauwkeurige Beschryving Der Aardgewassen (Accurate Description of Terrestrial Plants)”, re-printed in 1702 as “Phytographia Curiosa”, including “Syringa Lutea”, fig. 37, fol. 163; “Myrtus Buxifolia”, fig. 28, fol. 140; “Colutea Vesicaria Aethiopica”, fig. 44, fol. 175; and “Myrtus Perforata Fructu Albo”, fig. 34, fol. 142, each sight 13‑3/4” x 9”, plate 12‑1/4” x 8”. Presented in glazed and matted 22‑carat gold leafed frames. Provenance: York Gallery, Ltd., London, England, 1998; Private collection. [1000/1500] Illustrated

704 Louis XV-Style Fruitwood Bergere avec Orielles, 20th century, the padded trisected back surmounted by a floral crest, joined by padded downswept arms to the cushioned seat, raised on acanthine-carved cabriole legs ending in scrolled toes, h. 44”. [700/1000] Illustrated 705 Louis XV-Style Mixed Woods, Bronze-Mounted and Marquetry-Inlaid Marble-Top Commode, late 19th century, of bombe form, the front with an inlaid floral spray, the sides inlaid in a radiant sunburst, h. 36‑1/2”, w. 46”, d. 18‑1/2”. [700/1000] 706 Continental Gilt-Metal and Glass Eight-Light Chandelier of Baroque Inspiration, a scrolled giltmetal frame forming the standard, with a spray of scrollwork hung with drops forming the canopy, with scrolled candle arms set with chinoiserie bobeches and hung with drops, electrified, h. 28”, dia. 22”. [600/900] Illustrated

185

709

707

707 Regence-Style Giltwood Mirror, fourth quarter 19th century, French, the inset-mirror surround decorated with medallions and scrollwork, the scrolled center skirt flanked by gutae feet, the crest with a draped urn and swags of flowers on a mirror plate ground framed with pierced rocaille work and set with an antique two-part mirror glass, h. 73”, w. 42”. [1000/1500] Illustrated 708 Continental Palace-Sized Urn in the Regency Style, 20th century, decorated with printed scenes of a family in 18th-century costume, playing music in a park, a Medici vase in the background, signed “Kandler”, on a pale teal ground, the vase set with vigorously scrolled gilded handles terminating in flowers, with a spurious Sevres mark, h. 33‑1/4”, w. 15”, dia. 9”. [500/800] Illustrated 709 Pair of Impressive German Hand-Painted Porcelain Covered Urns with Royal Decoration, fourth quarter 19th century, decorated with the arms of the Unified Electorate of Saxony and Kingdom of Poland on one side, and portraits of Augustus II, elector of Saxony and King of Poland, and his wife, Archduchess Maria Josepha of Austria, on the other, the handles depicting guards with plumed helmets, with spurious marks of J. W. Hammann of Wallendorf on the base, raised on painted wooden bases, h. 20‑3/4”, w. 11‑1/4”, d. 7”. [500/800] Illustrated

186

708

710

710 Sevres-Style Bronze and Earthenware Covered Palace Urn in the Louis XV Taste, 20th century, French, on a bronze base, the bleu celeste-ground vase decorated with a hand-painted panel depicting a Boucher-type group on one side and a landscape on the other, each framed in raised gilt scrollwork, mounted with bronze handles decorated with laurel swags, and a molded bronze knop, h. 41‑1/2”, dia. 10‑1/2”. [1500/2500] Illustrated

713

711 two of two 711 one of two 711 French School (18th/19th Century), “Pastoral Courting Scenes”, pair of oils on canvas, unsigned, 77‑1/2” x 25‑1/2”. Both unframed. [1500/2500] Illustrated 712 Rare English Minton Porcelain Clock, ca. 1851, in the Sevres style, on an oval column-form pedestal base with bleu celeste fluting, each side mounted with Pierre-Emile Jeannest Parian mermen, the clockworks signed with the name of the retailer, Payne & Co., 163 New Bond Street, London, and framed with a molded swag of gilt laurel supported with a bowknot, mounted with a figural Parian group of a draped classical figure attended by a cupid, marked with a printed circular mark and the “1851” date cypher, h. 20‑1/2”, w. 13‑3/4”, d. 6‑3/4”. A clock of this model with a majolica glaze, dated 1864, sold at Christie’s, April 20, 2005, lot 591. [1500/2500] Illustrated

714

713 Jose Miralles Darmanin (Spanish, 1850‑1900), “The Duel”, oil on canvas, signed lower right, verso stretcher with a gallery label and a “Florence Art Gallery, Florence, Italy” stamp, 15” x 21‑3/4”. Presented in a giltwood frame with a linen liner affixed with artist plaque. [1000/1500] Illustrated 714 Benjamin Eugene Fichel (French, 1826‑1895), “The Credentials”, 1861, oil on wood panel, signed and dated lower left, 8” x 10‑1/4”. Presented in a giltwood exhibition frame. [1000/1500] Illustrated 712

187

715 French Neoclassical-Style Trumeau Mirror, first quarter 20th century, decorated in wood-carved parcel gilt over a greenish-ivory ground, the vertical outside panels decorated with a guilloche of laurel leaves, the arched top with a bundle of acanthus-bound reeds, and the upper painting depicting a couple in 18th-century costume fishing in a stream, a villa in the background, h. 74‑1/2”, w. 48‑1/4”. [1500/2500] Illustrated 716 Unusual Louis-Philippe Bronze, Alabaster and Patinated Metal Clock Depicting Jean-Baptiste Oudry, mid-19th century, the rococo-style base set with alabaster panels and supporting a figure of Oudry, drawing book in hand, surrounded by animals, h. 17‑1/2”, w. 12‑1/4”, d. 4”. [700/1000] Illustrated 717 Transitional Louis XV-into-Louis XVI Kingwood Occasional Table, late 18th century, the oval top with a three-quarter pierced brass gallery and an inset leather surface, above a conforming frieze with chevron veneers and fitted with a small drawer to each end, joined to a like shaped and veneered lower shelf by shaped supports ending in splayed legs to sabots, h. 29”, w. 29”, d. 17‑1/2”.

[1400/1800] Illustrated

716

718 Louis XV-Style Mahogany Bergere, early 20th century, the shaped and domed padded back within a molded frame, joined by closed arms to the cushioned seat, raised on cabriole legs ending in scrolled toes, upholstered in Lee Jofa fabric, h. 33”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York.

[700/1000] Illustrated

717

715

188

718

719 Louis XV Fruitwood Bergere, late 18th century, the padded and domed back surmounted by a floral crest, joined by padded arms to the cushioned seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, upholstered in Lee Jofa fabric, h. 38”.

Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [700/1000] Illustrated 720 French Painted Tole and Crystal Eight-Light Chandelier, second quarter 20th century, on a metal balloon-form frame, the arms decorated with tole leaves and floriform drip pans, hung with various crystal drops, with two tiers of sprays of leaves and crystal drops embellishing the upper portion of the chandelier, h. 34”, dia. 21”. [1000/1500] Illustrated 721 French Bronze and Crystal Sixteen-Light Chandelier of Louis XIV Inspiration, first quarter 20th century, possibly Baccarat, the standard clad with molded glass beneath a spray of glass swags and drops on scrolled bronze arms, the incised bronze candle arms each set with two lights on two tiers, set with molded drip pans and hung with swags of drops, electrified, h. 37”, dia. 33”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1800/2500] Illustrated

721

722 French Giltwood Mirror in the Louis XVI Taste, fourth quarter 19th century, with an arched top and bottom, the frame interior lined with carved lotus leaves, the crest decorated with a lovebird, with trophies of a torch and a sheaf of wheat with trailing leaves, leading to fire pots on each side, the lower edge with pierced scrollwork and leaves, h. 48”, w. 26‑3/4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [700/1000] Illustrated

720

722 719

189

723 Transitional Louis XV-intoLouis XVI-Style Mahogany and Marble-Top Cabinet, early 20th century, the rounded rectangular Breche d’Alep marble top with a three-quarter pierced brass gallery, above a conforming case fitted with a single drawer over two cupboard doors, with ribbed fronts and opening to a slatted interior, raised on cabriole legs ending in sabots, h. 33‑1/4”, w. 24”, d. 14”.

[700/1000] Illustrated 724 Blondelle Octavia Edwards Malone (American/South Carolina, 1877‑1951), “Parknasilla, Ireland”, oil on wood panel, signed and titled lower right, sight 20‑1/2” x 27‑1/2”.

Matted, glazed and framed.

[2000/4000] Illustrated

724 One day I was out in the fields and there was a peculiar mist rising from the ground, different from anything I had ever seen, and then I knew how Corot had come to paint that wonderful soft atmosphere in his paintings. -- Blondelle Malone.

Malone was an American Impressionist who specialized in luminous, light-drenched landscapes. Born into a prosperous, artistically inclined family in Georgia, she spent most of her childhood in Columbia, South Carolina. At the age of 15 she enrolled in Converse College in Spartanburg, where she excelled in French, art, and music. In 1897, she convinced her parents to allow her to move to New York where she attended the Arts Students League and studied with such acclaimed artists as William Merritt Chase and John Henry Twachtman. She eventually followed Twachtman to Cos Cob, Connecticut, where she spent a summer painting and studying at the vibrant art colony.

723

In 1940, Malone embarked on a comprehensive tour of Europe and Asia. Through a fortuitous combination of talent, charm, and perseverance, Malone was able to establish friendships with many of the most promising artists of the day, including Mary Cassatt, Auguste Rodin, and the notoriously taciturn Claude Monet; the last not only agreed to review her work, but also gave her almost unprecedented access to his garden. Her time in France had a profound effect on her painting style, and she was to continue to incorporate the techniques she learned there into her work throughout her life. Malone exhibited widely while in Europe, including at the American Art Students’ League, Societe Nationale des Beaux-Arts, Salon d’Automne, the Royal Academy in London, and had a solo exhibit at the Lyceum Club in Paris. The work presented here is one of several that Malone completed of the Irish countryside. It is documented in her letters, now conserved at the Caroliniana Library of the University of South Carolina, that she was commissioned by the art collector William Nash to paint several Irish landscapes. It is possible that this painting was a part of that commission.

References: Pennington, Estill Curtis and Severens, Martha R. Scenic Impressions: Southern Interpretations from the Johnson Collection, University of South Carolina Press: Columbia, 2015.; Ellis, Roy, The Life and Work of Blondelle Malone, The State, Columbia, South Carolina, July 1, 1956.

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725 Jean-Gabriel Domergue (French, 1889‑1962), “L’Apercu”, oil on canvas, signed lower left, 32” x 25‑3/4”.

Framed. [25000/40000] Illustrated

727 Zvi Raphaeli (Israeli, 1920/1924‑2005), “Mea She’arim Street Scene, Jerusalem”, oil/mixed media on canvas, faintly signed lower left and right, 24” x 24”. In a giltwood frame. [1000/1500] Illustrated

726 Francois Gall (Hungarian/French, 1912‑1987), “Jeune Femme, Nu”, oil on canvas, signed lower right, 11‑1/8” x 9‑1/4”. Framed. [2000/4000] Illustrated

728 Jules Rene Herve (French, 1887‑1981), “Jardin du Luxembourg”, oil on canvas, signed lower left, stretcher inscribed “Jardin/Luxembourg”, 19‑3/4” x 20‑5/8”.

Framed. [1800/2500] Illustrated

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729 Cherry Jeffe Huldah (American, 1901‑2001), “Entre Nous”, 1944, oil on canvas, signed lower left, signed, titled and dated en verso canvas, 44” x 37”. Presented in a period Louis XV-style carved frame. Provenance: Howard Young Estate; Private collection, New Orleans, Louisiana. [1500/2500] Illustrated 730 Marc Chagall (Russian/French, 1887‑1985), “The Heart of the Circus”, lithograph in colors on Arches paper, signed in pencil lower right, numbered lower left “2/50”, sight 21‑3/4” x 28‑3/8”. Provenance: Dyansen Gallery, New Orleans, Louisiana.

[4500/7000] Illustrated 731 Marc Chagall (Russian/Paris, 1887‑1985), “L’Acrobat au Village”, 1967, etching, pencil-signed and numbered “25/35” lower margin, plate 9” x 12”. Glazed, matted and framed. [1000/1500] Illustrated 732 Joan Miro (Spanish, 1893‑1983), “L’Aigrette Rouge”, 1976, etching with aquatint in colors on Arches paper watermarked “Maeght” on reverse, pencil-signed and numbered “6/50” lower margin, plate 45‑1/4” x 29‑1/4”, sheet 54” x 30 -3/4”.

Glazed, matted and framed. Illustrated: Dupin, Jacques. 30.

[12000/18000] Illustrated 729

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734

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733 Joan Miro (Spanish, 1893‑1983), “San Lazzaro et Ses Amis”, color lithograph on Arches paper, 1975, pencil-signed and numbered “53/60” lower margin, image 19” x 14‑5/8”, sight 24‑1/2” x 17‑1/2”. Glazed, matted and framed. Illustrated: Peter Cramer. Joan Miro, the Illustrated Books: Catalogue Raisonne.

Geneva: Patrick Cramer, 1989, M.1080, 202. [1400/1800] Illustrated 734 French Painted Trumeau Mirror, second quarter 20th century, both the lower and upper panels framed with giltwood scrollwork, the upper panel with an oil-on-canvas painting of “Love Lost”, depicting a gentleman in the background releasing a bird from a cage as a young woman and her chaperone look on, h. 70‑3/4”, w. 44‑3/4”. [1000/1500] Illustrated 735 Pair of Louis XV-Style Polychrome Fauteuils, 20th century, each with a padded back surmounted by a foliate crest, joined by padded arms to the cushioned seat, raised on cabriole legs, upholstered in Cowtan & Tout fabric, h. 39”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [2000/4000] Illustrated

733

736 Pair of Chinoiserie-Style Porcelain and Brass Two-Light Scones, mid-20th century, Continental, the large porcelain backplates decorated with flowers in the famille rose palette, the tops with a molded Buddha on a lotus blossom, mounted with brass candle arms, h. 18”, w. 11”, d. 6”. [800/1200] Illustrated

193

737 Louis XIV-Style Giltwood Sofa, 19th century, the domed and shaped padded back surmounted by a floral and foliate crest, joined to the padded seat by like arms, raised above a shaped like-carved frieze on cabriole legs ending in scrolled toes, h, 46”, w. 76”, d. 28‑1/2”. [800/1200] Illustrated 738 School of David Emile Joseph de Noter (Belgian, 1818‑1892), “Still Life with Fruit, Porcelain Jar and Game Birds”, oil on wood panel, signed lower left “H. Cretens”, 20‑1/2” x 16‑3/4”. Presented in an antique giltwood and gesso frame affixed with artist plaque, incised “David De Noter”.

[5000/8000] Illustrated

738

737

194

739 School of David Emile Joseph de Noter (Belgian, 1818‑1892), “Still Life with Fruit and Flowers”, oil on wood panel, signed lower left “H. Cretens”, 20‑1/2” x 16‑3/4”.

Presented in an antique giltwood and gesso frame affixed with artist plaque, incised “David De Noter”. [5000/8000] Illustrated 740 Louis XV-Style Kingwood and Marble-Top Commode, late 19th century, the shaped and bowed marble top with a molded edge, above a bombe case fitted with two drawers, both quarter-veneered and centered by an inlaid floral panel, raised on slightly splayed legs ending in sabots, h. 34”, w. 51”, d. 21‑1/2”. [1000/1500] Illustrated

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741 742

745 743 Set of Four Sevres-Style Hand-Painted Porcelain Cabinet Plates, fourth quarter 18th century, French, the plates with a cobalt ground and raised gilt scrollwork decorating the notched borders, and hunt scenes signed “K. Deprez”, the backs marked with spurious hand-painted overglaze Sevres marks, dia. 10”. [600/900] Illustrated

744 741 French Enamel and Gilt-Bronze Jardiniere, fourth quarter 19th century, probably Limoges, on a gilt-bronze chinoiserie base with foo dog legs, the planter with a cobalt ground decorated with a hand-painted panel of a shepherdess and her flock on one side and a harbor scene on the other, both framed with gilt scrollwork, set with pierced gilt-bronze handles and rim, h. 14”, dia. 10‑1/4”.

[600/900] Illustrated 742 French Hand-Painted Porcelain Cabinet Plate, fourth quarter 19th century, depicting a courting couple with a bird in a cage, decorated with a gilt scrollwork border on a black ground, on a Sevres blank with the 1863 mark and a spurious crossed “L’s” mark, dia. 9‑3/4”. [500/800] Illustrated

744 Pair of Rare French Lapis Lazuli and Gilt-Bronze Lamps, first quarter 20th century, in the Louis XV style, each embodying the richness of the Belle Epoque, with contrasting gilt-bronze rocaille scrollwork against the goldveined lapis urns, urn, h. 18‑1/2”, overall, h. 30”, w. 8”, d. 5‑3/4”. [2500/4000] Illustrated 745 Pair of French Bronze-Mounted Porcelain Garniture Urns, fourth quarter 19th century, on bronze Greekkey-molded bases, each of the urns with a cobalt ground and decorated with hand-painted putti depicting the four seasons, one urn with a pair of putti warming their hands while another displays the bounty of the harvest, personifying winter and autumn, and the other urn decorated with putti in a water garden while another putti frolics in the flowers, personifying spring and summer, each with bronze handles decorated with putti masques and bronze covers with flame-form knops, h. 20”, w. 7”, d. 5‑1/4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York.

[700/1000] Illustrated

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747 Louis Gabriel Moreau (French, 1740‑1805), “Paysage avec Chateau et Cours d’Eau (Landscape with Castle and Stream)”, 1787, gouache on paper, signed and dated lower right, frame backing with period handwritten inscription largely effaced and various labels including a 1907 auction label, exhibition/inventory sticker, “Paulin & Detres, Paris” shipping label and “Livingston Galleries, New York” label (ca. 1943‑1965), 19” x 26‑1/8”. Glazed, and framed. Provenance: Devaux Sale, Paris, November 27‑28, 1907, lot 86; Richard Owen Collection, Paris, France, 1907‑ ; Private collection.

[10000/15000] Illustrated

747 Louis Gabriel Moreau, a gifted draughtsman, etcher and painter of landscapes, had a prodigious career.

After studying with Pierre-Antoine de Machy, who specialized in painting Grand Tour themes- landscapes redolent with Classical ruins and tromp-l’oeil architectural scenes, he went on to become a member of the Academie de St. Luc, artist to Comte d’Artois (later King Charles X), and curator of the National Museum in Paris.

Moreau, a master of watercolors and gouaches, combined the picturesque architectures of his master de Machy with naturalistically, almost plein-air rendered, topographical landscapes in the Ile-de-France region just outside of Paris.

746 746 A. Sadeler (German, 18th Century), “Portrait of a Lady in Blue, Wearing a Lace Cap and Holding a Sprig of Flowers”, oil on canvas, signed and dated en verso “A. Sadeler pinxit 1754”, verso affixed with a 1944 letter describing the painting’s history and attributing the sitter to a member of the Gabel family of Aschaffenburg, Germany, 30” x 23”. Framed.

[1500/2500] Illustrated

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Moreau’s fascination with the effects of light at different times of the day precipitated his use of a lighter palette, characterized by warm yellows and verdant foliage punctuated by deep ultramarine blues instead of browns.

Moreau’s predilection for natural light made him equally successful following the French Revolution, in which the Third Estate toppled the landed gentry and their royal established academies.

Before 1789, French castles and estates in lush settings of abundance were Moreau’s preferred subject; the painting offered exemplifies this style- a style that he established himself on as an artist for nearly twenty-five years exhibiting annually at the Academie

de St. Luc. Following the Revolution, Moreau’s, bright palette and light drenched compositions with voluminous clouds and ruins dotting the low horizon remained; his subjects, on the other hand, became distinctly more humble, showcasing daily life scenes of farmers, fishermen, modest structures and gardens. Both Moreau’s pre- and postRevolutionary paintings are equally desired by collectors and institutions.

Richard Owen (1873‑1946), a prominent British art dealer of French art in the early-to-mid 1900s, who purchased this lot for 950 Francs at the Devaux Sale in 1907, owned a few Moreaus that he exhibited widely in Boston and New York in 1933 in the “Richard Owen Collection of 18th Century French Drawings and Watercolors” at the Worcester Art Museum, The Fogg Art Museum, Carnegie Hall Art Gallery, and Brummer Gallery, New York. Additional numbered labels on the back of this Moreau suggest that it too may have been exhibited as part of the Richard Owen Collection.

References: Beaux-Arts: Chronique des Arts et de la Curiosite 9 (1939): 93; Hughes, Katherine. “New Worcester Art Museum Formally Opened to Public”. Boston Herald. 9 Jan.,1993: 11; “Coordination”. Springfield Republican. 1 Jan. 1933: 44; “Master Drawings.” Arts Magazine 8:28 (1933): 28; “Louis-Gabriel Moreau”. Oxford Art Online. 2007‑2016. Web. 31 July 2016.

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748

749 Two French Porcelain Vases, fourth quarter 19th century, now mounted as lamps, the smaller vase on scrolled feet and decorated with a platinum-ground panel of a couple in 18th-century costume picking fruit, vase, h. 15‑1/2”, overall, h. 30‑1/2”, dia. 5‑3/4”, and the larger decorated with panels of frolicking angels on the obverse and panels of flowers on the reverse, each framed with tooled gilt scrollwork, the sides mounted with bronze goat-head handles, vase, h. 16”, overall, h. 23”, dia. 7”.

[700/1000] 750 Sevres-Style Bronze-Mounted Porcelain Covered Urn, fourth quarter 19th century, decorated with a portrait of Madame Sophie, daughter of Louis XV, after Jean-Marc Nattier (French, 1685‑1766), the revolving urn resting on a Louis XV-style gilt-bronze base with raised gilt on a bleu celeste ground, the cover with a spurious Sevres mark and a misprinted title reading “Mme Sopie a pre Vattier”, h. 30‑1/2”, dia. 8‑3/4”. [500/800] Illustrated

751 748 Petite French Bronze and Sevres-Style Porcelain Six-Light Chandelier, third quarter 19th century, French, the bleu celeste-ground porcelain central bowl decorated with hand-painted panels of figures in 18th-century costume, framed in gilt scrollwork, mounted with delicate scrollwork fittings, including leaf-molded candle branches and a pierced rim, the rod-style chains punctuated with scrolled panels, supporting the chandelier from a leaf-molded canopy, h. 58”, dia. 19”. [1200/1800] Illustrated

751 Large Sevres-Style Hand-Painted Porcelain Oval Platter, third quarter 19th century, French, decorated with a group in 18th-century costume frolicking in the outdoors, against a bleu celeste ground with panels of flowers trimmed with gilt scrollwork, marked with a spurious Sevres double mark and a spurious Chateau de Fountainebleau stamp, in a contemporary giltwood shadowbox frame, overall, h. 31‑1/4”, w. 32‑1/2”, d. 4‑3/4”. [600/900] Illustrated 752 French Fin-de-Siecle Gilt-Bronze and Porcelain Centerpiece, fourth quarter 19th century, on a bronze base with scrolled feet and laurel swags hung over the tapered standard, the bleu celeste-ground oval bowl decorated with an oval panel of frolicking cupids on one side and flowers on the other, and mounted with pierced bronze scrolled handles and rim, h. 11‑1/2”, w. 18”, d. 9‑1/2”. [500/800] Illustrated

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753 Pair of Sevres-Style Porcelain Potpourri Vases, 20th century, French, of Louis XV inspiration, the gondolaform vases with scroll feet and painted panels of cupids and flowers, framed with rich gilt-work on a bleu celeste ground, elaborately pierced around the covered necks, each with a flower-molded cover, with spurious Sevres marks, h. 14”, w. 12‑1/2”, d. 9”. [1000/1500] Illustrated 754 Nine-Piece Sevres-Style Hand-Painted Porcelain Partial Coffee Set, third quarter 19th century, French, decorated with panels of neoclassical scenes, trophies and couples in 18th-century costume on a bleu celeste ground, including a dessert stand decorated on a signed Sevres blank, ca. 1861, h. 10”, dia. 10‑1/2”, three coffee cups, h. 2‑1/4”, four saucers, dia. 4‑3/4”, decorated on Sevres blanks, and an unmarked cream jug, h. 4‑1/2”, dia. 3‑1/4”.

[500/800] 755 Pair of Sevres-Style Gilt-Bronze-Mounted Porcelain Jardinieres, first quarter 20th century, French, on scrolled bronze feet, with bronze handles cleverly designed as putti climbing knotted ropes, the bleu celeste-ground pots decorated with Arcadian scenes of characters in 18th-century costume on the obverse and panels of flowers on the reverse, each framed with raised gilt scrollwork, h. 12‑1/2”, w. 16‑1/2”, d. 11”. [600/900] Illustrated

198

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756 French Bronze and Hand-Painted Porcelain Card Tray, fourth quarter 19th century, the tray painted on a Sevres blank and decorated with a panel depicting a trio in 18th-century costume, playing a pipe and dancing, the border with panels of flowers framed with raised gilt scrollwork, the leaf-molded feet trimmed with bronze swags, and the tray trimmed with bronze beading and leaf-molded handles, h. 5”, w. 10‑3/4”, d. 6”. [500/800] Illustrated 757 Pair of Transitional Louis XV-into-Louis XVI-Style Giltwood Bergeres Gondole, late 19th century, each with a padded trisected back surmounted by a floral crest, joined by downswept arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes, h. 42‑1/2”.

[800/1200] Illustrated

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760 758 Pair of French Rococo-Style Mirrors with SevresStyle Porcelain Plates, the mirror surround carved with leaves and flowers, and supporting pierced, arched crests decorated with scrollwork, the bleu celeste-ground plates with figures of Eros and Psyche and signed with spurious “beehives”, h. 54”, w. 18‑1/2”. [1000/1500] Illustrated 759 Louis XVI-Style Giltwood Mirror, mid-20th century, New York, the beaded mirror surround set with fluted carved rests on either side of the base, the pierced crest decorated with scrollwork terminating in medallions and a quiver overlapped with a branch of laurel, with carved leaves on each side terminating in pinecone pendant finials, labeled “D. Milch” on the back, h. 44‑3/4”, w. 24‑1/4”. [600/900] Illustrated

760 Fine Louis XV-Style Giltwood and Marble-Top Console Table, late 19th century, the front apron pierced and carved with a central shell, profusely adorned with floral sprays, the legs with shell- and floral-carved knees and joined by a like-carved stretcher, h. 36”, w. 43”, d. 17”.

[3000/5000] Illustrated 761 Exceptional Pair of French Giltwood Brackets in the Regence Style, mid-19th century, the molded backplates set with central supports decorated with bellflowers, framed by delicate period scrollwork, and overhung with swags of flowers, the shelves with edges carved with ribbon-bound reeds, lotus leaves and beading, h. 18‑3/4”, w. 15‑3/4”, d. 11‑3/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated

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762 Regence Parcel-Gilt Barometer, mid-18th century, the oval-form barometer in a giltwood frame, with bluepainted panels accented with swags of bellflowers, the pierced crest comprised of a circle of bellflowers over trophies of knowledge, including a globe, the dial signed by Selon Torricelli, h. 32‑1/2”, w. 21”. [900/1200] Illustrated 763 French Painted and Parcel-Gilt Overmantel Mirror in the Baroque Taste, fourth quarter 19th century, the arched top mirror framed with giltwood molding against an ivory ground, the arched mirror plate with an urn finial flanked by swags of bellflowers, with smaller urns at the corners, the base decorated with pierced trim accented with grapes and grape leaves, h. 63‑1/2”, w. 46‑1/4”.

[2000/4000] Illustrated

764 Louis XV-Style Creme-Peinte and Parcel-Gilt Stool, 19th century, the padded square top above a shaped floralcarved frieze, raised on molded cabriole legs headed by floral carving and ending in foliate toes, h. 18”, w. 20‑1/2”, d. 20‑1/2”. [900/1200] Illustrated 765 Pair of Transitional Louis XV-into-Louis XVI-Style Giltwood Fauteuils, late 19th century, each with a shaped and padded back surmounted by a floral crest and joined by padded arms to the like seat, raised on molded cabriole legs ending in scrolled toes, h. 37‑1/2”. [600/900] Illustrated

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764

762

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766 Pair of Transitional Louis XV-into-Louis XVI-Style Giltwood Fauteuils, late 19th century, each with a shaped and padded back surmounted by a floral crest and joined by padded arms to the like seat, raised on molded cabriole legs ending in scrolled toes, h. 37‑1/2”. [600/900] 767 Transitional Louis XV-into-Louis XVI-Style Giltwood Canape en Gondole, late 19th century, the padded back surmounted by a floral crest and joined by downswept arms to the cushioned seat, raised above a guillochecarved frieze on cabriole legs headed by floral carving and ending in scrolled toes, h. 42”, w. 78”, d. 27”. [600/900] Illustrated 768 French Rococo-Style Bronze Assembled Fireplace Set, comprised of a pair of Louis-Philippe chenets, mid19th century, decorated with putti lounging on plinths with pierced scrollwork, the integral fender molded with cabochons and fluting, and set with a central scrolled finial, h. 20”, w. 61”, d. 5‑1/2”, and a gilt-bronze oval fire screen, ca. 1900, with a scrolled surround and pierced handles and feet, the central mount depicting a pair of putti, h. 29‑3/4”, w. 24‑3/4”, d. 5‑3/4”. [1000/1500] Illustrated

769 Louis XV-Style Giltwood Overmantel Mirror, fourth quarter 19th century, French, carved with a gadrooned trim, pierced corners of scrollwork and shells, and ogee molding ornamented with flower sprigs and sanded trim, the segmented decoration set with colorless molded medallions, h. 76”, w. 42‑1/2”. [800/1200] Illustrated 770 Pair of Paris Porcelain Rococo Revival-Style Garniture Vases, third quarter 19th century, handpainted on a bleu celeste ground, the vases decorated with panels depicting courting couples in Renaissance costume, the panels with raised crests of oval portrait medallions framed with laurel branches, with biscuit handles of cupids sitting on lion’s heads, grasping gilt porcelain handles, h. 17”, w. 10”, d. 6‑1/2”. [1000/1500] Illustrated

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773 771 Large Paris Porcelain Hand-Painted Vase in the Rococo Revival Style, third quarter 19th century, on a bleu celeste ground, the obverse decorated with a panel depicting a courting couple in 18th-century costume framed with a gilt border picked out with ironred detail, and the reverse decorated with flowers, the bold side handles molded with leaves and flowers, h. 21”, dia. 10‑1/2”. [500/800] Illustrated 772 Pair of French Porcelain and Bronze Moderator Lamps, third quarter 19th century, on bronze bases molded with laurel leaves, the Sevres-style urn-form bases hand-painted with courting couples in 18th-century dress on a bleu celeste ground, mounted with rope-twist handles terminating in molded masques, with molded and pierced bronze lamp fittings, electrified and mounted with shades, h. 32”, w. 16‑1/2”, d. 16‑1/2”. [700/1000] Illustrated

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773 French Fin-de-Siecle Hand-Painted Sevres-Style Vase, fourth quarter 19th century, the bleu celeste ground trimmed with gilt grapevines, the central panel decorated with two men vying for the affections of a young woman, painted against a luminous landscape, one sitting adjacent to her on a bench, while the other stands, hat in hand, h. 25”, dia. 8”. [600/900] Illustrated 774 Louis XV-Style Mahogany Vitrine, 20th century, the stepped rectangular top above a conforming case fitted with a single beveled glazed door, the sides with like glazing, the back mirrored, raised on cabriole legs ending in scrolled toes, h. 60‑1/2”, w. 34‑1/2”, d. 16”. [500/800] Illustrated

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775 Pair of French Gilt-Bronze and Crystal Three-Light Sconces, ca. 1900, of neoclassical inspiration, the backplates decorated with molded leaves and pierced scrollwork, the acanthus-molded arms set with leafmolded drip pans hung with prisms and urn-form candle cups, and swags of drops hung between the arms, electrified and mounted with shades, h. 23”, w. 12‑1/2”, d. 9”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated 776 Monumental French Gilt-Bronze Hall Lantern of Rococo Inspiration, first quarter 20th century, the bronze frame with an open lower section set with molded shells, the upper section now with synthetic panels, molded with ribbon-bound leaves, hanging from giltscrolled arms and latticework panels, h. 58‑1/2”, dia. 32”.

