Bidders Brunch and Bubbles - catalogue

1 Lady’s Antique Platinum and Gold Diamond Brooch, the spike-shaped brooch set with 19 antique mine-cut diamonds, the largest approximately 0.35 carats, total approximate diamond weight is 2.25 carats. [2000/4000] Illustrated

1 2 Eighteen Karat Gold Hamilton Pocket Watch, 1917, serial number 1782356, case number 6651983, white enamel dial with black Arabic chapters, case monogrammed “RHL”, the interior with presentation inscription dated December 17, 1917, dia. 1‑3/4” [300/500] 3 Unusual Triple Strand of Multi-Colored Cultured Pearls, the three strands of 7.0 mm pearls divided into groups of white, pink and lavender pearls, each group distinctive and separate colors, l. 19”. [200/400] 4 Pair of Antique Yellow-Gold Filled Cameo Pendant Earrings, the carved landscape pear-shaped cameo is approximately 25.0mm x 13.0mm, the earwires a later replacement. [200/400] 5 Long Single Strand of Multi-Colored Baroque Pearls, the pearls with a good luster, l. 36”. [200/400]

10 Three Pairs of Lady’s Fashion Clip Earrings, comprised of a pair of Givenchy clip earrings in a matte gold tone with hoops dangling from diamond-shaped tops, a pair of matte gold-toned dangling clip earrings in the shape of loose swirls, and a pair of clip earrings with a faux tortoiseshell center surrounded by a matte gold-toned swirling pattern, h. 1‑1/2” to 2‑1/2”. [75/125] 11 Two Pairs of Lady’s Fashion Gold-Tone Clip Earrings, one pair in a solid snake-like shape and the other dangling pair with a mix of bright and matte gold-tones, h. 2” and 3‑1/2”. [40/70] 12 Lady’s Fashion Gold-Tone Interlocking Chain Necklace, the necklace composed of large interlocking links and finished with a toggle clasp, l. 35”. [40/70] 13 Collection of Six Citrine and Smoky Quartz Crystals, comprised of an oval-shaped smoky quartz with an approximate total weight of 39.47 carats, a small round light smoky quartz with an approximate total weight of 53.45 carats, a medium round lemon citrine quartz with an approximate total weight of 172 carats, a large round lemon citrine quartz with an approximate weight of 218 carats, a pear-shaped lemon citrine quartz with an approximate weight of 151 carats and an oval-shaped lemon citrine quartz with an approximate weight of 269 carats. [300/500] 14 Lady’s Fashion Rhinestone Snake Bracelet, the flexible coiled bracelet with a rhinestone-encrusted head and tail and a flexible attached ring under the head of the snake, used to secure the bracelet to one finger. [150/300]

6 Single Strand of Multi-Colored Baroque Pearls, the cultured pearls with a nice luster and finished with a goldtone decorative clasp, l. 18”. [150/300]

15 Lady’s Fashion Rhinestone Necklace and Earring Set, the set comprised of a rhinestone-encrusted necklace with purple rhinestone accents and matching earrings.

[150/300]

7 Single Strand of Colored Cultured Pearls, composed of near round pink-rose colored pearls with high luster and delicate feminine color, l. 17‑3/4”. [200/400]

16 Lady’s Fashion Rhinestone Cube Ring, the flexible band with three attached and moveable rhinestoneencrusted cubes. [150/300]

8 Contemporary Gold-Tone and Anodized Crystal Necklace, the gold-tone chain with alternating anodized links set with round faceted crystals and alternating anodized links set with round faceted crystals and one larger cushion faceted crystal, l. 38”. [75/125]

17 Lady’s Fashion Rhinestone Necklace, the necklace with graduated tear-drop-shaped rhinestones and finished with a hook clasp, l. 16”. [150/300]

9 Contemporary Gold-Tone and Anodized Necklace with Rhinestones, the gold-tone chain with alternating anodized links set with rhinestones and alternating cruciform gold-tone and anodized links set with rhinestones, l. 36”. [100/200]

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18 Pair of Sterling Silver Rhinestone Pendant Earrings, the free flowing sterling flower set with round faceted rhinestones suspended from a rhinestone stud. [50/80] 19 Two-Piece Moghul-Style Jewelry Set, comprised of a necklace, l. 15”, 3” drop, with matching earrings. [50/80]

20 Moghul-Style Silver, Smokey Quartz, Emerald and Ruby Ring, comprised of a large central faceted smokey quartz surrounded by a border of alternating faceted emeralds and rubies, size adjustable. [60/90] 21 Pair of Gold Vermeil Sterling Rhinestone and Crystal Pendant Earrings, the round 13.0mm faceted topazcolored crystal attached to a gold vermeil bail set with three rhinestones suspended from gold vermeil rope links.

[60/90] 22 Pair of Anodized Dangle Earrings with Rhinestones, the lozenge-shaped earrings composed of seven rows of sixteen flowers, each flower set with a round faceted rhinestone attached to a single flower rhinestone stud.

[40/70] 23 Pair of Lady’s Fashion Rhinestone Dolphin Bracelets, each hinged bangle bracelet in the shape of a dolphin and encrusted with rhinestones. [200/400] 24 Four Pairs of Lady’s Fashion Rhinestone Earrings, comprised of a pair of pierced hoop rhinestone earrings, a pair of domed clip earrings encrusted with clear rhinestones, a pair of clip star-shaped earrings encrusted with clear rhinestones, and a pair of dangling star clip Richard Kerr earrings encrusted with blue rhinestones, h. 1” to 2‑1/4”. [75/125]

28 Withdrawn 29 Eighteen-Karat Yellow Gold Enameled Diamond Crucifix with Chain, the crucifix decorated with green translucent enamel and set with a rose-cut diamond with an approximate total weight of 0.03 carats, together with a textured and twisted chain, l. 32‑1/2”. [3000/5000] 30 Pair of Contemporary Gold-Tone, Enameled and Rhinestone Earrings, each in the shape of a flower and set with a single rhinestone in the center, surrounded by turquoise-colored enamel. [20/40] 31 Withdrawn 32 Sterling Silver Coin Ring, the engraved and parcel gilt bezel set with a bronze coin, size 9. [50/80] 33 Withdrawn 34 Contemporary Gold-Tone and Anodized Rhinestone Bracelet, the anodized circular links set with rhinestones and alternating elongated gold-tone links set with rhinestones, l. 8”. [60/90]

25 Three Pairs of Lady’s Black and Gold Rhinestone Clip Earrings, the set composed two pairs of earrings from Richard Kerr, one encrusted with black rhinestones in a Creole hoop shape, the other encrusted with alternating black and gold rhinestones in swirling and dangling hoops, and the third pair composed of dangling and interlocking elongated hoops encrusted with black and gold rhinestones, h. 1‑7/8” to 3”. [75/125] 26 Three Pairs of Lady’s Fashion Earrings, comprised of a pair of fourteen karat gold triangular-shaped earring jackets, a pair of gold tone clip earrings with black cabochon accents and a pair of dangling clip earrings with multiple strands of faceted black beads in different sizes radiating from the center in a waterfall pattern, h. 1” to 3”.

[75/125] Illustrated 27 Four Pairs of Lady’s Fashion Earrings, comprised of a pair of pierced earrings by Lunch at the Ritz in the shape of the sun, with painted faces and rhinestones, a pair of gold-toned openwork clip earrings, a pair of Christian Dior dangling clip earrings in a gold tone each with a raised image of a bee, and a pair of pearl cluster clip earrings accented with rhinestones, h. 7/8” to 2‑1/4”. [75/125]

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35 Delicate Silver Lady’s Bracelet, the bracelet with triangular links and with dangling vintage watch faces in various shapes and sizes, l. 7”. [40/70] 36 Lady’s Fashion Bracelet, the silver bracelet comprised of delicate dangling keys in a variety of shapes and sizes and with a toggle clasp, l. 7”. [40/70] 37 Lady’s Three-Strand Garnet Necklace, the necklace comprised of two strands of faceted garnet rondels bordering a single strand of faceted garnet coins, finished with a silver toggle clasp, l. 16”. [40/70] 38 Lady’s Fashion Rhinestone Cat Ring, the cat encrusted with rhinestones and having an attached flexible band.

[150/300] 39 Three Pairs of Richard Kerr Red Rhinestone Clip Earrings, the first in the shape of a loose twists dangling from domed circles, the second in the shape of stars, and the third pair in a Creole hoop shape, all encrusted with red rhinestones, h. 1‑3/4” to 3‑3/4”. [75/125] 40 Three Pairs of Lady’s Fashion Clip Earrings, one dangling pair adorned with gold sequins, another pair with four balls dandling from gold chains and encrusted with red rhinestones and the third domed pair encrusted with rhinestones in red, orange and pink, all bordered in black, h. 1‑1/4” to 3‑1/4”. [75/125] 41 North African Silver Locket Pendant, circular with wirework scrolls and hardstone cabochons, bead fringe and central locket compartment, dia. 3”. Provenance: Presented to Joanne King Herring by the Moroccan Ambassador to the United States. [100/200] 42 Sterling Silver and Banded Drusy Agate Necklace, composed of large faceted dyed agate stone with some exposed areas of the interior crystallization of the stone, the deep brown/black color enhanced with a deep purple, each bead separated by a sterling silver bead, toggle clasp, l. 18”. [40/70] 43 Unusual Two-Strand Rock Crystal and Abalone TearDrop Necklace, the necklace composed of two strands of rock crystal chips, one slightly longer than the other, with tear-drop-shaped abalone pendants hung on each strand, toggle clasp, l. 18”. [60/90]

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44 Three Pairs of Lady’s Fashion Clip Earrings, the first pair with fish dangling from a floral cluster, with ecrucolored enamel and rhinestone accents and cabochons accenting the eyes and mouths, the second pair with large round dangling hoops painted in green, orange, pink yellow and purple, separated by overlapping borders painted in gold, and the third pair composed of white leather in the shape of a flower with dangling leather pieces adorned with gold charms, studs, pearls and rhinestones, h. 3” to 3‑3/4”. [75/125] 45 Ancient Roman Hand-Blown Glass Amphora, cased in a 20th century glass dome and stand, amphora h. 5‑1/2”, dia. 1‑3/4”. [200/400] 46 Terracotta Continental Grand Tour Souvenir, third quarter 19th century, depicting a robed seated man, executed in the Hellenistic-style, h. 5‑1/4”, w. 2‑1/2”, d. 1‑3/4”. [75/125] 47 Italian Painted and Gilded Box, mid-20th century, the red painted base with a gilt-incised leaf border, the domed top gilded and decorated with a checked pattern comprised of leaf and scroll incisings, highlighted with red and blue, a Florentina label on the bottom, h. 3‑1/2”, w. 5‑1/4”, d. 3‑1/4”. [30/50] 48 Italian Painted Terracotta Bust of a Classical Gentleman, ca. 1900, medallion stamped on the interior “MA ni Fat Ti V RA Dl Si GNA”, h. 18‑1/2”, w. 21”, d. 11‑1/2”.

[100/200] 49 Italian Carved Alabaster Lamp, the bowl with carved swags and the interior with a single socket, h. 9”. [75/125] 50 Set of Four Italian Tinted Plaster Grand Tour Rondels, fourth quarter 19th century, now mounted in contemporary shadow box frames, one depicting a classical family at harvest time with the male supporting a clutch of game birds and grapes, another depicting a female holding a basket of angels with one flying away and a dog in attendance, another with a symbol of autumn surrounded by the zodiac and the last depicting a symbol of summer with a maiden attended by a child and a putti with a wreath of flowers, h. 12‑1/4”, w. 11‑1/4” to 11‑3/4”.

[70/125] 51 Three Italian Grand Tour Plaster Cameos Mounted in Contemporary Shadowbox Frames, third quarter 19th century, the first example possibly depicting Zeus, his eagle and Gary Medes, h., 8‑3/4”, w. 8‑1/4”, the second depicting the Cretan bull with Pasiphae, who gave birth to the Minotaur, h. 9‑1/4”, w. 8‑1/4”, and the third depicting an image of Zeus, h. 10‑3/4”, w. 9‑3/4”. [50/80]

52 Two Italian Tinted Plaster Grand Tour Rondels, fourth quarter 19th century, one rondel after Thorvaldsen, is an allegorical figure of Day depicting an angel carrying a child, the other is an allegory of autumn with a classical group harvesting wheat, dia. 5‑1/4”. [50/80]

61 Ten Books on European History, Royalty and Castles, including works on the Elizabethan world, the Hapsburgs, the English Regency, the Bourbons and Stewarts, the castles of Prague and more. (Complete list available on request.) [100/200]

53 Unusual Patinated Metal Lighted Jardiniere, the castmetal jardiniere with a foliate rim and Greek-key border along the lower edge, the interior fitted with two sockets and covered with a milk glass panel, h. 3‑1/2”, w. 4‑1/2”, l. 19”. [30/50]

62 Sixty-One Decorative Bindings, including twentyseven quarter- and half-leather Scandinavian bindings, a full calf 1762 volume of Boileau’s Works, with assorted other titles in English and French, together with a complete twenty-four volume set of the 1948 Encyclopedia Britannica in blue textured cloth. (Complete list available on request, [100/200]

54 Italian Wrought Iron and Marble Torchere, early 20th century, the circular top within a foliate-modeled band, raised on a twisted iron standard to a tripartite base with scrolling floral patterns with gilt accents, the three scroll feet raised on a circular Verde Antico marble base, h. 56”.

[100/200] 55 Pair of Italian Carved Walnut Savonarola Chairs, late 19th century, the shaped back centered by a carved shield flanked to either side by a foliate-carved panel, joined by slatted sides and imbricate-carved arms to the wooden seat, raised on a cross-over slatted base, h. 32”. [300/500] Illustrated 56 Fifteen Books on Napoleon, Empire and Biedermeier, including three copies of Age of Napoleon, three sale catalogues and other works on history and decorative arts of the period. (Complete list available on request.)

[100/200] 57 Thirteen Books on Gardens and Gardening, including works on Japanese, French and English gardens, orchids, chrysanthemums, kitchen gardening and more. (Complete list available on request.) [100/200] 58 Thirty Books on Art, including works on Monet, Chagall, Matisse, Picasso, Velazques, Cezanne, Ingres and others, along with general topics Impressionism and the PreRaphaelites, with several museum collection references including the Guggenheim, the Musee d’Orsay, the Prado and more. (Complete list available on request.) [100/200] Illustrated

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63 Twenty-Four Oversized Decorative Bindings, 1888‑1934, with volumes in English, Swedish, Spanish and French, including two volumes of Hubert-Robert’s watercolor illustrations, a volume of Swedish natural history photography, bound volumes of Revue Illustre, l’Illustration and Good Housekeeping, et al., the largest 15‑1/2” x 11‑1/2”, the smallest 10‑1/2” x 8”. Detailed list available on request. [150/300]

59 Thirty-Three Books on Antiquities and Famous Landmarks, including the tomb of Tutankhamen, the Acropolis, the Alhambra, the Parthenon, the Dome of the Rock, the cities of the Mayans, the Forbidden City, El Escorial and more. (Complete list available on request.)

[100/200] 60 Withdrawn

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64 Twenty-Two French, Belgian and Italian Decorative Bindings, 1847‑1924, including a first edition of A. de Lamartine, Histoire des Girondins in eight volumes, five assorted volumes of Collezione di Monografie Illustrate, a pair of limp leather volumes of the Brevarium Romanum and more. (Complete list available on request.) [100/200] 65 Chinese Cameo Glass Snuff Bottle, 20th century, the blue-cut-to-clear glass with a painted interior, decorated with warriors, h. 2‑3/4”. [100/200] 66 Chinese Overlay Glass Rice Bowl, 19th century, of conventional form, the body in yellow glass with included spots of color, the body overlaid in red glass carved in relief with goldfish and ducks swimming in a pond, the lip rim and foot rim with a red glass border and the base with a Qianlong seal in red glass, carved wooden display stand, h. 1‑7/8”, dia. 4‑3/4”. [150/300]

74 Two Chinese Jadeite Carvings, 20th century, one a water coupe, l. 4”, and the other a snuff bottle, h. 2‑1/4”, both in stones of apple green color. [300/500] 75 Chinese Jade Book, 20th century, mottled white stone engraved and colored with gold engraved wooden cover, w. 3”, l. 6”. [200/400] 76 Group of Four Chinese Jade Pendants, three pendants, 20th century, carved with foo dogs and plants, and one pendant, 19th century, in an archaic-style with tubular bead, h. 1‑1/2” to 3”. [150/300]

67 Two Chinese Snuff Bottles, 20th century, comprised of an agate bottle and a bottle decorated with iron-red lotus flowers, h. 2‑1/2” and 2‑3/4”. [200/400] 68 Pair of Chinese Carved Agate Snuff Bottles, each with carved sides with flanges, very well hollowed, replaced stoppers, h. 2‑1/4”. [250/400]

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69 Pair of Chinese Peking Glass Snuff Bottles, the first, a 19th century yellow bottle carved as a caparisoned elephant and the second, a 20th century bottle carved with a dragon and phoenix, h. 2‑1/4” and 2”. [150/300]

77 Massive Carved Green Jade Fish Bowl, 20th century, the upper rim featuring a school of koi fish along the border, h. 13”, w. 31”, d. 24”. [1500/2500] Illustrated

70 Pair of Chinese “Chicken Fat” Yellow Glass Vases, 19th century, the glass of even egg yolk yellow color, Qianlong mark on the bottom, h. 6‑5//8”. [800/1200]

78 Group of Four Chinese Carved Wooden Panels, early 19th century, all rectangular and with gilt and polychrome accents, now custom-framed in ebonized molded frames with gilt bands, h. 15‑1/2”, w. 23‑1/2”. [500/800]

71 Chinese Yellow Glazed and Carved Ceramic Vase, marked on the base, h. 9”. [200/400] 72 Pair of Chinese Gold-Flecked Glass Bowls, 19th century, each of flared conical shape with circular foot rims, the bodies in golden amber color with included flakes of gold leaf, possibly offering bowls for an ancestral altar, h. 2‑3/8”, dia. 5‑1/2”. [200/400] 73 Two Chinese Jade Carvings, 20th century, comprised of an archaic-style heart-shaped water coupe with chihlung, together with a pendant with a crane and peaches, l. 2‑1/2” to 3”. [200/400]

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79 Pair of Chinese Architectural Elements, 19th century, lattice work with cash coins, flowers and bats and surface decorated in red, gold and black lacquer, w. 31”, l. 31”.