[4500/7000] Illustrated

777

777 Pair of Louis XV-Style Giltwood Fauteuils, early 20th century, each with a padded and shaped back surmounted by a floral crest, joined by padded arms to the like seat, raised on molded cabriole legs headed by foliate carving and ending in scrolled toes, h. 36”. [800/1200] Illustrated 778 Handsome French Gilded Age Gilt-Bronze and Marble Mantel Clock, fourth quarter 19th century, in the Louis XV taste, on a molded mauve and gray marble base, the integral pierced bronze stand supporting the inverted pear-form clock, decorated with scroll and rocaille work, a trophy of a bound quiver, arrows and laurel mounted below the enameled bronze dial, a putto inscribing a table serving as the finial, mounted with signed “Marti” works, h. 23‑1/2”, w. 15”, d. 10‑1/2”. [2000/4000] Illustrated

203

779 Pair of Napoleon III Bronze and Marble Two-Light Candelabra, third quarter 19th century, now mounted as lamps, decorated with patinated bronze putti grasping gilt-bronze cornucopia set with grape-molded candle cups, standing on gilt-bronze column-form plinths supported by marble bases and trimmed with gilt beading, mounted with shades, base, h. 15”, overall, h. 24‑1/2”, w. 13”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated 780 Louis XV-Style Kingwood Work Table, mid-19th century, the shaped rectangular top with a parquetry inlay surrounded by banding and ormolu edging, hinged and opening to a mirrored interior and lift-out compartmented tray, above a conforming chevron-veneered ormolumounted frieze fitted with a small well drawer, raised on cabriole legs ending in sabots, h. 29”, w. 23‑1/2”, d. 17‑1/2”. [1500/2500] Illustrated

781 Pair of French Gilt-Bronze Six-Light Candelabra, fourth quarter 19th century, in the rococo taste, with pierced, scrolled bases and rocaille-molded standards decorated with putti enjoying a Bacchanalian feast, one with grapes and the other with a wine cup, with scrolled candle branches and matching candle cups, bobeches and drip pans, h. 21”, dia. 11”. [800/1200] Illustrated 782 Louis XV-Style Giltwood Dressing Mirror, ca. 1900, the frame with a rocaille-carved cartouche and foliate details, with four outstretched scrolled legs, h. 62‑1/2”, w. 34”, d. 14”. [500/800] Illustrated

781

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782

783 Louis XV-Style Kingwood Vitrine, 20th century, the molded and slightly domed cornice centered by an ormolu shell and foliate crest, above a case fitted with two doors, each inset with an upper beveled glass panel over a starburst and foliate scrolling inlaid panel, raised on slightly splayed legs ending in sabots, h. 75”, w. 39”, d. 20”.

[1200/1800] Illustrated 784 Pair of Louis XVI-Style Mahogany Twin Beds, early 20th century, each with a paneled headboard surmounted by a molded cornice and end urn-form finials, joined by rails to the like lower footboard, both with flanking brassmounted fluted uprights, raised on block to toupie feet, the whole accented with brass banding, h. 60”, inside w. 44”, l. 78”, outside w. 46‑1/2”, l. 86”. [1200/1800] Illustrated

785 Transitional Louis XV-into-Louis XVI Kingwood, Rosewood and Marble-Top Commode, late 18th century, the marble top with concave sides and a central D-section, above a conforming case fitted with three long drawers, all inlaid with three banded panels, the lower drawers quarter-veneered, the sides veneered en suite, raised on cabriole legs ending in sabots, h. 36‑1/4”, w. 51”, d. 21‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1500/2500] Illustrated 786 German Gilt-Metal and Biscuit Porcelain Figural Clock, 20th century, in the rococo style, decorated with a figure of Czarina Elizabeth, after a Meissen original by J. J. Kandler, on paw feet with a biscuit neoclassical masque, marked “Haynes” on the dial, the key-wind works marked “Franz Haynes, Made in Germany”, h. 26‑1/2”, w. 21”, d. 9”. [500/800] Illustrated

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784 783

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788

789 787

787 Louis XV-Style Mahogany and White Leather Low Footstool, the long padded rectangular top above a shaped frieze, raised on cabriole feet ending in scrolled toes, h. 9”, w. 43”, d. 10‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated 788 Louis XVI-Style Mahogany Cheval Mirror, 20th century, the rectangular plate within a plain frame and supported by fluted square uprights to splayed legs on casters, h. 70”, w. 32‑1/2”. [600/900] Illustrated

206

789 French Bronze and Patinated Metal Mantel Clock in the Louis XV Style, fourth quarter 19th century, the gilt-bronze base decorated with agricultural trophies and supporting figures of a young couple in 18th-century costume, the works marked “A. D. Mougin, and set with a dial painted with violets, h. 13‑1/2”, w. 19”, d. 5”.

[800/1200] Illustrated 790 Pair of French Gilt-Bronze Six-Light Sconces, ca. 1900, in the Louis XVI style, on corbel-form backplates with pinecone finials, the leaf-molded, scrolled and beaded candle arms set with wheat-molded drip pans and candle cups molded with swags, electrified, h. 20”, w. 10‑1/4”, d. 13‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1500/2500] Illustrated

791

794

792 793 791 Pair of French Gilt-Bronze Six-Light Sconces, ca. 1900, in the Louis XVI style, on corbel-form backplates with pinecone finials, the leaf-molded, scrolled and beaded candle arms set with wheat-molded drip pans and candle cups molded with swags, electrified, h. 20”, w. 10‑1/4”, d. 13‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1500/2500] Illustrated

793 French Baroque-Style Bronze and Crystal Petite Four-Light Chandelier, mid-20th century, the glass-clad standard under a spray of drops, with four scrolled bronze candle arms set with glass bobeches and hung with prisms, h. 17‑1/2”, dia. 14‑1/2”. [500/800] Illustrated

792 Pair of Regence-Style Gilt-Bronze and Cut Glass Vases, Attributed to Baccarat, ca. 1900, each on a cut-cornered bronze base molded with medallions and a faceted foot, the vase cut with vertical rays and sunbursts, and mounted with swags of grapevines hanging from the shoulders, trimmed with gilt-bronze-bound laurel and gilt-bronze-bound leaves on the top rim, the gilt-bronze bases marked “France” underneath, h. 14‑3/4”, dia. 5”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1000/1500] Illustrated

794 French Gilt-Bronze and Crystal Wall Sconce in the Empire Taste, mid-20th century, on a bronze lyre-form backplate, the lyre sides terminating in eagle heads, set with six leaf-molded candle arms in two tiers, the top with a gilt-bronze bowfront canopy set with scrolled arms supporting cascades of drops down to the candle branches, with drops hung from the drip pans and swags of drops hung between the candle arms, a spray of drops embellishing the top, h. 38”, w. 24”, d. 14”. [1000/1500] Illustrated

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795 Louis XVI-Style Kingwood and Marble-Top Commode, mid-19th century, the rectangular marble top with a projecting center section, above a conforming case fitted with two long drawers, both with banding and parquetry veneers and a central inlaid musical motif, the sides veneered en suite, raised on tapering square legs ending in brass caps, h. 34”, w. 41‑1/2”, d. 20‑1/4”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1000/1500] Illustrated

798 Monumental French Fin-de-Siecle Painted Mirror of Baroque Inspiration, ca. 1900, the ogee-carved mirror surround decorated with ribbon-bound laurel leaves and Eros figures holding cornucopia nestled into the coves on either side of the central plinth, the crest with a wreath of flowers set with lovebirds and flanked by sprays of flowers, h. 100”, w. 62”. [1200/1800] Illustrated

796 Four French Hand-Painted Portrait Miniatures on Bone, first quarter 20th century, all in bronze neoclassical frames, the largest depicting Mary, Queen of Scotts, dressed in a ruffled collar, another example with a child holding an apple, depicting Figlio di Carlo I. d’Inghilterra, after Anthony van Dyck (Flemish, 1599‑1641), and two examples with images depicting Marie Antoinette, h. 3‑1/4” to 6”, w. 2‑1/4” to 3”. [600/900] Illustrated 797 Pair of French Bronze Neoclassical Three-Light Sconces, mid-20th century, on tasseled ribbon backplates, set with candle branches in the form of hunting horns, electrified and mounted with shades, h. 34‑1/2”, w. 16”, d. 9‑1/2”. [500/800] Illustrated

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795

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797

799 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded shield-form back surmounted by a ribband and torchere crest and flanked by fluted uprights, joined by padded arms to the like seat, raised on stop-fluted tapering circular legs ending in peg feet, h. 37”. [900/1200] Illustrated

800 French Painted Terracotta Bust of a Woman, fourth quarter 19th century, mounted on a tan and red mottled marble socle, the bust depicted in 18th-century costume, h. 21‑1/2”, w. 11‑1/2”, d. 8”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [600/900] Illustrated 801 Two Composition Neoclassical Busts, 20th century, possibly French, the busts of a young man and woman in the Houdon style, h. 18‑1/4”, w. 9”, d. 5‑3/4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [600/900] Illustrated 802 French Belle Epoque Parcel-Gilt Overmantel Mirror of Louis XV Inspiration, fourth quarter 19th century, the beveled mirror plate set into a giltwood surround, the serpentine crest carved with a scrollwork finial, all against a putty-colored painted ground, the rounded edges trimmed with giltwood scrollwork panels supporting an upper edge of gilt egg-and-dart molding, h. 56‑1/2”, w. 37‑3/4”. [800/1200] Illustrated

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803 Georg Thielen (German, 1853‑1901), “View of a Turreted Castle from a River”, watercolor on paper, signed and dated “24‑12‑83” lower left, sight 22” x 18‑3/4”. Glazed, matted and framed. [1000/1500] Illustrated 804 Three-Piece Louis XV-Style Giltwood Parlor Suite, early 20th century, consisting of a settee and a pair of fauteuils, the settee with a padded and rounded back surmounted by a shell and floral crest, joined by downswept arms to the padded seat, raised on molded cabriole legs ending in casters, h. 36”, w. 63”, d. 27”, the fauteuils each with a shaped and padded back surmounted by a like crest and joined by a padded seat by like arms, raised on molded cabriole legs ending in casters, h. 41‑1/2”. [700/1000] Illustrated

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805 Pair of French Gilt-Bronze Five-Light Candelabra, fourth quarter 19th century, in the Louis XV style, on pierced bases, the standards molded with rocaille work and flowers, the scrolled arms with matching candlecups and drip pans, h. 23‑3/4”, w. 13”, d. 10‑1/2”. [700/1000] Illustrated 806 French Rococo-Style Giltwood Mirror, ca. 1900, the bolection-molded surround decorated with molded flowers, the serpentine mirror under a crest framed with deeply modeled scrolls and a rococo crest of scroll and rocaille work, h. 70”, w. 36‑1/2”. [600/900] Illustrated

807 810

808

807 Pair of French Bronze and Porcelain Two-Light Sconces, second quarter 20th century, on gilt-bronze bowknot-and-tassel-molded backplates, decorated with bronze baskets of porcelain flowers, the scrolled candle arms holding swag-molded candle cups and leafmolded drip pans, electrified, h. 17‑1/2”, w. 6‑1/2”, d. 5”.

[600/900] Illustrated 808 Louis XVI-Style Giltwood and Marble-Top Occasional Table, late 19th century, the inset circular marble top above a conforming foliate-pierced frieze, raised on stopfluted tapering circular legs joined by a shaped annulated stretcher and ending in toupie feet, h. 29‑1/2”, dia. 20”.

[500/800] Illustrated

809

809 Louis XVI-Style Giltwood and Marble-Top Center Table, early 20th century, the inset oval marble top above a conforming foliate- and laurel-carved frieze, raised on spiral-fluted tapering circular legs joined by an annulated stretcher and ending in toupie feet, h. 32”, w. 35‑1/2”, d. 25‑1/2”. [500/800] Illustrated 810 Unusual Molded Lilac Glass Eight-Light Chandelier in the French Taste, 20th century, the molded glass standard hung with three canopies of drops and set with rope-twist arms with molded candle cups and prism-hung drip pans, with swags of lilac drops hung between the arms, h. 34”, dia. 24”. [1000/1500] Illustrated

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817

811 Fine Agra Serapi Carpet, 8’ 8” x 12’. [1800/2500] Illustrated 812 Turkish Carpet, 4’ x 8’ 5”. [500/800] 813 Turkish Angora Oushak Carpet, 10’ 2” x 13’ 10”.

[1200/1800] Illustrated 814 Semi-Antique Tabriz Silk Carpet, 4’ 6” x 7’ 4”.

[700/1000]

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815

820

815 Antique Turkish Sparta Carpet, 8’ 9” x 11’ 9”.

[1000/1500] Illustrated 816 Peshawar Sultanabad Runner, 3’ 1” x 12’ 7”. [600/900] 817 Antique Serapi Carpet, 7’ 9” x 11’ 4”. [6000/9000] Illustrated 818 Semi-Antique Mahal Carpet, 10’ 9” x 14’ 7”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [4000/7000] Illustrated

821

823

824

819 Turkish Angora Oushak Carpet, 9’ 2” x 12’.

[1000/1500] 820 Farahan Sarouk Carpet, 4’ x 6’ 4”. [600/900] Illustrated

821 Antique Shirvan Carpet, 3’ 9” x 5’ 8”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [500/800] Illustrated 822 Semi-Antique Persian Bidjar Carpet, 7’ 4” x 10’.

[1200/1800] 823 Semi-Antique Tabriz Pictorial Carpet, 3’ x 5’ 8”.

[700/1000] Illustrated 824 Antique Bidjar Runner, 3’ 2” x 25’ 3”. [800/1200] Illustrated

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Se s sion I I I : S u nday, O ctobe r 1 6 , 2 0 1 6 Lots 8 2 5 - 1 3 4 5

Lot 1038

829 Eighteen-Karat White Gold and Diamond Ring, mounted with a central emerald-cut diamond, with an approximate weight of 1.02 carats, approximate color G and clarity SI1, flanked by twelve graduated round brilliant-cut diamonds, with an approximate total weight of 0.28 carats, approximate color E-G and clarity VS2‑SI1, size 6‑3/4, 3.0 grams total weight. [3000/5000] Illustrated 830 Pair of Gold Vermeil, Black Onyx and Diamond Earrings, each earring mounted with a polished, elongated, diamond-shaped black onyx stone, surrounded by rose-cut diamonds, with an approximate total weight of 1.87 carats for the pair, l. 3‑1/2”, 15.6 grams total weight.

[500/800] Illustrated 831 Eighteen-Karat White Gold and Diamond Bracelet, composed of oval interlocking links mounted with round brilliant-cut diamonds, with an approximate total weight of 2.15 carats, approximate color E-F and clarity VS2‑SI1, l. 7”, 23.0 grams total weight. [4000/7000] Illustrated 825

825 Fourteen-Karat White Gold, Tahitian Pearl and Diamond Ring, mounted with an 11.5 mm round Tahitian pearl, with a very good luster, surrounded by a double halo of forty-four round brilliant-cut diamonds, with an approximate total weight of 1.16 carats, size 6‑1/2, 7.8 grams total weight. [1200/1800] Illustrated 826 Fourteen-Karat White Gold/Sterling Silver, Tahitian Pearl and Diamond Necklace, the graduated necklace with Tahitian pearls measuring approximately 11.0 mm to 13.5 mm in diameter, with a good luster, accented with a sterling silver and diamond bead, mounted with single-cut diamonds, with an approximate total weight of 0.88 carats, and finished with a fourteen-karat white gold clasp, l. 18”, 89.3 grams total weight. [2000/4000] Illustrated 827 Fourteen-Karat White Gold and Black and White Diamond Ring, mounted with a central rectangular-stepcut black treated diamond, with an approximate weight of 4.86 carats, surrounded by sixteen round brilliant-cut diamonds, with an approximate total weight of 1.67 carats, size 7‑1/4, 4.9 grams total weight. [2500/4000] Illustrated 828 Three-Piece Fourteen-Karat White Gold/Sterling Silver and Diamond Jewelry Suite, including a pendant necklace mounted with fifty-two baguette-cut diamonds, with an approximate total weight of 0.40 carats, suspended from a fourteen-karat white gold chain, l. 18”, a pair of sterling silver half hoop earrings mounted with twenty-four baguette-cut diamonds, with an approximate total weight of 0.15 carats for the pair, l. 1/2”, and a pair of sterling silver round earrings mounted with sixty-six baguette-cut diamonds, with an approximate total weight of 0.56 carats for the pair, dia. 1/2”. [500/800] Illustrated

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832 Pair of Eighteen-Karat White Gold and Diamond Earrings, each earring mounted with an oval-cut diamond, with an approximate total weight of 0.42 carats for the pair, and four larger round brilliant-cut diamonds, with an approximate total weight of 0.48 carats for the pair, accented by 252 round brilliant-cut diamonds, with an approximate total weight of 0.88 carats for the pair, approximate color E-G and clarity VS1‑SI1, l. 1‑1/4”, 9.0 grams total weight. [3000/5000] Illustrated 833 Eighteen-Karat White/Rose Gold and Diamond Ring, the quatrefoil-designed ring mounted with fifty-eight round-cut diamonds, with an approximate total weight of 0.88 carats, size 6, 5.0 grams total weight. [1400/1800] Illustrated 834 Fourteen-Karat Rose Gold, Morganite and Diamond Ring, mounted with a rectangular-cut morganite, with an approximate weight of 5.21 carats, surrounded by thirty round brilliant-cut diamonds, with an approximate total weight of 0.58 carats, size 6‑1/2, 7.2 grams total weight.

[1500/2500] Illustrated

828

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829

831

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840 Eighteen-Karat White Gold, Ruby and Diamond Ring, mounted with an oval-cut treated ruby, with an approximate weight of 1.05 carats, accented by round-cut diamonds in a double halo around the stone and down the split ring shank, with an approximate total weight of 0.48 carats, size 8‑3/4, 8.0 grams total weight. [1800/2500] Illustrated 841 Eighteen-Karat White Gold, Diamond and Ruby Bracelet, mounted with 185 single-cut diamonds, with an approximate total weight of 0.91 carats, approximate color F-G and clarity SI1‑SI2 and accented with thirty calibrated-cut rubies, with an approximate total weight of 0.30 carats, l. 7‑1/4”, 15.0 grams total weight.

[3000/5000] Illustrated 835

835 Eighteen-Karat Rose/White Gold and Diamond Band, the wide band designed with bezel-set round-cut diamonds, with an approximate total weight of 0.38 carats, interspersed with “leaves” mounted with sixty roundcut diamonds, with an approximate total weight of 0.28 carats, size 6‑1/2, 7.0 grams total weight. [1500/2500] Illustrated

842 Fourteen-Karat Rose Gold, Turquoise, Diamond and Ruby Ring, mounted with a central cabochon-cushion-cut turquoise, with an approximate weight of 19.79 carats, accented on the mounting and ring shank by round-cut diamonds, with an approximate total weight of 0.56 carats, and round-cut rubies, with an approximate total weight of 0.42 carats, size 7, 14.0 grams total weight. [1800/2500] Illustrated

836 Pair of Eighteen-Karat White Gold, Amethyst, Tourmaline and Diamond Earrings, each earring mounted with a pear-cut light amethyst, with an approximate total weight of 5.19 carats for the pair, and six pear-cut, six round-cut and two oval-cut tourmalines, with an approximate total weight of 1.90 carats for the pair, all accented by round brilliant-cut diamonds, with an approximate total weight of 0.85 carats for the pair, l. 2”, 12.0 grams total weight. [1500/2500] Illustrated 837 Eighteen-Karat Rose Gold and Diamond Ring, in the form of a flower and mounted with fifty-six round brilliantcut diamonds, with an approximate total weight of 0.18 carats, size 6‑1/4, 3.0 grams total weight. [500/800] Illustrated 838 Fourteen-Karat Yellow Gold, Ruby and Diamond Bangle Bracelet, the rectangular-shaped, hinged bracelet mounted with sixteen square-cut rubies, with an approximate total weight of 1.44 carats, and twelve square-cut diamonds, with an approximate total weight of 0.84 carats, approximate color E-F and clarity VVS2‑VS1, inside measurement, 7‑1/4”, 18.0 grams total weight.

[3000/5000] Illustrated 839 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, mounted with a central oval-cut treated ruby, with an approximate weight of 15.24 carats, surrounded by a border of fourteen round brilliant-cut diamonds, with an approximate total weight of 0.67 carats, and fourteen round-cut treated rubies, with an approximate total weight of 1.00 carat, size 7‑1/2, 9.8 grams total weight.

[1000/1500] Illustrated

839

843 Pair of Eighteen-Karat Yellow Gold, Turquoise, White and Brown Diamond and Ruby Earrings, the dangle earrings each mounted with a pear-shaped turquoise, with an approximate total weight of 25.76 carats for the pair, accented by round-cut white and brown diamonds, with an approximate total weight of 0.60 carats for the pair, and round-cut rubies, with an approximate total weight of 0.30 carats for the pair, l. 1‑3/4”, 15.5 grams total weight. [1800/2500] Illustrated

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849 Pair of Sterling Silver, Aquamarine, Diamond and Sapphire Earrings, the Deco-style earrings each mounted with a pear-cut and emerald-cut aquamarine, with an approximate total weight of 13.76 carats for the pair, 331 round-cut diamonds, with an approximate total weight of 1.86 carats for the pair, and twenty-six treated pear-cut sapphires, with an approximate total weight of 1.30 carats for the pair, l. 2‑1/2”, 22.0 grams total weight.

[500/800] Illustrated 850 Eighteen-Karat White Gold, Sapphire and Diamond Ring, mounted with a central cushion-cut treated sapphire, with an approximate weight of 1.98 carats, flanked by four pear-shaped diamonds, with an approximate total weight of 0.44 carats, and two round brilliant-cut diamonds, with an approximate total weight of 0.07 carats, approximate color E-F and clarity VS1‑VS2, size 6‑3/4, 44.0 grams total weight. [1800/2500] Illustrated 844

844 Eighteen-Karat White Gold, Aquamarine and Diamond Ring, mounted with a central oval-cut aquamarine, with an approximate weight of 5.30 carats, accented by eighty round brilliant-cut diamonds, with an approximate total weight of 0.36 carats, size 7, 6.0 grams total weight. [1500/2500] Illustrated 845 Pair of Sterling Silver, Aquamarine and Diamond Earrings, each earring mounted with two pear-shaped aquamarines, with an approximate total weight of 15.68 carats, and round-cut diamonds, with an approximate total weight of 0.79 carats for the pair, l. 2”, 9.5 grams total weight. [500/800] Illustrated

851 Pair of Sterling Silver, Sapphire and Diamond Earrings, each earring mounted with three pear-cut treated sapphires, with an approximate total weight of 3.20 carats for the pair, accented by round-cut diamonds, with an approximate total weight of 1.25 carats for the pair, l. 2‑1/2”, 14.0 grams total weight. [500/800] Illustrated 852 Fourteen-Karat White Gold, Sapphire and Diamond Bracelet, set with nineteen oval-cut treated sapphires, with an approximate total weight of 18.04 carats, each surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 3.05 carats, l. 7”, 16.1 grams total weight. [2500/4000] Illustrated

846 Fourteen-Karat Yellow Gold, Gold Vermeil, Blue Topaz and Diamond Necklace, composed of thirteen pear-cut blue topazes, with an approximate total weight of 40.82 carats, accented by round-cut diamonds, with an approximate total weight of 1.70 carats, suspended from a fourteen-karat yellow gold chain, l. 16”, 40.0 grams total weight. [600/900] Illustrated 847 Gold Vermeil, Aquamarine and Diamond Bangle Bracelet, the hinged bracelet mounted with four oval-cut aquamarines, with an approximate total weight of 13.0 carats, and rose-cut diamonds, with an approximate total weight of 1.90 carats, inside circumference, 6‑3/4”, 20.1 grams total weight. [500/800] Illustrated 848 Pair of Sterling Silver, Aquamarine and Diamond Earrings, the dangle earrings each mounted with two emerald-cut aquamarines, with an approximate total weight of 17.61 carats for the pair, accented by 130 roundcut diamonds, with an approximate total weight of 1.06 carats, l. 2”, 11.0 grams total weight. [500/800] Illustrated

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853 Fourteen-Karat White Gold, Sapphire and Diamond Necklace, composed of forty-one oval-cut treated sapphires, with an approximate total weight of 37.68 carats, each surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 4.90 carats, l. 17‑1/2”, 29.8 grams total weight. [5000/8000] Illustrated 854 Pair of Eighteen-Karat White Gold, Sapphire, Diamond and Pearl Earrings, mounted with a pink/rosecolored pearl with a high luster and measuring 8.00 mm in diameter, suspended from mountings set with round- and baguette-cut sapphires, with an approximate total weight of 1.00 carat for the pair, and round brilliant-cut diamonds, with an approximate total weight of 0.27 carats, l. 1‑3/4”, 8.0 grams total weight. [1000/1500] Illustrated 855 Two Sterling Silver, Diamond and Sapphire Bangles, each hinged bangle mounted with baguette-cut diamonds, with an approximate total weight of 2.45 carats for the pair, and baguette-cut treated sapphires, with an approximate total weight of 5.60 carats for the pair, inside circumference, 7”, 40.3 grams total weight. [600/900] Illustrated 856 Fourteen-Karat Yellow Gold, Sapphire and Diamond Bangle Bracelet, the rectangular-shaped, hinged bracelet mounted with seventeen square-cut sapphires, with an approximate total weight of 1.02 carats, and twelve square-cut diamonds, with an approximate total weight of 0.96 carats, approximate color D-E and clarity VVS2‑VS1, inside measurement, 7”, 18.0 grams total weight. [3000/5000] Illustrated

859

859 Fourteen-Karat Yellow Gold and Diamond Ring, mounted with a round brilliant-cut diamond, with an approximate weight of 1.40 carats, approximate color F and clarity SI1, size 7‑3/4, 6.0 grams total weight.

[2500/4000] Illustrated 860 Eighteen-Karat White Gold and Yellow and White Diamond Ring, mounted with a cushion-cut Fancy Intense Yellow diamond, with an approximate weight of 0.45 carats, approximate clarity SI1, and ninety round brilliant-cut white diamonds in a double halo around the stone and down the split shank, with an approximate total weight of 0.33 carats, size 6‑1/2, 3.0 grams total weight.

[1400/1800] Illustrated 861 Eighteen-Karat Yellow/White Gold and Yellow and White Diamond Ring, in an overlapping ribbon design, mounted with sixty-eight round-cut yellow diamonds, with an approximate total weight of 0.52 carats, approximate clarity SI1‑I1, and twenty-four round brilliant-cut white diamonds, with an approximate total weight of 0.25 carats, approximate color E-F and clarity VS2‑SI1, size 6‑1/2, 5.0 grams total weight. [1000/1500] Illustrated

856

857 Fourteen-Karat Yellow Gold and Diamond Solitaire Ring, mounted with a round brilliant-cut diamond, with an approximate weight of 1.05 carats, approximate color F and clarity SI1, size 6, 5.0 grams total weight.

[2500/4000] Illustrated 858 Eighteen-Karat White Gold and Yellow and White Diamond Ring, mounted with an oval-cut yellow/brown diamond, with an approximate weight of 1.05 carats, approximate clarity SI1, and fifty round brilliant-cut white diamonds bordering the center stone and accenting the ring shank, with an approximate total weight of 0.48 carats, approximate color G-I and clarity VS2‑SI1, size 6‑1/2, 6.0 grams total weight. [2500/4000] Illustrated

857

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862 Gold Vermeil, Sapphire and Diamond Bracelet, composed of interlocking links mounted with round-cut diamonds, with an approximate total weight of 2.81 carats, alternating with round-cut sapphires, with an approximate total weight of 6.87 carats, l. 7‑1/4”, 31.0 grams total weight. [500/600] Illustrated 863 Pair of Gold Vermeil and Diamond Earrings, the dangle earrings with a leaf design and mounted with rose-cut diamonds, with an approximate total weight of 1.35 carats for the pair, l. 1‑7/8”, 10.1 grams total weight.

[500/800] Illustrated

867 Eighteen-Karat Yellow Gold and Multicolored Diamond Ring, the elongated ring mounted with an ovalcut brown treated diamond, with an approximate weight of 0.19 carats, two radiant-cut green treated diamonds, with an approximate total weight of 0.40 carats, two princesscut brown treated diamonds, with an approximate total weight of 0.14 carats, and 118 round brilliant-cut white diamonds, with an approximate total weight of 0.75 carats, size 7, 9.0 grams total weight. [1500/2500] Illustrated 868 Fourteen-Karat White Gold and Fancy Brown and White Diamond Ring, mounted with a central oval-cut fancy brown diamond, with an approximate weight of 1.01 carats, approximate clarity I1, accented by round brilliantcut white diamonds in a triple border around the center stone and down the split shank, with an approximate total weight of 0.94 carats, size 7‑1/2, 3.9 grams total weight.

[1200/1800] Illustrated 869 Eighteen-Karat Yellow Gold and Diamond Ring, with a crossover chain-link and curved band design, mounted with round brilliant-cut diamonds, with an approximate total weight of 1.52 carats, approximate color E-F and clarity VVS2‑VS1, size 7, 10.0 grams total weight.

[1800/2500] Illustrated 870 Fourteen-Karat Rose Gold and Diamond SevenStrand Bracelet, each strand mounted with bezel-set round brilliant-cut diamonds and finished with a bar clasp mounted with round brilliant-cut diamonds, with an approximate total weight of 3.80 carats, approximate color E-G and clarity VS1‑SI1, l. 7‑1/4”, 51.0 grams total weight.

[15000/25000] Illustrated

864

864 Eighteen-Karat Yellow/White Gold and Yellow and White Diamond Ring, mounted with three marquise-cut yellow diamonds, with an approximate total weight of 0.63 carats, approximate clarity VVS2‑VS1, accented by yellow round-cut diamonds, with an approximate total weight of 0.38 carats and white round-cut diamonds, with an approximate total weight of 0.17 carats, size 7, 6.0 grams total weight. [2000/4000] Illustrated 865 Gold Vermeil, Diamond and Opal Cuff Bracelet, the wide, hinged bracelet mounted with clusters of ovalshaped opals, with an approximate total weight of 11.25 carats, over an openwork crossover pattern mounted with rose-cut diamonds, with an approximate total weight of 5.62 carats, inside circumference, 7‑3/8”, w. 1‑5/8”, 66.0 grams total weight. [500/800] Illustrated 866 Eighteen-Karat Yellow Gold, South Sea Pearl and Diamond Ring, mounted with a gold South Sea pearl with a medium luster, measuring 12.0 mm in diameter, accented by sixty-seven round brilliant-cut diamonds, with an approximate total weight of 0.39 carats, size 7, 8.0 grams total weight. [1200/1800] Illustrated

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875 Eighteen-Karat White Gold, Orange Sapphire and Diamond Ring, mounted with an emerald-cut orange sapphire, with an approximate weight of 2.45 carats, flanked by two baguette-, two round- and four marquisecut diamonds, with an approximate total weight of 0.41 carats, approximate color E-F and clarity VVS2‑VS1, size 7, 4.0 grams total weight. [2500/4000] Illustrated 876 Pair of Eighteen-Karat Yellow Gold, Coral, Diamond and Ruby Earrings, each teardrop-shaped coral cabochon suspended from mountings set with two pearshaped rubies, with an approximate total weight of 0.60 carats, round-cut rubies, with an approximate total weight of 0.15 carats, and round brilliant-cut diamonds, with an approximate total weight of 0.79 carats, l. 2‑1/2”, 11.0 grams total weight. [1800/2500] Illustrated

871

871 Eighteen-Karat Rose Gold and Diamond Band, the wide band mounted with twenty-four round brilliant-cut diamonds, with an approximate total weight of 1.47 carats, approximate color E-F and clarity VS2‑VS1, bordering twenty-six baguette-cut diamonds, with an approximate total weight of 0.73 carats, approximate color E-G and clarity VVS2‑VS1, size 6‑1/2, 9.0 grams total weight.