[300/500] 80 Chinese Architectural Element, early 20th century, wood carved and pierced with various figures, surface lacquered and gilt, h. 11”, l. 20”. [40/70] 81 Carved Marble Fragment, depicting the portrait of a diety, h. 10”, w. 7”. [75/125] 82 Early Stone Temple Carving, 5th century, India, the shard depicting a goddess with a boar’s head, carved in deep relief, h. 9”, w. 6”, d. 2”. [350/500]

83 Fine Chinese Iron-Red Porcelain Brush Pot, 19th century, of cylindrical form with flattened lip rim, decorated with a continuous scene of five-clawed dragons among clouds, flames and pearls with a border of cresting waves at the base and a geometric band at the top, the base with a six-character Qianlong seal mark in underglaze blue, wooden display stand, h. 5‑3/8”, excluding stand.

[400/700] Illustrated 84 Fine Chinese Iron-Red Dragon and Carp Vase, Guangxu mark and period (1875‑1908), of baluster form, finely decorated in iron-red with two shaped reserve panels depicting a five-clawed dragon above a leaping carp among waves, the ground decorated with stylized lotus blossoms and foliage with a lappet border at the base, a border of stylized vines on the shoulder and a border of plantain leaves at the neck, the base with a six-character Guangxu mark in iron-red, h. 9”. The motif of the leaping carp and dragon represents a candidate to the Imperial examinations (the carp), succeeding at the examinations and becoming an official (the dragon). [500/800] 85 Fine, Thin Chinese Iron-Red Bottle Vase, 19th century, with globular body and cylindrical neck, very thinly potted, decorated in iron-red with five Imperial dragons pursuing Flaming Pearls among clouds and flames, the recessed base with a four-character Qianlong mark in iron-red, wooden display stand, h. 8‑1/2”, excluding stand. [300/500] 86 Imari-Style Porcelain Bowl, decorated with Mandarin flowers and gilt details, the underside marked “Japanese Porcelain Ware, Hong Kong”, h. 4‑1/4”, w. 8‑1/2”, l. 8‑1/2”.

[30/50] 87 Chinese Porcelain Baluster Vase, 20th century, ironred decoration of lotus plants, h. 6‑1/2”. [75/125] 88 Chinese Porcelain Vase, 20th century, of rouleau form, decorated with fish above a white-capped ocean, h. 6”.

[75/125] 89 Chinese Porcelain Vase, early 20th century, of cylindrical form, depicting a female figure with two children, inscribed upper right, h. 11”, dia. 5”. [100/200] 90 Chinese Export Shallow Bowl, late 19th/early 20th century, the field with enameled decor featuring foliate sprays and moths along the border, restored, dia. 15”.

[250/400] 91 Pair of Chinese Famille Rose Porcelain Hat Vases, 19th century, each of slightly tapering cylindrical form with flared lip rims, decorated with continuous scenes of boys playing in a garden beneath a flowering tree and having a harlequin border at the foot, the base with a six-character Daoguang seal mark in iron-red, h. 12‑1/8”. [600/900]

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92 Pair of Chinese Famille Rose Porcelain Vases, 19th century, of cylindrical form with flared lip rim, finely decorated in famille rose enamels with scenes of Ma Gu and Shou Lao with his giant peach and staff in a boat among cresting waves near a rocky cliff, the reverse of the vases with a calligraphic inscription, the bases with four-character Qianlong marks in iron-red within a square, h. 13‑1/4”. The design featuring Ma Gu, Shou Lao and the peach are symbols of a wish for longevity. These vases were a gift to a senior family member with wishes for a long life. [700/1000] 93 Three Pieces of Chinese Export Porcelain, ca. 1870, “hundred butterfly” pattern, including a bowl and two shallow bowls, dia. 8” to 9‑5/8”. [150/300] 94 Chinese Famille Jaune Porcelain Wine Ewer, the porcelain body in the form of the Chinese character “Fu”, which means happiness or prosperity, the body enameled in overglaze enamels with central scenes on the front and reverse of deities and borders of flowers and butterflies, the handle and spout enameled in imitation of rattan wrappings, h. 8‑5/8”. [200/400] 95 Hand-Painted Porcelain Foo Dog, the underside marked “Herend Hungary”, h. 6”. [20/40] 96 Japanese Polychrome Vase, early 20th century, of bottle form, the neck with an avian prunus branch design and applied trefoil handles, the body richly decorated in floral and avian patterns, all against a black ground, h. 10”.

[100/200]

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97 Chinese Porcelain Plate, 20th century, black ground with floral scrolling in famille rose enamels, dia. 8‑3/4”.

[75/125] 98 Large, Elaborate Chinese Famille Rose ZaDao (Sgraffito) “Court Enamel” Vase, of baluster form with slightly splayed foot rim and flared neck with two gilt dragon handles, the body enameled with two dragon bordered reserve panels with elaborate decoration of geese in one panel and pigeons in the other, both among flowering plants in a garden setting, the panels against an engraved red ground enameled with flowers, butterflies and Buddhist chimes, the shoulder with a triple border of ruyi heads, a floral band and plantain leaves and the neck enameled with flowers, bats and “cash” symbols, the turquoise enameled base with a six-character Qianlong seal mark in underglaze blue, h. 19”. [700/1000] Illustrated

102 Chinese Hanging Scroll, 19th century, ink and colours on paper, a scene of the famous poet Li Po with attendants, unsigned but with three seals, h. 41”, w. 21‑3/4”.

[100/200] 103 Chinese Hanging Scroll, 20th century, ink and colors on silk, Hsi Wang Mu playing a flute beneath a flying phoenix, h. 47”, w. 25”. [100/200] 104 Green Glazed Stoneware Garden Seat, early 20th century, having embossed acorn and leaf decoration, h. 19”, dia. 16”. [100/200] 105 Oriental-Style Porcelain Garden Seat, of barrel form, in crimson glaze and adorned with white hobnails, h. 18‑3/4”, dia. 13”. [150/300] 106 Chinese Porcelain Figural Garden Stool, the seat in the form of a traditional saddle atop a standing elephant, h. 21‑1/2”, w. 22”, d. 11‑1/2”. [75/125] 107 Chinese Porcelain Garden Seat, 20th century, the drum-shaped seat with pierced cash coin designs in patesur-pate decoration of lime green lotus, scrolling on a white ground, h. 17‑1/2”, dia. 12‑1/2”. [150/300] 108 Chinese Porcelain Figural Garden Stool, the seat in the form of a traditional saddle atop a standing elephant, h. 18‑1/2”, w. 20‑1/2”, d. 9‑1/2”. [100/200] 109 Chinese Lute Table, 19th century, the apron carved with bats and archaic scrolling, h. 32‑1/2”, w. 13‑1/2”, l. 42”.

[900/1200]

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110 Chinese Elmwood Low Table, 20th century, the banded rectangular top above a frieze fitted with two small drawers, raised on shaped legs with a carved Greek-key design, h. 12”, w. 29‑3/4”, d. 15”. [200/400] 111 Pair of Chinese Stained Hardwood End Tables, 20th century, each with a banded square top above a conforming cloud-carved frieze, raised on square legs joined by stretchers and ending in shaped feet, h. 19‑1/2”, w. 17”, d. 17”. [150/300]

99 Chinese Hanging Scroll, 20th century, ink and colors on silk, scene of children playing, h. 48”, w. 25”. [75/125] 100 Chinese Hanging Scroll, ink and colors on silk, landscape with pavilions, h. 50”, w. 25”. [100/200] 101 Chinese Hanging Scroll, 20th century, ink and colors on silk, scene of Shao Lao with children, h. 35”, w. 17”.

[75/125]

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112 Chinese Elm Side Table, 20th century, the banded rectangular top above a pierced recessed frieze, raised on square legs joined by a box stretcher, h. 33‑1/2”, w. 37‑1/2”, d. 19”. [300/500] 113 Chinese Elm Bench, 20th century, the rectangular banded top above a conforming recessed frieze and square-pierced apron, raised on square legs, h. 19”, w. 42‑1/2”, d. 15‑1/2’. [100/200]

114 Circular Mahogany and Carved Hardstone Japanese Wall Plaque, 20th century, depicting three female figures in colored hardstone under a shade tree and pagoda, dia. 10”. [150/300] 115 Japanese Cloisonne Vase, 20th century, depicting a bird perched on the branch of a Mandarin orange tree, h. 7‑1/2”. [50/80]

126 Chinese Yixing Covered Redware Storage Jar, 19th century, of barrel form and fitted with a cover, the body scored as barrel staves with alternating decoration of figures and calligraphy, the top section wsith character decoration and the base with seals, h. 4”, dia. 4‑3/4”.

[200/400]

116 Chinese-Style Celadon-Glazed Vase, mounted as a table lamp, on a scroll platform base, electrified, h. 17‑1/2”. [30/50] 117 Small Chinese Teapot, early 20th century, Yi Hsing ware, enamel decoration of flowers, spout and handle in gilt, signed with a seal on the bottom, l. 5”. [100/200] 118 Group of Three Japanese Ivory Netsuke, 20th century, the figures of a basket, a front with a cabbage plant and a warrior with a peach, l. 2”. [150/300] 119 Japanese Ivory Carving, 20th century, the carving of the ship of the gods of luck, polychrome details, h. 3”.

[150/300] 120 Japanese Ivory Netsuke, 20th century, the figure of Jurojn with a monkey, polychrome details, l. 3”. [100/200]

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121 Chinese Carved Ivory Pendant, 20th century, the front side carved in low relief depicting a camel, the back side bearing a signature, h. 1‑1/2”, w. 2”. [200/400] 122 Chinese Carved Ivory Figure of an Immortal, early 20th century, the figure of an immortal on the back of a tiger, wooden stand, h. 4”, without stand. [150/300] 123 Group of Three Chinese Ivory Carvings, early 20th century, comprised of two male figures and one female figure, colored details, wooden stands, h. 4‑1/2” to 5‑1/2”, without stands. [150/300] 124 Chinese Carved Hardwood and Ivory Inset Figure, 20th century, h. 8‑1/4”. [200/400] 125 Chinese Book, 20th century, the bone slats engraved with scenes of immortals and text, joined together with thread, [50/80]

127 Pair of Carved Asian Boxwood Figures, 20th century, each presented on rosewood bases, h. 16‑1/2”. [100/200] Illustrated 128 Rare Chinese Boxwood Carving of a Female Soldier of the Great Cultural Revolution, mid-20th century, the female figure clad in a cape and carrying a rifle as she propels her sled through snow drifts, l. 8‑1/2”. [500/800] 129 Chinese Seven-String Guqin (Zither), 20th century, the instrument and case decorated with gilded scenes and calligraphy, case h. 5‑1/2”, d. 9‑1/2”, l. 50”. [300/500] 130 Group of Three Chinese Boxwood Figures, 20th century, the first, a figure of a standing robed Immortal with a small attendant at his side, h. 9‑3/4”, the second, a bust of Guanyin, h. 7”, and the third, a seated figure of an Arhat holding a cup, h. 5‑1/4”. [100/200]

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131 Chinese Carved Boxwood Ruyi and Stand, 19th century, of conventional form with an oval lobed head with low relief carving of a stylized character surrounded by five bats and a fretwork border, the shaft with a central plaque of archaic characters flanked by fields of geometric hexagons, fitted stand, l. 19‑1/2”. [350/500]

141 Fine Pair of Chinese Famille Rose Porcelain Rice Bowls, Republic Period (1908‑1949), each finely enameled as a pair of quail among rockwork and flowering plants, the design of the plants crossing over the lip rim and continuing into the interior, the base with a fourcharacter iron-red mark, dia. 4‑1/2”. [400/700]

132 Pair of Indian Gouache on Paper Paintings, second quarter 20th century, depicting hunting scenes, within a decorative border, sight 11” x 6‑3/8”. Both glazed, handsomely matted and framed. [350/500]

142 Good Chinese Famille Rose Small Covered Tea Bowl, Republic Period (1908‑1949), of inverted bell shape with fitted cover and with a splayed foot used as a stand, enameled on the exterior of the tea bowl and top with stylized floral medallions, the base and cover each having a six-character Daoquang mark in iron-red, h. 3‑1/8”, dia. 3‑5/8”. [200/400]

133 Chinese Glazed Stoneware Vase, early 20th century, unmarked, h. 12”. [75/125] 134 Good Chinese Guan Ware Archer’s Handle Vase, 18th/19th century, the ribbed globular body and neck with tubular archer’s handles, glazed in a light celadon glaze with gold wire crackle, the celadon glaze with a transparent luminosity beautifully set off by the wide crackle, Ming-style wooden stand, h. 7‑7/8”, excluding stand. [700/1000] 135 Good Chinese Molded Ink Stick, 18th/19th century, the black ink stick of shaped ovate outline decorated on one side with a dragon among clouds and a three-character Jiaqing inscription, the reverse decorated with a dragon and qihin, gilt highlights, box, l. 10‑3/4”. [400/700] 136 Chinese Porcelain Teapot, early 20th century, the cylindrical body with sides engraved with a poem, h. 6‑1/2”, w. 6”. [100/200]

143 Unusual Chinese Famille Rose Footed Saucer Dish, Republic Period (1908‑1949), the bowl delicately enameled with an Immortal, probably Han Xiang Zi, holding a staff with a basket of peaches and ling-chih, attended by a boy and two bats, the exterior with five bats holding Buddhistic symbols, the interior of the foot with a six-character Qianlong mark in underglaze blue in a single line, h. 2‑3/4”, dia. 6‑1/8”. [300/500] 144 Chinese Porcelain and Enamel Decorated Lidded Jar, early 20th century, marked on the underside, h. 5‑1/2”.

[200/400] 145 Pair of Large Porcelain Chinese Vases, 20th century, the bottle-form vases with reserve panels of flowers in famille rose enamels on a lime green ground with stylized lotus scrolls, h. 25”. [800/1200] Illustrated

137 Good Chinese Oxblood Glazed Porcelain Vase, 19th century, of Yen-Yen shape, glazed in a rich Lang glaze thinning to white at the lip rim and stopping evenly short of the foot, the base with a double circle in underglaze blue, h. 13‑7/8”. [350/500] 138 Chinese Peachbloom Glazed Beehive Water Coupe, 19th century, the domed body with small mouth and slightly everted lip rim, glazed all over in a rich, even “peachbloom” glaze thinning to white at the lip rim, the base with a six-character Kangxi reign mark in underglaze blue, Ming-style wooden stand, h. 3‑1/2”, dia. 4‑3/4”.

[400/700] 139 Chinese Celadon Fish Decorated Plate, 20th century, the underside bearing a mark, dia. 12”. [50/80] 140 Chinese Porcelain Vase, 20th century, the Fang Hu-shaped vase with peach medallions and a celadon glaze, with a six-character Ch’un Lung mark on the base, h. 8‑1/4”. [200/400]

10

145

146 Good Chinese Famille Rose Porcelain Saucer Dish, 19th century, the interior enameled with the Eight Immortals and attendants in a mountainous landscape with a river, the base with a six-character Qianlong seal mark in underglaze blue, dia. 7‑3/4”. [600/900] 147 Stunning Chinese Famille Rose Porcelain Phoenix Lamp, Republic Period (1908‑1949), composed of an indented base supporting a reticulated globular central section with three openwork panels of phoenix birds among scrolling foliage and having a central tubular holder and topped by a shaped finial with gilt dragon handles, the lamp decorated in mille fleur decoration, the base with a four-character Qianlong mark in overglaze enamels surrounded by a turquoise ground, h. 8‑3/4”. [700/1000] 148 Famille Rose Porcelain Vase on Stand, late 19th century, h. 11”, including stand. [50/80] 149 Monumental Pair of Chinese Famille Rose “Palace” Vases, each of baluster form with cylindrical neck and rolled lip rim, decorated with reserve panels of court figures and royalty at leisure, against a ground of scrolling peonies and foliage against a rose pink ground, h. 42”.

[300/500] 150 Fine Chinese Famille Rose “Court Enamel” Cross Edge Saucer Dish, 18th/19th century, the low edged saucer finely enameled with a design of flowering plum branches and sprays of bamboo foliage, the design beginning on the exterior and continuing onto the face with a seven-character inscription in black with three seals in puce enamel, the base with a six-character Yongzhen reign mark in underglaze blue within a double circle, dia. 8‑1/16”. [500/800]

153 Good Pair of Chinese Famille Rose Nine Peach Vases, 18th/19th century, each of bulbous shape with tubular necks, decorated with a continuous scene of flowering and fruiting peach branches, the number nine signifies “forever” being the largest single-digit number, the base with a six-character Qianlong seal mark in iron-red, h. 12‑7/8”. [500/800] 154 Fine Pair of Chinese Famille Rose Bowls, 19th century, each thinly potted rice bowl enameled with a “cross edge” design of flowering and fruiting peach branches with mature fruit, buds, flowers and emerging foliage, the interior with three bats, the exterior with two bats all in iron-red, the base with a six-character Yongzheng reign mark in underglaze blue, dia. 4‑1/4”. [400/700] 155 Antique Chinese Blue-and-White Porcelain Bowl, h. 5”, dia. 8”. [100/200] 156 Group of Four Japanese Hexagonal Dishes, early 20th century, underglaze blue transfer decoration of figures in a landscape with brocade borders, w. 12”, l. 12”. [300/500] 157 Chinese Blue-and-White Porcelain Vase on Stand, unmarked, h. 9‑1/2”, including stand. [100/200] Illustrated

151 Fine Pair of Chinese Famille Rose Porcelain Court Enamel Vases, 19th century, each of baluster form with flared lip rims, the fine porcelain bodies delicately enameled as a pair of finches perched in a flowering peony bush, after a painting by Giuseppe Castigleone (Lang Shining), the Jesuit missionary who was a court painter for three Qing Dynasty emperors and who introduced Western painting techniques to the Chinese court, the reverse of the vases with a poem in black calligraphy with Lang Shining’s seal, the bases with four-character Qianlong mark in raised blue enamel, h. 8‑1/8”. [700/1000] 152 Fine Chinese Famille Rose “Fish Tail” Vase, 18th/19th century, the baluster-form body enameled with a continuous design of flowering and fruiting peach branches with exposed bark and emerging foliage, the base with a six-character Yongzheng mark in pale underglaze blue within a double circle, h. 6‑1/4”. [200/400]

157

11

158 Pair of Chinese Porcelain Vases, 19th century, the sides decorated with molded foo dogs, decoration of phoenixes and peonies in underglaze blue on a pale celadon ground, h. 16‑1/2”. [450/700]

167 Chinese Burled Padouk Wood Brush Pot, 20th century, of cylindrical form with thick walls carved from a single piece of nicely patterned burled wood, carved wooden stand, h. 7‑5/8”, including stand. [400/700]

159 Rare Chinese Marbleized and Molded Pottery Pillow, Tang Dynasty (618‑907 AD), the stylized mountainshaped body in marbleized clay with a central glazed floral medallion in tri-color glaze, from Luo Yang in Henan Province, one of the two Tang capitols, l. 8‑1/4”.

[1000/1500]

168 Suite of Four Indian Gouache on Paper Paintings, second quarter 20th century, depicting various figures in a landscape, sight 8” x 3‑1/2”. All glazed, handsomely matted and framed. [450/700]

160 Good Chinese Cast Patinated Copper Statue of an Arhat (Damo), 18th century, the standing bald-headed figure with traces of hair clad in monk’s robes and standing on a domed base of cresting waves, h. 19”. [1000/1500] 161 Diminutive Chinese Bronze Cannon, the barrel mounted with a plaque translating to “Official Peking Made”, l. 10”. [200/400] 162 Chinese Splash Gilt-Bronze Bottle Vase, 18th century, the tapered bulbous body resting on a slightly splayed foot and having a tubular neck with flared lip rim, the neck with three hydra dragons in relief, the patinated body, dragon’s heads and bodies with gold splashes, the base with a cast four-character inscription reading “Great Ming Period Made” in a circle surrounded by two dragons pursuing the Flaming Pearl, h. 9‑1/4”. [900/1200]

169 Chinese Hanging Scroll, 20th century, ink and colors on paper, scene of a girl by a lotus pond, h. 26”, w. 19”.

[50/80] 170 Chinese Mahogany King Size Headboard, the molded frame with a center rondel pierced with Chinese characters, pierced scrollwork fills the field on either side, h. 41‑1/2”, w. 80”. [200/400] 171 Good Chinese Zitan-and-Ivory Table Screen, composed of a rectangular zitan panel with pierced border centered with an engraved ivory fan-shaped plaque of an idyllic landscape after a painting by Ying Tang, the famous Ming dynasty artist, the plaque held in a two-part frame and under stand, h. 16‑1/4”, l. 16”. [1000/1500] Illustrated

163 Elaborate Chinese Covered Bronze Tripod Censer, 18th century, the squat bulbous body resting on three lion claw feet and having two dragon form handles clinging to opposite sides, the fitted pierced dome cover cast with two dragons among clouds pursuing the Flaming Pearl, the cover with a pierced oval finial of clouds and flames, the base with a six-character Qianlong reign mark, h. 8‑5/8”.

[800/1200] 164 Three Indian Bronze Figures, the first, a 19th century Indian deity, the second an early 20th century Thai head of a Buddha, and the third, a modern bronze head of a Buddha, h. 4” to 7”. [100/200] 165 Stylish Japanese Patinated Metal Vase, now mounted as a lamp, of baluster-form cast with overlapping lotus leaves and arched handles, wooden base, h. 34”.

[200/400] 166 Chinese Glass Scholar’s Table Vase, 18th century, of tapering form with flattened lip, the mottled glass made to imitate realgar (arsenic sulfide), a substance much admired by Chinese scholars but due to its poisonous nature was imitated in glass, h. 4”. [75/125]

12

171

172 Oriental-Inspired Mahogany Wall Vitrine, the single glazed door fronting a group of geometrically-arranged shelves and backed with a looking glass, h. 33”, w. 20”, d. 4‑1/8”. [100/200] 173 Chinese Four-Panel Screen, 19th century, lattice work carved, pierced and lacquered with figures, mythical animals and archaic scrolling, h. 10’, w. 7’10”. [2000/4000]

174 Tall Chinese Red Lacquered Bamboo Cabinet, 20th century, the sides and front with open bamboo grille panels, the upper section with a pair of doors above two side-byside drawers over another pair of long doors, h. 71‑1/2”, w. 32‑1/2”, d. 14‑1/2”.

[450/700] Illustrated

174

175 Pair of Chinese Red Lacquered Elmwood Chairs, 20th century, each with a straight crest rail supported by four turned spindles and mounted to a flat plank seat, raised on square legs joined by stretchers, h. 38”, w. 20‑1/2”, d. 16”.

[350/500] 176 Chinese Cinnabar and Black-Lacquered Panel, 19th century, of shaped rectangular form, the raised central section depicting gilt oriental figural landscapes, now raised on a conforming polychrome faux bamboo stand with gilt ring accents, h. 22”, w. 25‑1/2”, d. 22‑1/2”.

[150/300] 177 Pair of Chinese Hardwood and Marble-Top Tabourets, each with a circular top with an inset marble surface, above a bamboo-carved frieze and pierced apron, raised on shaped legs joined by a floriform stretcher, h. 33”, dia. 13‑1/2”. [300/500] Illustrated

178 Chinese Carved Rosewood and Marble-Top Stand, fourth quarter 19th century, the scalloped top with a carved beaded edge and floral-pierce-carved aprons, the legs with carved serpents and ending in paw feet, the top with a rouge inset marble, h. 23”, dia. 18‑1/2”. [400/700] 179 Unusual Chinese Rosewood and Marble-Top Stand, fourth quarter 19th century, the circular top with a rouge marble insert, the frame, legs and aprons depicting interlocking bamboo motifs, h. 19”, dia. 16‑1/2”.

[300/500] 180 Mahogany Hope Chest of Oriental Inspiration, second quarter 20th century, the lid and front panel carved depicting genre scenes, h. 23”, w. 40”, d. 21”. [300/500] 181 Carved Stone Image of an Indian Deity, h. 24”.

[200/400] 182 Chinese White Metal Censer, 20th century, the base resting on paw feet and molded with foo dog heads, the body molded with scrollwork and with dragon-form handles, the pierced lid with a foo dog knop, h. 11‑1/2”, w. 9”, d. 7”. [200/400] 183 Pair of Indian Teakwood Temple Carvings, now mounted as wall plaques, h. 18‑1/2”, w. 9‑1/2”. [100/200] 184 Group of Five Bronze/Brass Indian Figures, all in ceremonial costume, h. 8‑1/2” to 12”. [500/800] 185 Chinese Porcelain Figure of the Goddess of Mercury Kuan Yin, early 20th century, white with slight color, mounted as a lamp, h. 11”. [40/70] 186 Chinese Blanc de Chine Figural Group, late 19th/early 20th century, Ti Hua figure of four female immortals on a rustic raft, h. 12”, l. 9”. [250/400]

177

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187 Large, Dramatic Chinese Carved Zitan Immortal Ruyi Scepter on Stand, the large horizontal piece of zitan carved in high relief as a ruyi scepter with sprouting ling-chih and carved waves, scattered along the scepter’s length and within its recesses are figures of the Eight Immortals, each with their attribute, the arched stalk with a large ling-chih head at one end and terminating at the opposite end as a root cluster, the scepter attached to a stand of curling waves with two plaques of calligraphy, h. 7”, l. 24”. [1000/1500] Illustrated

190 Attractive Pair of Chinese Blue-and-White Framed Porcelain Panels, 20th enetury, Qing style, each panel depicting a mountainous river landscape with village and figures, and a pierced carved wooden panel above and below with a central bat design, both porcelain panels signed upper right, h. 34‑1/2”, w. 16”. [250/400] 191 Pair of Chinese Scrolls of Calligraphy Couplets, early 20th century, signed and with two seals, 53” x 12”.

[200/400] 192 Unusual Chinese Turquoise Scholar’s Stone on Stand, the stone in the shape of an irregular mountain peak showing the formation of the turquoise with typical black matrix veining, the stone in a fitted carved rosewood display stand h. 11”, including stand. [900/1200]

187 188 Chinese Lingbi Scholar’s Rock on Stand, the weathered and eroded gray rock showing cavities and protrusions, the result of erosion by water on softer parts of the matrix, custom carved and fitted rosewood stand, h. 11‑1/8”, including stand. [200/400] 189 Large Elaborate Chinese Carved Root Figure of Shou Lao, 19th century, the Chinese God of Longevity presented with his long flowing beard and staff, numerous other figures carved from the outcropping, some elements lacking, h. 41”, w. 25”, d. 17”. [400/700] Illustrated

193 Fine Chinese Carved Tianhuang Stone Boulder, retaining the stone’s original shape but with flattened base, the even, rich golden-colored stone with a paler skin beautifully carved in low relief as two scholars and an attendant beneath a pine tree admiring the shape of the mountains in the background, the mountainous view with banana trees and pavilions continuing around to the rear, the reverse also having a calligraphic inscription in artistic script, carved rosewood pine branch, h. 4‑1/4”, excluding stand. [700/1000] 194 Chinese Pottery Figure, early 20th century, figure seated on the back of an elephant, San Tsai glaze of blue, purple and straw colors, h. 7”, l. 5‑1/4”. [40/70] 195 Chinese Straw-Glazed Figure of a Tomb Guardian, Tang Dynasty (618‑907), the standing figure of a soldier in full armor, helmet, breastplate and tunic, with one hand raised to his chest (at one time holding a spear), the other at his waist, under a straw-colored glaze, h. 15”. [150/300] 196 Eight Chinese Stoneware Figures, 20th century, Yi Hsing ware, h. 2”. [40/70] 197 Elaborate Beaded and Embroidered Oriental-Style Robe, adorned with sequins, gilt thread and tear drop faux pearls on black velvet. [200/400] 198 Provincial Louis XV-Style Fruitwood Bench, the shaped and padded rectangular top above a conforming foliate and shell-carved frieze, raised on cabriole legs, headed by foliate carving and joined by shaped X-form stretchers and ending in foliate toes, h. 20”, w. 48‑1/2”, d. 19‑1/4”. [300/500]

189

14

199 Pair of Louis XV Fruitwood Fauteuils, late 18th century, each with a shaped padded back surmounted by a foliate-shield crest and joined to the padded seat by downswept foliate-carved arms, raised on molded cabriole legs headed by foliate carving and ending in scrolled toes, h. 39”. [1200/1800] Illustrated 200 Withdrawn 201 Italian Walnut Firescreen, early 20th century, in the Renaissance taste, the rectangular fabric screen surmounted by a scrolling lion crest ad with applied foliate scrolls to either side, raised on splayed supports ending in paw feet, h. 48”, w. 30‑1/2”. [150/300]

199

202 Continental Mahogany Fauteuil a la Reine, late 19th century, in the Renaissance taste, the tall padded rectangular back joined by downswept arms ending in lion’s head handrests to the padded seat, raised on block and bulbous legs joined by a scrolling acanthine front stretcher and ending in paw feet, h. 43”. [800/1200] 203 French Provincial Fruitwood Games Table, late 19th century, the canted square top with an inset floral needlepoint panel, above a scalloped frieze fitted with corner pull-out slides and a small drawer to each side, raised on cabriole legs, h. 29”, w. 31”, d. 31”. [300/500] 204 Unusual Provincial Elm and Fruitwood Wine Tasting Table, partially composed of antique elements, the tilting circular top covered in a polychrome canvas featuring a starburst inlay, raised on end and swinging supports to shaped runner feet, h. 31”, dia. 59‑1/2”. [1000/1500] Illustrated

204

205 Provincial Louis XV-Style Oak Buffet, early 20th century, the rounded rectangular top with a bowed center section, above a conforming case fitted with three central drawers, with nicely figured iron hardware, flanked to either side by a paneled cupboard door, raised on scrolled feet, h. 35‑1/2”, d. 25”, l. 72”. [800/1200] 206 French Provincial Pine and Fruitwood Buffet a Deux Corps, mid-19th century, the molded cornice above a case fitted with two long paneled doors, opening to a shelved interior, the lower section fitted with two cabinet doors, each inset with a shaped panel, raised on molded block feet, h. 90”, w. 50‑1/2”, d. 25‑1/2”. [700/1000] 207 French Provincial Walnut Armoire, mid-19th century, the rounded ogee-molded cornice above a conforming case fitted over a foliate-carved frieze over two long doors, each inset with three shaped panels, above a pierced foliate-carved apron, raised on scrolled toes, h. 96”, w. 60”, d. 20‑1/2”. [2000/4000] Illustrated

207

15

208 French Provincial Walnut Armoire, mid-19th century, the heavily molded cornice above a case fitted with a foliate-inlaid paneled frieze centered by a star-inlaid panel, over two long doors, each inset with three shaped panels over a foliate-inlaid apron, raised on molded block feet, h. 95”, w. 69”, d. 29”. [2000/4000] Illustrated

213 Painted Metal Chandelier in the Louis XV Style, scrolled arms support fluted drip pans fitted with electric candles, the turned and molded standard holds short scrolled arms holding prisms, and ending with an acorn finial, h. 18”, dia. 22”. [200/400] 214 Continental Iron Torchere, second quarter 20th century, the four cabriole legs decorated with applied leaves, the support with two mid ribs, holding a wide flat candle cup with a ribbed rim, h. 59‑1/4”, dia. 6‑1/4”.

[50/80] 215 Pair of Painted Tole Architectural Lanterns, of hexagonal form, painted in gros rouge with gilt trim, the front doors and side panels with arcaded openings, the hipped roof tops pierced with stars, and a molded and folded leaf forming the carrying handle, wired for electricity with faux candles, h. 19‑3/4”, w. 10‑1/2”, d. 7‑1/2”. [500/800] 216 Fin-de-Siecle-Style Five-Light Candelabra, the metal-clad, electrified piece composed of a scantily clad couple holding a trumpet-shaped leaf aloft, the molded standard holding leaf-molded arms fitted with sockets and glass shades in the art nouveau-style, with gold metallic exteriors and silvered interiors, h. 38‑1/4”, w. 16‑1/4”.

[200/400]

208 209 Vernacular Continental Painted and Distressed Pine Vitrine, the mullioned and glazed door of mortice and peg construction, the returns with three glazed over one wooden panel, h. 52”, w. 28‑1/2”, d. 18”. [400/700] 210 Green Glazed Majolica Garden Urn, fourth quarter 19th century, the campagna-form urn with a square base and molded handles with lion’s head terminals, made in two parts and assemble with period hardware, h. 22‑1/2”.

[150/300]

217 Pair of Louis XV-Style Bronze Three-Light Sconces, French, the scroll-molded backplates support scrolled candle arms decorated with applied scrollwork, scrollmolded drip pans mounted with cut-glass drop-form prisms and electrified faux candles, h. 22‑1/2”, w. 16”, d. 9‑1/2”. [50/80] 218 Pair of Louis XV-Style Gilt-Bronze Sconces, the pierced scrolled backplates support scrolled candle branches set with pierced scrolled drip pans and inverted pear-shaped candle cups with molded bobeches, fitted with faux electric candles, h. 22”, w. 13‑1/4”, d. 9”.

[700/1000] Illustrated

211 Brass Samovar, in the Tulsky manner, with jar shaped body, turned wood stirrup handles, crested tap and arched, scrolling key, lacking the lid and crown but retaining the blind, h. 17”, w. 9‑1/2”, d. 11‑1/4”. [75/125] 212 Pair of French Brass Candlesticks, second quarter 19th century, the turned standards fitted with a side ejection and trimmed with a beaded, urn support resting on turned feet, h. 7‑1/2”. [50/80]

218

16

219 Giltwood Looking Glass, with a rectilinear mirror plate in a molded frame, h. 20”, w. 23”. [30/50] 220 Italian Stained Pine Looking Glass, late 19th century, the circular plate within a molded banding with deeply carved corner mask accents among scrolling foliate patterns within a laurel leaf-carved band and shell-carved frame, h. 45‑1/2”, w. 54”. [2000/4000]

229 French School (Second Quarter 19th Century), “Sunday Mass” oil on canvas, unsigned, illegibly pencil inscribed verso canvas, 10‑1/2” x 8‑1/2”. Presented in a 19th century giltwood and gesso frame. [1200/1800] Illustrated

221 Georgian Rolled Gilt Paper Shadowbox Frame, fourth quarter 18th century, the blue paper-lined beechwood shadowbox containing an oval frame with swirled patterns of rolled gilt paper flowers and tendrils, w. 14‑3/4”, d. 11”.

[150/300] 222 Louis XV-Style Looking Glass, the rectilinear mirror plate in an exuberantly modeled frame with flora, branches and shells at each corner, h. 33‑1/2”, w. 27‑1/4”.

[100/200] 223 Pair of French Cast Terra-Cotta Balustrade Spindles, first quarter 20th century, now mounted as table lamps and fitted with custom vellum shades, h. 31” to top of finial. [300/500] 223A Pair of Directoire-Style Polychrome Sidechairs, 19th century, the rectangular back centered by an urn-carved medallion splat, the padded seat raised on turned and tapering circular legs ending in toupie feet, h. 35-1/2”.

[1800/2500] 224 Continental Terra Cotta Figural Group of Two Children, first quarter 20th century, depicting a crouched pensive boy and a sitting chatting girl, on a circular base, the finish weathered overall, h. 39‑1/2”, w. 21”, d. 20”.

[1200/1800] 225 European Wood and Wire Hanging Birdcage, fourth quarter 19th century, of small size, the corners of the wire cage dressed with emerald glass beads at the eave level, the tubular wooden legs of the base capped with turquoise glass beads, h. 21”, w. 9”, d. 9”. [300/500] 225A Two Pairs of Continental Figural Oak Bookends, the bookends depicting figures of monks, seated in hooded robes, h. 9‑1/2”, w. 5”, d. 6”. [125/250] 226 Pair of Needlepoint Pillows, each in floral decor on a sage ground, the perimeter edge adorned with tassels, w. 25”, d. 20”. [150/300] 227 Pair of Satin Gros Grain Striped Pillows, with gold fringe, w. 16”, l. 16”. [100/200]

229 230 Manner of Federico Andreotti (Italian, 1847‑1930), “Courtship”, oil on canvas, unsigned, 14” x 12”. Framed.

[300/500] 231 Anton Fenz (Austrian, 1884‑1970), miniature painting in the Renaissance style depicting a young woman leaning from a window and holding a brass lantern, probably gouache, signed lower left, sight 3‑3/4” x 3‑1/4”.

Presented in a Rococo-style faux-burlewood frame.