[3000/5000] Illustrated 872 Four Eighteen-Karat Rose Gold and Diamond Stackable Rings, each eternity band mounted with round brilliant-cut diamonds, with an approximate total weight of 1.78 carats for all four rings, approximate color E-G and clarity VS1‑SI2, size 6‑1/2, 10.6 grams total weight.

[2500/4000] Illustrated 873 Pair of Fourteen-Karat Yellow Gold and Rhodolite Garnet Earrings, each earring mounted with a roundcut rhodolite garnet, with an approximate total weight of 5.04 carats for the pair, surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 0.48 carats for the pair, approximate color E-F and clarity VS2‑SI1, l. 1/2”, 6.0 grams total weight. [1500/2500] Illustrated 874 Pair of Fourteen-Karat Yellow Gold, Multicolored Tourmaline and Diamond Earrings, the dangle earrings each mounted with three pear-shaped multicolored tourmalines, with an approximate total weight of 21.00 carats for the pair, accented by round brilliant-cut diamonds, with an approximate total weight of 3.28 carats for the pair, l. 2‑1/4”, 18.0 grams total weight.

[3500/5000] Illustrated

874

877 Contemporary Indian Twenty-One-Karat Gold and Gemstone “Moghul”-Style Three-Piece Jewelry Suite, comprising a necklace composed of nine articulated openwork floral plaques, each set with split pearls and various colored gemstone melee including sapphire, ruby, emerald, coral, turquoise and garnet, the center with a triangular pendant drop en suite, the whole with freshwater pearl fringe, all to a curb-link chain and fishhook clasp, l. 15”, together with a pair of chandelier earrings, l. 2‑1/4”, and a ring, size 6, 39.6 grams total weight. [1500/2500] Illustrated

227

882 Pair of Fourteen-Karat White Gold, Opal and Diamond Earrings, each earring mounted with a pearcut opal, with an approximate total weight of 4.98 carats for the pair, surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 1.63 carats for the pair, approximate color E-F and clarity VS1‑VS2, l. 3/4”, 7.0 grams total weight. [3000/5000] Illustrated 883 Oxidized Sterling Silver, Tanzanite, Moonstone and Diamond Bracelet, the wide flexible bracelet mounted with various shapes and sizes of tanzanites, with an approximate total weight of 11.26 carats, and moonstones, with an approximate total weight of 18.88 carats, accented with thirty-two rose-cut diamonds, with an approximate total weight of 0.58 carats, l. 7‑1/2”, w. 1”, 54.0 grams total weight. [500/800] Illustrated

878

878 Pair of Eighteen-Karat Yellow Gold, Opal and Diamond Earrings, each dangle earring mounted with two round-cut and one oval-cut opal cabochon, with an approximate total weight of 6.26 carats for the pair, accented with fifty-four brilliant-cut diamonds, with an approximate total weight of 0.25 carats, l. 1‑1/2”, 6.0 grams total weight. [3000/5000] Illustrated 879 Fourteen-Karat Yellow Gold, Opal and Diamond Ring, mounted with an oval opal cabochon, with an approximate weight of 2.94 carats, and forty-four round brilliant-cut diamonds in a border around the opal and down the ring shank, with an approximate total weight of 0.33 carats, size 7, 4.6 grams total weight. [600/900] Illustrated 880 Fourteen-Karat Rose Gold, Opal and Diamond Necklace, set with thirty-three oval-shaped opals, with an approximate total weight of 39.21 carats, each surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 4.62 carats, l. 17”, 30.5 grams total weight. [4500/7000] Illustrated 881 Fourteen-Karat White Gold, Opal and Diamond Ring, set with an oval-shaped opal cabochon, with an approximate weight of 3.72 carats, on a wide stylized band with a fleur-de-lis on each side, mounted with sixtyfour round brilliant-cut diamonds, with an approximate total weight of 1.06 carats, approximate color E-F and clarity VS1‑VS2, size 6‑1/2, 10.0 grams total weight.

[4000/7000] Illustrated

228

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884 Pair of Sterling Silver, Sapphire and Diamond Earrings, each earring with two moveable layers of “leaves” mounted with fifty-five marquise-cut sapphires, with an approximate total weight of 4.40 carats for the pair, and ninety rose-cut diamonds, with an approximate total weight of 0.57 carats for the pair, l. 1‑1/4”, 7.0 grams total weight. [500/800] Illustrated 885 Platinum, Tanzanite and Diamond Ring, mounted with a pear-shaped GIA certified tanzanite, with a weight of 13.79 carats, GIA report #5151718497, surrounded by a double halo of eighty-four round brilliant-cut diamonds, with an approximate total weight of 1.67 carats, size 7, 12.6 grams total weight. [9000/12000] Illustrated

882

880

881

884 885

879

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886 Pair of Eighteen-Karat White Gold, Tanzanite and Diamond Earrings, each earring mounted with a pearshaped tanzanite, with an approximate total weight of 2.99 carats for the pair, surrounded by forty round brilliant-cut diamonds, with an approximate total weight of 0.45 carats for the pair, approximate color E-F and clarity VS1‑SI1, l. 1/2”, 4.0 grams total weight. [1500/2500] Illustrated

891 Pair of Eighteen-Karat White Gold, Emerald and Diamond Earrings, each earring mounted with a pear-cut emerald, with an approximate total weight of 2.22 carats for the pair, and fourteen round brilliant-cut diamonds, with an approximate total weight of 0.16 carats for the pair, l. 3/4”, 2.0 grams total weight. [600/900] Illustrated

887 Platinum, Tanzanite and Diamond Ring, mounted with a GIA certified cushion-cut tanzanite, with a weight of 5.96 carats, GIA report #2175379233, accented by fifty-six round brilliant-cut diamonds, with an approximate total weight of 1.16 carats, size 7, 8.1 grams total weight.

[5000/8000] Illustrated 888 Fourteen-Karat White Gold, Tanzanite and Diamond Necklace, the stylized necklace mounted with a square cushion-cut tanzanite, with an approximate weight of 3.35 carats, accented around the stone and on the necklace by round brilliant-cut diamonds, with an approximate total weight of 7.63 carats, l. 17‑1/2”, pendant l. 7/8”, 31.4 grams total weight. [8000/12000] Illustrated 889 Pair of Fourteen-Karat Yellow Gold, Diamond and Enamel Cufflinks, contemporary, in the Imperial Russian taste, the oval faces with an applied silver Romanoff eagle on a green guilloche ground and surrounded by single-cut diamonds, with an approximate total weight of 0.61 carats, with navette-shaped swivel backs enameled en suite, l. 7/8”, w. 5/8”, d. 3/4”. [1000/1500] Illustrated

892

892 Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with an emerald-cut treated emerald, with an approximate weight of 1.01 carats, and sixty round brilliant-cut diamonds in a border around the stone and down the ring shank, with an approximate total weight of 0.66 carats, size 7, 3.3 grams total weight. [1500/2500] Illustrated

890

890 Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with five oval-cut emeralds, with an approximate total weight of 3.06 carats, each accented by a halo of round-cut diamonds, with an approximate total weight of 0.48 carats, size 7, 5.0 grams total weight.

[1500/2500] Illustrated

891

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893 Eighteen-Karat Yellow Gold, Emerald and Diamond Bracelet, mounted with fifteen oval-cut emeralds, with an approximate total weight of 4.65 carats, alternating with bow-tie-designed sections, mounted with ninety tapered baguette-cut diamonds, with an approximate total weight of 1.80 carats, approximate color E-G and clarity VVS2‑VS1, l. 7”, 13.0 grams total weight.

[2500/4000] Illustrated

896

893

895

894 Pair of Eighteen-Karat Yellow Gold, Emerald and Diamond Earrings, each earring with an oval shaped drop mounted with twenty-two graduated oval-cut treated emeralds, with an approximate total weight of 4.62 carats for the pair, two round-cut emeralds, with an approximate total weight of 0.12 carats for the pair, and two roundcut diamonds, with an approximate total weight of 0.06 carats for the pair, l. 1‑1/2”, 11.0 grams total weight.

[1500/2500] Illustrated

894

895 Eighteen-Karat Yellow Gold, Emerald and Diamond Bracelet, mounted with seventeen marquise-cut emeralds, with an approximate total weight of 8.67 carats, accented by twenty-seven round-cut diamonds, with an approximate total weight of 0.08 carats, l. 7”, 12.0 grams total weight. [1800/2500] Illustrated 896 Fourteen-Karat Yellow Gold, Emerald and Diamond Ring, mounted with a central oval-cut treated emerald, with an approximate weight of 0.99 carats, accented by twenty-two round brilliant-cut diamonds, with an approximate total weight of 0.34 carats, size 7, 3.2 grams total weight. [900/1200] Illustrated 897 Eighteen-Karat Yellow Gold, Emerald and Diamond Bangle Bracelet, the rectangular-shaped, hinged bracelet mounted with twelve square-cut treated emeralds, with an approximate total weight of 1.20 carats, and sixteen round brilliant-cut diamonds, with an approximate total weight of 0.93 carats, approximate color E-F and clarity VS1‑VS2, inside measurement 6‑5/8”, 18.0 grams total weight. [3500/5000] Illustrated

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898

898 Louis Vuitton Luxury Wardrobe Trunk, ca. 1937, the hardwood canvas-covered case fitted with leather handles, hardwood slats, brass trim, marked rivets and lock, opening to a leather interior with a side of six graduated drawers, the other side with a hinged top lid enclosing the wardrobe, compartment fitted with hangers and pull-out clothes rods, case side monogrammed “BBJ” in blue, serial number 808910, lock number 054497, h. 26”, l. 44”, d. 22”.

Provenance: The Flatt Collection.

[5000/8000] Illustrated

898

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899

899 Pedro Friedeberg (Mexican, b. 1936), “Left Hand” and “Right Hand”, pair of chairs, gold leaf over carved wood, each signed along bottom interior edge, each, h. 35‑1/2”. Presented with custom-made acrylic bases. [15000/25000] Illustrated 900 Piero Fornasetti (Italian, 1913‑1988) Designed "Casa Con Calonne" Umbrella Stand, 20th century, decorated with classical facades, a brass band at the top, labeled “Fornasetti-Milano, Made in Italy”, h. 22‑1/2”, dia. 10‑1/4”. [500/800] Illustrated

900

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901

901 Piero Fornasetti (Italian, 1913‑1988) Designed “Vasi Antichi” Umbrella Stand, with a curved front, designed with black and white prints of classical vases, some with added color, labeled “Fornasetti-Milano, Made in Italy”, h. 29”, w. 19”, d. 6”. [500/800] Illustrated 902 Piero Fornasetti (Italian, 1913‑1988) Designed "Arco Romano" Umbrella Stand, the stand with a black and white neoclassical print with a blue sky, labeled “Piero Fornasetti, Made in Italy”, h. 22‑1/2”, dia. 10‑1/2”. [600/900] Illustrated 903 Collection of Five Piero Fornasetti (Italian, 1913‑1988) Plates, ca. 1950s-1960s, the plates featuring images of the opera star Lina Cavalieri, including the iconic “sipping wine” plate, a selfportrait of Fornasetti sipping a glass of wine, marked “in vino veritas”, an image of Cavalieri reflected in the glass, each marked “Tema E Variazioni, Fornasetti-Milano, Made in Italy”, each with a Sotheby’s tag, dia. 10‑1/2”. Provenance: Sotheby’s Chicago, November 7, 1999. [500/800] Illustrated

903

235

904 Five Black and White Printed Plates, after Piero Fornasetti (Italian, 1913‑1988), last half 20th century, Italian, made and marked by Tema E Variazioni, the plates designed with images of Lina Cavalieri, dia. 10”.

[500/800] Illustrated

906

906 Pair of Gilt and Black Printed Plates, after a design by Piero Fornasetti (Italian, 1913‑1988), 20th century, Italian, made and marked by Tema E Variazioni, both with images of 19th-century Italian opera star Lina Cavalieri, and in their original presentation boxes, dia. 10‑1/4”. [500/800] Illustrated

905

905 Seven Black and White TransferPrinted Plates, after Piero Fornasetti (Italian, 1913‑1988), 20th century, Italian, each utilizing a portion of an image of Lina Cavalieri, an Italian 19th-century opera star, six marked

by Tema E Variazioni, dia. 10‑1/2”, and one by Rosenthal, Germany, dia. 9‑1/4”. [600/900] Illustrated

905

236

908 907

909

910

907 Jean Besnard Pottery Vase, second quarter 20th century, French, decorated with pink striations and a deep gilt-incised spiral, signed “JB” in incised script and “France”, h. 7‑1/2”, dia. 4”. [1500/2500] Illustrated

909 Rare Auguste Delaherche Stoneware Flower Bowl with Matching Frog, fourth quarter 19th century, French, the bowl of Japonesque inspiration, with a red and gray mottled glaze, white crackled foot and blue rim, the frog insert incised with flowers with pierced centers for holding stems, and with finger holes in the center, impressed “Auguste Delaherche” in a circle on the bottom, along with “4334”, h 2”, dia. 4‑1/2”. [800/1200] Illustrated

908 Rare Art Nouveau Glass Flacon Vase, ca. 1906, designed by Pierre-Roger Claudin, Ceramique de Rambervillers, Nancy, France, the iridescent vase decorated with a spider in a web, marked with a semicircle printed mark, “1905‑1911”, and an incised “P. Claudin”, h. 5‑3/4”, dia. 5‑1/2”. [600/900] Illustrated

910 Rare Stoneware and Bronze Japonesque Jardiniere, ca. 1882‑1886, made for Haviland’s Paris atelier of custom goods by Ernest Chaplet and Edouard Dammouse, on an Asian-inspired patinated bronze base, the flowerdecorated, molded and incised pot signed with an impressed “HC” within a Chaplet’s rosary mark on the bottom and “ED” on the side, h. 5‑1/2”, dia. 5‑1/2”.

[1200/1800] Illustrated

This shape appears in the Rambervillers 1905‑07 catalogue as number 4.

A closely related stoneware vase is in the collection of the Metropolitan Museum of Art, New York.

237

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914

912

911 Austrian Art Nouveau Bronze Table Lamp, ca. 1900, the organic base supporting a mushroom-form shade incised with trees and mounted with rough-cut colored glass “jewels”, and a lotus flower finial, hung with antique Favrile glass prisms, attributed to Tiffany and stamped with a spurious Tiffany Studios mark, h. 24”, dia. 15”.

[1000/1500] Illustrated 912 Emile Decoeur Mottled Blue and Black Pottery Art Deco Vase, second quarter 20th century, French, in a pinched shape, marked “DE” on the bottom, h. 7‑1/4”, dia. 3‑3/4”. [800/1200] Illustrated 913 Large “Verrerie d’Art Degue” Art Glass Vase, ca. 1926‑1930, French, internally decorated with mottled burgundy, mauve and lilac glass, with applied glass handles, signed “Degue” on the side in engraved script, h. 17”, dia. 7‑1/2”. [500/800] Illustrated

238

911 914 Boch Freres La Louviere Pottery Vase, ca. 1920, Belgian, with a celadon interior, the exterior streaked with a cobalt over celadon glaze, possibly a design after Charles Catteau, h. 12”, dia. 5‑1/4”. [500/800] Illustrated 915 Seven-Piece Assembled Tiffany Favrile Glass Liqueur Set, ca. 1900, New York, comprising a gold favrile decanter with a matching stopper, with pinched decoration, signed “LCT” and “M9314”, with a ground pontil, h. 10”, w. 3‑1/2”, d. 3‑1/2”, and six iridescent gold favrile glasses of the same design, each engraved “LCT” with an “O” prefix registration number and with a ground pontil, h. 1‑3/4”, dia. 1‑1/2”. [800/1200] Illustrated

918

919

917

916

916 Two Pieces of American Gold Iridescent Art Glass, including a Tiffany Favrile threaded glass vase or tumbler, ca. 1898, marked “I 293, L.C.T. Favrile”, h. 5‑1/2”, dia. 3”, and a Quezal floriform vase, marked “Quezal” in block letters within the ground pontil, h. 5”, dia. 3”. [600/900] Illustrated 917 Tiffany Gold Favrile Glass Ribbed Floriform Vase, ca. 1909, New York, the base with a button pontil, signed “L. C. Tiffany Favrile 3728D”, h. 18”, dia. 4”. [800/1200] Illustrated 918 Austrian Iridescent Gold Candia Papillion Art Glass Vase, ca. 1900, of small size, attributed to Loetz, h. 4‑1/2”, dia. 3”. [500/800] Illustrated

920

919 Austrian “Phaenomen” Glass Vase, Attributed to Loetz, ca. 1900, decorated with blue and gold pulled feathers and an orange iridescent mouth, the base with a ground pontil, h. 4‑3/4”, dia. 3”. [500/800] Illustrated 920 Legras Enamel Art Glass Winter Scene Bowl and a Pair of Vases, first quarter 20th century, French, decorated with snow and bare trees against an orange sky, both the bowl, h. 3‑1/4”, dia. 7”, and the pair of vases, h. 10‑3/4”, dia. 3‑3/4”, with pinched necks, signed “Legras” in enamel. [600/900] Illustrated

239

923 921

921 Interesting Pair of French Art Deco Macassar Wood Side Tables, second quarter 20th century, the circular cabinets fitted with two drawers and supported by a U-shaped standard and mounted to a circular stepped platform base, h. 30”, w. 17‑1/2”, d. 15”. [800/1200] Illustrated 922 Contemporary Ferrell and Mittman Upholstered Sofa, the trisected cushioned back above a like seat, the base skirted, the whole upholstered in Pierre Frey damask, raised on tapering square legs, h. 31”, w. 80”, d. 33”.

Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [700/1000] 923 Mexican Modernist Hammered Brass and Onyx-Top Coffee Table, mid20th century, attributed to Arturo Pani (Mexican, 1915‑1981), the oval base frame with a conforming onyx top and raised on stylized scrolled brass legs, h. 16‑1/2”, w. 59‑1/2”, d. 27”. [1000/1500] Illustrated 924 Harry Marinsky (American/New York, 1909‑2008), “Woman with a Parasol”, patinated bronze, cast signature, marked “1M10”, and with a “Fonderia Luigi Tommasi Pietrasanta” mark along back edge of self-base, on a custom-made swivel-top base, sculpture, h. 36‑1/2”, w. 17”, d. 12”, base, h. 38‑1/2”, overall, h. 75”. [2500/4000] Illustrated Marinsky studied at the Rhode Island School of Design, Providence, and the Pratt Institute, New York, before working as an illustrator and art editor for several national homes and gardens magazines, positions he obtained immediately upon graduation. As a young man, he had experimented with molding and casting while attending the Technical High School in Providence, and he soon found himself moving away from illustrative work and towards sculpture. In 1940, his work was included in the prestigious “30 American Artists” exhibition at the Montrose Gallery in New York. His first solo exhibition was at the Eggleston Gallery, New York in 1951. Marinsky’s long association with the Fonderia Luigi Tommasi (after 1985, absorbed into the Fonderia d’Arte Massimo del Chiaro) in Pietresanta, Italy began in 1968. By 1972, Marinsky had settled in the area, where he was to spend the remainder of his life. His slightly abstracted but solid figures reveal an acute knowledge of the human body - likely a remnant of his intensive drawing training - and an understanding of its relationship and interaction with the space it occupies.

In this way he is reminiscent of the great Mexican sculptor Francisco Zuniga.

Marinsky was a Fellow of the National Sculptor Society and his work illustrations and sculptures - are in numerous private and public collections, including a number of paintings conserved at the Hunt Botanical Library at Carnegie-Mellon University in Pittsburgh.

924

240

926

925 Patinated Bronze of “En Pointe”, 20th century, in the style of Enzo Plazzotta (Italian/British, 1921‑1981), a “Fonderia Luigi Tommasi” mark along self-base, h. 26‑3/4”, w. 7”, d. 20”. [700/1000] Illustrated 926 Francisco Zuniga (Costa Rican/Mexican, 1912‑1998), “Compasion”, 1980, bronze, signed, dated, and numbered “I/ VI” along back edge, presented on a carved wooden base, overall, h. 12‑1/4”, w. 12”, d. 8‑5/8”. Provenance: Purchased from the artist through Galeria Misrachi, Mexico City, Mexico; private collection, New Orleans, Louisiana. Exhibited: “Seldom Seen”, Arts Council of New Orleans. [6000/9000] Illustrated A native Costa Rican who spent most of his life in Mexico, Zuniga was acclaimed for his distinct, stylized approach to sculpture and painting.

The son of a sculptor of religious figures, he spent years working in his father’s studio, learning the rudiments of direct carving. After a brief attendance at the local art school, Zuniga moved to Mexico where he became associated with what is now known as the Escuela Nacional de Pintura, Escultura y Grabado (referred colloquially as la Esmerelda), first as a student then later as Professor, a position he would maintain for over 30 years. He befriended Guillermo Ruiz, who had founded the school in 1927, and the sculptors Romolo Rozo and Luis Ortiz Monasterio. Reminiscing about his earliest months in Mexico, Zuniga wrote to a friend: “I recall the first years following my arrival in Mexico...Ultimately I spent most of my days in the Museum of History and Archaeology; I went to the Museum every day to study and draw. I was enraptured by the works in stone, with something akin to fear and enchantment...I observed the powerful dimensions; the planes; the stylized mass...” Inspired by PreColumbian artifacts and influenced by the various artistic movements then prevalent - including German Expressionism - Zuniga adapted a style of sculpture which emphasized a visual examination of form and space, resulting in works imbued with a sense of strength and resilience. Concentrating on the curves of the human figure, his softly abstracted figures are often hunched or crouching, enveloped in drapery which simultaneously protects them and exposes their inherent human vulnerability. References: Reich, Sheldon and Zuniga, Francisco. Francisco Zuniga, Sculptor. Tucson: University of Arizona Press, 1980.; Stewart, Virginia. 45 Contemporary Mexican Artists - A Twentieth-Century Renaissance. Stanford: Stanford University Press., 1951, pp. 134‑137.

925

927

927 Amos Gwitirwa (African, Contemporary), “Totem”, 1995, carved green stone, signed and dated at lower back, h. 35”. [700/1000] Illustrated

241

928 929

930 928 French Pate de Verre Art Glass Paperweight, 20th century, of cube form, the glass with marbleized areas of dark blue to black, the top with two molded moths, the lower edge of one side bearing the signature “G.ARGY ROUSSEAU”, h. 2‑3/4”, w. 2”, d. 2”. [700/1000] Illustrated 929 Colette Gueden (French, 1905‑2000), “La Jeune Femme”, ceramic, h. 7”, w. 4‑3/4”, d. 3‑1/4”. [800/1200] Illustrated 930 Jean Jacques Porret (Swiss/Chicago, 20th Century), “Bench Talk”, 1976, patinated bronze, cast signature and dated “8‑76” at side edge of self-base, h. 20”, w. 11”, d. 11”. [600/900] Illustrated

242

931

931 Galle Cameo Glass Art Nouveau Shade on a Bronze Base, first quarter 20th century, French, the shade decorated with swirling amber flowers on a frosted ground, signed “Galle”, and resting on an organic tree trunk-form base, a bird sitting in the front, h. 19”, dia. 11”.

[2000/4000] Illustrated

932

933

934

936

935

932 DeVez Cameo Glass Carefully Detailed Vase, first quarter 20th century, French, made by Cristallerie de Pantin, whose director used the “DeVez” mark, the piece executed in various tones of brown, amber and ivory, depicting a landscape with a cottage on the shore, signed “DeVez” in cameo on the lower third of the side, h. 8‑1/4”, dia. 3‑3/4”. [800/1200] Illustrated 933 D’Argental Cameo Glass Vase, second quarter 19th century, French, the Art Deco period vase decorated with a landscape in deep red on a yellow and red mottled ground, signed “D’Argental” in cameo on the lower edge of the side, h. 8‑1/4”, dia. 4‑1/2”. [500/800] Illustrated

934 Daum Nancy Cameo Glass Vase, second quarter 19th century, French, the tapered vase decorated with boats on a shoreline with trees in the foreground, executed in dark red on an orange and yellow mottled ground, signed “Daum Nancy” with a Croix de Lorraine on the lower portion, the upper rim possibly ground, h. 9‑3/4”, dia. 3‑1/2”. [600/900] Illustrated 935 Emile Galle Cameo Glass Vase, ca. 1900, French, decorated in amber on a shaded pink ground and depicting a lush shoreline landscape, signed in cameo on the lower portion of the vase, h. 8‑1/2”, dia. 2‑3/4”. [700/1000] Illustrated 936 DeVez Cameo Glass Dresser Jar, first quarter 20th century, French, decorated in yellow, red and amber cameo glass daisies, made by Cristallerie de Pantin and signed “DeVez” in cameo near the lower edge, h. 2‑3/4”, dia. 3‑1/4”. [500/800] Illustrated

243

937

940 938

937 Emile Galle Cameo Glass Vase, first quarter 20th century, French, carved with grapes and grapevines, and decorated in various shades of amber, signed “Galle” on the lower edge, h. 10‑1/4”, dia. 4‑3/4”. [800/1200] Illustrated

939

938 D’Argental Cameo Glass Vase, first quarter 20th century, French, decorated with red flowering vines on a yellow ground, signed “D’Argental” with a Croix de Lorraine on the lower side, h. 12”, dia. 4”.

[800/1200] Illustrated

940 Daum Nancy Cameo Glass Vase, second quarter 20th century, French, decorated with a black shore scene over a mottled orange and yellow ground, signed “Daum Nancy” with a Croix de Lorraine in cameo on the lower portion of the vase, h. 7‑3/4”, dia. 5”. [600/900] Illustrated

939 Daum Nancy Cameo Glass Art Deco Plafonnier, second quarter 20th century, the domed shade decorated with cut leaves and berries on a mottled orange and yellow ground, retaining its original metal chains, chain hooks and floriform canopy, h. 26”, dia. 16”. [2000/4000] Illustrated

941 Large Modern Walnut, Tiger Maple and Maple Bench in the Manner of George Nakashima, the back supported by a spindle gallery joined to an extending plank seat, raised on line-strung walnut octagonal legs, h. 41‑1/2”, w. 96”, d. 45”. [2500/4000] Illustrated

941

244

942

945

943

948 942 Indian Kashmir Silk Carpet, 3’ x 5’ 6”. [1500/2500] Illustrated 943 Antique Oushak Carpet, 8’ 2” x 11’ 4”. [1200/1800] Illustrated 944 Farahan Sarouk Carpet, 8’ 8” x 13’ 1”. [800/1200] 945 Antique Tabriz Carpet, 6’ 3” x 9’ 2”. [2500/4000] Illustrated

946

946 Turkish Angora Oushak Carpet, 8’ 2” x 10’. [800/1200] Illustrated 947 Antique Persian Kurdish Carpet, 3’ 6” x 13’ 11”.

[700/1000] 948 Antique Persian Kashan Silk Carpet, late 19th century, 7’ 1” x 10’ 7”. Provenance: The Flatt Collection.

[2000/4000] Illustrated

245

949

950

949 Antique Tabriz Carpet, 8’ 10” x 12’ 3”. [15000/20000] Illustrated 950 Antique Serapi Carpet, 9’ 10” x 13’. [10000/15000] Illustrated 951 Antique Mahal Runner, 6’ 9” x 13’ 9”. [700/1000] 952 Semi-Antique Kerman Carpet, 11’ 9” x 15’ 6”.

[1500/2500] Illustrated

952

246

953

955

954

953 Semi-Antique Turkish Silk Carpet, 3’ 5” x 5’ 2”. [1000/1500] Illustrated 954 Antique Qum Silk Prayer Rug, 2’ 7” x 4’ 4”. [700/1000] Illustrated 955 Semi-Antique Kerman Silk Carpet, 4’ x 6’ 9”. [700/1000] Illustrated 956 Antique Mahal Carpet, 9’ 6” x 11’ 4”. [1000/1500] Illustrated 957 Turkish Shirvan Carpet, 5’ x 7’ 5”. [500/800] 958 Antique Persian Heriz Runner, 2’ 7” x 10’ 5”. [700/1000] Illustrated 956

958

247

959 Shirvan Carpet, 3’ 5” x 5’ 8”. [600/900] 960 Antique Lavar Kerman Carpet, 11’ 10” x 18’ 5”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York.

[4000/7000] Illustrated 961 Antique Kashan Carpet, 4’ 5” x 6’ 6”. [500/800] Illustrated 962 Semi-Antique Mahal Carpet, 9’ 1” x 13’ 11”.

Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York.

[3000/5000] Illustrated

961

962

960

248

967

963

964 966

963 Nineteenth-Century Persian Kashan Silk Prayer Rug, 4’ 6” x 7’ 3”. [5000/8000] Illustrated 964 American Queen Anne Figured Walnut Drop-Leaf Table, mid-18th century, mid-Atlantic area, with scalloped aprons on the ends and raised on cabriole legs ending in trifid feet, the top associated, h. 29”, w. 46”, extended l. 56”. [1000/1500] Illustrated 965 Unusual Continental Carved Pine Eagle-Form Reading Stand, fourth quarter 19th century, the displayed eagle standing on a rocky outcropping, leaning forward, with a book rest attached to the rear, h. 19‑1/2”, w. 16”, d. 6”. [500/800]

966 American Chippendale Mahogany Oxbow Chest, second half 18th century, New England, with a serpentine bank of four graduated drawers, raised on bracket feet, h. 33‑3/4”, w. 37”, d. 20‑3/4”. [600/900] Illustrated 967 American Federal Mahogany Sideboard, ca. 1800, the shaped top with a string-inlaid leading edge, the front fitted with various flatware and bottle drawers and cabinets, raised on tapered legs with line-inlaid cuffs, h. 41”, w. 69”, d. 23”. [500/800] Illustrated

249

968

969

970

968 Pair of Colonial Revival Mahogany Knife Urns, ca. 1900, possibly American, the tapered and faceted urns with beaded base trim and molded bellflowers and scrollwork on the hinged covers, the velvet-lined interiors fitted for flatware, h. 21‑3/4”, dia. 8‑1/2”.

[500/800] Illustrated 969 American Engraving of “The Declaration of Independence of the United States of America/ July 4th 1776”, 19th century, engraved by Asher B. Durand (American, 1796‑1886), after the 1817 painting by John Trumbull (American, 1756‑1843), now in the Trumbull Collection of the Yale University Art Gallery, New Haven, Connecticut; together with the “Durand Key” to the Declaration with heads in profile and facsimile signatures (including signatures of four committee members - George Clinton, Thomas Willing, Robert R. Livingston, and John Dickinson - who were present but did not sign), engraving, sight 23‑1/2” x 32”, key, sight 7” x 31‑1/4”. Each glazed and framed and now attached by chain. [1000/1500] Illustrated References: Jaffe, Irma B. “Trumbull’s “The Declaration of Independence: Keys and Dates”. The American Art Journal, vol. 3, no. 2, Autumn 1971, pp 41‑49. Catalogue of the Engraved Works of Asher B. Durand, exhibition catalogue, April 1895, The Grolier Club, New York, New York.

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970 American Federal Cherry and Feathered Walnut Dining Table, first quarter 19th century, comprised of a pair of D-end tables, each with a drop leaf and raised on tapering square legs, h. 29”, w. 43‑1/2”, l. 80”.

[1000/1500] Illustrated

971 Vernacular Southern Cypress Table, 19th century, probably Louisiana, the projecting top supported by tapering legs, of pegged construction, h. 28”, w. 32”, d. 20‑1/4”. [500/800] Illustrated 972 Louisiana Creole Cypress Armoire, early 19th century, the cyma-molded cornice over a pair of bisected paneled doors, the interior with a medial belt of three drawers, raised on tapering legs, the case of pegged construction, h. 75‑1/4”, w. 55”, d. 21‑3/4”.

[2500/4000] Illustrated 973 Vernacular Louisiana Cypress and Pine Punched Tin Garde Manger, second half 19th century, the scalloped crest centered by a roundel with a punched star, over a pair of doors, each with punched metal panels, the sides with like panels, h. 76”, w. 42‑1/2”, d. 18‑1/4”. [500/800] Illustrated

971

974 Suite of Four Antique Acadian Slat-Back Sidechairs, of mixed woods, comprised of three chairs with distinctive inverted cone-form fronts, the other with sausage-turned finials, all now in horsehide seats over their period leather seats, group of three, h. 35‑1/4”, other chair, h. 34‑3/4”. [500/800] Illustrated Chairs similar to the first three in this group are identified as of the Ville Platte group and the latter chair as from the St. Martinsville group in Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835,

by Holden, Bacot, Gontar, et al, pp. 307‑8, 312‑13.

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974

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975

975 Louisiana Creole Mahogany and Cherrywood Armoire, first quarter 19th century, the period molded cornice over a pair of flush-panel doors on fiche hinges, the interior fitted with a medial belt of three drawers, each with embossed brass oval plates, over a scalloped apron and raised on cabriole legs, h. 83‑3/4”, w. 51”, d. 20‑1/2”.

[5000/8000] Illustrated 976 Creole Cherry and Sycamore High-Post Bedstead, second quarter 19th century, raised on robustly turned posts supporting a paneled headboard with “rolling pin” top rail, the footposts on brass ball feet of the Louisiana type, h. 100”, inside, w. 52‑3/4”, l. 77”, outside, w. 58”, l. 83”. [2500/4000] Illustrated Similar beds are illustrated on pp. 384‑85 of Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835, by Holden, Bacot, Gontar, et al.

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977 American Schoolgirl Sampler of “A View of Solomon’s Temple”, 1852, by Mary Ann Maher “her work aged 10 years”, cross stitch in fine wool on open-weave canvas, identifying inscriptions along center and bottom, the temple flanked by pine trees, rabbits and floral urns, all enclosed in a double strawberry vine border, sight 25‑1/4” x 25‑3/4”. Glazed and framed. [600/900] Illustrated 978 Louisiana Creole Cherry Cabriole-Leg Armoire, first quarter 19th century, the molded cornice over a pair of flush panel doors on fiche hinges, opening to reveal an interior with a medial belt of three drawers, with a scalloped apron and cabriole legs, h. 83”, w. 57‑3/4”, d. 21‑1/4”. [1800/2500] Illustrated

979 American Federal Mahogany D-End Dining Table, first quarter 19th century, probably Baltimore, in the Sheraton taste, the top with a reeded edge and raised on boldly reeded legs with brass cup casters, accompanied by two leaves, h. 29”, w. 54”, l. 52‑1/2”, extended l. 105‑3/4”.

[3000/5000] Illustrated

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980 980 Exceptional English Regency Bronze and Crystal Argand and Candle-Powered Chandelier, attributed to Thomas Messenger Firm or a contemporary of equal rank, with a cut and frosted glass lower pan supported by a bronze frame, set with four Argand burners fed by a central cut glass, urn-form and panel-cut font, with nine tulip-form crystal candle sockets on bronze mounts, the Argand burners mounted with period-appropriate lotuscut and frosted glass lamp shades, electrified, h. 35‑1/2”, dia. 21‑1/2”. [4000/7000] Illustrated

981 detail

981 Fine American Classical Parcel-Gilt and Ebonized Mahogany Center Table, ca. 1825, attributed to Anthony Quervelle, Philadelphia, the carved circular marble top over a conforming frieze with a beaded lower edge, raised on a foliate-carved pedestal on a concave three-sided base with carved paw feet, the top with leaf, vine and floral carving in shallow relief, h. 27‑3/4”, dia. 38‑3/4”. [5000/8000] Illustrated Tables with nearly identical bases are in the collection of the Metropolitan Museum of Art, New York. Another is at Destrehan Plantation, Destrehan, Louisiana. By oral tradition, the Marquis de Lafayette played cards at the Destrehan table on his visit in 1824. The carved top on the present example is similar to the carved top on another table of this form, sold in these galleries, July 2013, lot 1228. More frequently, these center tables have surfaced with specimen marble inlaid into the top.

Reference: Allison and Jonathan Boor et al., Philadelphia Empire Furniture (West Chester, Pennsylvania: Boor Management, 2006), pp. 125 [fig. 10] and 133 [fig. 15].

981 detail

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983 983 detail

982 Exceptional Pair of Large English Regency Bronze Dore et Patine Two-Light Argand Lamps, second quarter 19th century, attributed to Thomas Messenger, England, the bases molded with grapes and grape leaves, and supporting arms decorated with pierced gilt scrolled appliques, the urn-form fonts with pierced covers decorated with swags of grapes held with bowknots, the ogee-molded covers terminating in urn-form finials molded with grapes, mounted with period-appropriate tulip-form frosted and cut glass shades, h. 23”, w. 18‑1/4”, d. 7”. [3000/5000] Illustrated 983 American Classical Mahogany Sofa, ca. 1825, Philadelphia, school of Anthony Quervelle, the molded crest rail flanked by carved cornucopias, the molded apron modeled as bold, paired reeds extending to scroll arms, with a gadrooned lower edge, raised on paw feet with pierced foliate- and scroll-carved brackets, upholstered in brocade with matching bolsters, h. 36”, w. 89”, d. 23‑3/4”.

[1000/1500] Illustrated

984 Stylish English Regency Three-Piece Argand Lamp Set, second quarter 19th century, composed of bronze dore and patine, with glass shades, supported by paw feet sitting on tripartite bases, the leaf-molded standards supporting tanks decorated with swag-form mounts and egg-and-dart-molded covers with artichoke-form finials, scalloped prism rings molded with anthemia and set with scrolled handles sitting on the tanks, the arms decorated with pierced, gilded scrollwork mounts, mounted with a handsome set of period-appropriate frosted and cut glass shades, center, h. 22”, w. 16”, d. 6”, sides, h. 20”, w. 8”, d. 6”. [3000/5000] Illustrated

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985 American Classical Ormolu-Mounted Mahogany Armoire with Side Closets, ca. 1825, the projecting cornice over a pair of paneled doors, the doors opening to reveal an interior with a medial belt of three drawers, the end drawers retaining their brass bail pulls with embossed backplates, and a belt of three linen drawers below, flanked by columns with metal capitals and bases, the sides each with a paneled door, the case of pegged construction, h. 87‑1/2”, w. 62‑1/2”, d. 20‑3/4”. Provenance: By oral tradition, this piece surfaced in the Covington, Louisiana area. [1800/2500] Illustrated 986 American Classical Mahogany Banquet Table, second quarter 19th century, the top with a molded edge, on acanthus-carved legs, with three sets of legs at one end facilitating the extension of the table to 19 feet, now fitted with six 23‑1/2” wide leaves to accommodate extending to 198”, h. 29‑3/4”, w. 55‑1/2”, closed l. 55‑1/2”.

[3000/5000] Illustrated 987 American Late Classical Mahogany Sofa, ca. 1825, Philadelphia, the back centered by a panel with a carved fruit and foliate basket, the carved shell ending in carved roundels, raised on paw feet with carved brackets, now upholstered in forest green brocade with matching bolsters, h. 34”, w. 91”, d. 25‑1/2”. [1000/1500] Illustrated

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988 Pair of English Regency Patinated Bronze LotusMolded Rhyton-Form Argand Lamps, second quarter 19th century, the lamps with leaf-molded bases supporting the lotus-molded tank holders, mounted with periodappropriate tulip-form shades with folded rims, electrified, h. 10‑3/4”, w. 10‑1/4”, d. 5‑1/4”. [1500/2500] Illustrated

991 American Late Classical Mahogany Desk Table/ Work Table, second quarter 19th century, Philadelphia, the case with a graduated bank of three molded drawers, the upper drawer fitted with a writing surface, supported by a foliate-carved pedestal on a shaped base with carved paw feet, h. 30‑3/4”, w. 23‑1/2”, d. 17‑1/2”. [500/800]

989 Unusual Pair of Louis-Philippe Bronze, Marble and Glass Cornucopia Vases, second quarter 19th century, the scroll-molded ogee bases supporting marble plinths, each set with a gilt-bronze flower, the faceted and scalloped edge glass cornucopias “growing” out of the flowers, the vases engraved with alternating panels of grapevines, h. 7‑3/4”, w. 5‑1/2”, d. 4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[500/800] Illustrated

992 Rare Three-Piece Set of Colonial Revival ArgandForm Bronze and Glass Wall Sconces, fourth quarter 19th century, probably American, the lotus-molded backplates with leaf-molded standards supporting urnform “tanks” over swan-molded prism rings, the tanks decorated with swags of flowers hung from goat’s heads, ends, h. 18”, w. 10‑3/4”, d. 8”, center, h. 18‑3/4”, w. 20”, d. 7‑1/2”. [5000/8000] Illustrated

990 Seth Thomas Colonial Revival Mahogany Mantel Clock, first quarter 20th century, American, the cased pillar-and-scroll clock with brass finials and an eglomise tablet depicting Mount Vernon, signed on the dial, h. 24‑3/4”, w. 13‑1/4”, d. 3‑3/4”. [500/800]

993 Pair of Paris Porcelain Urns, second quarter 19th century, with hand-painted peasant scenes on the obverse and flowers on the reverse, trimmed in raised gilt and set with swan-molded handles and chinoiserie necks, h. 11”, w. 5‑1/4”, d. 2‑3/4”. [500/800] Illustrated

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994 Southern Walnut and Yellow Pine Overseer’s Desk, mid-19th century, in two parts, the upper section with a lift top over a pair of paneled doors flanking an open section fitted with cubbyholes, on a base with a slant-front work surface comprised of a single board framed by mitered perimeter bands, a pair of drawers and raised on turned legs, h. 65”, w. 48”, d. 49‑1/2”. By oral tradition, the present piece is of Louisiana origin. [3000/5000] Illustrated 995 American Antebellum Southern Market Cherry and Sycamore Tester Bed, mid-19th century, the molded cornice raised on shaped octagonal posts with tapering candles, supporting a paneled headboard with an octagonal rollingpin crest, h. 91‑1/2”, inside, w. 54”, l. 74‑1/2”, outside, w. 60”, l. 80‑1/2”. [1200/1800] Illustrated 996 Handsome Neoclassical Sinumbra Lamp, second quarter 19th century, probably English, retailed by Baldwin Gardiner, New York, retaining a rich, original gilt lacquer matte finish with polished details, mounted with a period blown, cut and frosted glass shade decorated with sprays of flowers, the trumpet top with a folded rim, on a hexagonal base, the standard with flame-topped pillars and a lotus-molded breather, labeled “B. Gardiner, N. York”, under the two feeder tubes, electrified, h. 30‑1/2”, dia. 9‑3/4”. [700/1000] Illustrated

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997 Louisiana Classical Cherry Armoire, second quarter 19th century, the projecting cornice over a pair of recessed panel doors, opening to reveal an interior with a medial belt of two drawers, raised on turned legs with brass ball feet, of pegged construction, h. 84”, w. 64”, d. 24‑1/2”.

[1500/2500] Illustrated 998 Vernacular Cherry Side Table, first half 19th century, probably Louisiana, the single-board top over a pair of drawers, each with beaded perimeters, raised on tapering turned legs, of pegged construction, h. 28”, w. 24”, d. 21”.

[600/900] Illustrated

999 Argand-Style Bronze Three-Light Chandelier, fourth quarter 19th century, American or English, on a shell-molded bowl fitted with four arms, leopard’s head masques holding the rod-style chains to the leopard’s head molded canopy, an Argand-style urn-form tank mounted in the center, mounted with a handsome set of blown-, cut and frosted glass shades, h. 44”, dia. 22”. [1500/2500] Illustrated 1000 American Late Classical Mahogany Sofa, second quarter 19th century, the turned crest rail ending in foliatecarved scroll ends, the armrests modeled as integral cylindrical bolsters with fruit-carved baskets on their facades, with a molded seat rail and cornucopia-carved paw feet, h. 35”, w. 86”, d. 23”. [700/1000] Illustrated

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1001 Cut and Frosted Glass and Brass Hall Lantern, second quarter 19th century, American or English, the frosted shade cut with tendrils around the lower portion, the scroll-molded nozzle set with a removable candle socket, the matching upper rim decorated with matching scrollwork and set with three hooks holding the chains from the upper smoke bell, h. 25”, dia. 8”.

[500/800] Illustrated 1002 American Walnut Tester Bed, second quarter 19th century, probably Southern, the turned and octagonal posts supporting a paneled headboard with a scrolled top rail, now with a later unfinished walnut tester after the period fashion, h. 102”, inside w. 53”, l. 77”, outside, w. 64”, l. 84‑1/2”. [1500/2500] Illustrated 1003 Handsome Argand-Style Bronze Four-Light Chandelier in the English Regency Taste, fourth quarter 19th century, English or American, composed of contrasting patinated and giltbronze, with four fluted and scroll-molded arms set with “burners”, set with period-appropriate blown-, cut and frosted glass tulip-form shades, hanging from the bronze canopy on gilt chains, the center with a bold urn with swags of flowers and a flame finial, h. 45”, dia. 27”. [1500/2500] Illustrated 1002

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1004 Rare Pair of Brass and Glass Molded Camphene Lamps, mid-19th century, probably New England, the bases retaining an original patinated lacquer finish with gilt highlights, supported on bun feet with breather holes at the base of the tank, the tank decorated with a molded mid band of flowers and fruit, three burner tubes, some with caps, within the original shade holders, mounted with original blown, frosted and cut glass shades, h. 9‑3/4”, dia. 4‑3/4”.

[1000/1500] Illustrated 1005 Louisiana Classical Cherrywood Armoire, second quarter 19th century, the projecting cornice over a pair of recessed panel doors, opening to reveal an interior with a pair of drawers and a cypress vertical divider, the back of four panels, raised on bulbous turned legs with brass ball feet, of pegged construction, h. 90‑1/4”, w. 59”, d. 22”. [1200/1800] Illustrated

1004

1006 Unusual Portable Wood Bookstand, mid-19th century, English or American, the case decorated with scroll-sawn jigsaw work over a drawer, with cidrella secondary wood on the drawer, and a scrollwork backplate cut with a handle and anthemia, h. 10‑1/4”, w. 18‑1/4”, d. 12‑1/2”. [500/800] Illustrated 1007 Pair of American Late Classical Mahogany and Marble-Top Demi-lune Console Tables, second quarter 19th century, the later conforming verdigris marble tops and flame mahogany aprons below supported by scrolled legs joined by a curved stretcher, formerly a dining table, h. 31”, w. 54”, d. 24”. [500/800] Illustrated

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1008 American Mahogany and Giltwood Pier Mirror, second quarter 19th century, of tabernacle form, the twopart ogee mirror framed with giltwood molding, h. 57‑1/2”, w. 29‑1/2”. [500/800] Illustrated 1009 Group of Two Late Classical Mahogany Work Tables, second quarter 19th century, including an American example with a bank of three drawers on a pineapplecarved pedestal, joined to foliate-carved legs with paw feet, h. 29‑3/4”, w. 22”, d. 17‑1/2”, and a William IV table with bobbin-turned legs and fitted with a single drawer, h. 28”, w. 23”, d. 16”. [500/800] 1010 Pair of Colonial Revival Argand-Style Polished Bronze Two-Light Lamps, fourth quarter 19th century, probably American, on tripartite bases molded with acanthus leaves and eagle heads, the turned standards supporting urn-form “tanks” terminating in lotus-form finials, the urns with prism rings set with molded handles, h. 21‑1/2”, w. 16‑1/2”, d. 5‑3/4”. [2000/4000] Illustrated 1011 American Late Classical Mahogany Secretary Bookcase, second quarter 19th century, in two parts, the projecting cornice over a pair of doors with arched glazed panels, on a base with a fold-out writing surface, over a bank of drawers flanked by scroll columns, raised on scroll feet, h. 72”, w. 41”, d. 21”. [500/800] Illustrated

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The following three watercolors represent the finest of Paul Sawyier’s depth and diversity as an artist. Born in Madison County, Ohio to a physician, Sawyier moved to Frankfort, Kentucky at the age of five in 1870 and spent the majority of his life there until his mother died in 1908.

Though Sawyier studied portraiture under Thomas Noble in Cincinnati and briefly established himself as a portrait painter, his real passion was for landscapes. In 1886 he returned to Frankfort and began photographing and sketching the outdoors in tandem, before embarking for New York in 1889, where he studied at the Arts Students League in New York under William Merritt Chase, an early exponent of American Impressionism. During these formative years, Sawyier developed a distinctive style that blends the tonalism of the American Barbizon School with the Impressionists’ palette and loose application of paint, sometimes elucidating one style more than the other in a rhythmic play on light in a setting that was seldom depicted at the time- Southern Midwest landscapes. Each of these three watercolors, executed in Kentucky, showcase this range. After Sawyier moved to New York, his signature changed from the block-style capital letters illustrated in these works to P and S capitals with back slanted lower case letters.

1012 Paul Sawyier (American/Kentucky, 1865‑1917), “Mayme Bull Canoeing on the Elkhorn Creek, Frankfort, Kentucky”, watercolor, signed lower left, 11‑3/4” x 20‑1/4”, unframed; accompanied by a letter of authenticity from William Coffey, Paul Sawyier Galleries.

Provenance: Private Collection. [15000/25000] Illustrated “Mayme Bull on the Elkhorn Creek”, is a stunning subject that Sawyier painted a handful of times (that we know of), each canoe view capturing a unique reflection of light through the trees and off the water onto Mayme- his life time love and companion. The painting is Impressionistic in its juxtaposition of colors in the trees on the left and in parts of the water; at the same time the palette is tonally unified/reduced to tertiary blues, greens and creams.

Sawyier’s deft handling of Mayme anatomy and pose in a rather shapeless white dress further reflects his skill as a portrait painter, who, according to William Coffey, the expert on Sawyier “[after leaving the portrait industry] never portrayed facial features, preferring to leave it to the viewer to ‘picture’ the details except for in “Paul’s Love” [the only identified portrait of Mayme on the Elkhorn Creek in a canoe, which he painted for the woman who introduced the couple].

A special thank you to William “Bill” Coffey, Founder and President of Paul Sawyier Galleries, for his expertise and generous assistance with these Sawyiers.

References: “Sawyier’s Life”. Paul Sawyier Galleries, 1968-2007.

Web. 8 Sept. 2016; “Paul Sawyier Photographic Collection.”

Kentucky Digital Library. Digital Public Library of America. Web. 8. Sept. 2016; “Paul Sawyier.” The Johnson Collection. Backstage CMS. 2016. Web. 22 Sept. 2016

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1013 Paul Sawyier (American/Kentucky, 1865‑1917), “Mackinaw [sic] Island, Michigan”, watercolor, signed lower left, pencil titled en verso, 11” x 16‑5/8”, unframed; accompanied by a letter of authenticity from William Coffey, Paul Sawyier Galleries. Provenance: Private Collection.

[12000/18000] Illustrated

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“Mackinac Island, Michigan” is not only among the most elusive and unusual compositions Sawyier is known to have depicted, but it is also a tour-de-force of tonalism; the beige of the sky seamlessly merges with the water in a misty atmospheric haze redolent of a quiet morning on a lake. The monochromatic tone is pierced only by the swatches of light scintillating off the piers and tree-tops in a dazzling array of yellows and blues, an effect William Coffey attributes to being “characteristically Sawyier”.

Though Sawyier was never known to have visited Michigan, he did actively employ photography in his works, and was known to paint foreign landscapes on occasion from them, including the Philippines. Sawyier probably executed this work after popular turn-of-the century photographs and tourism post cards of Mackinac Island that prominently displayed the same A-frame homes along the lake shore with the steeple and side of St. Anne Church nestled in the distance. The tonalism of the painting further suggests the use old sepia tone photographs.

1014 Paul Sawyier (American/Kentucky, 1865‑1917), “Benson Valley, No. 38 (Frankfort, Kentucky)”, watercolor, signed lower left, penciltitled en verso, 11‑1/2” x 18‑1/2”, unframed; accompanied by a letter of authenticity from William Coffey, Paul Sawyier Galleries. Provenance: Private Collection. [10000/15000] Illustrated

The land was so fecund that it was never inhabited

by Native Americans, but rather shared by the Chilicothe (Chalahagwatha) Indians and nearby tribes as a communal hunting ground. It became the contested geographical hot seat behind the American Revolution and later the American Civil War, during which it remained a border state, rich in resources, but bankrupt emotionally given it locale. It is this history Paul Sawyier evocatively portrays. Yes, there are Impressionistic strokes of ultramarine blue, and yes, the palette is tonally stratified to tertiary colors, but there is always a play on light (albeit emotionally charged) over the virgin territory, open to the taking, but uniformly stratified in its resistance to change- the sole reason we can review Sawyier’s 1886 photographs of the capitol of Kentucky and its surroundings, and yet still profoundly identify with those images today.

“Benson Valley” is a celebration of the Bluegrass state. Albeit bluegrass is a myth, there is a blue hue under the summer sun to tall grasses in fallow hollows and fields, which settlers later cultivated for their livestock. The Kentucky heartland is a rich hilly landscape, replete with limestone and shale fossil beds. This rock formation is present in the left side of the Saywier watercolor offered her, as is the serpentine creek bed, which are strikingly similar to the photograph Sawyier took of the valley from Flat Road in 1886, in the” Paul Sawyier Photographic Collection” in the Kentucky Digital Library. The richness of the territory has historically captivated settlers.

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1016 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Louisiana Cottage, Probably Shreveport”, 1933, oil and oil wash on canvas, signed and dated lower right, pencil-signed and inscribed on stretcher, 21” x 30”.

Framed. Provenance: Acquired from the artist, descended in a Shreveport family. [4000/7000] Illustrated

1015 1015 William Aiken Walker (American, 1838‑1921), “Pair of Male and Female Cotton Pickers”, oils on board, each signed lower left, each 8” x 4”. Framed alike.

Illustrated: To be included in John Fowler’s forthcoming catalogue raisonne on William Aiken Walker. [7000/10000] Illustrated

1016

In the Fall of 1995, a woman wrote a beautiful letter to the New Orleans Museum of Art chronicling the provenance of a very rare Alexander Drysdale-a cottage scene, that her “Aunt Pete” bequeathed to her just months before she passed. Aunt Pete, aka Elinor Lancaster Dowling (1912‑1995), acquired it from her father John Lynch (J.L.) Lancaster (1869‑1962), the railroad magnate, who presided over the Texas and Pacific (T. & P.) Railway Company and its many subsidiary companies, including the New Orleans, Shreveport and Lower Coast railways. According to Aunt Pete’s reminiscence, after her father was elected president in 1917, he undertook a survey of the Louisiana rails on his private car and was horrified by the squalor of the railway tenements along the lines, notably Shreveport; many of the structures lacked doors, windows, screens and fencing in which to contain livestock. Shortly after, Lancaster implemented a building improvement program to subsidize their repairs, transforming dilapidated shanties into quaint cottages ensconced by picket-fences.

Some years later, while traveling in New Orleans with one of the Hutchinson brothers from Caspiana Plantation, Lancaster was introduced to Alexander J. Drysdale, who accepted, on behalf of Hutchinson and Lancaster, a painting commission in Shreveport.

One of the paintings to emerge from this collaboration is the work offered here- of a newly refurbished trackman’s home on the railway line. Aunt Pete’s story is largely corroborated by Shreveport Times’ articles ca. 1917‑1921.

Indeed Lancaster became president of the T. & P. Railway Company in 1917, but it was quickly taken over by the Federal Government during World War I and remained under federal control until 1919. During the interim, Lancaster was appointed receiver of the company and federal manager of the U.S. western railways. On March 24, 1918, the Shreveport Times reports: “J.L. Lancaster... with headquarters at New Orleans, was here yesterday on board his private car, no. 200, and spent the day in Marshall looking over the company property. Mr. Lancaster was accompanied by General Superintendent Phil Carroll and Chief Engineer Mitchell...and other local officials, and spent the day here going over the company property and planning out work to be done here.” Aunt Pete's story is all the more interesting because housing problems continued to plague the Shreveport area well into the early 1920s. When the railroad came under Federal jurisdiction, railway housing would also have come under the scrutiny of the Housing Survey Bureau, which deemed Shreveport rentals in 1921 to be “a menace to public health”- echoing Lancasterís thoughts three years earlier. Though Aunt Pete attributes the cottage scene to Shreveport, a faint inscription in pencil on the painting stretcher that reads “A rroad in Pass Christian, 1933” suggests that the cottage reflects other housing reforms Lancaster enacted after his eponymous tour in car no. 200 on the Louisiana and Gulf Coast railways in 1918. Regardless of the cottage’s locale, it is a testament of Drysdale at his finestwith his oil washes in ethereal hazes of blue and greens, he transforms a tenement cottage into a haunting landscape of Southern lowland beauty.

References: Shreveport Times, Sun. 24 Mar. 1918: 9; Ibid. “Work of Investigating Local Housing Conditions Delayed Only by Lack of Funds; Committee Puts Matter Up to Civic Pride of Citizens”. 3 Feb. 1921: 6. Newspapers.com Web. 8 Sept. 2016.

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1017 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Cypress by a Pond with Lily Pads”, 1931, oil wash on paper, signed and dated lower left, sight 20” x 29”.

Glazed and framed. [2000/4000] Illustrated 1018 Conrad Albrizio (American/Louisiana, 1894‑1973), “Italian Street Scenes”, two charcoals on paper, each signed, sight 24” x 17” and 24‑1/2” x 18”. Both glazed, matted and framed. [1000/1500] Illustrated

1018 two of two

1019 William R. Hollingsworth, Jr. (American/Mississippi, 1910‑1944), “Street Scene with Clock Tower”, 1939, watercolor on paper, signed and dated lower right, sight 16” x 21‑3/4”. Glazed, matted and framed. [2500/4000] Illustrated

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1020 William R. Hollingsworth, Jr. (American/ Mississippi, 1910‑1944), “Gossip”, 1940, watercolor on paper, signed and dated lower right , sight 13” x 19”. Glazed, matted and framed. [5000/8000] Illustrated 1021 Marie Atkinson Hull (American/ Mississippi, 1890‑1980), “Market Day”, graphite and watercolor on paper, signed lower right, sight 14‑3/4” x 12”. Glazed, matted and framed. [2000/4000] Illustrated 1022 John Cowan (American/Texas, 1920‑2008), a study for “Mary Jane Fishing”, watercolor on paper, initialed “C” lower left, 8” x 10”. Glazed, float-mounted and framed.

Provenance: Long & Company, Houston Galleries, Houston, Texas, 1968; The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [1000/1500] Illustrated 1023 John Cowan (American/Texas, 1920‑2008), “Mary Jane Fishing”, watercolor on paper, signed lower left “Cowan”, 22” x 31”. Glazed, matted and framed. Provenance: Long & Company, Houston Galleries, Houston, Texas, 1968; The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York.

[2500/4000] Illustrated

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1026

1024 David Hagerbaumer (American/California, 1921‑2014), “Bright Afternoon at Long Point”, oil on canvas, signed lower right, verso with “Long & Company, Houston Galleries, Houston, Texas” label, 24” x 36”.

Framed. Provenance: Long & Company, Houston Galleries, Houston, Texas, 1968; The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [2500/4000] Illustrated 1025 Marie Hull (American/ Mississippi, 1890‑1980), “Landscape”, oil on canvasboard, signed lower left, 12” x 16”. Framed. [3000/5000] Illustrated

1027

1025

1026 Alan Campbell (American/Georgia, b. 1950), “Iceberg - Cape Hallet”, 1992, oil on canvas, signed lower left, verso with “Blount Collection, Montgomery, Alabama” label, 19‑1/2” x 39”. Framed. [1000/1500] Illustrated 1027 Mildred Wolfe (American/Mississippi, 1912‑2009), “Still Life”, gouache on masonite, signed lower right, 20‑1/4” x 14”. Framed. [1500/2500] Illustrated

269

1028

1029

1031

1028 Karl Wolf (American/Mississippi, 1904‑1985), “Still Life with Zinnias”, oil on canvas, signed mid-left, 20” x 24‑3/8”. Framed. [2000/4000] Illustrated 1029 David Pryor Adickes (American/Texas, b. 1927), “Still Life, Red”, 1967, edition of “1/1”, tapestry, woven at the tapestry workshop of Alfombras Y Tapices Aymat, S.A., Sant Cugat del Valles, Spain, signed and titled on the workshop label en verso, 56‑3/4” x 42”. Provenance: DuBose Gallery, Houston, Texas, 1967; The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [1000/1500] Illustrated

270

1030 1030 Helen Loomis (American/Louisiana, 20th Century), “Our Tangipahoa”, 1983, oil on board, monogrammed lower right, signed, titled and dated en verso, 18” x 24”.

Framed. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [1200/1800] Illustrated 1031 Jeromy Young (American/Louisiana, b. 1977), “Chardin Reminiscence”, 2013, oil on masonite, signed and dated lower right, 16” x 20”. Framed. [1000/1500] Illustrated

1032

1033

1032 Jeromy Young (American/Louisiana, b. 1977), “A Small Feast”, 2016, oil on oak panel, signed and dated lower right, 21‑1/2” x 29‑3/4”. Framed. [1200/1800] Illustrated 1033 Theodore Fonville Winans (American/Louisiana, 1911‑1992), “The Rice King, Portrait of the Artist’s Son”, 1941, silver gelatin print mounted on board, signed and dated lower left, 16” x 20”. Unframed. Provenance: The Fonville Estate Collection. [2500/4000] Illustrated

1034

1034 Theodore Fonville Winans (American/Louisiana, 1911‑1992), “St. Louis Cathedral and the Statue of Andrew Jackson, Jackson Square, French Quarter”, 1940, silver gelatin print mounted on board, signed and dated lower right, 16” x 20”. Matted. Provenance: The Fonville Estate Collection. [3000/5000] Illustrated

In 1937, The Crowley, Louisiana Rice Festival was formally formed. In 1940, then Governor Richmond Leche named Theodore Fonville Winans the official state photographer and commissioned him to document the festivities. The photograph here is of Winan's young son Bobby. This image was eventually picked up by the Associated Press.

271

1037 George Rodrigue (American/Louisiana, 1944‑2013), “Louisiana Legacy”, 1981, patinated bronze, cast signature and numbered “5” at front edge, h. 11”, w. 9‑1/2”, d. 9‑1/4”. [1800/2500] Illustrated "Under the orchard-trees and down the path to the meadows; Old folk and young together, and children mingled among them. Fairest of all the maids was Evangeline, Benedict’s daughter! Noblest of all the youths was Gabriel, son of the blacksmith."