[200/400] 232 Continental school (19th Century), “Kitchen Scene With a Mother Nursing a Child, an Older Woman Reading and a Young Boy Looking On”, oil on canvas mounted on board, unsigned, 18” x 15”. Presented in a molded giltwood frame. [200/400] 233 British School (First Quarter 18th Century), “Portrait of a Cleric in Robes, Holding a Document”, oil on canvas, unsigned, 36” x 28‑3/4”. Framed. [400/700] 234 Hermann Lismann (German, 1878‑1943), “Landscape With a Village”, oil on canvas, signed lower left “H. Lismann”, reverse stretcher with a partial label inscribed “Hermann Lismann, Paris”, 17” x 22”. Framed. [300/500]

228 Pair of Blue Brocade Pillows, with tasseled trim, w. 16”, l. 16”. [100/200]

17

235 British School (Third Quarter 19th Century), “Portrait of a Woman with Red Hair”, oil on canvas, unsigned, reverse canvas stamped “Alexr Hill Colorman to the Royal Scottish Academy, Edinburgh”, 23” x 19”. Presented in a 19th century gold-painted frame. [1000/1500] Illustrated

240 Pair of Continental Classical Revival Giltwood and Gilt-Metal Sconces, leaf-molded wall plates support scrolled candlearms decorated with applied leaves, and supporting foliate-form wood and metal candlecups, giltwood tassels hang from the end of each arm, h. 22”, w. 18‑1/2”, d. 6‑1/4”. [200/400] 241 Baroque-Style Eight-Light Crystal Chandelier, scrolled brass candle arms supporting electrified faux candles, and stand among four tiers of scrolled arms hung with flat serpentine cut-glass prisms alternating with glass fruit, h. 34”, dia. 22‑1/2”. [600/900] 242 Pair of Brass and Alabaster Louis XVI-Style Garnitures, early 20th century, each with a circular footed base and the upper section mounted with ram’s heads and a central flame, h. 12‑1/2”. [150/300] Illustrated

235 236 American School (Fourth Quarter 19th Century), “Portrait of a Child With a Walking Stick”, oil on canvas, unsigned, 36” x 25”. Presented in a giltwood frame.

[200/400] 237 Swedish School (Second Quarter 19th Century) “Portrait of Alfred Massanti Passe With a Book”, oil on canvas laid down on panel, unsigned, sitter is identified on an old paper label en verso, 14‑3/4” x 11‑3/4”. Presented in a period carved giltwood and plaster frame in the neoclassical taste. [200/400] 238 Seven-Light French Gilt-Bronze and Crystal Neoclassical-Style Chandelier, first quarter 20th century, strung with button prisms, concealing three interior light sockets, the central gilt-bronze ring decorated with ribbons and laurel leaves and mounted with leaf-molded candle cups above applied gilt-bronze masks, the upper portion topped with a gilt-bronze acanthine corona, with wax faux candles and silk shades, h. 35‑1/2”, dia. 25”. [800/1200] 239 Large Four-Light Brass Sconce, the backplate with three ornamental arms above four arms fitted with electric candle sockets, h. 24”, w. 27”. [100/200]

18

242

243 Continental Giltwood Louis XVI-Style Mirror, the reeded frame with molded corner blocks, with a pierced crest in the form of a flaming torch and quiver of arrows tied with a bowknot, and trailing branches of laurel leaves and berries, h. 38”, w. 28”. [400/700]

244 Louis XVI-Style Argente Looking Glass, 20th century, the rectangular plate surmounted by a crest consisting of an oval plaque of a classical woman flanked by griffins and issuing a ribbon swag, within a ribbon-modeled frame and with ribbed urn-form pendants, h. 65”, w. 29‑1/2”.

[700/1000] Illustrated

248 French Staff Officer’s Sword, early 2nd Empire, the blade slightly earlier and bearing a Paris address and maker’s mark, the articulated counterguard with pushbutton release engraved with original owner’s armorial, spinal-carved horn grip, the white blade nicely etched with floral designs and scrolls, no scabbard, nice chasing and gilding to the guard, which is decorated with a helmet, surmounting a swag of laurel and oak leaves, all super imposed on a panoply of tricolor flags, l. 34‑1/2”.

[200/400] 249 Pair of Empire-Style Brass and Iron Chenets, fourth quarter 19th century, the design employs vertical acanthus leaves crowned with a female masque wearing a feathered hairpiece, the cast-iron billet bars set with pierced rococo log straps and joined with a rope twister fender bar terminating in flame finials, h. 12”, w. 19”, d. 17‑1/4”.

[150/300] 250 Neoclassical-Style Patinated-Brass Candlestick Lamp, a black marble base supports the gadrooned and leaf-molded base, the tapered and fluted standard with a gadrooned border under a drip cup supporting the leaf-molded candle cup, fitted with an electrified faux candle and a black parchment clip on shade, h. 22‑1/2”, dia. 10‑1/4”. [75/125] 251 French Bronze-Patinated and Parcel-Gilt Brass Mantel Clock, fourth quarter 19th century, in the 17th-century style, the enamel dial with black Roman chapters surmounting a bas-relief plaque of an ancient triumphal procession, the interior backplate touchmarked “Japy Freres”, h. 16‑1/2”, w. 10‑1/4”, d. 6‑1/4”. [300/500]

244

245 Painted and Distressed Looking Glass, the crisp mirror plate in a carved and weathered frame, h. 35”, w. 29”.

[50/80] 246 American Victorian Silver Gilt Picture Frame, third quarter 19th century, the frame now mounted as a mirror, the bolection-molded outer edge against a cove-molded flat inner edge, all with original matte silver gilt surface, h. 36”, w. 30‑1/4”. [500/800]

252 Pair of Blue and Gold Brocade Pillows, with gold fringe, w. 18”, l. 18”. [100/200] 253 Pair of Silk Taffeta Striped Pillows, with drop tassels, w. 16”, l. 16”. [100/200] 254 Pair of Brocade Pillows, with tasseled fringe, w. 18”, l. 18”. [100/200] Illustrated

247 Withdrawn

254 255 Pair of Velvet Striped Pillows, with tasseled ribbon fringe, w. 18”, l. 18”. [100/200]

19

256 Pair of Brocade Pillows, with tasseled fringe, w. 18”, l. 18”. [100/200]

263 Meissen Two-Part Porcelain Vase, having alternating painted scenic and floral panels, h. 10‑1/2”. [300/500]

257 Pair of Silk Taffeta Striped Pillows, with beaded fringe, w. 16”, l. 16”. [100/200]

264 Sevres-Style Porcelain Vase, now mounted as a table lamp,with hand-painted scenes on the front and back, h. 17‑1/2”. [200/400]

258 Collection of Four Bronze and Glass Articles, comprised of a second quarter, 19th century bronze LouisPhilippe lamp stand with an anthemion-molded base supporting an “S” scroll handle decorated with acanthus leaves, supporting an engine turned lamp ring, now fitted with a blue opaline posey holder, h. 8‑1/4”, dia. 4”, a first quarter 20th century bronze and glass compote in the Louis XVI-style, the round base decorated with beading and acanthus leaves, the crystal bowl engraved with swags of leaves and bow knots, the rim mounted with a bronze ring decorated with beading and swags of flowers, h. 6‑3/4”, dia. 8‑3/4”, and a pair of first quarter 20th century brass wall pockets, cartouche-shaped and edged with diapering and scrollwork, the fronts decorated with cast ram’s heads holding swags of beads, h. 6‑3/4”, w. 7‑1/4”. [50/80] 259 Franco Bohemian Two-Part Reticulated Porcelain Compote, h. 8‑1/4”. [100/200] Illustrated

265 Pair of Royal Worcester Hand-Painted Cabinet Plates, ca. 1911, English, the scalloped borders decorated with raised gilt-scrolled cartouches alternating with raised gilt shells set on a pale pink ground, one plate decorated with plums and gooseberries, the other with apples and grapes, each luminously hand-painted, printed with the Royal Worcester mark for 1911, dia. 9‑1/8”. [150/300] 266 Pair of French Porcelain Garniture Vases, third quarter 19th century, the flaring square vases transfer printed in sepia and heavily painted in polychrome colors with neoclassical scenes of three women in Grecian costume in an Arcadian landscape, two holding musical instruments and the third with a theatre mask, mounted with scrolled burgundy handles, h. 12‑1/2”, w. 8”, d. 3‑3/4”. [200/400] 267 Biscuit Porcelain Figure of Louis Lazare Hoche, fourth quarter 19th century, Hoche, who rose to become a general in the French Revolution, is depicted in military garb holding his sword, and is identified on the plinth and incised with a Sevres type mark, h. 10‑14”. [200/400] 268 Large Pair of Beaux Art Brass Andirons, early 20th century, each with a segmented column with flame finial and a large sphere adorned with applied fleur-de-lis, the base with a sun king mask, h. 19‑3/4”, w. 13”, d. 29”.

[150/300]

259

260 Paris Porcelain Reticulated Two-Part Compote, late 19th century, having blue decorative bands and gilded highlights, h. 9”. [100/200] 261 Antique French Porcelain Sweetmeat Dish, with gilt accents, l. 8‑1/2”. [30/50] 262 Group of Four French Pink Porcelain Pieces, consisting of a pair of floral-patterned and gilt-decorated vases, h. 11‑1/4”, a rectangular serving dish, l. 12”, and a round sweetmeat bowl, dia. 8‑3/4”. [250/400]

20

269 Pair of French Brass and Iron Rococo Chenets, ca.1900, in the Louis XV style, the scrolled feet supporting the scrolled fronts, decorated with gadrooning and pierced acanthus leaves, the iron billet bars set with brass log stops and billet bar covers, h. 15”, w. 9‑1/4”, d. 20‑3/4”.

[150/300] 270 Brass Rococo-Style Frame, h. 12”, l. 8‑1/4”. [40/70] 271 Fine Napoleon III Giltwood Looking Glass, third quarter 19th century, in the Louis XVI taste, the rectangular plate within a deep molded frame featuring elaborate scrolling foliate patterns, h. 17”, w. 15”.

[300/500] 272 Italian Neoclassical-Style Painted Chest, the top with molded edge, the case with a pair of drawers with ring pulls, raised on tapering square legs, in lightly distressed ebony paint, h. 35‑1/2”, w. 46”, d. 22”. [200/400]

273 Louis XIV-Style Giltwood Stool, late 19th century, the padded rounded rectangular top above a shaped frieze, raised on acanthine-carved cabriole legs ending in scrolled toes, h. 17”, w. 24‑1/2”, d. 17‑1/2”. [600/900] Illustrated

277 Louis XV-Style Polychrome and Giltwood Commode Chair, the shaped caned back surmounted by a floral crest, the long caned seat hinged and once opening to the pot cupboard, over a caned apron, raised on scrolled toes, h. 27‑1/4”. [150/300] 278 Provincial Louis XV-Style Polychrome Fauteuil, the shaped and caned back surmounted by a foliate crest, joined to the caned seat by shaped foliate carved arms, raised on cabriole legs joined by a shaped X-form stretcher and ending in foliate toes, h. 40‑1/2”. [200/400]

273

279 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a domed padded and slightly tapering rectangular back joined by scrolling padded arms to the like seat, raised on tapering circular fluted legs ending in toupie feet, h. 33‑1/2”. [600/900] Illustrated

274 Louis XV-Style Kingwood Occasional Table, late 19th century, the shaped rectangular top with an elaborate fanpatterned inlay with ebonized accents, above a conforming frieze fitted with a pull-out leather-inset side, and a single drawer to each side, raised on cabriole legs ending in sabots, h. 28‑1/2”, w. 31”, d. 18‑1/2”. [1500/2500] 275 Louis XV-Style Kingwood Desk, early 20th century, the shaped rectangular top with an ormolu banding with an inset leather surface above a conforming frieze with three drawers, all banded and quarter-veneered, raised on cabriole legs ending in sabots, h. 29‑1/2”, w. 43‑1/2”, d. 23”. [1200/1800] 276 Regence-Style Gilt-Bronze Mounted Parquetry and Mahogany Commode, the serpentine Verdi marble top over a conforming case with a pair of cupboard doors, raised on bronze ram’s head and cabriole legs and elaborately adorned throughout with mounts, h. 39”, w. 59‑3/4”, d. 22‑3/4”. [500/800] Illustrated

279

280 Cream-Stained Beechwood Louis XVI-Style Sofa, with fluted top end, arms, seat rail and turned legs, in chocolate upholstery with a loose seat cushion, h. 35”, w. 63”, d. 21”. [200/400] 281 Pair of Empire-Style Giltwood Sidechairs, late 19th century, each with a rectangular back with an eagle-carved lyre-form splat, the padded seat raised on square tapering legs in the form of caryatids, h. 34‑1/2”. [800/1200] 282 Louis XVI-Style Polychrome Sidechair, the domed and molded cornice above a guilloche and ribbed splat, the round padded seat raised on tapering fluted circular legs ending in toupie feet, h. 39”. [150/300]

276

283 Pair of Louis XVI-Style Painted Sidechairs, ca. 1900, French, the fluted and turned legs supporting seat rails ornamented with gadrooning and carved corner blocks, the molded oval backs gadrooned to match, and with blue and cream silk covers secured with brass nail heads, h. 37”.

[600/900]

21

284 Pair of Louis XVI-Style Polychrome Sidechairs, each with a slightly domed padded tapering rectangular back above a cushioned seat, raised on tapering circular fluted legs ending in toupie feet, h. 38”. [150/300] 285 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded medallion-form back within a molded frame, joined by padded scrolling arms to the like seat, raised on tapering circular stop-fluted legs ending in toupie feet, h. 35”. [600/900] Illustrated

290 Pair of Louis XVI-Style Kingwood and Marble-Top Encoignures, mid-19th century, each with a Rouge Royale marble top above a case fitted with a single banded and quarter-veneered cupboard door, raised on block feet, h. 36”, w. 26‑1/2”, d. 15”. [600/900] 291 Directoire-Style Marquetry Inlaid Bouillotte Table, ca. 1900, the top centered by foliate inlay with a perimeter brass gallery, the frieze with four swing-out drawers, each retaining the purple silk lining, raised on tapering and flaring line-strung legs, h. 28‑1/2”, dia. 21”. [200/400] 292 Louis XVI-Style Mahogany Bureau Plat, early 20th century, the rectangular top within a molded ormolu band and with an inset leather writing surface, above a frieze with applied ormolu guilloche-patterned banding, fitted with two drawers to one side, raised on tapering fluted circular legs headed by a foliate capital and ending in peg feet, h. 28‑1/2”, w. 52”, d. 26‑1/4”. [1000/1500] Illustrated

285 286 Louis XVI-Style Polychrome Canterbury, early 20th century, fitted with four lattice-patterned dividers centered by a gilt-accented lyre, above a single fluted drawer, raised on toupie feet ending in brass caps and casters, h. 24”, w. 22”, d. 16”. [700/1000] 287 Louis XVI-Style Mahogany Bergere, late 19th century, the canted rectangular back within a molded frame and with ormolu finials, joined by closed scrolling arms to the padded seat, raised on tapering fluted circular legs ending in toupie feet, the whole with acanthine-patterned ormolu accents, h. 39”. [350/500] 288 Louis XVI-Style Mahogany Bureau de Dame, late 19th century, the rectangular top quarter-veneered and with a three-quarter pierced-brass gallery, over three small drawers, above a cylinder bureau opening to a pullout leather writing surface and a variety of drawers and cubbyholes, over a single long drawer, raised on tapering circular fluted legs ending in cap feet, h. 39‑1/2”, w. 29”, d. 16‑1/2”. [1000/1500] 289 Louis XVI-Style Mahogany Bureau de Dame, late 18th century, the superstructure with a Carrara marble top within a pierced brass gallery, above a roll-top opening to a variety of drawers and cubbyholes, above a pull-out leather-inset writing surface, above a single paneled frieze drawer, raised on tapering circular legs ending in brass caps and casters, h. 37”, w. 29”, d. 17”. [900/1200]

22

292

293 Follower of Jean Auguste Dominique Ingres (French, 1780‑1867), “Portrait of a Gentleman”, oil on board, unsigned, 9” x 8”. Presented in a Charles X giltwood frame. [300/500] 294 Flemish School (18th Century), “Portrait of a Bearded Man”, oil on canvas, unsigned, 19‑1/4” x 22”. Presented in a handsome giltwood and ebonized frame. [400/700] 295 Continental School (Second Quarter 19th Century), “Portrait of a Man in a White Military Uniform”, oil board, unsigned, 14” x 10‑1/2”. Presented in a contemporary ebonized and parcel-gilt frame. [300/500] 296 Vasiliy Nicholayevich Gribennikov (Russian, b. 1951), “In the Port”, signed and dated lower right “Gribennikov, V. 2010”, signed, titled an dated in Cyrillic on the reverse, 13‑1/2” x 19‑1/2”. Handsomely framed.

[500/800]

297 Continental School (Second Quarter 20th Century), “Mountainous Lakeside Village”, oil on canvas laid on panel, unsigned, 22‑1/2” x 34”. Presented in a giltwood frame. [200/400] 298 Dutch School (First Quarter 20th Century), “Winter Scene With a Snow-Covered Seaside Town”, oil on academy board, unsigned, reverse with a “Wadsworth, Howland & Co. Inc., Boston, Chicago” label, 11‑1/2” x 18”.

Framed. [200/400] 299 Continental School, Fourth Quarter 20th Century, “Venice, The Grand Canal”, oil on wood panel, unsigned, 11 3/4” x 16”. Framed. [200/400] 300 Italian School (First Quarter 20th Century), “Harbor Scene with Fishermen Bringing in Their Catch”, oil on board, signed illegibly lower right, 27‑1/2” x 38‑1/2”.

Glazed and framed. [1000/1500] Illustrated

306 Continental School, Fourth Quarter 20th Century, “Beach Scene”, oil on canvas, unsigned, 8” x 10”.

Framed. [100/200] 307 Maggie Hasbrouck (American, Contemporary), “Magnolia Bloom”, photoencaustic, 2011, signed, dated and titled on the reverse, reverse with “The Lowe Gallery, Atlanta, GA”, exhibition label, 36” x 48”. Presented in a custom shadowbox-style frame. [2000/4000] 308 Maggie Hasbrouck (American, Contemporary), “Pumpkin Flowers With Butterflies”, photoencaustic, 2009, signed, dated and titled on the reverse, reverse with the “Bill Lowe Gallery, Atlanta, GA” exhibition label, 48” x 60”. Presented in a custom shadowbox-style frame.

[2000/4000] 309 Albert Guillaume (French, 1873‑1942), “Ambigu Comique/Gigolette” color poster, sight 12” x 8‑1/2”.