- Henry Wadsworth Longfellow Evangeline, A Tale of Acadie 1036 1035 Theodore Fonville Winans (American/Louisiana, 1911‑1992), “Salt Mine, Avery Island, Louisiana”, 1939, silver gelatin print mounted on board, signed and dated lower right, 16” x 20”. Unframed. Provenance: The Fonville Estate Collection. [3000/5000] Illustrated

One of George Rodrigue’s most beloved sculptures is this depiction from Longfellow’s great poem detailing “Le Grand Derangement”, the forced evacuation of the Acadians from the Canadian provinces by the British during the French and Indian War. Evangeline and Gabriel are seated beneath the great oak, the poet behind the young couple serving as a benevolent observer.

1035 1036 Theodore Fonville Winans (American/Louisiana, 1911‑1992), “Avca Island Homestead, Bayou Teche, St. Mary Parish”, 1938, silver gelatin print, signed and dated lower right, 16” x 20”. Unframed. Provenance: The Fonville Estate Collection. [1500/2500] Illustrated

272

1037

1038

1038 George Rodrigue (American/Louisiana, 1944‑2013), “Escort for the Kingfish”, 1990, oil on canvas, signed and dated lower right, 48” x 72”.

Framed. [50000/80000] Illustrated In 1928, the exuberant politician Huey P. “The Kingfish” Long (1893‑1935) was elected the 40th Governor of the fine state of Louisiana. During his term, the motor unit of the Louisiana State police (then known as the Law Enforcement Division of the Highway Commission) served as his personal bodyguard, escorting him to his various duties across the state. The head of this “Cajun Highway Police”, as they were affectionately and colloquially known, was Sergeant Gerald Deffez. Years later, when Deffez’s son commissioned George Rodrigue to paint a portrait commemorating his father, the artist used as inspiration a photograph taken of Deffez and his men standing at attention next to their bikes in Four Corners, Lafayette, awaiting the arrival of Long.

This painting was exhibited at the State Capitol, Baton Rouge, Louisiana.

273

1039 George Rodrigue (American/Louisiana, 1944‑2013), “Santa Fe ‘Indian’ with Basket Portrait of Evergreen Lake”, 1987, oil on canvas, signed lower right, titled and signed en verso stretcher, 24” x 20”. Framed. [10000/15000] 1040 George Rodrigue (American/Louisiana, 1944‑2013), “Eat, Drink and Forget the Blues”, acrylic over a giclee print mounted on board, signed in print lower right, studio signature lower left and hand-signed at the foot of the “Blue Dog”, 30” x 40”. Framed. [30000/50000] Illustrated

1039

1040

274

1042 1041

1044

1041 Handel Arts and Crafts Patinated Metal Table Lamp, first quarter 20th century, Meriden, Connecticut, the lamp with an obverse-painted shade decorated with “wildflowers”, signed with a black hand-painted “Handel 6931” on the inside edge, the base with a fleur-de-lis-pierced heat cap, and a felt base cover that appears to have lost a label, h. 22‑1/2”, dia. 17‑13/16”. [3000/5000] Illustrated 1042 Tiffany Studios Bronze “American Indian” Pattern Inkwell, first quarter 20th century, New York, with a molded glass inkpot insert, the bottom signed “Tiffany Studios, New York 1183”, with a gold dore finish, h. 3‑1/2”, dia. 5”. [500/800] Illustrated 1043 Rare, Early Tiffany Studios Bronze and Favrile Glass Candlestick, ca. 1892‑1900, New York, the Art Nouveau candlestick with an organic base and stem composed of patinated bronze, with an integral gold and mauve favrile glass amphora-form shade, marked twice on the base “Tiffany Studios, New York”, with a “TGDC” emblem and number “21100”, h. 19”, dia. 5‑1/2”. [800/1200] Illustrated 1044 Handel Reverse-Painted Glass and Patinated Metal Table Lamp, first quarter 20th century, Meriden, Connecticut, the greenground shade decorated with vertical bands of flowers and parakeets, numbered “7010” on the lower edge of the interior, along with an undecipherable signature, the lamp fitted with a “double blocks” heat shield, marked “Handel Lamps, Pat’d. No. 979664” and impressed “Handel” on the base, h. 23‑3/4”, dia. 16”. [2000/4000] Illustrated

1043

275

1045

1048 1047

1049 1046

1045 Tiffany Studios “Graduate” Pattern Bronze Desk Clock, first quarter 20th century, New York, with a slanted front, the dial marked “Tiffany & Co., New York”, the case with a gold dore finish, with reeded lozenges on a Chinese red ground, the base marked “Tiffany Studios, New York, 816”, a winding key on the back, h. 2‑3/4”, w. 3‑1/2”, d. 4‑1/4”.

[800/1200] Illustrated 1046 Exceptional Royal Vienna-Style Cabinet Plate, ca. 1900, the cobalt-ground borders decorated with gilt scrollwork, with enameled sprigs on a giltstippled ground and gilt beading, the central panel depicting a fin-de-siecle beauty, signed “H. Reldos”, with an underglaze blue “beehive” mark on the back, dia. 10”. [500/800] Illustrated

276

1047 KPM-Style Hand-Painted Oval Porcelain Plaque, fourth quarter 19th century, German, depicting “La Pensee”, after Angelo Asti (French, 1847‑1903), the fin-de-siecle beauty deep in thought, framed in a rococo-style giltwood frame within an ebonized shadowbox, h. 9‑1/4”, w. 8‑1/2”. [500/800] Illustrated 1048 Giovanni Pinotti Cipriani (Italian, Second Half 19th Century), “Bust of a Maiden”, alabaster, signed on rear truncation, mounted on a black marble socle, bust, h. 15‑1/2”, overall, h. 19‑1/4”, w. 13‑1/2”, d. 7”. [700/1000] Illustrated 1049 Three-Piece French Baroque-Style Bronze Gilded Age Clock Set, fourth quarter 19th century, stamped “Tiffany Co.” on the lower back, comprising an architectonic clock with a pair of harpies under the clock dial, set with enamel numerals, and maiden-headed monopodia serving as handles, with griffins guarding the corners, the scroll-decorated mansard roof with a pierced finial, mounted with Japy Freres works, h. 25‑3/4”, w. 11‑1/2”, d. 6‑1/2”, and a pair of five-light candelabra with pierced candle arms decorated with scrollwork and molded candle cups, h. 25‑1/2”, dia. 11”. [2500/4000] Illustrated

1050

1054 1052

1053

1051

1050 “Classique” Arts and Crafts Bronze Table Lamp with Reverse-Painted Shade, early 20th century, the patinated bronze base molded with Arts and Crafts relief work, marked with a shield-form signature under the two-light sockets, the floral shade signed “Classique”, h. 22‑1/2”, dia. 18‑1/4”. [1800/2500] Illustrated 1051 Hand-Painted Limoges Jardiniere on Stand, the blank produced by Tressemann & Vogt, ca. 1892‑1907, on a marked base with gilt scrollwork, decorated in the round with a genre scene of a pair of children with a flock of sheep huddled under an umbrella, against a cold spray of the seashore, signed by Limoges decorator “Marcadet”, as well as the underglaze green mark of Tressemann & Vogt, h. 12‑1/2”, dia. 9‑3/4”.

[500/800] Illustrated

1052 Unusual Tiffany Studios Bronze Adjustable Ashtray Stand in the Neo-Grec Style, first quarter 20th century, New York, on paw feet with an anthemion-molded base, the fluted standard with a thumbscrew adjustment and supporting a vine-molded ashtray holder with a matchbox holder and its original insert, marked “Tiffany Studios, New York, 1652” on the bottom of one foot, h. 27‑3/4”, dia. 9‑3/4”. [600/900] Illustrated 1053 Two Pieces of Metal Work, first quarter 20th century, including a Jugendstil-style brass tray with an incised central medallion and cut-out handles, on an organic molded ground, w. 21”, d. 10‑1/2”, and a Tiffany Studios, New York, bronze bowl, marked on the edge with a “1703” registration number, dia. 9”.

[500/800] Illustrated 1054 Frank Lebrun Kirkpatrick (American, 1853‑1917), “Examining the Rhyton”, oil on board, signed lower left, verso frame with a “Robert Macindoe, Glasgow” frame maker label and remnants of a Glasgow gallery label, 16‑5/8” x 12‑5/8”.

Presented in a period giltwood and gesso frame. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[1000/1500] Illustrated

277

1055 Olympia Upright Mahogany 20‑1/2” Disc Music Box, fourth quarter 19th century, American, the upper case with a pair of glazed doors flanked by large turned columns and a spindle-turned gallery above, the lower case with doors on each end for the storage of discs, with a double comb player and accompanied by approximate sixty-four discs, h. 78”, w. 30‑1/2”, d. 18”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [4000/7000] Illustrated 1056 Seth Thomas Walnut Cased “Fashion” Clock, ca. 1878, Connecticut, with ebonized trim, with a calendar dial under the clock dial, with day and month settings, the back of the door with an original label indicating it was set at 1:00 AM on Sept. 8, 1878, h. 24‑1/4”, w. 15‑1/2”, d. 5‑1/2”. [500/800] Illustrated 1057 Franklin Dullin Briscoe (American, 1844‑1903), “Portrait of a Highland Cow”, 1895, oil on canvas, signed and dated lower right, 30” x 22”. Presented in a period giltwood and gesso frame. [2000/4000] Illustrated

1056

1057

1055

278

1058 Fine Native American Indian Ceremonial Costume, fourth quarter 19th century, comprising a rawhide leather jacket, pants and belt with fringes and elaborately hand-stitched glass bead work, jacket, h. 34”, w. 21”, pants, h. 43”, w. 19”, belt, h. 15”, l. 44”.

[1200/1800] Illustrated 1059 American School (Fourth Quarter 19th Century), “Native American Camp”, oil on canvas, unsigned, 16” x 24”. Framed. [1500/2500] Illustrated 1060 Sandra Koop (American, Contemporary), “The Victor - American Bald Eagle”, patinated bronze, incised signature, copyright marked, and numbered “60/150” at back of self-base, on a green marble plinth, overall, h. 36‑3/8”, w. 25‑1/2”, d. 21”. [2500/4000] Illustrated The Florida-based Koop specializes in large-scale, naturalistic sculptures of birds, mammals, and marinelife. She is especially adept at depicting texture, motion, and the solidity of the figure within its space, a difficult task when working in the uncompromising medium of bronze. The eagle presented here is caught the moment before it takes flight; the wings are stretched, the muscles of the legs are pulled taut, and the mouth is slightly agape. Koop attended the New York Academy of Art, New York and the Ringling School of Art and Design, Sarasota, Florida.

1058

1061 Wm. Knabe & Co., Baltimore, Ebonized Baby Grand Ampico Player Piano and Bench, ca. 1962, bearing the serial number 100152, accompanied by approximately 70 paper rolls, piano, h. 39‑1/2”, w. 55”, l. 63”. [1500/2500] Illustrated

1059

1060 1061

279

1062 Bold American Copper-Washed Bronze Chandelier of Classical Inspiration, ca. 1900, the tapered, leafmolded, vasiform standard with a tassel finial and scrolled arms supporting the outer ring, hung with leaf-molded light sockets, the fluted ring decorated with square leaf-molded medallions and set with a pierced gallery of reeded urns terminating in flame finials with oval portrait medallions framed with bellflowers and bowknots, h. 38”, dia. 25”. [1800/2500] Illustrated 1063 Maria R. Dixon (American, 19th Century), “Knitting by the Light of the Window”, oil on canvas, signed lower right, 24” x 20”. Presented in a giltwood and gesso exhibition frame. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [2000/4000] Illustrated 1064 Elizabethan Revival Giltwood Mirror, fourth quarter 19th century, probably English, decorated with strapwork and cabochons, on a latticed ground, and a scrolled outer edge, h. 46‑1/4”, w. 33‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] 1065 Herschede Walnut Tall Case Clock, ca. 1969, Ohio, with a bombe base, and a hood with an arched door, the case set with beveled glass, h. 82”, w. 19”, d. 13‑3/4”. [1200/1800] Illustrated

1062

1063

1065

280

1066 Imposing Bronze Fountain of Classical Inspiration, the temple-form top tier decorated with putti holding dolphins and maiden water carriers with urns, above a bowl mounted with lion masques, all of these elements issuing water, with muses playing musical instruments around the grapemolded standard, on a scroll-molded base resting on shell-form feet, h. 89”, dia. 48”. Provenance: A St. Charles Avenue mansion, New Orleans, Louisiana.

[2500/4000] Illustrated 1067 Newcomb College Matte Glaze Vase, ca. 1931, artist signed by Sadie Irvine, New Orleans, Louisiana, and potted by Jonathan Hunt, the vase decorated with a border of asters on a blue ground, the bottom signed with “NC”, the artist’s initials, and the “SX18” registration mark used in 1931, h. 5‑1/2”, dia. 3”.

Provenance: The Estate of Madeleine Lotterhos Atwell, Jackson, Mississippi. [600/900] Illustrated

1068

1068 Two Pieces of Labeled Newcomb College Matte Glaze Pottery, ca. 1926‑1928, artist signed by Henrietta Davidson Bailey, New Orleans, Louisiana, including a vase decorated in lilac and rose with berries and fronds, with an original Newcomb paper label, the “NC” mark, the artist’s initials and a “PV28” registration number used in 1926, h. 7‑1/2”, dia. 3‑3/4”, and a trivet decorated with double Cherokee roses, with its original paper label, the “NC” mark, the artist’s initials and a “QX18” registration number used in 1928, dia. 5‑3/4”. Provenance: The Estate of Madeleine Lotterhos Atwell, Jackson, Mississippi. [700/1000] Illustrated

1067

1066

281

Wiles was considered one of the preeminent portrait painters of Gilded Age America, often mentioned in artistic circles alongside John Singer Sargent (1856-1925), James Abbott Mcneill Whistler (1834-1903), and his instructor, mentor and eventual friend William Merritt Chase (1849-1916). Employing a rich color palette and an expressive, yet controlled, brushstroke, Wiles produced luminous portraits which reveal an integral understanding and appreciation of the interplay of light and shadow. As the artist once stated, “Color is whatever light makes it, and light changes and transfers everything – color, line, everything. Light is beauty.” His portraits emphasize the elegance and refinement of his sitters, yet never at the expense of the personality and individuality of his sitters. Wiles’ reputation was so strong, and he was considered such an accomplished painter by his peers, that the dying William Merrit Chase asked him to complete an unfinished portrait of his wife and child. The painting, “Mrs. Chase and R.D. Chase”, was signed jointly by both men at the insistence of the Chase family.

Wiles received his initial artistic training from his father, the landscapist Lemuel M. Wiles (1826-1905), before moving to New York to study at the Art Students League with Chase and James Carroll Beckwith (1852-1917). In 1882 he traveled to Paris, spending several months at the Academie Julien before entering the atelier of the great “high society”portraitist Carolus Duran (1837-1913). He returned permanently to New York in 1884, making periodic study trips to Europe.

1069 1069 Irving Ramsey Wiles (American, 1861‑1948), “Girl with Bonnet”, oil on canvas, signed lower left “Irving R. Wiles”, 48” x 28”. Presented in a period giltwood frame affixed with artist plaque. Provenance: Christie’s, Important American Paintings, Drawings and Sculpture of the 18th, 19th and 20th Centuries, New York, May 23, 1990, lot 50; The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. Exhibited: Chapellier Galleries, New York, Irving Ramsey Wiles, November 1967, no. 27, illustrated. [25000/40000] Illustrated “…His art has originality…the attitudes possessing both the grace of naturalness, and, what is not quite the same thing, the naturalness of grace.” -Theodore Dreiser, Metropolitan Magazine, April, 1898

282

Wiles exhibited extensively throughout his career, and was awarded many of the most significant and prestigious art awards, most notably the Hallgarten and Thomas B. Clark Prizes of the National Academy, the Shaw Fund Prize of the Society of American Artists, the Lippincott Prize from the Pennsylvania Academy of the Arts Annual of 1922, and countless silver, bronze and gold medals from the various world Expositions. He was a member of numerous art associations including the National Institute of Arts and Letters, the Society of American Artists, National Association of Portrait Painters, and the American Watercolor Association. In 1889 he was made an Associate of the National Academy of Design and was named a full member in 1897.

References: Harper’s Monthly Magazine (1904), Vol. CIX, No. DCXLIX, p 802 and illustration.; Pisano, Ronald G. William Merritt Chase, Vol. 2.

New Haven: Yale University Press, 2006.; “Art of Irving Ramsay Wiles”, The Albrecht GalleryMuseum of Art, Missouri , Exhibition Catalogue.

April 8-May 30, 1971.; “The National Association of Portrait Painters”. Art and Progress (May 1915), Vol. 6, No. 7, pp 237-239.

1070 Edmondo Pizzella (Italian/American, 1868‑1941), “Portrait of a Woman in a Lavender Dress”, pastel on paper, signed lower right “E. Pizzella”, sight 30” x 24”. Presented in a Belle Epoque oval laurel leaf-andberries-carved giltwood and gesso frame surmounted by a pierced and carved bowknot crest. [1000/1500] Illustrated 1071 Frederick Judd Waugh, N.A. (American, 1861‑1940), “Seascape”, ca. 1925, oil on canvas, signed lower right, 25” x 30”. Presented in a giltwood frame affixed with artist plaque. Provenance: Christie’s in Texas, Impressionist, American and Modern Paintings and Watercolours, Houston, Texas, April 6, 1970, lot 20; The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [3500/5000] Illustrated 1072 Carlo Perindani (Italian, 1899‑1986), “The Coast of Capri”, oil on canvas, signed lower right, 31” x 43”. Presented in a carved wood frame with a linen liner. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York.

[1000/1500] Illustrated

1071

1073 Roelof Rossouw (South African, b. 1957), “South African Landscape”, oil on canvas, signed lower right, 30” x 40”. Framed. [1000/1500] Illustrated

1072

1070 1073

283

1074

1075

1077 1076

1074 Frank Reed Whiteside (American, 1866‑1929), “Western Landscape”, 1917, oil on canvas, signed and dated lower left, 18” x 24”. Framed. Provenance: Janet K. Fanto Antiques and Rare Books, Easton, Maryland.

[1000/1500] Illustrated 1075 American School (First Quarter 20th Century), “MidWestern Airfield Show”, oil on academy board, unsigned, 17‑3/4” x 21‑3/4”. Presented in a period floral-carved and molded giltwood and gesso frame. [1000/1500] Illustrated

284

1076 Frank Peters Sauerwein (American, 1871‑1910), “Market Scene”, oil on canvas, signed and dated lower left “F. P. Sauerwein, ‘97”, 12” x 18”. Framed. [9000/12000] Illustrated 1077 Martha Walter (American, 1875‑1976), “After Inquiry - Unqualified Passing Through Corridor to Detention Room, Ellis Island, No. 5”, 1921‑1922, oil on canvas board, signed lower right, pencil-titled en verso, “David David Inc., Philadelphia” label and “David David Art Gallery/ Estate of Martha Walter” ink stamps en verso, 16” x 20”. Provenance: Estate of Martha Walter, Philadelphia; David David Art Gallery, Philadelphia, Pennsylvania.

[2000/4000] Illustrated

1078 Harry Farlow (American, 1882‑1956), “Young Girl Seated on a Floral Sofa”, oil on canvas, signed lower left “H. Farlow”, verso with a 1934 “Ontario Society of Artists” exhibition label, 36” x 30”. Framed. [1800/2500] Illustrated

1079 Transitional Vernacular American Late Classicalinto-Rococo Revival Walnut Server/Sideboard, ca. 1850, probably Southern, with a shaped scroll backboard over a case with a pair of drawers edged in ribbon molding, over a pair of arched paneled doors, raised on ogee bracket feet, h. 50‑1/4”, w. 48”, d. 18‑3/4”. [500/800] 1080 American Brass and Glass Solar Lamp, ca. 1860, New York, attributed to Dietz and Co., with a caryatidform standard, and mounted with a period bell-form frosted and cut glass shade, electrified, h. 24‑1/2”, dia. 6‑1/2”. An identical base is illustrated on plate 32, No. 149, of their 1860 catalogue, reprinted in 19th Century Elegant Lighting, by Gerald Gowitt, p. 118.

[700/1000] Illustrated 1081 Antebellum New Orleans Market Walnut Tester Bed, mid-19th century, the projecting cyma-molded cornice raised on tapering posts with chamfered corners, supporting a paneled headboard with a shelland foliate-carved shell crest, h. 112”, inside, w. 60”, l. 78”, outside, w. 69”, l. 87”. [3000/5000] Illustrated

1078

1080

1081

1082 Louis-Philippe Walnut Armoire, mid-19th century, on bracket feet with paneled doors, one set with a carved walnut escutcheon under an ogee-molded cornice, h. 95‑1/2”, w. 61‑3/4”, d. 25‑3/4”. [700/1000] Illustrated

1082

285

1085

1083

1083 Exceptional Rococo Revival Gilt-Lacquered Brass Six-Light Gasolier, mid-19th century, attributed to Henry Hooper, Boston, the standard decorated in masques, beaded scrolls and a canopy of Prince of Wales feathers, tapering at the bottom, with reeded and shell-molded scrolled “candle” arms set with distinctive Hooper gas keys, supporting urn-form candlecups over leaf-molded drip pans, h. 51”, dia. 36”. [4000/7000] Illustrated 1084 American Gothic Revival Mahogany Center Table, mid-19th century, probably J. & J. W. Meeks, New York, the period oval marble top over a scalloped apron, raised on twist-turned columnar legs joined to a shaped platform base with trefoil feet, h. 30”, w. 41‑1/2”, d. 32‑1/2”. [1500/2500] Illustrated

286

1087

1084

1085 Pair of American Colonial Revival Bronze, Marble and Glass Sinumbra-Style Lamps, fourth quarter 19th century, the bronze-mounted marble bases with fluted standards and set with a pair of blown-, cut and frosted glass shades decorated with grapes and hung with prisms, h. 31‑1/2”, dia. 9”. [500/800] Illustrated 1086 Pair of Russian Brass Candlesticks Fitted with Blown Glass Shades, post-1888, the turned sticks labeled (in Cyrillic) “Sysoev of Moscow”, one centering the warrant of Nicholas I, and the other a building and “founded 1888”, mounted with bluetrimmed grape-engraved glass hurricane shades, h. 21‑3/4”, dia. 6”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [500/800] 1087 Pair of French Rococo Revival Hand-Painted Porcelain Fan-Form Vases, mid-19th century, Paris or Limoges, each large vase decorated with molded and gilded leaves and flowers framing the central panels, the hand-painted panels depicting a group of people in 18th-century costume being served al fresco by a servant, h. 25‑1/2”, w. 10‑1/2”, d. 7”. [600/900] Illustrated

1088 American School (Second Quarter 19th Century), “Portrait of a Girl in a Landscape, Holding a Doll”, oil on canvas, unsigned, 24” x 20”. Presented in a giltwood frame.

[3000/5000] Illustrated 1089 Three-Piece American Rococo Revival Rosewood Parlor Suite, third quarter 19th century, comprised of a settee and a pair of armchairs, each with a carved crest with a cabochon over flowers, flanked by feathered wings, open arms, serpentine seat and cabriole legs, settee, h. 42”, w. 39‑1/2”, d. 28”, armchair, h. 42”. [1000/1500] Illustrated 1090 Pair of Franco-Bohemian Hand-Painted Porcelain Garniture Vases, mid-19th century, now mounted as lamps, with hand-painted Moorish panels of well-rendered views of young women in Elizabethan costume in a flower garden, with pierced handles on a cobalt ground, now raised on wooden bases, vase, h. 17”, overall, h. 32”, w. 6‑1/4”, d. 4”. [500/800] Illustrated 1091 American Gilt-Bronze and Marble Three-Light Girandole, mid-19th century, depicting Paul and Virginia, on a double step base with rocaille-molded prism rings hung with double button prisms, now electrified and mounted as a three-light lamp, h. 25‑3/4”, w. 16”, d. 4‑3/4”. [500/800] Illustrated

1088

1090 1091

1089

287

1092 one of two

1092 two of two

1093

1092 Michelangelo Meucci (Italian/Florence, 1840‑1890), “Still Life with Pizzutello Bianco Grapes, Peach and Apples” and “Still Life with Grapes and Pomegranate”, 1873, pair of oils on canvas, latter signed, dated and inscribed “Firenze” lower right, each 20‑1/2” x 15‑1/2”. In fine period, likely original, floral-motif-carved giltwood frames. [6000/9000] Illustrated 1093 Pair of Large Franco-Bohemian Hand-Painted Porcelain Fan Vases, mid-19th century, now mounted as lamps, with hand-painted flowers on a mauve ground, framed with molded and pierced vine-and-berry “handles”, with like decoration at the top, impressed “100” on the bottom, each resting on painted and parcel-gilt lamp stands, mounted with shades, overall, h. 38‑1/2”, dia. 18”.

[500/800] Illustrated

288

1094

1094 Pair of Handsome Paris Porcelain and Gilt-Bronze Moderator Lamps, third quarter 19th century, French, the bronze bases molded with scrollwork and laurel, and supporting the vase-form bases, each decorated with four well-painted genre scenes, framed with tooled giltwork on a pink ground, the upper lamp fittings molded and pierced, electrified, h. 21‑3/4”, dia. 5‑1/2”. [700/1000] Illustrated

1098

1097

1096 1095 1095 American Renaissance Revival Walnut Bookcase, Philadelphia, third quarter 19th century, the broken-arch pediment crest centered by a carved bust of Shakespeare, the cove-molded cornice over three doors, each with arched colorless and stained glass panels, flanked by carved full-figured allegorical maidens, h. 84‑1/2”, w. 78‑1/2”, d. 20‑3/4”. [3000/5000] Illustrated 1096 American Renaissance Revival Walnut and Burl Walnut Kneehole Desk, third quarter 19th century, the left side fitted with a bank of four drawers and the right side with a single drawer above a cabinet door, the top with a leather blotter, h. 30”, w. 45”, d. 31”. [1200/1800] Illustrated

1097 Pair of French Brass Carcel-Type Lamps, second quarter 19th century, labeled by the Hadrot Lamp Company, Paris, the moderator lamps with key-wind mechanisms, on scrolled stands and fitted with third quarter 19th century cut and frosted glass shades, overall, h. 26”, dia. 7‑1/2”. [1200/1800] Illustrated 1098 Pair of Rare, Monumental Neo-Grec Bronze Gas Wall Sconces, third quarter 19th century, the pierced scrolled brackets decorated with pinecones, molded shells, anthemia and pierced gas keys, mounted with appropriate frosted and cut glass scalloped shells, h. 14”, w. 6”, d. 18”.

[1200/1800] Illustrated

289

1101 Philadelphia Gilt-Lacquered Brass Six-Light Rococo Revival Gasolier, mid-19th century, attributed to Archer and Warner, with a ropetwist stem and a vasiform standard decorated with scrollwork mounts, the bowl with six scrolled arms set with gas keys, and molded with flowers and leaves, matching the molded chains, set with period-appropriate ball-form star-cut frosted glass shades, h. 38”, dia. 37”. [1000/1500] Illustrated

1101

1099 American Neo-Grec Marquetry-Inlaid and Bronze-Mounted Rosewood Cabinet, attributed to Pottier & Stymus, New York, ca. 1869‑1870, the top centered by a raised plinth with incised lambrequins beneath the top, the case with an inlaid frieze over a door with an inlaid panel centered by a masque of a mythological personage, the concave sides with bronze plaques, the fluted pilasters with gilt decor, the verso numbered “3332” and with the letters presumably for the party that commissioned the piece “H.K.O.”, h. 52‑3/4”, w. 61”, d. 22”. [3000/5000] Illustrated

1100

Pottier and Stymus employed a consecutive numbering system on their pieces starting about 1869. The number on this piece suggests origins around 1869‑1870. In 1869, the U.S. Treasury Department also purchased a suite of Renaissance Revival furniture from Pottier and Stymus.

1100 Rare and Opulent American Rococo Revival Bronze Three-Arm Gas Sconce, third quarter 19th century, of large proportions, with a scrollworkdecorated backplate featuring a winged twisted-tail mermaid holding the cluster of arms with branch and morning glory motifs, fitted with three period crown-top etched glass shades, h. 20”, w. 30”, d. 22”.

[800/1200] Illustrated 1099

290

1103

1104

1102

1102 American Renaissance Revival Burled Walnut and Walnut Cabinet, ca. 1870, the raised center with an arched backboard, the tops with inset Tennessee brown marble, the central section with a bowed drawer over a door with a burled and carved panel, flanked by recessed ends with burled panel doors, h. 55‑3/4”, w. 53‑1/2”, d. 18”. [1200/1800] Illustrated

1103 Limoges Benjamin Harrison Presidential Salad Plate, ca. 1892, decorated with an eagle grasping a shield in the center, the border with gilt corn, symbolizing American agriculture, and goldenrod, hearkening to Harrison’s home state of Indiana, made by Tressemanes & Vogt of Limoges, and ordered through M. W. Beveridge of Washington, D.C., marked on the back by both, as well as “Harrison 1892” in gilt, dia. 8‑1/2”. [900/1200] Illustrated This set was ordered for the administration under the influence of first lady Caroline Harrison, who had an interest in china painting.

1104 Life-Size Cast Iron Stag Lawn Ornament, late 19th century, probably J. W. Fiske & Co., New York, mounted on its original rectangular cast iron plinth base, h. 63”, w. 18”, l. 48”. [3000/5000] Illustrated

291

1107

1105 Three-Piece Suite

1105 Three-Piece Suite

1106

1108 1105 Three-Piece Suite of American Renaissance Revival Walnut Furniture, ca. 1870, Philadelphia, comprised of a console/server and a pair of high-back chairs, the server with a backboard centered by a carved cartouche, the top with canted corners over a carved leonine masque and fluted legs joined by shaped X-form stretchers, joined with a finial, h. 48”, w. 61”, d. 25”, and the pair of chairs each with a like-carved cartouche crest, open back, plank seat, shaped apron and fluted legs, h. 59”. [2000/4000] Illustrated 1106 American Life-Size Marble Bust of a Lady, fourth quarter 19th century, modeled in a scallop-neck chemise, h. 22‑1/2”, w. 17‑1/2”, d. 11”. [600/900] Illustrated

292

1107 Henry Ward Ranger (American, 1858‑1916), “Farmstead”, oil on board, signed lower left and stamped “N.A.D. Ranger” (National Academy of Design, Ranger Fund), 12” x 16”. Framed. [1000/1500] Illustrated 1108 Rare American Renaissance Revival Walnut Globe Stand, fourth quarter 19th century, with a globe of later date, on a boldly turned standard decorated with carved masques, the paper-printed horizon probably original, the globe and bronze meridian marked “Rand McNally”, early 20th century, h. 59”, dia. 20”. [1500/2500] Illustrated

1109 American Aesthetic Movement Ebonized Easel/ Folio Stand, ca. 1880, with a carved crest over a pierced urn- and sunflower-carved panel, the back telescoping to accommodate various size artworks, the lower portion with a folio cabinet and fitted with a deep drop-front lid with roundel-carved panels, h. 74” to 91”, w. 31”, d. 28‑1/2”.

[1200/1800] Illustrated 1110 Small Victorian Coats, New Orleans Cast Iron Safe, late 19th century, the face with stenciled polychrome, “Coats Safe & Lock Co., New Orleans, LA, 633 Gravier St.”, and opening to reveal a polychromed interior door fitted with drawers, retaining period velvet lining, the hinges with nickel-plated pin caps, h. 29”, w. 19‑3/4”, d. 19”.