Glazed, matted and framed. [200/400] 310 Jules Cheret (French, 1836‑1932), “Folies-Bergere, Le Miroir” color poster, sight 12‑1/2” x 8‑1/2”. Glazed, matted and framed. [300/500] 311 Empire Walnut Commode, early 19th century, the rectangular top above a conforming case fitted with a single frieze drawer over three recessed drawers, flanked to either side by an engaged pilaster headed by maiden’s heads, all drawers paneled and with brass banding, raised on square legs ending in banded feet, h. 33‑1/4”, w. 23‑3/4”, d. 16”. [500/800]

300 301 William B. Gillette (American, 1864‑1937), “River Landscape”, watercolor on paper, signed lower left “W.B Gillette”, sight 8‑1/2” x 11‑1/2”. Glazed, matted and framed. [100/200] 302 Michael Moroz (Ukranian, 1904‑1992), “Mountainous Spring Landscape”, oil on board, signed lower left and verso “M. Moroz”, 16” x 20”. Framed. [300/500] 303 Continental School (Fourth Quarter 19th Century), “Winter Scene With a Man Walking by the Canal”, oil on canvas, signed lower left “Cv. Wickevcorff”, 27” x 26”.

Presented in a contemporary frame. [125/250] 304 French School, 20th.c.,”Paris, L’Arc de Triomphe”, oil on wood panel, unsigned, 12” x 15 3/4”. Framed [200/400] 305 French School (Third Quarter 20th Century), “Parisian Street Scene With View of Madeleine”, oil on canvas board, signed lower right “A. Blanchard”, 9” x 15‑3/4”. Framed. [200/400]

312 Empire-Style Mahogany Looking Glass, 19th century, the molded cornice above an ormolu swag applied frieze and a beveled domed plate, over a rectangular plate flanked to either side by an engaged ormolu-mounted pilaster, h. 68‑1/2”, w. 47”. [1200/1800] 313 Empire-Style Mahogany and Marble-Top Pier Table, early 20th century, the rectangular verde antico marble top with molded edge above an ormolu-mounted frieze, joined by a mirrored back and tapering square supports, headed by ormolu maidens, to the plinth base, h. 37”, w. 43‑1/4”, d. 19‑1/2”. [600/900] 314 Empire-Style Mahogany Bookcase, the molded cornice with turreted corners above a conforming case fitted with two bi-paneled grilled doors, raised on a plinth base, h. 71”, w. 46‑1/2”, d. 15”. [500/800] 315 Unique Cast-Bronze and Leather Upholstered Ottoman, the rectangular padded seat mounted to a base constructed of bronze and in the form of crossed military swords, h. 22”, w. 35”, d. 23”. [300/500]

23

316 Pair of Empire-Style Gilt-Bronze and Cut-Glass Candlesticks, the round leaf-molded bases support Egypto-revival standards composed of three women in Egyptian masks with bronze feet and faces, on a cutglass body, the reeded and guilloche-molded candle cups fitted with leaf-molded bobeches, h. 10‑3/4”, dia. 5‑1/4”.

[900/1200] 317 Suite of Four French Black-Detailed Gilt-Brass Three-Light Appliques, second quarter 20th century, in the Restauration style, each cylinder-form applique pendant from a tassellated cord looped over a boss, each facade centered with an upright openwork anthemion in gilded brass, fitted for electrical wiring, h. 26‑1/2”, w. 13‑3/4”, d. 8‑1/4”. [1200/1800] 318 Pair of French Bronze Dore Restauration Sconces, second quarter 19th century and later, the modern backplate supports griffin-form arms, terminating in molded leaves, bold wings set on either side of the eagle’s head, which supports a palmette-form standard with a leaf-molded drip pan and a vase-shaped candle cup with anthemia and lotus flowers, now set with electric faux candles, retaining a rich gilt surface with tooled highlights, h. 15‑1/4”, w. 5”, d. 8”. [1800/2500]

321 Paris Porcelain Garniture Urn, second quarter 19th century, the urn decorated on the obverse with three male figures and a female figure in Elizabethan costume, playing with a dog on a leash in front of a gothic structure, enclosed in a tooled gilt surround, the reverse decorated with an armorial device of a shield and crossed swords, enclosed in black wreaths on a periwinkle blue ground, the swan-form handles brightly gilded with matte gilt wings and a matte acanthus leaf underneath, h. 13”, w. 7”, d. 6”. [150/300] 322 Pair of Sevres-Style Urns Mounted as Lamps, the pear-shaped lobed bodies decorated with alternating cascades of raised gilt bellflowers on a white ground and raised gilt roses on an apple green ground, resting on a conforming wooden base with matching decoration, h. 29‑1/2”, w. 7”. [500/800] 323 Antique French Porcelain Basket Compote, with gilt accents, h. 7‑1/4”, dia. 9‑1/2”. [200/400] 324 Paris Porcelain Lidded Tea Pot, 19th century, having a swan’s neck spout, royal blue ground and gilded highlights, h. 8‑1/2”. [200/400] 325 Empire-Style Mahogany Looking Glass, early 20th century, the corners with gilt-brass foliate mounts, h. 27”, w. 18‑1/2”. [70/125] 326 Pair of Charles X Fruitwood Child’s Fauteuil, mid-19th century, each with a padded back surmounted by a panel crest, joined by downswept scrolling arms to the padded seat, raised on sabre legs, h. 33”. [1800/2500] 327 American Late Classical Mahogany Center Table, second quarter 19th century, the circular marble top over a conforming apron, supported by a tapering crotchveneered column pedestal joined to a concave base on scroll feet, h. 27”, dia. 39”. [1800/1200]

318

319 Paris Porcelain-Style French Empire Urn, now mounted as a lamp, with a tapered base and gilt accents, and with a shade, h. 38”. [300/500] 320 Paris Porcelain Cup and Saucer, mid-19th century, having a figural handle and floral decorated with gilded highlights, the undersides with blue crossed swords, cup h. 4‑1/4”, saucer dia. 6‑1/4”. [100/200]

24

328 Provincial Louis-Philippe-Style Fruitwood Buffet, the long rectangular top banded and above a conforming case fitted with two ogee-molded drawers over two paneled cupboard doors, raised on block feet, h. 42”, w. 72‑1/2”, d. 21‑1/2”. [800/1200] 329 Continental Mahogany Library Table of Louis XV Inspiration, ca. 1900, the top with a serpentine apron over a conforming frieze with a single drawer and a slide with inset leather writing surface, h. 30‑1/2”, w. 38”, d. 26‑1/4”. [150/300] 330 Pair of Architectural Ebonized Pedestals, each with molded top and base, and paneled sides, h. 47”, w. 12”, d. 12”. [200/400]

331 Cast-Stone and Bronze Garden Ornament, in the form of an obelisk, the weathered stone with a bronze capped tip in natural weathered patina, h. 44”, w. 15”, d. 15”.

[150/300] 332 Jan de Bisschop (Johannes Episcopius, Dutch, 1628‑1671), pair of etchings including plate 54 “Bacchus with Satyr”, after the sculpture by Michelangelo (Italian, 1475‑1564), monogrammed in plate lower right, image 9” x 3‑3/4”, and plate 59 “Seated pan Holding the Syrinx”, monogrammed in plate lower right, image 8” x 4‑1/4”. One unframed, one glazed, matted and framed. [100/200] 333 Pair of French Hand-Colored Copperplate Engravings, including “Citoyenne de Rome” and “Citoyen Romain”, both after Jacques Grasset de Saint-Sauveur (Canadian/French, 1757‑1810), from L’Antique Romw, engraved by L.F. Labrousse (French, late 18th century), each 5‑3/4” x 4‑1/2”. Attractovely matted and framed alike. [100/200] 334 French Neoclassical Engravings, depicting various statues and medallions of Vulcan, 14‑1/4” x 8‑1/2” sight.

Presented in an ebonized and parcel-gilt frame with wide Empire-style stenciled mat. [100/200] 335 Professor E. Fendorico (Italian, Third Quarter 19th Century), “Sacrifice of Iphegenia at Aulis”, tempera on paper, signed and inscribed “Napoli” lower right, after the c. 62‑79 AD mural frieze of the Oecus of the House of the Vettii, Pompeii, 6‑1/4” x 19‑3/4”. Matted and framed.

[200/400]

339 Withdrawn 340 Group of Four British Engravings, including “Court of the Alberca” and “Moorish Gateway” from The Traveller in Spain, London, 1875, after David Roberts (1796‑1864), both 4‑1/2” x 6‑1/4”, and “Old Ducal Palace” and “View of Vicenza” after SamuelProut (1783‑1852), both 7” x 4‑1/2”, all various engravers. All matted and framed.

[100/200] 341 Paris Exposition of 1878 Hand Colored Lithograph, published by J. Dosseray, 7 Rue du Renard, Paris, lithography by J. E. Goossens, Rue du Houblon, 23 Bruxelles, sight 24” x 32”. Glazed and matted. [200/400] 342 An Antique English Engraving, “View of the River and Shipping at Limehouse”, after Robert Dodd (1748‑1816), sight 23 1/4” x 32 3/4”. Attractively Framed and glazed. [200/400] 343 English Pine Bible Box, late 17th century, the slanted top opening to a storage interior fitted with compartments, the front paneled and with the carved applied initials “IC 1688”, the sides also paneled, raised on a later pine stand of square legs, h. 36”, w. 22‑1/2”, d. 18”. [500/800]

336 A Pair of Italian Hand-Colored Copperplate Engravings, third quarter 18th century, “Palmo Romano/ Palmo Napolitano”, inscribed “PAG 63”, after Vincenzo Campana, engraved by Gius Aloja, 13‑1/4” x 8‑1/4”, and “Mezzo Palmo Romano/Mezzo Palmo Napolitano”, inscribed “PAG249”, after Vincenzo Campana, engraved

by Ferdinando Campana, 12‑3/4” x 9‑1/4”, both from “Le Antichita di Ercolano”. Matted and Attractively framed alike. [200/400] 337 Set of Three Elaborately Hand-Colored Engraved Folio Plates, of ancient Greek kraters, second quarter 19th century, presented in two-color gold-striped black mats within scroll-carved antiqued giltwood frames, h. 13”, w. 9‑1/2”. [500/800] 338 After Pietro Parboni (Italian, 1783‑1841), a group of three engravings from Nuevo Raccotta Dell Principali Vedute Antiche E Moderne Dell Alma Citta di Roma, fourth quarter 19th century, including “Veduta del Tempio d’Ercole”, “Tempio della Fortuna Virile”, and “veduta del Mausoleo d’Adriano”, each 11‑3/4” x 13‑1/2” image.

Glazed, matted and attractively framed alike. [100/200]

337

25

344 English Mahogany Court Cupboard, early 20th century, the overhanging rectangular top above a case fitted with two paneled doors, each with figural-carved scenes and elaborate hardware, centering a panel with an applied carved female figure on a bracket, over two cupboard doors, each inset with linen-fold panels, raised on block feet, h. 45‑1/2”, w. 63”, d. 22”. [150/300] 345 French Oak Bureau, late 19th century, the the Gothic taste, the slant front with linenfold carving, opening to an interior fitted with an inset leather writing surface and three drawers, above a central drawer flanked to one side by two small drawer and to the other by a single deep drawer, raised on spiral-fluted legs joined by an H-form stretcher and ending in quatrefoil-carved block feet, h. 42”, w. 43”, d. 27‑1/2”. [700/1000] 346 English Oak Cupboard, early 20th century, the molded cornice above a case fitted with a single cupboard door, inset with a panel of two carved knights, the sides with linen-fold paneling, joined by a like-paneled back and spiral fluted uprights to a stretcher shelf, raised on bracket feet, h. 52”, w. 22‑1/2”, d. 16‑1/4”. [300/500]

351 Nineteenth Century Oak and Cast-Iron Block and Tackle, the two large pulleys held in an oval oak block, suspended from a large hook, with a smaller pulley suspended from beneath, h. 3‑1/2”, w. 4‑3/4”, d. 4”.

[50/80] 352 Withdrawn 353 English Windsor-Type Elm and Mixed Woods Armchair, with bentwood top rail, shaped splat, open arms and dished seat, h. 43”. [100/200] 354 Dutch Burlwood and Mahogany Bureau, 19th century, of bombe form, the slant front opening to an interior fitted with an inset leather surface, a lidded storage well and a variety of drawers and cupboards surrounding a central cupboard, above three long drawers, raised on large balland-claw feet, h. 37‑1/2”, w. 40”, d. 20”. [900/1200]

347 George III-Style Oak and Mahogany Banded Side Table, 19th century, having a rectangular top with banded edge and two drawers along the front, raised on square tapered legs, h. 28‑1/2”, d. 20”, l. 38”. [150/300] 348 Provincial Fruitwood Stool, 19th century, the elongated octagonal top with a central pierced handle, raised on canted shaped supports, h. 19”, w. 17”, d. 12‑1/4”. [50/80] 349 Provincial Oak Bench, 19th century, the long narrow plank seat with rounded ends, raised on square supports to splayed plinth feet, h. 19”, w. 77‑1/2”, d. 7‑1/4”.

[200/400] 350 Provincial Fruitwood Refectory Table, 19th century, the rounded rectangular top raised on four turned columnar supports joined by scrolling iron stretchers and ending in shaped runner feet, h. 28”, l. 78”. [1200/1800]

350

26

354 355 William and Mary-Style Walnut Table, partially composed of antique elements in the 17th century style, the rectangular top centered by an oval burlwood panel and surrounded by a pattern of oyster veneers, above a frieze fitted with a single drawer, veneered en suite, raised on large barley-twist legs joined by an “H”-form stretcher and ending in block and ball feet, h. 28‑1/2”, w. 40”, d. 27”.

[2500/4000] 356 Suite of Six Heraldic Engravings, first quarter 19th century, engraved by G. Aikman, Edinburgh, sight 10‑1/2” x 8”. All glazed, matted and attractively framed. [250/400]

357 Pair of Antique Continental Ecclesiastical Music Sheets, including “Primam Augusti” and “Primam Octobris”, printed in red and black ink on heavy paper, each 17‑1/4” x 10‑1/2”. Presented in attractive painted and gilt decorated double-sided frames. Provenance: The Bienville Shop, New Orleans, Louisiana. [100/200] 358 Pair of Mottahedeh Chinese Export Porcelain Coffee Cups with Saucers, made by Vista Allegre, bearing the arms of Cincinnati, with scalloped borders and blueand-white borders incorporating moths, the arms of the order of Cincinnati depicts the angel Gabriel supporting an American eagle on a bowknot, h. 3‑1/2”, dia. 5‑1/2”.

[50/80] 359 Adams Style Carved Wooden Garniture Urn, the body decorated with applied carved wooden leaves, an applied iron Greek-key decorates the outside rim, h. 29‑1/2”, dia. 13‑1/4”. [300/500] 360 Chinese Export Porcelain Tea Pot, 19th century, having a twisted handle, base unmarked, h. 5‑1/2”. [200/400]

364 364 Group of Eight Chinese Blue-and-White Porcelain Vases, comprised of an 18th century K’ang Hsi Period (1662‑1722) double-gourd vase with blue decoration of kylin and floral scrolling, together with seven other vases of later date, h. 5” to 13”. [200/400] Illustrated 365 Pair of William and Mary Style Brass Sconces, each with a pair of scroll arms joined to a segmented and bulbous backplate, h,. 12‑1/4”, w. 12”, d. 8”. [50/80]

361 Group of Three Chinese Export Porcelain Items, 19th century, including a large floral decorated chalice, h. 6‑3/4”, a blue-and-white mug with painted scene, h. 5”, and a twisted handle mug with floral decor, h. 6‑1/4”.

[400/700]

366 Near Pair of Edwardian Brass Candlesticks in the Elizabethan-style, first quarter 20th century, the pierce and engraved tapering square base decorated with cartouches and strapwork, the bulbous shaft pierced in floral pattern with the upper nozzle pierced and molded with neoclassical swags, h. 10” to 11‑1/2”. [40/70]

362 Chinese Porcelain Vase, early 20th century, the vase in underglaze blue decoration with vases of flowers on a pale celadon ground, h. 23”. [350/500]

367 George III-Style Brass Fire Fender, 19th century, having a molded and ventilated frame and raised on block feet, h. 9”, d. 11”, l. 39”. [75/125] 368 Gimballed Brass Compass in a Faux Diving Helmet, second quarter 20th century, the brass compass with a painted dial, signed indistinctly, h. 9”, w. 10”, d. 9”.

[200/400]

363 Chinese Porcelain Vase, early 20th century, the vase in underglaze blue decoration with vases of flowers, with fruit and butterflies on a pale celadon ground, h. 23”.

[400/700] Illustrated

369 Assembled Set of Four Victorian Pewter Measures, second half 19th century, each of baluster form, including capacities one quart, h. 6‑1/4”, one pint, h. 5”, one half pint”, h. 3‑1/4”, and a gill, h. 2‑1/2”. [100/200] 370 Set of Eight Wedgwood Porcelain Demitasse Cups and Saucers, 1890‑1900, English, composed of white porcelain, the cups with gilt handles and an octagonal design, with conforming saucers, a brown printed mark of the Portlan Vase (no stars) over Wedgwood Etruria, England, h. 2‑1/4”, dia. 4‑1/4”, all in a silk-lined presentation box with ivory toggle fasteners, h. 6”, w. 13”, d. 13”. [100/200]

363

27

371 Continental Carved Oak Casket, fourth quarter 19th century, the casket with prominent outset corners, the sides decorated with panels of carved stylized leaves, the top with a carved edge echoed in the border of the top panel, which is carved with a sprig of hydrangea, the whole resting on bun feet, h. 7”, w. 12‑1/2”, d. 9”. [200/400] 372 Continental Baroque Miniature Secretary, fourth quarter 18th century, comprised of various veneers, including fruitwood and walnut over a pine secondary, the reverse serpentine base resting on cabriole feet and with one large drawer made to appear as three, the desk portion opening to reveal a conforming single drawer, the upper door set with an old mirror plate opening to reveal an interior now mounted with a spoon rack, a swan’s neck pediment and a flat flame finial crowns the top, h. 27‑3/4”, w. 13‑1/2”, d. 9”. [600/900]

379 Pair of British Coat of Arms, for John Hanger (1697‑1773), Baron Lord Coleraine of Ireland, and George Evans (1655‑1720), Baron Carbey of the County Cork, each ink and watercolor on paper, each sight 7” x 4‑1/4”.