[500/800]

1111

1111 French Patinated Bronze and Metal Sculptural Group of a Noble Roman Woman, fourth quarter 19th century, the classically draped figure holding an orb in one hand and resting against a vine-covered column, h. 25‑1/4”, w. 19‑1/2”, d. 8”. [800/1200] Illustrated 1112 Pair of American Cast Zinc Garden Urns in the Renaissance Revival Taste, fourth quarter 19th century, the bowl with a gadrooned edge and a female masque on each side, and mounted to an acanthinedecorated octagonal base, h. 36”, dia. 20”. [500/800] Illustrated 1113 Pair of Large Paris Porcelain Hand-Painted Vases, third quarter 19th century, with peach grounds and large panels decorated with women in stylish Empire gowns holding babies, framed with gilt-on-black-painted borders, the sides with scrolled handles with gilt trim, h. 22‑3/4”, w. 7‑1/4”. [1500/2500] Illustrated

1113

1112

1109

293

1114

1116

1114 American Five-Piece Coin (.900) Silver Neo-Grec Tea Set, third quarter 19th century, by Wood & Hughes, New York City, New York, including a coffeepot, h. 8‑3/4”, dia. 6”, a teapot, h. 7”, dia. 6‑1/2”, a covered sugar bowl, h. 5‑3/4”, dia. 5”, a cream jug, h. 4”, dia. 4‑1/4”, and a waste bowl, h. 3”, dia. 5‑1/4”, each with a squat spherical body with a plain wide collar and with fine gadrooning at the upper edge, the shoulder engraved with an ornate band of shells, scrolls and palmettes surmounted with annulated banding, raised on four flower-and-scroll feet, the pots with paneled, gooseneck spouts, ivory-insulated geometric handles, and hinged domed lids with elaborate toupie finials, the sugar bowl with fitted lid and opposing handles en suite, the cream jug with integral collar spout and single handle en suite, the creamer only inscribed on the body “Willets”, 81.41 total t. oz. [3000/5000] Illustrated 1115 Rare Aesthetic Silverplate Perpetual Parlor Fountain, fourth quarter 19th century, probably James W. Tufts, Boston, handsomely decorated with molded, pierced Aesthetic side supports terminating in eagles, originally fitted with an upper glass basin under the centered nozzle, as water would spray into the basin, the upper tank drained and the tanks reversed position, h. 21‑1/2”, dia. 11”.

[3000/5000] Illustrated

294

1115

1116 Good American Sterling Silver Punch Bowl, Underplate and Ladle, fourth quarter 19th century,

by Shreve, Crump and Low, Boston, Massachusetts, the punch bowl with steeply waisted shoulder and wavy rim, decorated with embossed vertical grapevines and fitted with three grape leaf-mounted and satyr masque-crested grape cluster handles, all raised above a domed circular foot with repousse grape clusters, h. 9‑3/4”, dia. 10‑1/2”, w. 13‑1/4”, the conforming circular underplate with applied “vintage” band en suite, dia. 14‑1/8”, together with an associated Frank W. Smith punch ladle en suite, l. 14‑1/2”, all monogrammed “HJG”, 120.33 total t. oz.

[4500/7000] Illustrated

1117 Eighty-Eight-Piece Set of Gorham “Versailles” Sterling Silver Flatware, the pattern designed in 1888 by Florentin Antoine Heller (1839‑1904), Providence, Rhode Island, comprising ten sevenpiece place settings, plus an additional eight place pieces and ten serving pieces, no monograms (save one piece), 108.07 total t. oz. (weighable silver).

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. Detailed list of pieces available on request. [2500/4000] Illustrated

1119 Good Nine-Piece Sterling Silver Table Garniture, fourth quarter 19th century, by J. E. Caldwell & Co., Philadelphia, Pennsylvania, comprising four small tazze, h. 2‑1/4”, dia. 7‑1/2”, two large tazze, h. 3‑1/4”, dia. 9”, a compote, h. 5‑1/4”, dia. 13‑3/4”, a platter, dia. 15‑3/4”, and a tall platter stand, h. 8‑1/2”, dia. 11‑1/4”, each decorated with an openwork band of flowers and scrolls on a trellised ground, all but the stand with engraved plateau en suite centering the elaborate monogram “MLS”, 256.09 total t. oz. [9000/12000] Illustrated

1118 Good George W. Shiebler Sterling Silver Gilt Reticulated Bread Tray, ca. 1900, New York, New York, of oval form, decorated with intricate openwork floral and foliate scrolls, l. 12‑1/2”, w. 7”, 11.75 t. oz.

[500/800] Illustrated

1120 Seventy-One Pieces of Gorham “Old Baronial” Sterling Silver Flatware, the pattern designed in 1898 by William Christmas Codman (1839‑1923), Providence, Rhode Island, comprising eight six-piece place settings, with an additional twenty-one place pieces and two serving pieces, variously monogrammed, 84.59 total t. oz. (weighable silver). Detailed list of pieces available on request. [1400/1800] Illustrated

1118

1117 Eighty-Eight Piece Set

1120 Seventy-One Pieces

1119

295

1122

1125 Ninety-Five-Piece Set

1124 1121 Two Pieces of English and American Sterling SilverMounted Cut Glass, including an English cane-cut claret jug, the silver mounts hallmarked London, 1896‑1897,

by Charles Boynton II (1829‑1899; free 1853), decorated with Bacchic masques rampant lion-and-shield finial, h. 10‑1/2”, l. 7‑1/4”, and an American diamond, hobstar and notched dresser jar, the silver lid first quarter 20th century, by Frank W. Smith, Gardner, Massachusetts, decorated with embossed roses and scrolls, h. 7‑1/4”, dia. 5”, 8.28 t. oz. (lid only), [500/800] 1122 American Sterling Silver Cased Bezique Set, first quarter 20th century, by the William B. Durgin Co., Concord, New Hampshire, in the neoclassical taste, of rectangular form and decorated with embossed floral swags, crowns, torches and reed-and-laurel banding, the hinged lid and front opening to reveal a pair of maple and rosewood Bezique counters and four card trays, complete with one full and one partial vintage standard deck of cards, the lid monogrammed “CKGB”, overall, h. 4‑1/4”, w. 6‑3/4”, d. 4‑1/2”. [700/1000] Illustrated 1123 Eighty-Two-Piece Set of Wallace “Grand Baroque” Sterling Silver Flatware, the pattern designed in 1941 by William S. Warren (1888‑1965), Wallingford, Connecticut, comprising twelve seven-piece place settings (two demitasse spoons lacking), 90.46 total t. oz. (weighable silver). Detailed list of pieces available on request. [1800/2500]

296

1124 Large Sterling Silver Presentation Punch Bowl, 1906,

by Whiting Mfg. Co., Providence, Rhode Island, retailed by Shreve, Crump and Low, Boston, Massachusetts, in the neoclassical taste, of hemispherical form, decorated with a molded band of alternating beaded flutes and paterae above ribboned floral swags, with acanthus-mounted arched handles and raised above a waisted circular foot on a square plinth base, engraved with presentation inscription “Presented to His Honor Lieutenant-Governor Eben S. Draper, April 16, 1907”, the underside with the the names of the presenters, h. 13‑1/4”, w. 21‑1/4”, dia. 17”, 136.96 t. oz.

[5000/8000] Illustrated Eben Sumner Draper (1858‑1914) served as Lieutenant Governor of Massachusetts 1906‑1909 and Governor 1909‑1911. He was an archetypical industrial Baron of the Gilded Age, his family owning the largest producer of cotton textile process machinery in the world. He was, unsurprisingly, a staunch anti-labor conservative and stalwart of the Republican party which dominated Massachusetts at the time. It is no surprise that the presenters of this handsome punch bowl include the elite of the Massachusetts G.O.P. of the time, including Governor Curtis Guild, Jr. (1860‑1915), U.S. Senator Henry Cabot Lodge (1850‑1924), Boston Mayor and Police Commissioner Edwin Upton Curtis (1861‑1922), state Attorney General Dana Malone (1857‑1915), and Massachusetts Railroad Commission Chairman and Judge Walter Perley Hall (1867‑1942).

1125 Ninety-Five-Piece Set of Tiffany “Wave Edge” Sterling Silver Flatware, the pattern designed in 1884 by Charles T. Grosjean (1841‑1888), this set 1902, New York, New York, comprising twelve nine-piece place settings, thirteen pieces lacking but still complete for eleven persons (tea- and demitasse spoons excluded), monogrammed “NSR”, 120.55 total t. oz. (weighable silver), complete with the original fitted, russet baize-lined, brass-cornered blonde oak Tiffany case, the lid centered with a brass presentation plaque engraved “NSR / from Father / Montevideo - Uruguay / Oct. 1 1902”, 4‑7/8” x 14‑5/8” x 12‑3/4”. Detailed list of pieces available on request. [3500/5000] Illustrated

1126 Tiffany & Co. Sterling Silver Platter, the pattern introduced in 1893, this example 1902‑1907, New York, New York, of oval form, in a variant “Wave Edge” pattern, 20” x 14”, 60.17 t. oz.

[1500/2500] Illustrated 1127 Tiffany & Co. Sterling Silver Fruit Bowl, the pattern introduced in 1887, this example 1902‑1907, New York, New York, of shallow bucket form, decorated with embossed spiral flutes and floral bouquets, with applied fern and floral rim and raised on four acanthus-crested lion’s paw feet, h. 3‑3/4”, dia. 9‑7/8”, 26.50 t. oz.

[1000/1500] Illustrated 1128 Pair of Tiffany & Co. Sterling Silver Bread Trays, the pattern introduced in 1892, this pair before 1902, New York, New York, of shaped oval form, with rocaille rim, with a pierced inner band of scrolls and flowers, engraved “MBIC”, l. 12‑1/2”, w. 10‑1/4”, 42.35 total t. oz. [900/1200] Illustrated

1126

1129 Tiffany & Co. Sterling Silver Flower Bowl, the pattern introduced in 1921, New York, New York, of circular form with deeply everted rim, decorated with a shaped “Chippendale” rim and molded banding with scroll-mantled shell cartouches, the center cartouche monogrammed “M” and flanked by the anniversary dates “1896‑1946”, h. 3‑1/4”, dia. 17”, 64.98 t. oz. [900/1200] Illustrated 1130 Good Tiffany & Co. Sterling Silver Water Pitcher, the pattern introduced in 1906, New York, New York, the ovoid body with applied stylized foliate handle and applied spout, h. 8‑1/2”, l. 8”, 45.00 t. oz. [700/1000] Illustrated

1127

1131 Set of Twelve American Sterling Silver Dessert Bowls, first quarter 20th century, by David Redpath Rough (1867‑1959), New York, New York, of squat cylindrical form with rounded base and rolled rim, h. 2”, dia. 4‑1/2”, 54.57 total t. oz. [800/1200] Illustrated

1129

1131

1128

1130

297

1135 1132 Seventy-Piece Set

1133

1136 Ninety-Four-Piece Set

1134 1132 Seventy-Piece Set of Stieff “Williamsburg Shell” Sterling Silver Flatware, the pattern introduced in 1970, Baltimore, Maryland, comprising eight seven-piece place settings, with an additional eight place pieces and six serving pieces, no monograms, 65.00 total t. oz. (weighable silver).

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. Detailed list of pieces available on request.

[1200/1800] Illustrated 1133 Set of Twelve American Silverplate Service Plates, second quarter 20th century, by the Crown Silver Co., Brookline, Massachusetts, each of circular form, hexagonally serpentine-lobed with gadrooned rim, engraved with a decorative crest of a lion’s head erased, dia. 11”. [500/800] Illustrated

298

1134 Set of Eight Silverplate Candlesticks, second half 20th century, Sheffield Silver Co., Brooklyn, New York, in the William IV taste, each with a baluster standard surmounted by an inverted bell-form nozzle and raised above a shaped, domed foot, the whole decorated with rocaille floral scrolls, h. 11”, dia. 5‑3/4”. [500/800] Illustrated 1135 Four Pieces of American Sterling Silver Hollowware, mid-20th century, including a 1934 Reed & Barton “Chippendale”-style oval platter, monogrammed “AG”, 11” x 15”, an S. Kirk & Son circular vegetable bowl with molded rim, dia. 9”, a 1940/43 Edward San Giovanni combination ashtray/card tray, dia. 4‑1/4”, and a 1952/56 Tuttle baluster-form cream jug, monogrammed “WRGB”, h. 5”, dia. 3‑3/4”, 48.68 total t. oz. [700/1000] Illustrated 1136 Ninety-Four-Piece Set of Wallace “Romance of the Sea” Sterling Silver Flatware, the pattern designed in 1950 by William S. Warren (1888‑1965), comprising twelve six-piece place settings with an additional dozen teaspoons and ten serving pieces, no monograms, 138.57 total t. oz. (weighable silver). Detailed list of pieces available on request. [2500/4000] Illustrated

1139

1137 Ninety-Three Pieces

1140

1138 One Hundred and Thirty-Five Piece Set

1137 Ninety-Three Pieces of Gorham “Gold Tip” Sterling Silver Flatware, the pattern designed in 1952 by James Russell Price (1907‑1974), Providence, Rhode Island, comprising ten seven-piece place settings (one iced tea spoon lacking) with an additional thirteen place pieces and eleven serving pieces, no monograms, 99.99 total t. oz. (weighable silver). Detailed listing of pieces available on request. [2000/4000] Illustrated Gorham’s stylish modernist “Gold” series was distinguished by the addition of eighteen-karat gold accents: here, in the “Tip” version, the small horizontal rod on the tip of the handle. Also available were “Cipher” (an applied gold monogram), “Snowflake” (a holiday version with gold snowflakes), “Stardust” and “Wheat” (with gold stars and wheat stalks, respectively).

1138 One Hundred and Thirty-Five-Piece Set of Reed & Barton “Eighteenth Century” Sterling Silver Flatware, the pattern introduced in 1971, Taunton, Massachusetts, comprising eighteen six-piece place settings (three pieces lacking), with an additional ten demitasse spoons and steak knives, and five place and five serving pieces, no monograms, 128.10 total t. oz. (weighable silver), presented in a fitted blue felt drawer inset with zippered closure, 19” x 12”. Detailed list of pieces available on request. [2000/4000] Illustrated 1139 Mexican Sterling Silver Platter, second quarter 20th century, by “G.H.”, of serpentine-lobed oval form, with reeded edge, 23” x 13‑1/2”, 61.08 t oz. [1200/1800] Illustrated 1140 Good Hector Aguilar (1905‑1986) .940 Silver Platter, ca. 1940‑1945, Taxco, Mexico, hand-wrought, of circular form with incised and pierced “stairstep” border, dia. 17”, 47.52 t. oz. [600/900] Illustrated

299

1141

1141 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Synthesis 17B”, 1983, mixed media on canvas, signed and dated lower right, verso with “Heath Gallery” label and a Pensacola Museum of Art, “Kohlmeyer & Benglis: Teacher and Student in the 80’s”, 1995 exhibition label, 48” x 70”. Presented in a thin gallery frame. [40000/70000] Illustrated 1142 Norio Azuma (Japanese/New York, 1928‑2004), “Nude, Standing”, oil on canvas, signed lower right, an “Azuma Gallery/New York, New York” label en verso, 36” x 26”. In a thin gallery frame. [1000/1500] Illustrated

1142

300

1143

1144 1143 William Allyn Nichols (American, b. 1942), “Cedarberg Brook”, 1982, acrylic on canvas, signed and dated lower left, 83” x 120”. Unframed. Provenance: Hooks-Epstein Galleries, Inc., Houston, Texas.

[5000/8000] Illustrated 1144 Max Standley (American, 20th Century), “Reflections in the Water”, oil on board, signed lower left, 22” x 26”.

Framed. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York.

[1000/1500] Illustrated

1145 1145 Max Standley (American, 20th Century), “Monika”, oil on board, signed lower left, 48” x 36”. Framed.

Provenance: DuBose Gallery, Houston, Texas; The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [1000/1500] Illustrated

301

1146 Rufino Tamayo (Mexican, 1899‑1991), “El Juglar”, ca. 1965, mixograph, signed lower right, numbered “16/99” lower left, sheet 29‑3/4” x 22”. Glazed, float-mounted and framed. Provenance: Hanson Art Galleries, New Orleans, Louisiana; Private collection. [2500/4000] Illustrated 1147 Sidney Laufman (American, 1891‑1985), “Bacchanal”, oil on canvas, signed lower right, 73‑3/4” x 69”. Unframed.

[1000/1500] Illustrated

1146

1147

1149 1148 Sperry Andrews (American, 1917‑2005), “Running Horse”, 1952, oil on canvas, signed and dated lower left, 20” x 36”. Framed. [1200/1800] Illustrated 1149 Elizabeth (LIZO) Shahenian (American, b. 1950), “Garden at Giverny, France”, 2008, oil on canvas, signed lower left, signed, dated, titled, and localized “France” en verso canvas, 40” x 40”. Framed. [2000/4000] Illustrated 1148

302

1150 Elizabeth (LIZO) Shahenian (American, b. 1950), “Still Life with Flowers, Fruits and Watermelon”, oil on canvas, signed lower left, 36” x 48”. Framed. [1200/1800] Illustrated 1151 Hunt Slonem (American, b. 1951), “Untitled”, 1986, oil on canvas, a triptych, signed en verso of all three canvases, dated on central canvas en verso, overall 12” x 26”. Unframed. [1500/2500] Illustrated 1152 Donald Deskey (American, 1894‑1989), “Untitled Abstract”, signed lower right, sight 29” x 26”.

Glazed, matted and framed.

[3000/5000] Illustrated

1153

1153 Alan Bean (American, b. 1932), “America’s Team...We’re No. 1”, acrylic on masonite, signed and dated “1986” lower right, titled en verso, verso with “Blount Collection, Montgomery, Alabama” label, 28” x 36”. Framed.

[10000/15000] Illustrated

1151

1150

1152

303

1156

1154

1157

1154 Semi-Antique Kashan Carpet, 4’ 3” x 6’ 5”. [700/1000] Illustrated 1155 Semi-Antique Bakhtiari Silk Runner, 2’ 8” x 9’ 3”.

[700/1000] Illustrated 1156 Qum Silk Carpet, 4’ x 6’ 5”. [800/1200] Illustrated

304

1158

1155

1159

1157 Turkish Oushak Carpet, 8’ x 11’. [800/1200] Illustrated 1158 Turkish Oushak Carpet, 12’ x 15’ 3”. [1800/2500] Illustrated 1159 Louis XV-Style Needlepoint Carpet, 9’ 3” x 13’ 3”.

[800/1200] Illustrated

1161

1165

1160 Antique Persian Bidjar Runner, 3’ 9” x 16’. [900/1200] 1161 Turkish Angora Oushak Carpet, 9’ x 11’ 10”.

[1000/1500] Illustrated 1162 Kerman Carpet, 9’ x 12’. [1000/1500] Illustrated 1163 Antique Mahal Carpet, 3’ 6” x 6’ 2”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [500/800]

1162

1166

1164

1167

1164 Semi-Antique Persian Heriz Carpet, 8’ 9” x 12’ 1”.

[1200/1800] Illustrated 1165 Turkish Angora Oushak Carpet, 8’ 1” x 10’ 1”.

[800/1200] Illustrated 1166 Agra Serapi Carpet, 12’ 1” x 15’ 3”. [1500/2500] Illustrated 1167 Bamboo Silk Carpet, 9’ x 11’ 7”. [1500/2500] Illustrated

305

1171

1168 1169

1170

1168 Semi-Antique Hereke Silk Prayer Rug, 2’ x 3’ 5”.

[600/900] Illustrated 1169 Rare French Gilt-Bronze and Champleve Enamel Ten-Light Chandelier, fourth quarter 19th century, the turned bronze standard decorated with a handled, reeded urn with an enamel border, with another enamel border above it, below scrolled and pierced sections, the leafmolded and scroll-decorated arms set with pierced candle drip pans and candle cups with cobalt and yellow anthemia, h. 29‑3/4”, dia. 21‑1/2”. [4000/7000] Illustrated 1170 French Champleve Enamel, Brass and Glass Double Picture Frame, first quarter 20th century, on an easel support, the feet and center portion pierced and inlaid with turquoise, sapphire and red enamel, executed with careful detail, made to hold two 4” x 6‑1/4” photographs, h. 9”, w. 9‑3/4”, d. 3‑1/4”. [500/800] Illustrated

306

1172

1171 Unusual Pair of Paris Porcelain Vases of Asian Inspiration, third quarter 19th century, decorated with gilt arabesque scrollwork trimmed with platinum leaves and a central bleu royale band with raised gilt, h. 18‑1/4”, w. 7”, d. 7”. [700/1000] Illustrated 1172 Viggo Langer (Danish, 1860‑1942), “A Mosque Courtyard”, oil on canvas, signed lower left, 26” x 33‑1/2”.

Framed. [1500/2500] Illustrated

1176

1173

1174 1177 1175 1173 Handsome French Egyptian Revival Gilt-Metal Jewel Cabinet, first quarter 20th century, the pylon-form casket with un-gilded figures decorating the corners and along the sides, interspersed with columns, both sides and cover decorated with bas-relief figures and incised hieroglyphs, marked “Fabrication Francaise” on the bottom, h. 9‑1/2”, w. 12‑1/2”, d. 8‑1/2”. Provenance: Christie’s, South Kensington, Souvenirs of the Grand Tour and NeoClassical, October 22, 1997, lot 158. [1000/1500] Illustrated 1174 Pair of Napoleon III Bronze and Marble Five-Light Candelabra, third quarter 19th century, on pylonform black marble bases decorated with gilt-incised hieroglyphs, the standards each depicting a standing Egyptian male figure, the candle arms decorated with both an ibis and a hawk, and the candlecups incised with lotuses, h. 25‑1/2”, w. 10‑3/4”, d. 6”. [2500/4000] Illustrated

1175 Napoleon III Ebonized and Ormolu-Mounted Pedestal, late 19th century, in the Empire taste, the stepped top hinged and opening to an open space, above a paneled tapering body, the front with an ormolu mount of a floral spray in a classical urn, raised on a molded base with turreted corners, the whole accented with ormolu mounts and millwork, h. 42‑1/4”, w. 23‑1/2”, d. 14”. [1800/2500] Illustrated 1176 Pair of Napoleon III Gilt-Bronze and Marble KylixForm Garniture Urns, third quarter 19th century, on fluted column-form marble bases, the urns ornamented with molded grapes and grape leaves, with vine-form handles, h. 9”, w. 6‑1/2”, d. 4‑3/4”. [500/800] Illustrated 1177 Pair of French Patinated Bronzes of a Flautist and a Piper, 20th century, after Eugene D. Piron (French, 1875‑1928), each with cast signature at edge of self-base, and on a green marble plinth, the tallest, h. 11‑1/2”, w. 4”, d. 7”. [500/800] Illustrated

307

1180 1178

1179

1181

1178 Unusual French Renaissance-Style Bronze Covered Urn, ca. 1900, composed of gilt-bronze, contrasting silver gilt and metal figures, the base decorated with putto and gilt scrollwork, the main body with a bronze finish in silver gilt and with delicate giltwork incising, set with scrollwork handles, the cover trimmed with gilt egg-and-dart and fluted trim, a putto serving as the knop, h. 13”, dia. 5‑3/4”.

[800/1200] Illustrated 1179 French Gilt-Bronze and Tole Bouillotte Lamp, second half 20th century, on an engine-turned base set with a fluted column-form standard and three engine-turned candle sockets on scroll-decorated supports, with two electric candle sockets set behind the black-painted tole shade, h. 36”, dia. 15‑1/2”. [500/800] Illustrated

308

1180 Unusual Pair of Paris Porcelain Vases with Aesthetic Decoration, fourth quarter 19th century, each with a dark cobalt ground and set with gilt ram’s-head handles, the bodies decorated with platinum prunus and raised gilt butterflies, dragonflies and bees, h. 15‑3/4”, w. 7‑1/4”, d. 5‑1/2”. [800/1200] Illustrated 1181 Napoleon III Ebonized and Marble-Top Cabinet, third quarter 19th century, in the Regence taste, the shaped marble top above a conforming case fitted with an ormoluapplied frieze over two glazed cupboard doors, flanked to either side by a like cupboard, raised on a plinth base, the whole accented with ormolu mounts and millwork, h. 40”, w. 67”, d. 23”. [2000/4000] Illustrated

1182

1183 1185 Unusual Napoleon III Giltwood Mirror, third quarter 19th century, with leaf-carved lower corners and a pierced crest decorated with a shell flanked by carved dolphins, the frame inset with very unusual panels of beveled glass over mirrored convex roundels against a gilt-flecked ground, h. 56”, w. 33”.

[1200/1800] Illustrated

1184 1182 French Ebonized and Brass-Inlaid Tantalus, third quarter 19th century, with inlaid scrolled brass panels decorated with rosewood and mother-of-pearl on the cover and front, the sides and cover opening to reveal a rosewood and gilt-bronze lift-out tray, holding a later set of glass liqueur bottles and glasses, marked “France”, and the base of the tray with a retailer’s label, “Rothhacker a Campaigne, Porcelaines, Cristaux, Verries et Faiences”, h. 11”, w. 12‑3/4”, d. 9‑1/4”. [600/900] Illustrated 1183 Napoleon III Gilt-Bronze Figural Mantel Clock, third quarter 19th century, decorated with a figure of a classical maiden, on a column-form base decorated with swags and laurel, the movement marked “Ch. Les Mt.”, h. 23‑3/4”, w. 9”, d. 9”. [1000/1500] Illustrated 1184 Napoleon III Ebonized and Boulle Center Table, third quarter 19th century, the turtle-form top with a conforming glass surface and an elaborate scrolling boulle inlay within a gadroon-pattered ormolu edge, above a conforming frieze fitted with a single drawer, raised on cabriole legs headed by ormolu espagnolettes and ending in sabots, h. 30”, w. 25‑1/2”, d. 30‑1/2”. [800/1200] Illustrated 1185

309

1186

1190

1186 Pair of French Patinated Metal and Marble Five-Light Candelabra, ca. 1900, the serpentine-sided rosso antico marble bases on scrolled metal feet and supporting the quiver-form standards, the pierced and scrolled arms with molded candle cups and matching drip pans, h. 30”, w. 16”, d. 16”. [500/800] Illustrated 1187 Napoleon III Gilt-Bronze-Mounted Mahogany Jardiniere, third quarter 20th century, on turned bronze feet, the sides decorated with corner medallions, bronze dents de loup molding outlining the panels, and lyre trophies alternating with laurel wreath trophies, with a removable tole liner, h. 12”, w. 10‑3/4”, d. 10‑3/4”.

[500/800] Illustrated 1188 Pair of Napoleon III Patinated Bronze and Marble Garnitures, third quarter 19th century, in the NeoGrec style, on black marble bases, the reeded bodies and handles decorated with anthemia and scrollwork, the upper caps cast with Greek-key borders, h. 17‑1/2”, dia. 5‑3/4”. [500/800] Illustrated

310

1188

1187

1189

1189 Napoleon III Mahogany and Brass-Inlaid Drop-Leaf Table, late 19th century, the rectangular top centered by a brass panel with elaborate scrolling foliate-inlaid patterns, with double bands of inlaid brass stringing and with two like drop leaves, above a frieze fitted with a paneled drawer to one side, raised on fluted brass ring-turned legs joined by an H-form stretcher and ending in bun feet, h. 29‑1/2”, w. 30”, d. 23‑1/2”, extended w. 45”. [800/1200] Illustrated 1190 Pair of Napoleon III Giltwood Fauteuils, third quarter 19th century, in the Louis XVI style, each with a padded shield-form back surmounted by a ribband crest and flanked to either side by spiral-fluted uprights, joined by padded arms to the like seat, raised on spiralfluted tapering circular legs ending in toupie feet, h. 46”.

[500/800] Illustrated

1191 Pair of Pate-sur-Pate Porcelain Bronze-Mounted Aesthetic Moderator Lamps, third quarter 19th century, on bronze paw feet supporting the molded bases, the celadon-colored porcelain standards painted with flowers in the Japanese style, and set with masque-molded handles and bronze burner fittings, now mounted as two-light lamps, base, h. 22‑1/2”, overall, h. 32‑1/4”, dia. 4‑3/4”. [1000/1500] Illustrated 1192 Jules Boquet (French, 1840‑1932), “Vallee du Bastan, Pyrenees”, oil on canvas, signed lower left, 39” x 49”.

Presented in a handsome, period, elaborately carved and molded giltwood and gesso exhibition frame. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[2000/4000] Illustrated 1193 French Lushly Ornamented Giltwood Mirror, third quarter 19th century, the edge carved with egg-and-dart molding, the upper corner blocks supported by carved brackets, the fully developed crest depicting a pair of lovebirds with a crossed quiver and torch, supporting swags of flowers, the oval giltwood frame center panel set within the rectangular frame, set with a beveled mirror plate, h. 53”, w. 36‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1400/1800] Illustrated

1193

1194 Three-Piece French Belle Epoque Patinated Bronze Clock Set, fourth quarter 19th century, of Louis XV inspiration, the inverted pear-form clock decorated with molded rocaille, scrollwork and shells, a grillwork panel covering the pendulum, the gilt-bronze dial with an enameled chapter ring and an enameled “Tiffany” label, h. 20‑1/2”, w. 10‑1/4”, d. 5‑1/2”, and the pair of fivelight candelabra with standards echoing the clock shape, and scrolled arms set with pierced drip pans and scrollmolded candle cups, h. 18‑1/2”, w. 11‑1/4”, d. 11‑1/4”.

[2000/4000] Illustrated 1194

1191

1195

1192

311

1197

1198

1200

1196 1199 1195 Pair of French Belle Epoque Gilt-Bronze and Marble Five-Light Candelabra, fourth quarter 19th century, in the rococo taste, on black marble bases inlaid with verde antico panels, the putti-molded standards supporting rocaille-molded candle branches set with matching drip pans and candle cups, the central candle cups with optional finials, h. 26‑1/4”, dia. 13”. [1200/1800] Illustrated

1198 Pair of Louis-Philippe Bronze and Porcelain Moderator Lamps, mid-19th century, in the Rococo Revival style, with scroll-molded bronze fittings, the bleu celeste-ground porcelain bases decorated with panels of hand-painted scenes of a young couple, probably Paul and Virginia, on the obverse, and panels of flowers on the reverse, the ground decorated with swirl-molded gilt fluting, base, h. 19”, overall, h. 34”, dia. 8‑1/2”.