Attractively matted and framed alike. [100/200] 380 A Collection of Six Antique British Armorial HandColored Engravings, after the bookplates designed

by Charles Catton, the Elder, R.A. (1728‑1798) and engraved by Frances Chesman (1749‑1806), including such illustrious 18th century surnames as “Sackville”, “Hamilton”, “Wentworth”, “Scarborough”, and “Clifton” among others, each image 9” x 7‑1/4”. Attractively matted and framed alike. [200/400] Illustrated

373 Bronze Figure of a Lion Holding a Shield, fourth quarter 19th century, the lion depicted resting on his haunches, holding the shield, the figure supported by an octagonal base, the underside fitted with a mounting bracket, h. 9‑1/4”. [200/400] 374 Turned Walnut Furniture Fragment, now on a modern Chinese black lacquer base and mounted as a lamp, h 35”.

[100/200] 374A Carved Pine Model of a Galleon, fourth quarter 19th century, the hull painted dark brown and fitted with a scroll-carved figure head, with three masts fitted with old rigging, h. 38”, w. 8”, l. 40”. [125/250]

380

375 Spelter Baluster-Form Table Lamp, the surface in an old brass patina, h. 20”. [20/40] 376 English Victorian-Style Cottage-Form Faux Tortoiseshell Tea Caddy, the house front inlaid with ivory windows and a door, scratch decorated to simulate diamond panes, the roof-form lid opening to reveal a twocompartment interior lined with lead foil, the lid with velvet lining, h. 7‑3/4”, w. 7”, d. 5‑1/2”. [900/1200] 377 Diminutive English Bone-Edged and TortoiseshellBanded Burlwood Table Box, first quarter 20th century, h. 2”, w. 4‑5/8”, d. 4”. [50/80] 378 English Victorian Rosewood and Brass Workbox, mid-19th century, the case exterior with brass edges and brass line inlay on the top and front and the front fitted with a scalloped brass escutcheon, the lid with a brass nameplate and fitted with a crushed red velvet-lined letter holder, the interior with compartments for writing and sewing implements, some with velvet-lined lids, h. 5‑1/4”, w. 13”, d. 9”. [100/200]

28

381 Imari-Style Two-Handled Footed Tray, l. 12‑1/2”.

[30/50] 382 Japanese Satsuma Ware Pottery Vase, ca. 1950, decoration of the “Hundred Rakan”, h. 15‑1/2”, dia. 7‑1/2”.

[200/400]

383 George III-Style Ebonized, Polychromed and GiltDecorated Looking Glass, third quarter 19th century, of tall narrow form in the chinoiserie taste, the slightly domed plate within a molded frame with gilt and polychromed accents, h. 72”, w. 28”. [1500/2500] 384 Japanese Woodblock Print, attributed to Mtagawa Toyokuni III (1786‑1864), signed lower right, sight, h. 12‑1/2”, w. 18‑1/2”. [100/200] 385 Framed Japanese Woodblock Triptich, the three panels forming a continuous scene of a samurai, his lady and a servant, the samurai clad in black seated on a mat, his lady in elaborate robes seated on a pile of cushions and the servant in a kimono serving a delicacy to the lady, all in front of a bonsai and food dishes ready for cooking, signed, glazed and matted, h. 20‑1/4”, l. 34‑1/4”. [75/125] 386 Good Japanese Woodblock Print, 19th century, depicting a Geisha carrying a lantern and holding an open umbrella as the rainfall and the wind blows her kimono, framed, h. 22‑1/4”, w. 19‑1/4”. [600/900] 387 Two Framed Japanese Woodblock Prints, probably 19th century, both framed in the same frame, one depicting a lady in an informal kimono holding a pipe and standing at a balustrade, the other depicting a courtesan in an elaborate multi-layered kimono on a ground of calligraphy, both signed and having the publisher’s name, double matted, glazed and framed in a textured black frame, h. 23‑5/8”, l. 30”. [75/125] 388 Pair of Japanese Heian-Style Dolls, 19th century, comprised of a male and female figure, both of carved wood with painted details and elaborate traditional clothing, seated on a fabric and tatami mat-covered wooden platform, male h. 12”, overall h. 13‑1/2”, female h. 10”, overall h. 11‑1/2”, w. 14‑1/2” each overall.

[125/250] 389 Chinese Porcelain Vase, early 20th century, cylindrical form, relief decoration with the “hundred antiques” and floral sprigs, now drilled and mounted as a lamp, with custom ecru fringed silk shade, vase h. 12”, overall h. 24”.

[250/400] 390 Pair of Ashworth Ironstone Dinner Plates, 1861‑1890, English, decorated in the Imari taste with cobalt and orange “Japan” patterns, the central decoration incorporates a ewer, impressed “Real Ironstone China” along with the blue printed royal crest and “Ironstone China”, dia. 9”. [70/125] 391 Chinese Export Porcelain Footed Bowl, 19th century, having a decorated inner rim and floral bouquets around the outer bowl, unmarked, dia. 10‑1/4”. [200/400]

392 Group of Six Japanese Plates, consisting of a pair of Meiji plates with a shaped edge surrounding various floral and foliate medallions, dia. 10”, a pair of polychrome plates richly decorated in shades of orange and with reserve panels of couples, dia. 8‑3/4”, an Imari plate with an unusual squared center panel within a foliate border, dia. 8‑1/2”, and a later plate in the Imari palette, dia. 9‑1/2”. [100/200] 393 Group of Two Japanese Chargers, late 19th century, one an Imari example featuring avian, floral and geometric panels, dia. 15‑1/2”, the other a Kutani example, centered by a polychrome scene of the Daruma and a dragon, within a floral border, dia. 14‑1/2”. [100/200] 394 Set of Three Hicks and Meigh Ironstone Dinner Plates with a Matching Soup Plate, 1813‑1822, English, decorated in the Imari taste, pattern number 13, with a blue printed Royal Arms Stone China No. 13 mark, dia. 9‑1/2”. Reference: Geoffrey A. Godden/Godden’s Guide to Ironstone, Stone and Granite Wares, p 252‑260.

[75/125] 395 Pair of Japanese Imari Bowls, 20th century, the undersides marked “Gold Imari Handpainted”, dia. 10”.

[150/300] 396 Japanese Imari Bowl, 20th century, dia. 8‑1/2”. [30/50] 397 After Pierre Jean Francois Turpin (French, 1775‑1840), “Amandier”, “Sucre” and “Anacardier”, suite of three hand-colored engravings from Flore Medicine, 1828‑1832, sight 6‑3/4” x 4‑1/4”. Each glazed, Frenchmatted and presented in contemporary molded frames.

[150/250] 398 Abraham Munting (Dutch, 1620‑1683), “Amygdalus Nana”, hand colored copperplate engraving, 1702, from Naauwkeurige Beschryving Der Aardgewassem, 12‑1/2” x 8‑1/4”. Attractively glazed, matted, and framed.

Provenance: The Bienville Shop, New Orleans, Louisiana.

[100/200] 399 Basil Besler(German, 1561‑1629), “Condilla Foetida”, hand colored copperplate engraving, 1641, from Hortus Eystettensis, 2nd edition, image 18‑3/4” x 15‑1/2”, attractively glazed, matted, and framed. [400/700] 400 A Group of Four British and French Antique HandColored Botanical Engravings, including Elizabeth Blackwell (Scottish, c. 1700‑1758), “Starwort”, from A Curious Herbal (1737/9, reprint 1757), 12‑1/2” x 8‑1/4”, two after Pancrace Bessa (French, 1772‑aft. 1834), “Tradescantia Virginica” and “Cyrtanthus Angustifolius”, each 9‑1/4” x 6‑1/4”, and one after Edwin Dalton Smith (British, 1800‑aft. 1866), “Tiger Lily”. All matted and attractively framed. [100/200]

29

401 A Collection of Five Antique British Hand-Colored Botanical Engravings, after Sarah Drake (British, 1803‑1857), each sight 8‑1/2” x 5‑1/2”. Glazed, matted, and attractively framed alike. [100/200] 402 A Collection of Five French Herbal and Floral Pressings, 1868, each hand labeled, including “Lavande”, “Menthe”, “Jasmin”, and “Plumbago”, each sheet 6‑1/2” x 10‑1/2”. All unframed. [50/70] 403 George III Mahogany Drop-Leaf Table, mid-18th century and later, the leaves supported by fly legs, the gently-curved cabriole legs ending with pad feet, h. 27‑7/8”, w. 36”, l. 18‑1/4”, ext. l. 49‑1/2”. [400/700] 404 Queen Anne Mahogany Drop-Leaf Table, 18th century, h. 27‑1/2”, w. 41”, d. 39”. [300/500] Illustrated

408 Pair of George III-Style Stained Fruitwood Armchairs, each with a shaped and earred crest above an elaborately pierced and interlacing splat topped by eagle’s heads, joined by shaped scrolling arms to the padded seat, raised on cabriole legs headed by floral carving and ending in ball-and-claw feet, h. 39‑1/2”. [400/700] 409 Chippendale-Style Centennial Mahogany Wing Chair, late 19th century, the padded rectangular back joined by shaped sides and outscrolled arms to the cushioned seat, raised on cabriole legs headed by shell and double eagle carving and ending in ball-and-claw feet, h. 44”. [350/500] 410 Suite of Seven George III-Style Mahogany Dining Chairs, consisting of two armchairs and five sidechairs, all with a domed and earred crest above a pierced and foliatecarved splat, the padded seat raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 39‑1/2”. [200/400] 410A Suite of Seven George III-Style Mahogany Dining Chairs, consisting of two armchairs and five sidechairs, all with a domed and earred crest above a pierced and foliatecarved splat, the padded seat raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 40”. [200/400]

404

405 George III-Style Mahogany Pembroke Table, 19th century, the rectangular top with a two like-leaves, above a frieze fitted with a single drawer, raised on chamfered square legs, h. 28”, w. 33‑1/2”, d. 18‑1/2”, ext. l. 37”.

[300/500] 406 George III-Style Mahogany Sidechair, 19th century and later, the shaped crest above an intricately carved and pierced splat, joined by scrolling arms to the padded seat, raised on chamfered legs joined by an X-form stretcher, h. 36”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [300/500] 407 Pair of George III-Style Leather Upholstered Armchairs, each with upholstered seat and back, open arms and molded Marlborough legs joined by an H-stretcher, h. 37”. [300/500]

30

411 Two Pairs of George III-Style Dining Chairs in the Chippendale Taste, each with shell-carved crest rail, carved splat, the front seat rail with an applied shell, and cabriole legs, one pair upholstered in ivory moire, the other in striped brocade with an ivory ground, h. 39‑3/4” and 40”. [400/700] 412 George III-Style Double Pedestal Mahogany Banquet Table in the Chippendale Taste, the top with a carved edge and beaded apron, opening to accommodate a pair of like leaves, supported by tripodal vasiform and foliate-carved pedestals joined to cabriole legs, with leafcarved knees and ball-and-claw feet, h. 30”, w. 48‑3/4”, l. 48‑1/2”, ext. l. 115”. [1200/180] Illustrated

412

413 Early Victorian Mahogany Center Table, third quarter 19th century, the tilting rounded rectangular top raised on a bulbous and turned columnar standard to four splayed and reeded legs ending in brass caps and casters, h. 28‑1/2”, w. 37‑1/4”, l. 49‑1/2”. [200/400] 414 William IV Mahogany Sideboard, second quarter 19th century, the rectangular top with molded edge and a recessed center section, above a conforming case fitted with a central compartmented cutlery drawer over two paneled cupboard doors, flanked to either side by tall like-paneled cupboard doors, raised on a plinth base,h. 35‑1/2”, w. 82‑1/2”, d. 24”. [800/1200] Illustrated

419 Italian Polychrome Lady’s Desk, 18th century, possibly Florentine, the rectangular top with ornate floral polychrome patterns, above a conforming frieze fitted with a central drawer flanked to either side by two small drawers, all paneled and with floral designs, the reverse paneled, raised on cabriole legs ending in pad feet, h. 33‑1/2”, w. 48”, d. 23‑1/2”. [2000/4000] Illustrated

419 414 415 George III Mahogany Games Table, late 18th century, in the Chinese Chippendale taste, the rectangular top with a foliate-carved edge, hinged and opening to a larger surface, above a blind-fret-carved frieze, raised on chamfered square legs, h. 29”, w. 36”, d. 18”. [900/1200] 416 Contemporary Burlwood Side Table, in the Georgian Taste, the rectangular quarter-veneered top above a single frieze drawer, raised on square chamfered legs with gilt accents, h. 24”, w. 25”, d.19”. [250/400]

420 George III Mahogany Bureau, late18th/early 19th century, in the Chinese Chippendale taste, the slant front opening to a variety of drawers and cubbyholes flanking a central paneled cupboard, over four graduated long drawers, all surrounded by blind-fret carving, raised on like-carved bracket feet, h. 41”, w. 36”, d. 20”.

[1800/2500] 421 George III Oak SlantLid Writing Desk, fourth quarter 18th century and later, the slant-lid opening to a fitted interior, the case with four graduated long drawers and brass batwing pulls, the feet lacking, h. 35‑1/2”, w. 37”, d. 21”. [300/500]

417 George III North Country Mahogany Tallcase Clock, second quarter 19th century, the hood with a broken swan’s-neck pediment, centered by a turned finial on a carved feather upright, the glazed door flanked to either side by turned and spiral-reeded pilasters opening to a white enamel face featuring an upper scene of the Last Supper, the face signed Wm. Helliwell Leeds (active 1815‑1853), the case fitted with a single shaped door flanked en suite, the lower section paneled and with decorative band molding and like flanked, raised on bun feet, h. 100”, w. 23”, d. 12”. [1000/1500] Illustrated 418 Queen Anne-Style Lacquered and Polychrome Side Table, 19th century, in the chinoiserie taste, the rectangular top with an elaborate polychrome and gilt figural landscape in the Orientalist taste, above a conforming paneled frieze over an ogee-molded apron, raised on cabriole legs, the whole richly accented with polychrome floral and geometric patterns, h. 32”, w. 44”, d. 19‑1/2”. [1000/1500]

417

422 George III-Style Mahogany Chest, late 19th century, with two-over-two beaded drawers, raised on ogee bracket feet, h. 34”, w. 49‑1/2”, d. 22‑1/2”.

[500/800]

423 George III Mahogany Bowfront Chest, ca. 1800, the top with a banded and line-strung edge over four graduated beaded drawers on bracket feet, h. 38”, w. 43”, d. 23”. [300/500]

31

424 George III-Style Mahogany Tripod Table, third quarter 19th century, the tilting circular top with a piecrust edge, raised on a turned columnar standard to three splayed legs ending in pad feet, h. 29”, dia. 23”. [300/500] 425 George III-Style Mahogany Dumbwaiter, mid-19th century, with three graduated tiers, all circular with dished edge, supported by turned and spiral-reeded supports, raised on an urn-form standard to three splayed cabriole legs headed by foliate-carving and ending in ball-and-claw feet, h. 44‑1/2”, dia. 23‑1/2”. [250/400] 426 George III-Style Mahogany Speaker’s Podium, ca. 1900, the rectangular top hinged and with an easeled back, raised on a turned tall vasiform standard to three splayed cabriole legs ending in pad feet, h. 40”, w. 22”, d. 17”. [200/400] 427 Edwardian Rosewood Banded Mahogany Kneehole Desk in the Georgian Taste, first quarter 20th century, the top and drawer faced with rosewood banding, the frieze with a pair of drawers, each pedestal end with a bank of three graduated drawers, raised on bracket feet, h. 32‑1/2”, w. 46‑1/4”, d. 23”. [200/400] 428 George III-Style Mahogany Desk, early 20th century, the rectangular top with an inset gilt-tooled leather writing surface and a recessed center section to both sides, above a conforming frieze fitted with a central drawer and flanked to either side by a bank of four short graduated drawers, the rear fitted with two cupboard doors, raised on plinth bases, h. 29”, w. 51”, d. 29‑1/2”. [600/900] 429 Regency Ebonized Papier Mache Tray, first quarter 19th century, the rounded rectangular tray with a full raised edge and with an elaborate gilt landscape scene in the chinoiserie taste, raised on a like decorated stand on cabriole legs ending in pad feet, h. 31”, w. 29‑1/2”, d. 22‑1/2”. [1200/1800]

432 Suite of Eight Regency-Style Mahogany Dining Chairs, consisting of one armchair and seven sidechairs, each with a brass foliate-inlaid crest above a like-inlaid paneled splat, the padded seat raised on sabre legs, h, 32”.

[900/1200] 433 William IV Mahogany Recamier, second quarter 19th century, with one outscrolled and padded arm above a shaped padded partial back, the long wooden seat cushioned and with a conforming bolster, raised on large tapering ribbed legs ending in casters, h. 33”, w. 76”, d. 24”. [400/700] Illustrated

433 434 Regency Rosewood Games Table, first quarter 19th century, the rounded rectangular top opening to a baizelined interior, above a paneled frieze with side scrolls, raised on a graduated columnar stand with acanthinecarved base, to a concave platform on ribbed bun feet on casters, h. 29‑1/2”, w. 36”, d. 18”. [1200/1800] 435 Regency Rosewood and String-Inlaid Drop-Leaf Sofa Table, first quarter 19th century, the top with two short drop leaves and an inlaid satinwood border, the front side fitted with two drawers, each trimmed with a beaded brass edging, mounted to a turned standard with four outstretched legs ending in brass toes with casters, h. 28‑1/2”, w. 35”, d. 28”, ext. w. 55”. [900/1200] Illustrated

430 William IV Mahogany Secretary Cabinet, mid-19th century, the rectangular top with rounded corners, above a case fitted with a secretary drawer opening to a dropfront leather inset writing surface and a variety of drawers and cubbyholes, over two cupboard doors, each inset with a grilled panel, the whole flanked to either side by turned ribbed uprights, raised on tapering circular legs, h. 36”, w. 36‑1/2”, d. 19‑1/2”. [1000/1500] 431 George III-Style Mahogany Sofa in the Sheraton Taste, the closed arms fronted by a reeded and foliatecarved columnar support, raised on reeded tapering legs, now upholstered in lemon and cream striped brocade, h. 35‑1/2”, w. 76”, d. 29‑1/2”. [250/400]

32

435

436 Regency-Style Banded Mahogany Breakfast Table, ca. 1900, the rectilinear tilt top with rounded corners and cross-banded perimeter, on a tripodal base with brass paw cup casters, h. 29‑1/2”, w. 42‑1/8”, d. 60”. [150/300]

443 Continental School, third Quarter 20th Century, “Floral Still Life”,, oil on wood panel, unsigned, 15 3/4” x 11 3/4”. framed [200/400] Illustrated

437 Early Victorian Mahogany Sideboard, third quarter 19th century, the shaped and foliate-carved backpiece above a rectangular top with a recessed center section, above a conforming frieze fitted with three ogee-molded drawers, raised on two pedestals, each paneled and with side scrolling pilasters, one opening to a single pull-out drawer, the other opening to a three-tier pull-out fitted cutlery drawer, with a paneled central backpiece, raised on a plinth, h. 51”, w. 89‑1/2”, d. 28”. [1000/1500] Illustrated

435 437 438 Pair of William IV Parcel-Gilt Rosewood Pedestal Cabinets, second quarter 19th century, each with a black granite top over a single door with a pleated fabric panel framed by gilt moldings, and flanked by pilasters, on a projecting molded plinth base, h. 39‑3/4”, w. 18‑1/2”, d. 13”. [700/1000] 439 William IV Rosewood Game Table, second quarter 19th century, the fold-over top with cross-banded perimeter, opening to reveal an inlaid chess board, an inlaid backgammon board, and parquetry and boneinlaid cribbage board, on a tapering octagonal pedestal joined to four concave platform legs with bun feet, h. 29”, w. 18‑1/4”, d. 12”, ext. d. 24”. [300/500] 440 Pair of Late Regency-Style Mahogany Sidechairs, each with a shaped crest rail over reeded horizontal splat, raised on Sheraton legs, h. 33‑1/2”. [150/300] 441 Continental School, Fourth Quarter 20th Century, “Portrait of a Lady”, oil on wood panel, unsigned, 15 3/4” x 12”.

Framed [200/400] 442 French School (Fourth Quarter 19th Century), “Bacchanalian Cherubs Frolicking in a Wooded Landscape”, oil on panel, unsigned, 26” x 21”. Presented in a giltwood frame. [300/500]

444 British School (Fourth Quarter 19th Century), “Black and White Spaniel in a William IV Chair”, oil on canvas, unsigned, 14” x 17”. Presented in a birds-eye maple frame with a silvered liner. [400/700] 445 Jean Herblet (French, 1893‑1985), a group of three watercolors of “Pointers”, sight 3 1/2’ x 3”, 3 1/2” x 3 1/2”, and 4 1/2” x 7 1/2”, largest signed in pencil lower right. All matted together. x [200/400] 446 American School, Second Quarter 20th Century, “Dog”, oil on slate panel, unsigned, 14 1/4” x 12”. Framed.

[100/200] 447 George Whyatt (British, fl. 1910‑1923), “Stag in the Highlands Landscape”, oil on canvas, signed lower right “Geo. Whyatt”, 19‑1/2” x 29‑1/2”. Framed. [500/800] 448 Frank E. Jamieson (British, 1834‑1899), “Mountainous Landscape With a Brook”, oil on canvas, signed lower right “F. E. Jamieson”, 20” x 30”. Presented in a period frame. [300/500] 449 British School (20th Century), “The Cornish Coast”, oil on canvas, signed and dated lower right “A. Pollentine ‘92”, 18” x 32”. Presented in a Rococo-style giltwood exhibition frame. [200/400] 450 Set of Three Florentine Neoclassical Pictures in Parcel-Gilt Frames, the rectangular frames with oval openings and neoclassical incised decoration, the outside edge stippled, scrollwork crests decorate the four corners of the opening and scallops surround the pictures, which depict classical ruins in Arcadian landscapes, h. 6-1/2", w.

5-1/2". [50/80]

33

451 Sarouk Carpet, 9’ 1” x 12’ 11”. [300/500]

464 Qum Carpet, 2’6” x 4’6”. [200/400] Illustrated

452 Chinese Carpet, 9’ x 13’. [700/1000] 453 Kilim Carpet, 3’ x 5’. [40/70] 454 Aubusson Needlepoint Carpet, 8’ x 10’. [500/800] 455 Hooked Carpet, 3’ x 5’5”. [50/80] 456 Sarouk Carpet, 10’ x 12’7”. [900/1200] 457 Aubusson Needlepoint Carpet, 6’ x 9’. [100/200] 458 Aubusson Needlepoint Carpet, 8’6” x 12’. [600/900] 459 Kurd Carpet, 5’5” x 10’5”. [100/200] 460 Kashan Carpet, 9’9” x 13’. [1000/1500] 461 Lur Carpet, 2’2” x 4’2”. [100/200] 462 Antique Heriz Carpet, 10’ x 13’. [1000/1500] Illustrated

464 465 Heriz Carpet, 3’5” x 12’2”. [300/500] 466 Tabriz Carpet, 6’2” x 8’8”. [400/700] 467 Peking Chinese Carpet, 9’ 2” x 12’ 8”. [350/500] 468 Heriz Carpet, 3’4” x 12’. [300/500] 469 Kashan Carpet, 10’ x 13’. [1000/1500] 470 Heriz Runner, 2’ 3” x 8’1 1”. [300/500] 471 Antique Oushak Carpet, 10’5” x 13’. [5000/8000] 472 Aubusson Tapestry Panel, 4’ x 10’1”. [1000/1500]

462 463 Bidjar Carpet, 3’ x 5’7”. [150/300]

34

473 Group of Three Belgian Machine Woven Tapestries, early 20th century, 4’1” x 6’, 3’ x 4’2” and 3’1” x 3’1”.

[100/200]

474 Zebra Carpet, 75” X 136”. [300/500] Illustrated

474

475 Hand-Woven Turkish Camel Saddle Bag, h. 38”, w. 28”. [250/400] 476 Continental Oval Bronze Picture Frame, the frame with a surround of topaz “jewels”, with a gilt-bronze liner decorated with delicate engine turning and a raised notched pattern, resting on ball feet, the back velvet-lined, h. 4‑3/4”, w. 3‑3/4”. [100/200] 477 Gilt-Brass, Glass and Enamel Box, Czechoslovakian, the pierced body decorated with swirling roses and leaves, while the lid is decorated with pierced strapwork, lozenges and medallions, set with enameled flowers, “rubies”, jade and lapis lazuli cabochons, set with a green cut-glass liner, the lid stamped “Made in Czechoslovakia” on the underside, h. 3‑1/4”, w. 3‑1/2”, d. 2‑1/2”. [150/300] 478 Gold-Tone Metal and Enamel Picture Frame, of rectangular form, decorated with scrolled crest and corner blocks, highlighted with white enameling, the edges set with alternating “rubies” and “turquoise”, on an easel back, h. 8‑1/2”, w. 5‑1/2”. [200/400] 479 Continental Bentwood and Copper Umbrella Stand, ca. 1900, the inverted stand comprised of outward flaring bentwood rods attached to an upper and lower wooden frame, the bottom set with a copper drip pan molded in a lobed pattern, now painted black, h. 28‑1/2”. [30/50] 480 Rare Pair of Majolica Figural Candlesticks, late 19th century, h. 7‑1/2”. [150/300] 481 Small Meissen Porcelain Figure, depicting a boy playing bagpipes, the base marked with blue crossed swords, h. 5”.

[200/400] 482 Meissen-Style Porcelain Figural Group Candle Holder, Marked “Stevens & Hancock” on the base, h. 7‑1/2”, l. 10”. [200/400]

483 Three-Piece Copeland China, England, Tea Service, early 20th century, retailed by Tiffany & Co. and so marked, comprised of a lidded tea pot, creamer and lidded sugar basin, each piece with floral painted decor with butterflies and gilded highlights, h. 4‑1/2” to 7”. [200/400] 484 Pair of Art Nouveau Czechoslovakian Vases, first quarter 20th century, made by Royal Dux and marked with a pink triangle pad mark, “Royal Dux Bohemia”, the buff colored body, molded in swirling art nouveau fashion, decorated with relief-molded hanging fruit and leaves in green and brown, with like decoration on the base as feet, gilt handles, h. 18‑3/4”. [200/400] 485 Group of Four Figural Limoges Miniature Boxes, mid-20th century, the champagne decorated with a faux box, h. 1”, a faux wicker trunk, h. 1‑1/4”, a phone booth, h. 1‑1/2” and a shoe, h. 1‑1/4”, all marked “Limoges, France”. [40/70] 486 Group of Three Ironstone Serving Trays, including a large fish tray, l. 13‑1/2”, an oblong example with grape decor, l. 12‑1/2”, and a small fish tray, l. 5”. [20/40] 487 Set of Five White Porcelain Artichoke Dishes, l. 9”.

[40/70] 488 Pair of Opalescent Porcelain Oyster Dishes, dia. 9”.

[30/50] 489 Edwardian Inlaid Mahogany Serving Tray, ca. 1900, the center featuring an inlaid snail shell, the ends fitted with brass handles, w. 8‑1/2”, l. 23”. [100/200] 490 Edwardian Brass Fire Fender, having a molded base and spindled railing above, h. 4‑1/4”, d. 14”, l. 51”. [50/80] 491 Victorian Mahogany Dressing Mirror, third quarter 19th century, the arched mirror in a conforming frame on S-scroll brackets joined to a shaped platform base, h. 24”, w. 21”, d. 9‑1/4”. [100/200] 492 Contemporary Giltwood Looking Glass of Louis XVIInspiration, the beveled mirror plate in a foliate- and scroll-molded frame, h. 26”, w. 22”. [50/80] 493 Contemporary Giltwood Looking Glass, of Louis XVI inspiration, with beveled rectangular mirrored plate in a floral scroll molded frame, h. 42‑1/2”, w. 30”. [100/200] 494 Pair of Louis XVI-Inspired Giltwood Looking Glasses, each with a beveled mirror plate in a foliate- and floral-molded frame, h. 42”, w. 22‑1/4”. [200/400]

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495 Pair of Neo-Classically Inspired Giltwood Looking Glasses, each with a rectilinear mirror plate, h.18”, w. 13‑3/4”. [50/80]

506 Late Neoclassical-Inspired Looking Glass, with beveled mirror plate set in a cyma and molded frame, h. 41”, w. 34‑5/8”. [50/80]

496 English Wooden Box, h. 5‑1/2”, w. 8‑1/2”, d. 5”. [50/80]

507 Regency-Inspired Giltwood Looking Glass, the mirror plate beaded on two edges, the reeded frame with leaf overlay, h. 32‑1/2”, w. 24”. [150/300]

497 Regency Dressing Glass, first quarter 19th century, English, composed of mahogany and resting on ebonized bun feet, the top edge and sides trimmed in brass, above three drawers, the middle drawer fitted with an ivory escutcheon, the oval mirror supported by conforming supports terminating in a scroll, h. 25”, w. 28”, d. 9‑1/4”.

[400/700] 498 French Porcelain Shallow Bowl, the center with a classical portrait and marked “ACEDJ” above, dia. 9‑1/2”.

[100/200]

508 Regency-Style Giltwood Mantle Mirror, late 19th century, the tripartite rectangular plate surmounted by a molded cornice with drop ball finials over a latticepatterned frieze centered by a drapery-carved panel, flanked to either side by an acanthine cluster column, with a molded base, h. 28‑1/2”, w. 57”. [600/900] Illustrated

499 Large Ironstone Transfer-Decorated Footed Punch Bowl, late 19th century, indistinctly marked on the underside, h. 10”, dia. 19‑1/2”. [300/500] 500 Group of Three Small English Pitchers, including a ca. 1800, sprig-molded jug with blue rim, h. 3‑1/4”, and two Staffordshire jugs, ca 1825, one possibly New Hall, the other with molded decoration with allegorical scenes, h. 3‑3/4” and 5‑1/4”. [150/300] 501 Blue-and-White Porcelain Divided Plate, in a variation of the “Blue Willow” pattern, dia. 9‑1/2”. [30/50] 502 Pair of English Miniature Staffordshire Spaniels, mid-19th century, depicted reclining on a blue plinth, each black and white dog with a gilt anchor mark, h. 1”, w. 1‑1/4”, d. 1”. [50/80] 503 English Porcelain Garniture Vase, second quarter 19th century, the round foot decorated with floral painting in reserve panels, the lower portion of the urn with gilt diapering and bellflowers, the upper panel with a finely rendered bunch of flowers in a reserve panel, the gilt handles against a navy ground, h. 7”, dia. 7”. [150/300]

508 509 Victorian Mahogany Chest, with two over three graduated drawers, with turned wooden knobs and rounded corners, h. 40”, w. 39”, d. 18‑1/2”. [75/125] 510 Victorian Mahogany Gout Stool, third quarter 19th century, the padded rectangular seat with a raised extended padded end, raised on bulbous feet, h. 17”, d. 15‑1/2”, l. 32”. [75/125] 511 John Broadwood and Sons, London, Rosewood Grand Piano, late 19th century, of traditional form, with foliate-carved brackets joined to cabochon-carved tapering octagonal legs, h. 37‑1/4”, w. 54‑3/4”, l. 88”.

[1200/1800] Illustrated

504 Pair of English Derby Potpourri Holders, ca. 1820‑1830, the inverted pear-shaped body decorated with applied satyr masks, resting on a base with gilt paw feet, formerly fitted with covers, h. 4”, dia. 5‑1/2”.

[100/200] 505 Pair of Empire-Style Gilt Composition Ram’s Horns, on black and gilt bases, now mounted as table lamps, h. 21”. [100/200]

36

511

512 Victorian Mahogany, Rosewood and Faux Rosewood Pole Screen, third quarter 19th century, the shaped frame mounted with antique floral needlepoint, on a tripodal base ending in pad feet, h. 56”, w. 19”, d. 17”.

[200/400] 513 Victorian Mahogany Stool, mid-19th century, the padded, rectangular, needlework seat raised on cabriole legs, h. 15‑1/4”, w. 26”, d. 20‑1/2”. [200/400] 514 Victorian-Style Upholstered Sofa, the padded concave back joined by downswept arms to the cushioned seat, above a fringe slanted apron, raised on tapering square legs, h. 38”, d. 39”, l. 87”. [800/1200] 515 George III-Style Mahogany Cabinet, the shaped rectangular top with guilloche-carved edge, above a conforming case fitted with two doors, each with decorative banding, raised above a floral ogee-molded apron on cabriole legs ending in scrolled toes, h. 39”, w. 38‑1/2”, d. 21”. [500/800] 516 Contemporary Louis XV-Style Ebonized Cabinet, in the chinoiserie taste, the slightly bowed top above a conforming case fitted with two doors, raised on splayed legs, the whole with polychrome and gilt accents and a craquelure finish, h. 34‑1/2”, w. 42”, d. 21”. [300/500] 517 Edwardian Satinwood Demi-Lune Side Table, ca. 1900, the demi-lune top featuring rosewood banding and a decorative floral band centering a fruit still life, hinged and opening to a baize-lined interior, above a floral garland decorated frieze, raised on tapering square legs ending in spade feet, h. 28‑1/2”, w. 38”, d. 17”.

[2000/4000] 518 Regency-Style Mahogany Two-Tier Book Mill, the graduated tops each with a brass gallery on a tripodal base with rounded legs and cup casters, h. 34”, dia. 25”.

[100/200] 519 Scottish Oak Occasional Table, early 20th century, the dished rectangular top with turreted corners and centered by a plaque reading “For Oak That Roofed Glasgow Cathedral For 650 Years Circa 1260‑1910”, above a blind fret carved frieze, joined by fluted circular legs to an open stretcher shelf, with previous caned piercings, raised on like legs ending in turned bulbous feet, h. 24”, w. 21‑1/2”, d. 15‑3/4”. [150/300] 520 Edwardian Mahogany Occasional Table, early 20th century, the kidney-form top with foliate-carved edge and inset leather surface, above a conforming frieze fitted with a single drawer, raised on tapering square legs headed by bellflower carving, h. 29”, w. 33”, d. 19”. [300/500]

521 Neoclassically-Inspired Sofa/Hall Table, the rectilinear top with molded apron, on a trestle base with tapering octagonal columns and stretcher elements, h. 30‑1/2”, w. 59”, d. 24”. [150/300] 522 Group of Seven Middle Eastern Copper Vessels, comprised of a vase-shaped water jug decorated heavily with repousse in patterns incorporating Moorish designs on all sides, the neck collar with rings attached to a hook and chains, h. 11”, w. 6‑1/4”, d. 4‑1/4”, a hammered cooking pot with a dovetailed joint and an iron swing handle, h. 6”, dia. 9‑1/4”, a vase-shaped mug with hammered horizontal dash decoration, a loop handle and a folded rim, h. 7‑3/4”, w. 9”, d. 6‑1/4”, a covered cooking pot with tapered sides, handles and a cover with a doublelooped handle, h. 6‑1/4”, dia. 10‑1/2”, a bucket with an inverted horizontal mid rib, and an iron swing handle, h. 8”, dia. 8‑1/4”, a balance with a flat pan, supported by straps with crosshatching leading to a ring hold, h. 18”, dia. 13‑3/4”, and an inverted hammered mug with two raised mid ribs and a pierced brass loop handle, h. 7”, w. 8‑3/4”, d. 8‑1/4”. [50/80] 523 Group of Three Kashmiri Wooden Boxes, depicting various village scenes, l. 9‑1/2” to 10‑3/4”. [300/500] 524 Moroccan Polychrome Cabinet, early 20th century, of rectangular form, fitted with two long doors opening to a shelved interior, the doors paneled and with polychrome geometric and floral accents, raised on bracket feet, h. 55‑1/2”, w. 26‑1/2”, d. 9‑1/2’. [300/500] 525 Continental Oak Coffer, 18th century, the hinged rectangular top opening to a storage interior fitted to one side with a hinged compartment, the front carved in various geometric patterns, the sides paneled, raised on block feet, h. 33”, w. 52‑1/2”, d. 21/1/2”. [500/800] 526 Indian Turned and Polychromed Jhoola, the trestleform frame on splayed legs, some mounting elements now lacking, h. 63”, w. 97”, d. 58”, inside w. 41”, inside l. 71”.

[200/400] 527 Italian School, (First Quarter 19th Century),”The Sibyl”, graphite and chalk on paper, unsigned, 17‑3/4” x 18‑1/2”. Attractively glazed, matted, and framed.

[150/300] 528 Joseph Leopold Ratinckx (Belgian, 860‑1937), “Studio Study of a Male Model”, ink on paper, signed and dated lower center “Jos. Ratinckx, 6‑1‑92”, sight 10‑3/4” x 7”. Glazed, matted and framed. [250/400] 529 American School, Last Quarter 19th Century, A group of Eighty Nine Drawings and Watercolors, some titled, initialed and dated, several with accompanying notations, sizes from 5 3/4” x 8 1/2” to 7 3/4” x 10. All unframed. [100/200]

37

530 Group of Three English and Continental Drawings, 19th Century, including “Young Boy With Mule”, dated July 1839, lower right, 8 1/2” x 7”, “Man Reading”, 13 3/4” x 11 1/4, and “Village Scene”, 9 1/4” x 13 3/4”. All unframed. [50/80] 531 Anton Mauve (Dutch, 1838‑1888), “Country Road With a Wagon”, charcoal on paper, inscribed lower right “Atelier A. Mauve”, sight 11” x 16”. Glazed, matted and framed.