[700/1000] Illustrated

1196 Pair of French Fin-de-Siecle Bronze and Porcelain Garniture Urns, fourth quarter 19th century, each on a molded bronze base, the bleu celeste-ground urns hand-painted with cupids on the obverse and birds on the reverse, all over molded lotus leaves, and set with elaborately molded scrolled handles molded with leaves and flowers, and a flower-molded rim and beaded brass liner, h. 15‑1/4”, w. 10‑1/4”, d. 7‑1/2”. [500/800] Illustrated

1199 Napoleon III Ebonized and Marble-Top Cabinet, third quarter 19th century, the D-form marble top above a conforming case fitted with a central cabinet door with ormolu banding and centered by a large Sevres-style figural plaque, flanked to either side by a bowed and glazed cupboard door opening to a shelved interior, raised on a plinth base, the whole accented with ormolu mounts and millwork, h. 41‑1/2”, w. 71”, d. 19‑1/2”. [1500/2500] Illustrated

1197 Pair of Belle Epoque Gilt-Bronze and Porcelain Five-Light Candelabra, fourth quarter 19th century, of Louis XV inspiration, the pierced bases molded with scrollwork and supporting bleu celeste-ground vasiform standards printed with flower decoration, the leaf-molded candle arms set with bronze drip pans and porcelain candle sockets, electrified, h. 28‑1/2”, dia. 9”. [600/900] Illustrated

1200 Sevres-Style Bronze-Mounted Hand-Painted Vase, fourth quarter 19th century, French, on pierced and molded bases, the bleu celeste-ground vase decorated with a landscape of three people with a cased bird in a garden on the obverse and a bouquet of flowers on the reverse, with elaborate tooled and raised gilt scrollwork framing the panels, now mounted as a lamp, vase, h. 18”, overall, h. 32‑1/2”, dia. 6‑1/2”. [700/1000] Illustrated

312

1201 Napoleon III Sevres-Style Porcelain and BronzeMounted Mahogany Center Table, early 20th century, the circular table featuring a large Sevres-style porcelain charger with a hand-painted tondo of Louis XV and signed “Peint Par David. Sevres”, surrounded by eighteen handpainted cameos of the Court, some with their names painted beneath, all held in place by a heavy cut-bronze overlay with six clasps and cast apron in the form of a pelmet, supported by a recessed apron with bronze mounts and a turned baluster-form column stabilized by a tripartite of bold bronze flaring scrolls, raised on a bronze plinth and conforming mahogany base and casters, h. 31”, dia. 32”. [5000/8000] Illustrated

1202

1203 1201 detail

1202 French Gilt-Bronze and Porcelain Mantel Clock, third quarter 19th century, the clock with bleu celesteground plaques in the base, one depicting an angel with a palette, painting a portrait, the draped seated classical figure on top holding a tablet reading, “Raphael, Michelangelo, Poussin”, and leaning against the clock, a palette with brushes forming the finial, the dial marked by the retailer, “Graerand, Bd des Capucines, No. 1, Paris”, h. 15‑1/4”, w. 21‑1/4”, d. 7‑1/4”. [1500/2500] Illustrated 1203 Pair of Sevres-Style Covered Vases, first quarter 20th century, French, each with a bleu celeste ground decorated with a hand-painted panel of courting couples in 18th-century costume on the obverse and a floral panel on the reverse, set with molded dolphin handles and with shell edge molding beneath the ogee-molded covers, h. 14‑1/2”, w. 7‑1/2”, d. 5”.

[500/800] Illustrated

1201

313

1205 1204

1207

1208 1206

1204 French Gilt and Patinated Metal Figural Clock, fourth quarter 19th century, on a Renaissance-style base, the patinated figure of a young girl reading a book, adjacent to a gilt-metal depiction of a neoclassical profile, probably the muse of literature, mounted with works marked “Veuf A.H. Molle, Paris”, h. 14”, w. 15‑1/2”, d. 4‑1/4”. [500/800] Illustrated 1205 Pair of French Fin-de-Siecle Marble and Patinated and Gilt-Metal Three-Light Candelabra, fourth quarter 19th century, in the Louis XV style, with verde antico marble bases inset with gilt-metal trim, the candelabra standards in the form of putti holding leaf- and berrymolded candle branches terminating in matching candle cups and drip pans, h. 17‑3/4”, w. 11”, d. 6”. [500/800] Illustrated

314

1206 Pair of Napoleon III Gilt-Bronze Figural Chenets, mid-19th century, each with a cupid seated on a rocaille work base and wrestling a griffin, h. 11‑1/4”, w. 11‑1/2”, d. 4”. [500/800] Illustrated 1207 Pair of French Gilt-Bronze Tazzas in the Neo-Grec Style, third quarter 19th century, each with a richly ornamented standard depicting a horse rising from the sea and supporting two putti, one with a seahorse tail, possibly representing the birth of Poseidon, and mounted with a shallow shell-form bowl set with dragon handles, h. 8‑1/4”, dia. 7‑1/2”. [600/900] Illustrated 1208 Large French Bronze Seven-Light Candelabrum of Rococo Inspiration, fourth quarter 19th century, the rocaille- and shell-molded vasiform-shaped standard set with molded, boldly scrolled candle branches with matching candle cups and leaf-form drip pans and bobeches, h. 37”, dia. 17”. [700/1000] Illustrated

1210 1209

1211

1209 French Frosted Glass Five-Light Gasolier, third quarter 19th century, the vasiform standard terminating in a trumpet-form segment, the lower pan terminating with a strawberry-cut finial, set with five glass arms with frosted scalloped bobeches, hung with prisms and strands of drops, h. 40”, dia. 32”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [800/1200] Illustrated 1210 Pair of Baccarat Molded and Frosted Crystal Candlesticks, ca. 1900, now mounted as lamps, the candlesticks with a ribbed base, drip pan and candle cup, with a putti-form standard, hung with prisms, marked “Baccarat” in raised letters on the base, fitted with shades, h. 24‑1/2”, dia. 4‑1/4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [800/1200] Illustrated

1212

1211 French Gilt-Bronze and Cut Glass Bateau-Form Centerpiece, fourth quarter 19th century, in the Empire style, on leaf-molded feet with swan’s-head handles, the bowl decorated with diamond-point cutting, h. 10”, w. 23”, d. 9‑3/4”. [1000/1500] Illustrated 1212 French Gilt-Bronze, Glass, Mirror Plate and Mahogany Cave a Liqueur, fourth quarter 19th century, in a gilt-bronze frame set with beveled glass and a mirror plate floor, the locking cabinet with a front and cover lifting to reveal a lift-out mahogany tray with gilt-bronze fittings, holding a set of engraved liqueur bottles and matching glasses, h. 11‑1/2”, w. 13‑1/2”, d. 11‑1/2”. [800/1200] Illustrated

315

1213 Unusual Continental Burlwood Cabinet, early 20th century, the domed cornice above an oval porcelain plaque of a maiden flanked to either side by a like smaller plaque, over three astragalglazed doors, each flanked and separated by an engaged ormolu-mounted pilaster, raised on tapering circular legs, h. 48‑1/2”, w. 45‑1/2”, d. 12”. [800/1200] Illustrated 1214 French School (Fourth Quarter 19th/First Quarter 20th Century), “Les Desmoiselles”, pair of oils on wood panel, each signed “Delament” lower left, 15‑5/8” x 12”. In matching period giltwood frames. [1000/1500] Illustrated

1215

1216 1214

1215 Napoleon III Bronze and Marble Mantel Clock, third quarter 19th century, the case made by the bronzier Dussault, on a bowfront base decorated with marble-backed pierced scrollwork, the patinated bronze figures representing music, holding a lyre, and literature, holding a scroll, flanking the clock dial, framed with laurel swags bound with a bowknot, a basket of flowers on a marble base serving as the finial, stamped “Dussault 15 Passage Choiseul, a Paris” on the inside, h. 20”, w. 22”, d. 4‑1/2”. [1200/1800] Illustrated 1216 Impressive, Monumental Gilded Age Bronze Gas and Electric Nine-Light Chandelier, ca. 1900, the vasiform standard molded with acanthus leaves and scrollwork, supporting the nine electrified scrolled arms and three gas arms, and molded with a fawn, satyr and putto, h. 66”, dia. 38‑1/2’”. [5000/8000] Illustrated

1213

316

1221

1220

1218

1217 1217 Pair of French Gilt-Bronze and Porcelain Moderator Lamps, fourth quarter 19th century, on Louis XIV-style gilt-bronze bases, the vasiform porcelain bases decorated with pate-sur-pate flowers and leaves, on a putty ground, attributed to Sevres, now electrified and mounted with shades, h. 24‑1/2”, dia. 14‑1/4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [600/900] Illustrated 1218 French Art Nouveau Bronze Twelve-Light Chandelier, ca. 1900, the quiver-form standard supporting three Art Nouveau nude maidens holding cornucopias spilling leaves and irises, the iris blossoms set with light sockets, swags of flowers hanging from the cornucopia, and twisted grapevines, grape leaves and grapes forming the lower finial, a feather- and flower-molded canopy decorating the top, h. 47‑1/2”, dia. 31”. [3000/5000] Illustrated 1219 Pair of French Art Nouveau Bronze-Mounted Pottery Vases, fourth quarter 19th century, with gilt-edged flowers and leaves, and mounted with flower-decorated pierced pawfooted bases, handles and rims, h. 13”, w. 7‑1/4”, d. 4‑1/2”.

[500/800]

1222

1220 French Belle Epoque Gilt-Bronze Four-Light Chandelier, of rococo inspiration, with three downturned lights and one vertical center light, all mounted with frosted glass flame-form shades, the scroll-molded arms connecting the inverted pear-form base to the shellmolded canopy, all decorated with delicately molded rocaille work, h. 23”, dia. 19‑1/2”. [600/900] Illustrated 1221 Boch Freres Keramis Stoneware Vase, first quarter 20th century, Belgian, decorated with flowers and leaves outlined with black on a metallic ground, the black handpainted signature reading “BFK” over “73”, and the inscribed number “274”, which appears to be the shape number, h. 10‑1/2”, dia. 6”. [500/800] Illustrated 1222 Continental Silver-Gilt Bronze Figure of “Salvator Mundi”, first quarter 20th century, the Christ child with one hand raised in blessing, the other holding a globe as symbol of the Earth, cast signature “R. Cower”, h. 10‑1/4”, w. 4‑1/4”, d. 3‑1/4”. [800/1200] Illustrated

317

1223

1225

1223 St. Louis Glass and Sterling Silver Dresser Jar, ca. 1900, French, carved with flowers on a decorated ground, with cranberry-flashed flowers and trim, the cap composed of sterling silver with a monogram, marked with a St. Louis etched vase mark, h. 2‑3/4”, dia. 4‑3/4”.

[500/800] Illustrated 1224 Thomas Webb and Sons Cameo Glass and Sterling Silver Bowl, ca. 1900, English, composed of white-overcranberry glass carved with naturalistic roses, acid-etched with a “Thomas Webb and Sons Cameo” mark within the ground pontil on the base, h. 5”, dia. 9”. [1200/1800] Illustrated

318

1224

1226

1225 George III Mahogany Tea Table, late 18th century, the oval top with a full spindled gallery, raised on a turned baluster-form standard to three splayed legs ending in pad feet, h. 26”, w. 27”, d. 20‑3/4”. [600/900] Illustrated 1226 George III Mahogany Console Table, 18th century, the shaped top with a molded edge and shell-carved front apron, raised on tall cabriole legs with shell-carved knees and ending in ball-and-claw feet, h. 38”, w. 44”, d. 25”.

[1800/2500] Illustrated

1227

1228 1227 detail

1227 Extensive Royal Crown Derby “Old Imari” Pattern Assembled Partial Dinner Service, second half 20th century, English, with various marks, the set comprised of sixteen dinner plates, dia. 10‑1/2”, thirty-two salad plates, dia. 8‑1/2”, eight flat cups, h. 2‑3/4”, eight matching saucers, dia. 3‑1/4”, eighteen bread and butter plates, dia. 6‑1/4”, five rim soup plates, dia. 8‑1/2”, eight coupe cereal bowls, dia. 6‑1/2”, eight dessert/fruit dishes, dia. 5‑1/4”, seven round trays, dia. 4‑1/4”, six additional saucers, dia. 5‑3/4”, two coffeepots, h. 7‑3/4” and 8‑3/4”, a gravy boat, w. 7‑1/2”, a candlestick, h. 10‑3/4”, two oval platters, w. 15”, d. 12”, a round chop plate, dia. 14”, a creamer, h. 3‑1/2”, and a covered sugar bowl, h. 4”.

Provenance: Thomas Goode and Company, London, England; The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [1500/2500] Illustrated

1228 Extensive Collection of Royal Crown Derby “Old Imari” Flatware, second half 20th century, English, the porcelain and stainless steel flatware collection comprised of seven fruit forks, l. 7”, eight fish forks, l. 7‑1/8”, fifteen tea forks, l. 6‑7/8”, eight steak knives with straight handles, l. 8‑1/4”, seven pistol-handled steak knives, l. 8‑3/4”, eight steak knives with larger blades, l. 8‑1/4”, eight teaspoons, l. 5‑7/8”, eight coffee spoons, l. 5‑1/4”, two cheese knives, l. 7‑1/2”, a butter spreader, l. 6”, and a bottle opener, l. 5‑3/4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [600/900] Illustrated

319

1229 George III-Style Mahogany Dining Table, the rounded rectangular top with a reeded edge and raised on four pedestals, each with a vasiform standard to three splayed, reeded legs ending in brass paws on casters, with two leaves, h. 31”, w. 53”, l. 138”, extended l. 174”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [2500/4000] Illustrated 1230 Diminutive George III-Style Mahogany Four-Drawer Chest, early 20th century, the top with a molded edge, the drawers with brass bale handles and raised on a base with bracket feet, h. 29”, w. 24”, d. 17”. [600/900] Illustrated 1231 Rare Seventeen-Piece Early Mason’s Ironstone Partial Dinner Service in the “Water Lilly” Pattern, ca. 1815‑1820, English, decorated with polychrome water lilies and various other flowers, the set including a covered soup tureen, h. 10”, w. 12”, d. 8‑3/4”, a pair of platters, w. 15”, d. 11‑1/2”, and fourteen dinner plates, dia. 10‑1/4”, marked with a one-line impressed mark, “Mason’s Patent Ironstone China”, and a transfer-printed crown and banner mark in brown. [500/800] Illustrated

1232

1232 Pair of George III Mahogany-Veneered Knife Urns, ca. 1800, the serpentine fronts edged with delicate barber-pole inlay, fitted with inlaid interiors, h. 14‑1/4”, w. 8‑3/4”, d. 10”.

[700/1000] Illustrated

1230

1231

1229

320

1235

1233

1234 1236

1233 Eighteen-Piece Partial Set of Bloor Derby “King’s” Pattern Porcelain Dinnerware, ca. 1825‑1848, English, decorated in the Imari palette, with molded, gilt-trimmed edges, each piece signed with Bloor Derby’s round red printed mark, the set including six soup plates, dia. 10”, and twelve dinner plates, dia. 10”. [500/800] Illustrated 1234 George III-Style Mahogany Breakfront, early 20th century, the molded cornice above a case fitted with four astragal-glazed doors, the lower section fitted with two paneled cupboard doors flanked to either side by two short deep drawers, raised on a plinth base, h. 82‑1/2”, w. 70‑1/2”, d. 19‑1/4”. [1200/1800] Illustrated

1235 George III-Style Mahogany Dining Table, early 20th century, the rounded rectangular top with a molded edge, the middle section of drop-leaf form, raised on three pedestals, each with a ribbed baluster-form standard to three splayed and ribbed legs ending in brass caps on casters, h. 29”, w. 56”, l. 127”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [2500/4000] Illustrated 1236 George III-Style Mahogany Bowfront Sideboard, 20th century, the banded and bowed top with sunburst veneers, above a conforming case fitted with a central cutlery drawer over two tambour cupboard doors, flanked to one side by a single deep drawer and cupboard, and to the other side by two small graduated drawers and a cupboard door, all faced as two graduated drawers, raised on tapering square legs ending in spade feet, h. 36‑1/2”, w. 71‑1/2”, d. 29‑1/2”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1000/1500] Illustrated

321

1240

1237

1239

1238

1237 Pair of Chippendale-Style Giltwood Mirrors, mid-20th century, English, the delicate pierced frame composed of scrollwork accented with roses and rocaille work, the corners inspired by pagodas, framing the crest and crowned with rocaille work, h. 97‑1/2”, w. 30”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1500/2500] Illustrated 1238 George III Mahogany Gainsborough Chair, fourth quarter 18th century, the padded slightly domed back joined by scrolling arms to the padded seat, raised on molded square legs with carved paneling and foliate accents, joined by a fret-pierced H-form stretcher and ending in molded feet, h. 38‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1500/2500] Illustrated

322

1239 Seven Chinese Export Porcelain Plates in the “Rockefeller” Pattern, fourth quarter 18th century, decorated with various delicately rendered Mandarin center panels, with outside borders of alternating sepia and orange landscapes, framed in black scrollwork, against a gilt ground of scrollwork and an inner border of alternating orange landscapes and birds on plum branches set against a ground of black and orange diapering, the set comprised of four salad plates, dia. 9‑1/4”, and three soup plates, dia. 9‑3/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated 1240 Pair of Large Chinese Porcelain Vases, 20th century, the baluster-form vases with famille rose decoration of birds and flowers on a peach-colored ground, h. 36”, dia. 16”. [1800/2500] Illustrated

1241 Sino-French Chinese Hand-Painted and Gilt-Bronze-Mounted Vase, fourth quarter 19th century, now mounted as a lamp, the bronze fittings with beading and grapes, the vases with panels of Mandarin scenes against a ground decorated with lotus flowers and fish, mounted with a shade, vase, h. 22”, overall, h. 36‑1/2”, w. 16‑1/2”, d. 16‑1/2”.

[500/800] Illustrated 1242 George III-Style Burl Walnut Bookcase, mid-19th century, the molded cornice above a case fitted with two astragal-glazed doors, the lower section fitted with two paneled cupboard doors, each with applied foliate carving in the upper corners, raised on a plinth base, h. 96‑1/2”, w. 49‑1/2”, d. 26”. [1500/2500] Illustrated 1243 George III-Style Mahogany Games Table, late 19th century, the banded demi-lune top with a central inlaid patera, the top hinged and opening to a gaming space, above a conforming frieze with Prince of Wales inlaid cartouches, raised on molded tapering square legs, h. 28‑1/2”, w. 34‑1/2”, d. 17‑1/4”. [1800/2500] Illustrated 1244 Ten Pieces of Chinese Export Porcelain in the Famille Rose Palette, fourth quarter 19th century, Ch’ien Lung period, nine of the pieces with Mandarin decoration on the center panels, including a platter with notched corners, the borders painted with scenic panels, w. 12‑3/4”, d. 9‑1/2”, a small punch bowl with a diapered border, h. 3‑1/4”, dia. 7‑3/4”, a hexagonal teapot stand, dia. 5”, a tea bowl and saucer, h. 2‑1/4”, dia. 4‑3/4”, a plate in a “Rockefeller” pattern variation, dia. 9”, a guglet decorated with Mandarin scenes framed in black scrollwork on a gilt ground, on a pierced wooden stand, h. 12‑1/2”, dia. 4‑1/2”, and three saucers, dia. 5” to 5‑1/4”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[700/1000] Illustrated

1241

1244

1243

1242

323

1245 1246

1247

1249

1245 Pair of Ch’ien Lung Punch Bowls in the Famille Rose Palette, fourth quarter 18th century, the obverse and reverse panels with Mandarin decoration, separated by panels of orange landscapes and birds on branches against a ground of roses on a ground of gilt leaves, the interiors with Mandarin panels on the bottom and side borders of orange diapering contained within gilt-edged scrollwork, on pierced wooden bases, h. 7‑1/2”, dia. 9‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi; purchased from Adriaan’s Antiques, New Orleans, Louisiana.

[700/1000] Illustrated 1246 Pair of George III-Style Mahogany Occasional Tables, late 19th century, each with a rectangular top with a reeded edge and inlaid string banding, with two like rounded drop leaves, above a frieze fitted with a single drawer, the reverse with a faux drawer, raised on tapering square legs ending in brass caps and casters, h. 28”, w. 19”, d. 17”, extended w. 37”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [600/900] Illustrated

324

1247 George III Mahogany Sideboard, fourth quarter 18th century, the banded D-form top with a projecting center section, above a conforming case fitted with a compartmented central cutlery drawer, flanked to one side by a cupboard and to the other by a deep drawer, both banded and inlaid with oval panels, raised on tapering square legs ending in spade feet, h. 37”, w. 72‑1/2”, d. 27‑1/2”. [1500/2500] Illustrated 1248 Three Pieces of Chinese Export Porcelain in the Famille Rose Palette, first quarter 19th century, including a pair of barrel-form covered containers with metal handles, decorated with Mandarin scenes, h. 5‑3/4”, dia. 4‑3/4”, and an oval covered vegetable tureen decorated with Mandarin scenes and a dragon border, with an artichoke-form knop and twisted handle, h. 5‑3/4”, w. 11”, d. 9”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] 1249 Chinese Export Porcelain Covered Garniture Urn in the Famille Rose Palette, fourth quarter 18th century, on a molded giltwood base, the rectangular urn with serpentine sides mounted with gilt dragon-form handles and an orange and gilt seated foo dog knop on the cover, and decorated with Mandarin panels framed in gilt scrollwork, against an orange and gilt-patterned ground, h. 20”, w. 6‑1/4”, d. 4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated

1250 Set of Four William IV Old Sheffield Plate Candlestick Hurricane Lamps, first quarter 19th century, each candlestick with a tapering standard, urn-form nozzle and domed base, and decorated with shell-and-scroll banding, the nozzle surmounted by a detachable candlesocket and shade ring fitted with Eastern European blown glass shades decorated with engraved sprigging, three with a cobalt border and one with a green border, candlestick, h. 13‑1/2”, dia. 5‑1/2”, overall, h. 24”, dia. 6”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [600/900] Illustrated 1251 Suite of Twelve George III-Style Mahogany Dining Chairs, consisting of two armchairs and ten sidechairs, each with a scroll-eared crest above a pierced splat, the padded seat raised on cabriole legs headed by scrolling acanthine carving and ending in ball-and-claw feet, h. 39”.

Provenance: Merryl Israel Aron, New Orleans, Louisiana.

[2500/4000] Illustrated

1253

1252 George III Mahogany Breakfront Bookcase, early 19th century, the molded cornice above a case fitted with four astragal-glazed doors, the bottom section fitted with a central drop-front secretary drawer opening to a baize-lined writing surface and a variety of drawers and cubbyholes, over two paneled cupboard doors, flanked to either side by a deep drawer over a paneled cupboard door, raised on a plinth base, h. 85, w. 80”, d. 22”. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [1800/2500] Illustrated 1253 Chinese Export Porcelain Bowl, 18th century, with grisaille decoration of a farmer and a cow in a landscape, with a monogram above, dia. 6”. [1000/1500] Illustrated

1251

1250

1252

325

1254 Pair of Rare Chinese Export Armorial Charges in the Famille Vert Palette, first quarter 18th century, decorated with the Arms of Harrison impaling Bray, from a service made for Edward Harrison of Balls Park, Hertfordshire (1674‑1732), the carefully detailed green, orange and gilt borders decorated with peonies and phoenix birds, dia. 15”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [1400/1800] Illustrated 1255 Pair of George III-Style Mahogany Chests, 20th century, each with a rectangular top above a conforming case fitted with four graduated long drawers, all flanked to either side by a rounded, fluted upright, raised on shaped bracket feet, h. 35‑1/2”, w. 38”, d. 19‑1/2”.

[1000/1500] Illustrated

1254

1256 Suite of Twelve George IIIStyle Mahogany Sidechairs, 19th century, each with a foliatecarved eared crest above a pierced and interlacing splat, raised on chamfered square legs joined by an H-form stretcher, h. 37”.

Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York.

[2500/4000] Illustrated 1255

1256

326

1259

1260

1258 1257

1257 Regency-Style Banded Mahogany Triple-Pedestal Dining Table, 20th century, each top mounted to a turned standard with four outstretched legs, the table opening to accommodate four additional 18” leaves, h. 29‑1/2”, w. 48”, l. 117”, extended l. 189”. [700/1000] Illustrated 1258 Lushly Decorated Ch’ien Lung Punch Bowl in the Famille Rose Palette, fourth quarter 18th century, Chinese, decorated with Mandarin panels with gilt scroll borders against an orange, black and gilt ground, the interior with scrolled borders decorated with mauve diapered panels and swags of flowers, on a wooden stand, h. 8‑1/2”, dia. 14‑1/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [2000/4000] Illustrated

1259 Pair of Handsomely Decorated Chinese Export Ch’ien Lung Bough Pots with Covers, fourth quarter 18th century, decorated in the famille rose palette with Mandarin figures and panels of landscapes and birds, one with a black and gilt ground and the other with an orange, black and gilt ground, all framed with gilt scrollwork, the covers decorated to match, h. 7‑3/4”, w. 8‑1/4”, d. 6‑1/2”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi; purchased from Adriaan’s Antiques, New Orleans, Louisiana. [1200/1800] Illustrated 1260 Three-Piece Chinese Export Ch’ien Lung Mantel Garniture in the Famille Rose Palette, fourth quarter 18th century, the lobed vases decorated with Mandarin scenes framed with raised and scrolled edges on an orange “chicken skin” ground, trimmed with raised flowers, h. 11‑1/2”, w. 4‑1/2” to 5‑3/4”, d. 2‑3/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[700/1000] Illustrated

327

1263

1262

1264 1261

1261 George III-Style Mahogany Games Table, early 20th century, the hinged and bowed top opening to a gaming space, above a conforming frieze with patera inlays, raised on string-inlaid tapering square legs, h. 30‑1/2”, w. 36‑1/2”, closed d. 18‑1/4”. [500/800] Illustrated 1262 Exceptional Sino-French Gilt-Bronze-Mounted Punch Bowl in the Famille Rose Pattern, fourth quarter 18th century, notable for both its quality and condition, the exterior decorated with carefully detailed Mandarin scenes framed with scrollwork, against orange, black and gilt borders, the interior bottom with a Mandarin pattern, and the upper edge decorated with a lush mauve, orange and gilt border of diapering flowers, moths and scrollwork, with late 19th-century gilt-bronze mounts in the Louis XV style, h. 8‑1/2”, dia. 12”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1000/1500] Illustrated

328

1263 Nineteen-Piece Collection of Assembled Chinese Export Ch’ien Lung Tea Wares, fourth quarter 18th century, decorated with Mandarin scenes in the famille rose palette, including a covered chocolate or hot milk jug on a stand with a crabstock handle, h. 10‑1/4”, w. 6”, a globular teapot on a stand, h. 7‑1/2”, w. 5‑1/2”, four tea bowls and saucers with scalloped edges, h. 2”, dia, 5‑1/2”, a coffee cup and saucer, h. 2‑1/4”, dia. 4‑3/4”, four assorted saucers, dia. 4‑1/2” to 6”, and three waste bowls, one matching the chocolate pot, one with a batdecorated interior border, and one with deer and hogs, h. 2‑1/2”, dia. 5‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated 1264 George III Mahogany Linen Press, early 19th century, the molded and dentillated cornice above a case fitted with two cupboard doors, each inset with banded panels and opening to pull-out shelves, the lower section fitted with three graduated long drawers, raised on bracket feet, h. 86”, w. 54”, d. 22‑1/2”. [800/1200] Illustrated

1265 Rare William IV Silver-Inlaid Tortoiseshell Serpentine Tea Caddy, second quarter 19th century, on brass ball feet, the sides and cover veneered in figured tortoiseshell, the serpentine front veneered in dark brown tortoiseshell, accentuating the bright-cut inlaid flowers and scrollwork, the two-compartment interior set with covers, h. 5”, w. 7‑1/4”, d. 4‑3/4”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated 1266 William IV Tortoiseshell Tea Caddy, second quarter 19th century, on bun feet, the caddy with a segmented exterior with metal line inlay and contrasting tortoiseshell on the sides and back, the segmented cover with a raised panel, concealing a two-compartment interior, with covers set with motherof-pearl knops, h. 5”, w. 8”, d. 4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[700/1000] Illustrated

1268

1267 George III Mahogany Draughtsman’s Table, fourth quarter 19th century, the rectangular top above a conforming frieze fitted with a drop-front drawer opening to a central hinged book rest and various drawers and cubbyholes, each side fitted with a brass handle, raised on tapering square legs ending in spade feet on casters, the whole accented with line inlays, h. 36”, w. 49”, d. 27‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi.

[1000/1500] Illustrated 1268 British School (First Quarter 19th Century), “Portrait of a Dandy in a White Cravat”, oil on canvas, unsigned, 30‑1/2” x 25‑1/2”. In an antique giltwood frame with oval fillet. [1200/1800] Illustrated

1266

1267

1265

329

1270

1269

1271

1271 detail 1269 George III-Style Mahogany and Satinwood Drop-Leaf Table, late 19th century, the banded top centered by a large inlaid patera, each rounded drop leaf inlaid as a one-half patera, above a frieze fitted with a single end drawer and faux drawer, raised on tapering square legs ending in caps and casters, h. 28”, w. 27”, d. 20‑1/2”, extended w. 40‑1/2”.

[1000/1500] Illustrated 1270 Eighteen-Piece Chamberlain’s Worcester Cobalt and Gilt-Decorated Partial Dessert Service, ca. 1811‑1820, English, molded with fluting and decorated with cobalt borders with gilt vines, the service including a pair of sauce tureens with stands, h. 7‑1/4”, w. 9‑1/2”, d. 4‑1/2”, four heart-shaped dessert dishes, w. 9‑3/4”, d. 7‑1/4”, and ten dessert plates, dia. 8‑1/4”, marked “Chamberlain’s Worcester 385” in red script. [500/800] Illustrated

330

1272

1271 Pair of George III Inlaid Mahogany Knife Boxes, ca. 1800, the serpentine fronts trimmed with crossbanding and chevron-patterned borders, and set with Old Sheffield plate key escutcheons, retaining the fitted inlaid interiors, h. 14‑1/4”, w. 8‑3/4”, d. 10‑1/4”. [1000/1500] Illustrated 1272 George III Mahogany Bureau, fourth quarter 18th century, the banded rectangular top above a globe- and map-inlaid slant front opening to a baize-lined surface and a variety of drawers and cubbyholes, over four graduated long drawers, the whole with inlaid scrolling foliate patterns in the Adam taste, raised on bracket feet, h. 42”, w. 39”, d. 21”. [800/1200] Illustrated

1273 George III Mahogany Sideboard, fourth quarter 18th century, the bowed and shaped superstructure fitted with two tambour compartments, above the conforming banded top, over a case fitted with a central cutlery drawer opening to a compartmented Pacific cloth-lined interior, with a removable Pacific cloth topper flanked to one side by a deep drawer faced as two and to the other side by two graduated drawers, raised on tapering square legs, the whole accented with floral, foliate and scrolling inlaid patterns, h. 44”, w. 71”, d. 29‑1/2”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [2500/4000] Illustrated

1273 detail

1273

1274 George III Mahogany Breakfront Bookcase, 19th century, in the Adam taste, the molded and dentillated cornice above a conforming case fitted with four astragalglazed doors, each within a bellflower-inlaid banding, the lower section with floral garlandinlaid banding above four paneled cupboard doors, each with a finely inlaid classical urn within an oak leaf wreath, the two end cupboards opening to four graduated drawers, the central two opening to pull-out shelves, the whole raised on a plinth base, h. 100”, w. 97”, d. 24”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [3000/5000] Illustrated

1274 detail

1274

331

1275

1277

1275 detail

1276

1275 Pair of George III Mahogany Demi-lune Side Tables, fourth quarter 18th century, each with a banded demilune top with a central inlaid patera and an inlaid scalloped border, above a conforming frieze with banded panels and inlaid foliate cartouches, raised on tapering square legs ending in spade feet, h. 34”, w. 53”, d. 21”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [2500/4000] Illustrated

332

1276 George III Mahogany Settee, fourth quarter 18th century, in the Adam taste, the triple shield back with Prince of Wales feather splats and joined by acanthineand bellflower-carved arms to the padded seat, raised on tapering square legs ending in spade feet, h. 38”, w. 60”, d. 21”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York.

[1200/1800] Illustrated 1277 Pair of Chinese Eggshell Porcelain Bowls on Stands, 20th century, in famille rose decoration, with women in a garden and poems, Ch’ien Lung marks on the base, displayed on fitted wood stands, h. 2‑1/2”, dia. 6”.

[500/800] Illustrated

1278 George III Mahogany Secretary Bookcase, late 18th century, the molded and dentillated cornice above two astragal-glazed doors, the lower section fitted with a dropfront secretary drawer opening to an inset writing surface and a variety of drawers and cubbyholes flanking a central patera-inlaid cupboard, with three graduated long drawers below, raised on bracket feet, h. 84‑1/2”, w. 39”, d. 20”.

[1500/2500] Illustrated 1279 George III-Style Mahogany Pembroke Table, 20th century, the banded rectangular top with two like leaves, above a frieze fitted with a single end drawer and a faux drawer, raised on tapering square legs with inlaid fluting and ending in spade feet on casters, h. 28”, w. 22”, d. 27‑1/2”, extended w. 40”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated

1280 Handsome Japanese Imari Porcelain Punch Bowl, fourth quarter 19th century, decorated in the traditional orange and blue palette, the exterior with swirling leaves and lotus blossoms, the interior with panels of dragons alternating with panels of phoenix birds, h. 6”, dia. 14‑1/2”.

[800/1200] Illustrated 1281 Pair of Japanese Imari Porcelain Covered Jars, 19th century, now mounted as lamps, with ribbed sides, jar, h. 12”, dia. 7”, overall, h. 32”. [500/800] Illustrated

1280

1281

1278

1279

333

1282 1286 1283

1284 1282 Pair of French Polished Bronze Two-Light Sconces, mid-20th century, in the Louis XVI style, on tasseled ribbon-form backplates, the fluted cornucopia-form candle arms set with fruit-molded candlecups, h. 20‑1/2”, w. 10‑3/4”, d. 6”. [700/1000] Illustrated 1283 Sevres-Style Bronze-Mounted Hand-Painted Porcelain Covered Urn, ca. 1900, French, hand-painted with a panel depicting a classical figure showing a bird its reflection in a mirror, framed with raised gilt scrollwork and flowers against an emerald-green ground, with a bronze base, scrolled handles and pineapple finial on the cover, h. 15”, dia. 5”. [800/1200] Illustrated 1284 Pair of Louis XVI-Style Polychrome Bergeres, late 19th century, each with a low trisected padded back within a carved frame, joined by downswept arms to the cushioned seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 32‑3/4”. [1200/1800] Illustrated

334

1285 1285 Empire-Style Gilt-Bronze and Marble-Top Occasional Table, early 20th century, the circular verde antico marble top within an ormolu banding joined by three turned double-column supports to a stepped concave tripartite stretcher centered by a raised circular pedestal, raised on splayed legs, the whole with ormolu banding, h. 29”, dia. 20”. [5000/8000] Illustrated 1286 Louis XVI-Style Malachite and Gilt-Bronze Potpourri Urn, mid-20th century, Russian or French, the bronze base comprised of three monopodia around a flame finial, and supporting the malachite bowl, set with a band of pierced bronze laurel leaves and an artichoke finial, h. 17‑1/2”, dia. 8‑1/4”. [3500/5000] Illustrated

1287 Directoire-Style Fruitwood Settee, late 19th century, the padded rectangular back surmounted by a back scrolled shell- and foliatecarved crest, joined to the padded seat by arms on bellflower-carved uprights, raised on ring-turned tapering circular legs headed by foliate carving, h. 37‑1/2”, w. 51”, d. 24”. Provenance: Royal Antiques, New Orleans, Louisiana. [1800/2500] Illustrated 1288 Tiffany-Retailed Gilded Age French Bronze Table Clock of Regence Inspiration, fourth quarter 19th century, the base resting on scrolled feet and molded with a masque, and supporting the circular clock decorated with laurel swags bound with ribbon and held with a bowknot, a carrying handle serving as the finial, the dial marked “Tiffany & Co., New York” and the works signed by the maker, Marti of Paris, h. 14”, w. 6‑3/4”, 5‑1/4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [600/900] Illustrated

1288

1290

1287

1289 Empire-Style Mahogany, Parcel-Gilt and Marble-Top Console and Mirror, early 20th century, the base with carved legs in the form of a cluster of arrows, and decorated with carved and gilded floral swags, and the rectangular beveled mirror above with like decoration, the backside bearing the label of Berkey & Gay Furniture Co., Grand Rapids, Michigan, h. 85‑1/2”, w. 36”, d. 16”. [800/1200] Illustrated 1290 Pair of Louis-Philippe Marble, Bronze and Glass Cornucopia Vases, second quarter 19th century, the black marble plinths mounted with molded bronze ram’s heads and supporting the blown frosted glass vases, scalloped and cut with panel decoration, h. 11”, w. 9‑1/2”, d. 5‑1/4”. [600/900] Illustrated

1289

335

1291

1292

1291 Unusual French Empire-Style Gilt-Bronze and Hammered and Painted Copper Eight-Light Chandelier, first quarter 20th century, the copper bowl set with a gilt artichoke finial and mounts of flowers below the scrolled candle arms, with pierced feathers separating the candle arms, the copper canopy decorated with pierced gilded medallions and supporting the body on scroll-molded chains, h. 32‑1/2”, dia. 24”. [1500/2500] Illustrated 1292 Pair of Empire Mahogany Fauteuils, early 19th century, each with a padded backswept back joined by flat arms on Egyptian maiden uprights to the padded seat, raised on sabre legs ending in paw feet, h. 34”. [1500/2500] Illustrated

336

1295

1293

1294 1293 Nineteenth-Century French Aubusson Carpet, 12’ 10” x 31’ 8”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [4000/7000] Illustrated 1294 Empire-Style Brass-Mounted Mahogany and MarbleTop Pier Table, early 20th century, with a mirrored back and scrolled front legs ending in cast brass paw feet, the front frieze fitted with a drawer, h. 32‑1/4”, w. 42‑1/4”, d. 18‑1/2”. [600/900] Illustrated 1295 Pair of Rare, Monumental French Tole and GiltBronze Sinumbra Lamps, first quarter 19th century, the faux-marbre column-form pedestal standards supporting Pompeian red urns, on matching red pedestals, mounted with molded gilt-bronze trim, the circular tanks mounted with engine-turned gilt-bronze shade holders, the periodappropriate frosted and cut glass shades mounted with period gilt-bronze molded necks, h. 44‑3/4”, dia. 11”.

[1500/2500] Illustrated

1296 Pair of Empire-Style Mahogany Sidechairs, late 19th century, each with a padded back surmounted by a scrolling triangular crest, the padded seat raised on molded legs ending in paw feet, h. 34‑1/2”. [600/900] 1297 Pair of German Hand-Painted Porcelain Plaques of Napoleon and Josephine, post-1904, the oval plaques carefully painted in polychrome enamels, identified in printed script on the backs, over the impressed shield mark of the maker, C. M. Hutschenreuther, in matching antique rococo-style giltwood frames, h. 12”, w. 10‑1/2”.

[500/800] Illustrated 1298 Pair of Empire-Style Mahogany and Ebonized Pedestals, the stepped top above an ormolu-applied frieze, joined by four ebonized columnar uprights to a paneled and molded base, h. 38”, w. 12”, d. 10”. [600/900] Illustrated

1299 Directoire-Style Gilt-Bronze and Marble-Top Occasional Table, early 20th century, the circular marble top within an ormolu banding, and raised on square legs joined by vertical X-form stretchers and ending in paw feet, h. 27”, dia. 17‑1/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated 1300 French Restauration Bronze Dore et Patine Mantel Clock, second quarter 19th century, on dore anthemionmolded feet, the clock trimmed with a swag of flowers below the enamel dial and medallions and flowers in the upper corners, the top plinth mounted with a reeded bronze urn set with dore handles and base, set with a silk-string suspension movement, h. 15‑1/2”, w. 6‑3/4”, d. 3‑1/2”. [600/900] Illustrated

1297

1296

1300

1298

1299

337

1303 1301

1302

1304

1305 1301 Patinated Bronze Figure of Napoleon on Horseback, mid-19th century, now mounted as a lamp on a contemporary custom walnut base, the figure retaining a rich brown patina, fitted with a shade, base, h. 11‑1/4”, overall, h. 24‑3/4”, w. 15”, d. 9”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated 1302 Collection of Three French Napoleonic Objets d’Art, 19th/20th century, including a patinated bronze profile of Napoleon, mounted on fabric in a laurel-molded circular frame, dia. 7” (ex-collection Joan F. Seifer), a bronze figure of Napoleon standing on a mottled brown marble base, h. 8‑1/2”, w. 3‑1/4”, and a paperweight decorated with a white marble profile of Napoleon on a black marble base, h. 1‑1/2”, w. 4”. [800/1200] Illustrated

338

1303 Seven Pieces of Continental Bronze, Marble and Porcelain Napoleonica Objets de Vertu, 19th/20th century, the collection including a Grand Tour patinated bronze triumphal column on a marble base, h. 10‑1/2”, w. 3‑1/2”, a patinated bronze figure of Napoleon on a sienna marble base, h. 8‑1/2”, w. 3”, a bronze figure of Napoleon on an engine-turned dais, standing on a covemolded marble base, h. 5”, dia. 2‑1/2”, two similar bronze figures of Napoleon, h. 6”, w. 2” and 3”, a French porcelain and bronze round box decorated with a Napoleon crest, h. 1‑1/2”, dia. 2”, and an oval molded brass box inset with a portrait medallion of Napoleon, h. 1”, w. 3‑1/4”.

Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated 1304 French Porcelain Apothecary Jar, mid-20th century, probably made in Limoges, decorated with a hand-painted panel of Napoleon crossing the Alps, artist-signed “J. Porte” and trimmed in gilt, marked “Rue de Cheramaine” in blue script, h. 10‑1/2”, dia. 4‑1/2”. [500/800] Illustrated 1305 French Patinated and Gilt-Bronze Lamp in the Empire Taste, second quarter 20th century, with a wreath-mounted base, the urn-form standard with scrolled handles terminating in anthemia, electrified, h. 32‑1/2”, w. 8‑1/2”, d. 3‑1/2”. [700/1000] Illustrated

1306 Continental School (Fourth Quarter 19th Century), “The Parlor Toast”, oil on cradle board, indistinctly signed lower right “K..H...”, 19‑1/2” x 27”. Presented in a giltwood frame.

Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [1200/1800] Illustrated 1307 Pair of Empire-Style Mahogany Tub Chairs, late 19th century, each with a padded and curved back within a reeded frame, joined to the cushioned seat by gilt swan uprights, raised on line-incised sabre legs, h. 34”. [1200/1800] Illustrated 1308 French Marble and Bronze Temple-Form Sphere or Specimen Stand, fourth quarter 19th century, the marble base with bronze monopodia supports with paw feet, under Corinthian columns, the circular frieze top set with a semi-spherical indentation, h. 9”, dia. 6”.

[600/900] Illustrated

1306

1309 Empire-Style Ebonized Library Table, early 20th century, the rectangular top with a gilttrimmed deep red leather surface within an annulated edge, above a conforming frieze fitted with two side drawers, the frieze with applied giltwood griffin, masque and foliate patterns on all four sides, raised on tapering square legs headed by masque mounts and ending in toupie feet, h. 32‑1/2”, w. 71‑1/2”, d. 42”. [1400/1800] Illustrated

1307

1308

1309

339

1310 Louis-Philippe Giltwood Oval Mirror, mid-19th century, cove-molded with bold fluted decoration, the outside edge decorated with carefully molded flowers, set with a beveled mirror plate, h. 38”, w. 36”. [500/800] Illustrated 1311 Two French Bronze Tazzas, fourth quarter 19th century, the larger one in the Neo-Grec style, with a bas-relief roundel depicting the legend of Argus and Mercury, after Ferdinand Levillain, signed and dated 1882, h. 6”, w. 19”, d. 13‑1/2”, and the smaller one in the Renaissance Revival taste, depicting a cavalier holding an oversize sword and a heraldic device, h. 5‑1/2”, dia. 12‑1/4”. [500/800] Illustrated

1312 Pair of Empire-Style Burlwood Center Tables, early 20th century, each with a quarter-veneered circular top above a conforming frieze with a decorative garland of ivy, raised on ebonized supports headed by gilt Egyptian maiden’s heads, joined by a tripartite stretcher and ending in hoof feet, h. 28‑1/2”, dia. 30‑1/2”. [1800/2500] Illustrated 1313 French Restauration Bronze Dore et Patine Mantel Clock, second quarter 19th century, decorated with a Marly horse, after Guillaume Coustou (French, 1677‑1746), the works marked “Pons”, for Pierre-HonoreCesar Pons (French, 1773‑1851), the silvered dial framed with lotus leaves and pierced anthemia, with a silk string suspension movement, h. 19”, w. 9‑1/2”, d. 5‑1/4”.

[1200/1800] Illustrated

1311

1313

1312

340

1310

1314 Five-Piece Empire-Style Mahogany Parlor Suite, early 20th century, comprised of a settee, h. 36”, w. 47”, d. 24”, two armchairs, h. 34‑1/2”, and two sidechairs, h. 36”, all with rounded cornices with floral inlay, the settee and armchairs with downswept arms joined by winged lion-head uprights to the padded seat, all raised on sabre legs ending in ormolu paws. [3000/5000] Illustrated 1315 Pair of Empire-Style Giltwood and Marble-Top Pedestals, each with a circular marble top above a floralcarved frieze with pendant floral swags, raised on three scrolling supports with draping and acanthine carving, joined by an urn-centered tripartite stretcher and raised on lotus-form feet, h. 42‑1/2”, dia. 19‑1/2”. [700/1000] Illustrated 1316 Empire-Style Mahogany Center Table, early 20th century, the circular leather-clad top with a brass tack border and raised on three shaped supports headed by an ormolu ram’s masque ending in paw feet on a tripartite stretcher, h. 30‑1/2”, dia. 30”. [900/1200] Illustrated

1315

1314 detail

1316

1314

341

1319

1317

1320

1318

1317 French Giltwood Mirror of Neoclassical Inspiration, fourth quarter 19th century, the cove-molded frame decorated with an outside edge of ribbon-bound bellflowers, and the inside cove with bas-relief-molded scrollwork and bellflowers, set with a beveled mirror plate, h. 50‑1/2”, w. 30‑1/2”. [700/1000] Illustrated 1318 Pair of Napoleon III Gilt-Bronze Candelabra in the Empire Taste, third quarter 19th century, on tripartite bases with unusual scrolled feet, the Corinthian columnform fluted and acanthus-molded standards set with scrolled arms with scroll-molded candle cups and lotusmolded drip pans, now mounted as lamps, base, h. 26”, overall, h. 31”, dia. 12‑1/2”. [700/1000] Illustrated

342

1319 Three-Piece French Patinated Metal and Marble Figural Clock Set, ca. 1900, the clock depicting “Education” (a classical female figure teaching a cupid), after Auguste Moreau (French, 1861‑1906), on a mottled pink, gray and white marble base, the works marked “Societe Clusienne S.C.A.P.H. Cluses”, and the dial marked by the retailer, Vieau Bordeaux, h. 24”, w. 13”, d. 8”, the matching vases decorated with putti and classical ornament, h. 17‑1/2”, w. 7”, d. 5‑1/4”. [1500/2500] Illustrated 1320 Empire Ormolu-Mounted Mahogany Bergere, early 19th century, the padded rectangular back surrounded by a paneled frame with applied ormolu guilloche banding, joined by padded arms on ormolu winged maiden uprights to the padded seat, raised on tapering square legs ending in paw feet, h. 40‑1/2”. [3000/5000] Illustrated

1321 Handsome Pair of French Empire-Style Gilt-Bronze and Cut Glass Urn-Form Table Lamps, second quarter 20th century, probably Baccarat, the cut glass bodies decorated with panels of diamond point cutting and fitted with swan’s-head handles, mounted with shades, h. 31‑1/2”, dia. 15‑3/4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [700/1000] Illustrated 1322 Pair of Unusual French Empire-Style Green Glass and Gilt-Bronze Table Lamps, mid-20th century, with mounts on the base, the column-form standards terminating in engine-turned capitals, mounted with shades, h. 29‑1/2”, dia. 16”. [500/800]

1324 Pair of Late Louis-Philippe Mahogany and ParcelGilt Fauteuils, mid-19th century, each with a padded square back surmounted by a dolphin-flanked shield crest, joined by padded arms on dolphin uprights to the padded seat, raised on ring-turned tapering circular legs ending in casters, h. 43‑1/2”. [500/800] Illustrated 1325 Louis-Philippe Mahogany and Marble-Top Side Table, mid-19th century, the rectangular marble top above a gadroon edge and paneled frieze, joined by a paneled back and scroll- and swan-carved uprights to the shaped concave shelf, raised on turned feet, h. 40‑1/2”, w. 49”, d. 25‑1/2”. [800/1200] Illustrated

1323 Empire-Style Mahogany Dressing Table, early 20th century, the canted rectangular mirror surmounted by an eagle and pineapple urn crest and supported by columnar uprights, the rectangular top with an inset velvet surface, above a conforming frieze fitted with a single drawer, joined by a paneled back and columnar uprights to the concave plinth base, h. 74”, w. 39‑3/4”, d. 24”. [700/1000] Illustrated

1321

1325

1324

1323

343

1328 1326

1327 1329 1326 Louis-Philippe Bronze Dore et Patine Figural Mantel Clock, mid-19th century, the gilt-bronze base decorated with molded scrollwork, shells and acanthus leaves, and supporting a patinated bronze rocky outcropping set with the clock, with a black marble dial, and a figure of a young woman in classical dress, holding her cloak against the wind and carrying a basket of fruit, a rubbed signature on the dial, h. 15‑1/4”, w. 11”, d. 4”. [500/800] Illustrated 1327 Louis-Philippe Mahogany Settee, mid-19th century, the padded rectangular back surmounted by a triangular gadroon-carved crest, joined by closed arms on swan uprights to the padded seat, raised on tapering square legs ending in paw feet, h. 37”, w. 88”, d. 24”. [700/1000] Illustrated

344

1328 Pair of Empire-Style Giltwood and Marble-Top Pedestals, each with a circular marble top above a floralcarved frieze with pendant floral swags, raised on three scrolling supports with draping and acanthine carving, joined by an urn-centered tripartite stretcher and raised on lotus-form feet, h. 42‑1/2”, dia. 19‑1/2”. [700/1000] Illustrated 1329 Restauration Mahogany Library Chair, second quarter 19th century, the padded backswept back surmounted by a scrolling crest, joined by padded arms on swan’s-neck uprights to the padded feet, raised on shaped legs ending in upturned toes on pegs, h. 42‑1/4”. [500/800] Illustrated

1330 Pair of Charles X Rosewood Fauteuils, second quarter 19th century, each with a rounded crest with inlaid foliate garlands above an X-form splat, joined by scrolling arms to the padded seat, raised on turned and bulbous legs ending in toupie feet, the whole accented with decorative foliate and string inlay, h. 32‑3/4”. [1000/1500] Illustrated

1332 Large Alexander I Russian 84 Zolotnik (.875) Silver Entree Dish, marked 1823, St. Petersburg, by Carl Gustav Savary (fl. 1820‑1851), assay master Alexander Yashinov, of rounded rectangular form, with gadrooned rim, monogrammed on the side “AK”, crowned, h. 2‑1/2”, l. 14‑3/4”, w. 11‑1/4”, 43.21 t. oz. [1000/1500] Illustrated

1331 Pair of French Patinated Bronzes of Bacchantes, fourth quarter 19th century, after Claude Michel, known as Clodion (French, 1738‑1814), cast signatures at edges of self-bases, both on green marble plinths, each, h. 20‑1/2”, w. 7‑1/2”, d. 7‑1/2”. [600/900] Illustrated

1333 Russian 84 Zolotnik (.875) Silver and Enamel Kovsh, dated 1917, by the 6th Moscow Artel, of traditional form, decorated in shades of green, pink and violet on a light and dark blue ground, with inscription on either side of the handle and dated on the grip “4 / VI / 1917”, l. 4‑1/8”, w. 2‑1/2”, 2.74 t. oz. [900/1200] Illustrated 1334 Baltic Silver Samorodok Cigarette Case, first half 20th century, unmarked but for French resale marks, of rectangular form, opening, by means of a rose-goldmounted synthetic cabochon sapphire thumbpiece, to a gilt interior, l. 3‑3/4”, w. 2‑5/8”, 4.77 t. oz. [700/1000] Illustrated

1333 1331

1332

1334 1330

345

1336

1337

1335

1338

1335 Austrian Third Standard (.800) Silver Figural Compote, first quarter 20th century, by Abraham Metzger, Vienna, the figural standard in the form of two putti, one seated playing a horn, the other standing by a foliate stalk, surmounted by a large, well-detailed rocaille shell, the whole raised on a domed base embossed with rococo flowers and scrolls centering a cartouche, waisted and supported by four rococo scroll feet, h. 13‑1/4”, w. 12”, 50.70 t. oz. [2500/4000] Illustrated 1336 German .800 Silver-Mounted Mirror, first quarter 20th century, by Wolf & Knell, Hanau, of rectangular form, decorated with embossed fruits, flowers and vegetables, and crested by a cornucopia and putti supporting an armorial, fitted with a mirrored plate on wooden backing, with ring mount, the easel supports lacking, h. 22”, w. 13‑1/2”. [1000/1500] Illustrated

346

1338 detail

1337 German .800 Silver Salver, first quarter 20th century,

by P. Bruckmann & Sohne, Heilbronn, in the Louis XV Revival style, of circular form with elaborately shaped rim, embossed with rococo scrolls and lattice-ground cartouches, raised on four toupie feet, monogrammed “AET”, dia. 15‑1/4”, 27.12 t. oz. [600/900] Illustrated 1338 German Sterling Silver and Enamel Automation Singing Bird Music Box, first quarter 20th century,

by Johann Sigismund Kurz & Co., of rectangular form, the silver box chased with scrolling acanthus and putti musicians, the oval lid enameled with a pensive putto, opening, by means of a sliding figural bird lever, to reveal a brightly feathered chirping clockwork automaton songbird, h. 2”, w. 4”, 2‑1/4”, presented in a later burlwood, baizelined box, h. 2‑3/4” x 7‑1/4” x 5‑1/4”. [1200/1800] Illustrated

1339 German .800 Silver-Mounted Molded Glass Claret Jug, first quarter 20th century, by J. D. Schleissner Sohne, Hanau, in the Louis XV Revival style, the pear-shaped glass body with spiral gadroons and fluted neck, mounted in a silver collar with hinged coquille lid, bifurcated scroll handle and shaped circular foot, all cast and chased with rocaille scrolls, h. 10”, l. 6”, dia. 4‑3/4”. [600/900] Illustrated

1342 German .800 Silver Center Bowl, first quarter 20th century, by Neresheimer & Sohne, Hanau, of bulbous oval form with steep sides, decorated with rococo-scroll cartouches and floral swags in the Louis XV Revival taste, the rim pierced and crested by the crowned Bourbon arms, with ringed lion’s masque handles and an openwork foot ring en suite, h. 9‑1/2”, l. 12‑1/2”, w. 6‑1/4”, 39.39 t. oz.

[1800/2500] Illustrated

1340 Pair of German .800 Silver Sauceboats-on-Stand, first quarter 20th century, by Breidenstein & Renaud, Frankfurt, in the Louis XV Revival style, each of batteau form with cabochon-crested handles and raised on an oval domed foot fixed to a conforming underplate, the whole decorated with embossed floral rococo-scroll cartouches on a lattice ground, monogrammed “PGR”, h. 6‑1/2”, l. 10”, w. 6‑5/8”, 48.25 total t. oz. [1500/2500] Illustrated 1341 Set of Four Continental Bronze Argente Fighting Cockerel Table Garnitures, first half 20th century, realistically detailed in combative postures, the largest, h. 5‑3/4”, l. 7‑3/4”, the smallest, h. 3‑3/4”, l. 5‑3/4”.

[500/800] Illustrated

1342

1340 1339

1341

347

1343 Set of Six German .800 Silver Condiment Baskets, first quarter 20th century, by Storck & Sinsheimer, Hanau, each in the form of a deep, oval openwork flower basket decorated with embossed floral swags and cabochon cartouches, with scroll-edged rim and fixed handle, raised on four openwork feet, fitted with a conforming colorless glass liner, h. 5”, l. 3‑3/4”, w. 3”, 18.27 total t. oz. (excluding glass liners). [500/800] Illustrated 1344 Scandinavian Sterling Silver Center Bowl, first quarter 20th century, of oval form with floral repousse decoration and cast and applied handles en suite, raised on a waisted conforming foot, inscribed on the rim “IH to EH” and on the base “W/IC / 1916‑1917 / April 29th”, h. 5‑1/4”, l. 14‑3/4”, w. 6‑7/8”, 29.05 t. oz. [1000/1500] Illustrated 1345 Chinese Export Sterling Silver-Clad Glass FourChamber Decanter, Hong Kong, late 19th/early 20th century, the pear-shaped glass body with tall cylindrical neck, clad in openwork silver decorated with dragons in clouds, bamboo, prunus and pagodas, with void cartouches, the collar with annular bands, the four spouts fitted with four claw-shaped corked stoppers, h. 12‑1/2”, dia. 5‑1/2”. [500/800] Illustrated 1345

1343

1344

348

INDEX OF ARTISTS

OCTOBER 14-16, 2016

Adickes, David Pryor 1029

Dixon, Maria R. 1063

Albrizio, Conrad 1018

Domergue, Jean-Gabriel 725

Allingham, Helen 589

Drysdale, Alexander John 1016, 1017

American School 1059, 1075, 1088

Durand, Asher B. 969

Andrews, Sperry 1148

Farlow, Harry 1078

Azuma, Norio 1142

Fichel, Benjamin Eugene 714

Barbarini, Emil 262

Frankenthaler, Helen 54

Bean, Alan 1153

French School 711, 1214

Bergman, Franz 125

Friedeberg, Pedro 899

Bernini, Gian Lorenzo (after) 419

Gall, Francois 726

Blavier, Emile Victor (after) 264

Garcia, Tina 8

Boquet, Jules 1192

Gerard, Theodore 305

Bough, Samuel 178

Gueden, Colette 929

Braconier, Frederic 238

Guffens, Egide Godfried 121

Briganti, Nicholas 376

Gwitirwa, Amos 927

Briscoe, Franklin Dullin 1057

Hagerbaumer, David 1024

British School 177, 179, 560, 595, 1268

Halse, George (after) 638

Buchner, Hans 511

Henry, David Eugene 403

Calder, Alexander 55, 56

Herberte, Edward Benjamin 539

Cambier, Guy 244

Herve, Jules Rene 728

Campbell, Alan 1026

Heyer, Arthur 492

Carrier-Belleuse, Albert-Ernest (after) 307, 334

Hollingsworth, William R., Jr. 1019, 1020

Cartier, Thomas Francois (after) 544

Holmes, Ellen 520

Chagall, Marc 730, 731

Houdon, Jean-Antoine (after) 474

Chmielinski, Wladyslaw 136

Huldah, Cherry Jeffe 729

Cipriani, Giovanni Pinotti 1048

Hull, Marie Atkinson 1021, 1025

Clodion (after) 478, 497, 1331

Jacoulet, Paul 115, 116

Continental School 309, 340, 343, 344, 375, 378,

Jia, Cai 98

392, 398, 551, 1306

Kirkpatrick, Frank Lebrun 1054

Cowan, John 1022, 1023

Kley, Louis (after) 263

Cunaeus, Conradyn 491

Kluge, Constantin 516

Darmanin, Jose Miralles 713

Kohlmeyer, Ida Rittenberg 1141

De Chemellier, George (after) 10

Koop, Sandra 1060

De Loisy, A. 336

Langer, Viggo 1172

De Noter, David Emile Joseph (school of) 738, 739

Laufman, Sidney 1147

De Tours, Georges Moreau 330

Lawrence, Sir Thomas (manner) 653

De Vries, Adriaen (after) 540

Lefebvre, Leopold (after) 252

Deskey, Donald 1152

Lefort, Jean 519, 542

Dine, Jim 52

Lennon, John 53

INDEX OF ARTISTS

OCTOBER 14-16, 2016

Li, Wang 96

Trumbull, John (after) 969

Loomis, Helen 1030

Turner, J.M.W. (after) 668

Malone, Blondelle 724

Van der Plas, Niek 521, 522

Marinsky, Harry 924

Van der Vin, Paul 541

Martin, Sylvester 538

Van Elven, Pierre Tetar 304

Meucci, Michelangelo 1092

Villanis, Emmanuel (after) 122

Miro, Joan 732, 733

Wagner, Fritz 335

Moreau, Louis Gabriel 747

Walker, William Aiken 1015

Morland, George (circle) 180

Walter, Martha 1077

Munting, Abraham (after) 703

Waugh, Frederick Judd 1071

Myron (after) 402

Weber, Theodore Alexander 590

Nichols, William Allyn 1143

Whiteside, Frank Reed 1074

Nicol, Erskine 196

Wiles, Irving Ramsey 1069

Perindani, Carlo 1072

Winans, Theodore Fonville 1033, 1034, 1035, 1036

Piron, Eugene D. (after) 1177

Wolf, Karl 1028

Pissarro, Paul-Emile 517

Wolfe, Mildred 1027

Pizzella, Edmondo 1070

Young, Jeromy 1031, 1032

Plazzotta, Enzo (style of) 925

Zuniga, Francisco 926

Porret, Jean Jacques 930 Powell, Lucien Whiting 668 Qi, Wang 97 Ranger, Henry Ward 1107 Raphaeli, Zvi 727 Renard, Paul 518 Reynolds, Sir Joshua (after) 596 Reynolds, Sir Joshua (circle) 594 Richard, Alfred Pierre (after) 430 Rodrigue, George 1037, 1038, 1039, 1040 Rosell, Alexander 588 Rossouw, Roelof 1073 Sadeler, A. 746 Sauerwein, Frank Peters 1076 Sawyier, Paul 1012, 1013, 1014 Schreyer, Adolf (school of) 137 Shahenian, Elizabeth (LIZO) 1149, 1150 Slonem, Hunt 1151 Standley, Max 1144, 1145 Tamayo, Rufino 1146 Thielen, Georg 803

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.

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

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below).

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

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

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art.

No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed

by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

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

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

All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

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

(d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors.

NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive.

Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer.

Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j).

NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction.

Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly.

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

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

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

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

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

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

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

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

Date: ____________________

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

State: ____________ ZIP: _________________

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

Lot #

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

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

Expiration Date: __________

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

Signature (Required): __________________________________________________________________________

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

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

Lot #

______________________________________

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

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

New Orleans Auction Galleries Susan D. Sarofim CEO

Tessa Steinkamp

Ashton Thomas

Director of Auctions

President

FINE ARTS:

DECORATIVE ARTS:

SILVER:

Jelena Restovic James

Ireys Bowman

Charles C. Cage

Nicole Casi, PhD

American, Continental and English

BOOKS, MANUSCRIPTS & EPHEMERA:

FURNITURE:

Charles C. Cage

consignments

Director of Fine Arts Continental and American; Prints and Maps

Michele M. Carolla

British and American; Sculpture

Nicole Casi, PhD

American, Continental and English

Continental and English

Ireys Bowman

Continental and English

Greg S. Kowles

Jewelry: Kim Lemon

American, Continental and English

Thomas Halverson American

FINE CARPETS & TEXTILES: Sean Ranson

a d m ini s t r at ion Burke

Colleen Ryan

Taylor Eichenwald

Charles C. Cage

Nicole Casi, PhD

Christa Ougel

Research

Graphic Designer

Denise Haik

Gary Michael Gittelson

Office Administration

Photographer

Justin Gray

Alexis Kopituk

Cord McPhail

Designer

Office Manager

Administrative Assistant

Director of Human Resources

Photographer

auctioneers

consultants

Tessa Steinkamp #1265

Ellen McKenzie

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

English and Continental Furniture

Ira Savoie

Graphic Designer

Grace Connors

Manager of Cakebread Auctions

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

Independent Certified Gemologist Appraiser

Emmitt Kendrick, Jr.

Felicia S. Yao Asian Arts

Gerald Hampton | Juanita Bazile

James Callahan Robin Ruiz #1114

Marketing & Public Relations

Asian Arts

Sol Carter | Thomas Johnson David Abney | James Collins