[250/400] 532 Group of Three English Drawings and Washes, 19th century, including “Il Muro Torto, Roma”, inscribed and dated 1847 lower right, 12 1/4” x 9 3/4”, “Pheasants”, 8 1/4” x 6 3/4”, and “pastoral”, 6 1/2” x 4 1/2”. All unframed.

[50/80] 533 French School, Second Quarter 20th Century, “Titania”, watercolor and wash on paper, signed “da Collette” lower right, 14” x 10”. Unframed [50/80] 534 Morris Henry Hobbs (Louisiana, 1892‑1967), “Sara”, etching, signed lower right, titled lower lrft, sight 8 3/4” x 6 1/4”. Attractively matted and framed. [100/200] 535 A Collection of Nine American Engravings, first and second quarter of the 20th century, including; William Merritt Chase (1849‑1916), “The Court Jester” signed in plate; Philip Kappel (1901‑1980), “At Jacmel, Haiti”, pencil signed; Bela P. Zaboly (1910‑1985), “Tree”, signed in ink; Stevan Dohanos (1907‑1994), “West Quoddy Light”, pencil signed and titled; and five works by Walter Harrison Smith (early 20th c.), sight range from 6 3/4” x 4 1/2” to 10 1/2” x 8 1/2”. All matted, one framed. [500/800] Illustrated

537 Decorative Baroque-Style Print of Two Putti, sight 19‑1/4” x 23”. Glazed, matted and attractively framed.

[100/200] 538 Xavier de Callatay (Belgian/Louisiana, 1932‑1999), a collection of twenty two pencil and ink drawings, pastels, and watercolors including portraits and animal sketches, all monogrammed, several with titles, inscriptions, or dates, sizes ranging from 5‑3/4” x 8‑3/4” to 12‑1/2” x 20‑1/2”. All matted, three framed. [300/500] 539 Seven Pieces of American Coin (.900) Silver Flatware, second quarter 19th century, including five teaspoons by Andrew C. Benedict, New York City, New York, one teaspoon by Willey & Blaksley, Cincinnati, Ohio, and a butter knife by Hyde & Goodrich, New Orleans, Louisiana, monogrammed, l. 5‑3/4” to 7‑5/8”, 4.43 t. oz.

[100/200] 540 Three American Coin (.900) Silver “Ivy” Pattern Place Spoons, third quarter 19th century, by John Lawson Westervelt (1826‑1905), Newburgh, New York, retailed by John Mix, Jr. (1826‑1907), Albany New York, monogrammed “MJB”, l. 6‑3/4”, 3.99 total t. oz. [75/125] 541 American Silverplate “Vintage”-Pattern Tray, second quarter 20th century, by the F. B. Rogers Silver Co., Taunton, Massachusetts, of oval form, the plateau engraved with a wide floral and trellis band, the rim with applied high-relief grapevine banding, with opposing handles en suite, l. 26‑1/4”, w. 17”. Provenance: A gift to the consignor from Mary Lee “Panama Hattie” Kelly, owner of the nightclubs Kelly’s Ritz, Panama City, Panama and the 500 Club, New Orleans, Louisiana, and inspiration for the Cole Porter musical Panama Hattie. [100/200] Illustrated

541 535 536 Antique English Engraving of “The Judgment of Paris”, after William Etty (British, 1787‑1849), sheet size 9 1/4” x 11 1/2”. Unframed. [30/50]

38

542 Eight Assorted American Sterling and Other Small Silver Spoons, including sterling pieces: an Alamo souvenir spoon, l. 3‑1/2”, a Mexican salt spoon with 1912 five-centimo piece bowl and “coffee bean” finial, l. 2‑3/4”, a Gorham H233‑pattern salt shovel, l. 3‑4/8”, a Watson “Marlborough”-pattern demitasse spoon, monogrammed “M”, l. 4”, a Webster Co. “Thread and Scroll” salt spoon, l. 3‑3/4”, and a pair of Victorian demitasse spoons hallmarked London, 1880‑1881, by E. Barnard & Sons, in an engraved “Old English” pattern, l. 4‑1/8”, with a Samuel Kirk & Son “New Standard” (.846) silver egg spoon in the “Engraved Old Baltimore” pattern with gilt bowl, monogrammed “M””, l. 4‑3/8”, 2.31 total t. oz. [50/80] 543 Collection of Twelve Sterling and Other Silver Napkin Rings, late 19th/early 20th century, including an American Watrous sterling example, cylindrical with beaded edge, engraved “Newell / 1899”, h. 1”, a French Olier & Caron .950 silver example, cylindrical with applied shell-and-thread banding, engraved “Rene”, h. 1‑3/8”, a Norwegian .830 silver example, waisted cylindrical with beaded edge, engraved “Karen”, h. 3/4”, an Estonian .875 silver example, cylindrical with beaded edge, engraved “Sascha”, h. 7/8”, an Italian .800 silver example, oval with leaf-and-dart edge and applied gold cartouche, engraved “Piero”, h. 1‑3/8”, five unmarked (but probably sterling) silver examples, one cylindrical with molded rim and engraved cartouche “Stantia”, h. 1‑1/2”, one cylindrical with beaded rim and guilloche banding, engraved “Fred”, h. 1‑1/2”, one cylindrical with bright-cut and star banding, engraved “Olive”, h. 1‑1/4”, one octagonal with beaded rim and engraved floral banding, engraved “To C Bacon from Aunt Kate”, h. 1‑1/4”, and a waisted octagonal example with beaded rim and engraved pastoral decoration, engraved “Sarah Lispenard Stewart”, h. 1‑1/4”, a cylindrical horn example with silver cartouche engraved “JM”, h. 1‑1/8”, and a cylindrical silverplate example with openwork scroll banding, h. 1‑1/4”, 6.94 total t. oz. (excluding horn and silverplate examples). [125/250] 544 Four American Sterling Silver Christening Cups, 20th century, all of plain cylindrical form, including examples

by Gorham, Heirloom and two by Saart, one engraved “Richard”, h. 1‑3/4” to 2‑5/8”, 6.88 total t. oz. [150/300] 545 Four American Silverplate Dishes, mid-20th century, including a Reed & Barton matching sandwich plate and candy dish, with a Hemill Silver Co. reticulated cake stand and a Bernard Rice’s Sons reticulated sandwich plate, dia. 6‑1/4” to 10‑1/2”. [100/200]

546

547 547 Cased Six-Piece Sterling Silver and Porcelain Demitasse Set, mid 20th-century, including six reticulated silver cups with Lenox porcelain liners and six silver saucers, overall, h. 2‑1/2”, dia. 3”, presented in a taupe velvet-lined fitted buckram-covered case, 3‑3/4” x 11‑5/8” x 11‑1/4”. [150/300] Illustrated 548 Three Pieces of American Sterling Silver Tableware, mid-20th century, including an Elgin trumpet vase, a Vinegar Brothers engraved bud vase, and a Redlich cordial cup, h. 4‑5/8” to 8‑1/2”, 2.05 t. oz. (cup only; the vases weighted). [100/200] 549 Seventeen Sterling Silver-Clad Glass Coasters and Ashtrays, 20th century, including a set of twelve drinks coasters, dia. 3‑1/4”, a bottle coaster, dia. 5‑1/2”, and four ashtrays, dia. 4‑1/2” to 7”. [100/200]

546 Three Pieces of American Sterling Silver Tableware, second quarter 20th century, including an International Silver trumpet vase with swing handle and milled neoclassical rim, h. 8” (15‑1/4” with handle), dia. 5‑3/4”, and an unmarked pair of compotes with ovolo-reticulated rims, h. 5‑3/4”, dia. 5‑7/8”, all weighted. [300/500] Illustrated

39

550 Six Weighted Sterling Silver Candlestands, 20th century, including a tall baluster-form pair, a short gadrooned pair, and two short single stands, h. 2‑1/2” to 6‑1/8”. [150/300] Illustrated

550 551 Two Large Pieces of American Silverplate Tableware, third quarter 20th century, including an unmarked tray of rectangular form with lobed corners, with applied shell-and-scroll rim and opposing handles en suite, the plateau engraved with a wide band of rocaille scrolls and latticework cartouches centering a monogram “G”, l. 30‑1/2”, w. 18‑1/2”, and an Oneida punch bowl of “Revere” form, h. 8‑1/4”, dia. 12”. [100/200] 552 Seven Silverplate Bowls, mid-20th century, including a graduated pair of English Silver Mfg. Co. “Revere” bowls, a similar Gorham “Revere” bowl, a Garrard & Co. shallow “Modernist” bowl with golfing trophy inscription, an unmarked serpentine-fluted “tulip” bowl, a Sheffield Silver Co. brandy pan-on-stand, and a Reed & Barton twopiece “lotus” pillar candle holder, dia. 5‑1/4” to 8‑1/4”.

[150/300] 553 Seven Pieces of Small Sterling and Silverplate Tableware, 20th century, including sterling pieces, a Gorham sterling napkin ring, w. 1‑5/8”, a Webster Co. napkin ring, monogrammed, w. 5/8”, a pair of Lunt coquille-form butter pats, dia. 2‑5/8” and unmarked spiral-twist sugar tongs, l. 3‑1/2”, with a Dutch .830 rose-handled salt spoon, l. 3‑5/8”, and a Mappin & Webb silverplate nutcracker, l. 5‑1/4”, 2.70 total t. oz.. (excluding nutcracker). [75/125] 554 Four Silverplate Serving Dishes, mid-20th century, including an English Silver Mfg. Corp. covered vegetable dish with Pyrex liner, an English Silver Mfg. Corp. coquille condiment dish, a similar W. & S. Blackinton dish, and an E. & J. Leek coquille form covered butter dish with fitted glass liner and silverplate butter knife, dia. 4‑3/4” to 9‑1/2”.

[150/300]

555 Ten Pieces of Assorted Small Sterling and Silverplate Tableware, including an Edwardian sterling silver creamer hallmarked Birmingham, 1907‑1908, by Vaughton & Sons, h. 3‑1/2”, 2.57 t. oz., and silverplate pieces a Wallingford water goblet, a Hans Jensen “calla lily” bud vase, a set of four Sheffield Silver Co. cordial cups, a William Rogers cream jug, h. 3” to 6‑1/4”, and two silent butlers with turned wooden handles, l. 9‑1/4” and 10‑1/2”. [125/250] 556 Pair of American Silverplate Candelabra, third quarter 20th century, by the Goldfelder Silverware Co., Yalesville, Connecticut, each with a knopped baluster standard above a cavetto domed circular foot and surmounted by an urnform nozzle, into which fits a superstructure of a shorter baluster standard flanked by pair of scrolling arms, the standard and arms all terminating in an urn-form nozzle with circular drip-pan and detachable circular bobeche, the whole decorated with embossed gadrooned banding, h. 14‑1/4”. [75/125] Illustrated

556

557 Pair of American Silverplate Condiment Bottle Caddies, third quarter 20th century, by the WebsterWilcox Co., Meriden, Connecticut, of reticulated cylindrical form, one for catsup, the other for Worcestershire sauce, h. 3‑3/4”. dia. 2‑5/8” and 3‑5/8”. [40/70] 558 American Sterling Silver Tea Strainer, first quarter 20th century, by William Wise & Son, Brooklyn, New York, in the Empire taste with reeded edge and applied laurel wreaths, l. 7‑3/4”, 2.57 t. oz. [60/90] 559 Collection of Eight American Sterling and English Silverplate Small Serving Spoons, 20th century, including American sterling pieces a Manchester “Gadroonette” cream ladle, a Manchester “Mary Warren” cream ladle and jelly spoon, a Manchester “Roger Williams” sugar shell, a Webster colonial revival condiment spoon and an unmarked pointed-handle cream ladle, with English silverplate pieces a “Fiddle” sugar sifter and an “Old English” cream ladle, l. 4” to 5‑3/4”, 2.95 t. oz. (sterling pieces only). [75/125] 560 Pair of Sterling Silver Salt and Pepper Shakers, third quarter 20th century, by Baldwin & Miller, Newark, New Jersey, of square form, their “George Washington” reproduction line, h. 1‑1/2”, w. 1‑1/2”. [50/80]

40

561 Cased Pair of Cartier Sterling Silver Martini Stems, with presentation inscription dated 1979, h. 5‑3/4”, dia. 4‑1/4”, 10.86 total t. oz., complete with the original indigo velvet- and cream satin-lined red Cartier case, 5‑1/2” x 10‑1/2” x 10‑1/2”. [200/400] Illustrated

crafted. [1000/1500] 567 American Late Classical Mahogany Sideboard, second quarter 19th century, Philadelphia, the drop center backed by a pair of looking glasses between a figured panel flanked by carved cornucopiae, the central section with a drawer over a paneled door, flanked by taller pedestal ends, each with a drawer over a door, fitted with detached tapering columns, the base with foliate-carved turned feet, retaining its polished period surface h. 57‑1/2”, w. 71‑1/4”, d. 24”. [900/1200] Illustrated

561 562 Colonial Revival Cherrywood Drop-Leaf Dining Table, in the William and Mary taste, second half 20th century, bench made after the period style by noted Natchez cabinetmaker William M. Simonton, the top flanked by drop leaves of demi-lune form, the leaves supported by fly legs, the base crafted of turned legs joined by box stretchers, h. 30”, w. 65”, l. 29”, extended l. 79”.

[200/400]

565

563 Two American Sheraton Painted Fancy Chairs, second quarter 19th century, each ebonized with stenciled polychrome decor, one with a rush seat, the other a cane seat, h. 32” and 33‑3/4”. [40/70] 564 American Sheraton Cherry Drop-Leaf Table, second quarter 19th century, the rectangular top with two drop leaves with shaped corners, raised on turned bulbous legs ending in ovoid bun feet, h. 29‑1/2”, w. 42”, d. 19‑1/2”, ext. l. 47”. [200/400] 565 Ephraim Downs Mahogany and Eglomise Connecticut Pillar and Scroll Shelf Clock, early 19th century, with a scrolling broken arch pediment, painted dial, scalloped apron and bracket feet, h. 31‑1/4”, w. 16‑1/2”, d. 4‑1/2”. [250/400] Illustrated 566 American Sheraton Mahogany Triple-Section Banquet Table, first quarter 19th century, in the style of Norfolk, VA, the D-form ends joined by a center section with single-board top and leaves, the leaves supported by fly legs, on tapering turned legs with ring turnings and ball feet, h. 28‑5/8”, w. 47”, l. 68”, ext. l. 107‑1/2”. By family tradition, George Nicholas of Hermitage plantation, Albemarle County, VA, personally selected the Santo Domingue mahogany from which to have this table

567

41

568 American Late Classical Mahogany Banquet Table, mid-19th century, the circular top over a split tapering fluted pedestal, joined to a concave platform base on turned legs, together with six leaves, four skirted, extending to 100”, h. 29‑3/4”, dia. 48”, ext. l. 122”.

[1200/1800] 569 American Late Classical Mahogany Work Table, second quarter 19th century, with three drawers raised on a tapering pedestal on carved paw feet, h. 29‑1/4”, w. 23”, d. 16”. [200/400]

576 American Classical Mahogany Dressing Table, second quarter 19th century, in two parts, the looking glass in a crotch-veneered molded frame supported by turned and figured square columns on a recessed band of drawers, and fronted by a marble top, the case with two over a single drawer, the drawers all fitted with embossed brass pulls, on a trestle base, the supports with scroll ends, a convex stretcher and carved paw feet, h. 71”, w. 36‑1/4”, d. 19‑5/8”. [300/500] Illustrated

570 American Late Classical Mahogany Work Table, second quarter 19th century, the case with a pair of drawers on a crotch-veneered vasiform column joined to a concave platform on scroll feet, h. 29‑1/4”, w. 21‑1/2”, d. 17‑1/2”. [200/400] 571 American Classical Mahogany Work Table, ca. 1825, the rectilinear top with canted corners, over a conforming case fitted with a shallow over a deep drawer, each now fitted with brass lion-head ring pulls, raised on a vasiform acanthus-carved pedestal on a tripodal base, the legs with foliate carving at the knees and paw feet, h. 31‑1/4”, w. 20‑1/4”, d. 15‑1/2”. [200/400] 572 American Late Classical Mahogany Work Table, second quarter 19th century, the rectilinear top over a conforming case fitted with a pair of drawers, supported by a tapering pedestal joined to a low platform on scroll feet, h. 28‑1/2”, w. 16‑3/4”, d. 13”. [100/200] 573 American Classical Mahogany Work Table, second quarter 19th century, the case with a bank of three graduated drawers, the upper drawer with an adjustable writing surface, each drawer with faceted cut-glass pulls, supported by a turned column joined to four saber-form legs ending in carved paw feet, h. 29”, w. 23”, d. 17‑1/2”.

[300/500] 574 American Late Classical Mahogany Pier Table, second quarter 19th century, the faux marble top over a figured cyma-molded frieze, on scroll supports joined to a square column with a cross-banded face, the curvate low shelf backed by a looking glass, raised on scroll feet, h. 38‑1/4”, w. 42”, d. 18”. [600/900] 575 American Sheraton Walnut Low Post Bed, second quarter 19th century, the posts with acorn finials over vasiform and ring turnings, the headboard with a spindle gallery, the footboard with a blanket roll, formerly fitted as a rope bed, h . 58‑1/2”, inside w. 51”, inside l. 78”, outside w. 55‑1/2”, outside l. 86”. [300/500]

42

576

577 Heavily Molded Deep Oak Looking Glass, the rectilinear beveled mirror plate in a cyma- and covemolded frame, h. 52‑1/4”, w. 40‑1/4”, d. 5”. [500/800] 578 American Late Neoclassical Revival Mahogany Games Table, second quarter 19th century, with foldover top, molded apron, turned pedestal and low base with carved feet, h. 29‑1/2”, w. 35‑1/4”, d. 17‑3/4”. [200/400] 579 American Late Classical Mahogany Stool, second quarter 19th century, the cushion upholstered in salmon brocade, on a cyma-molded frame with scroll feet, h. 7‑1/2”, w. 14‑1/4”, d. 15‑3/4”. [100/200]

580 American Late Classical Mahogany Dressing Bureau, second quarter 19th century, the corset-form looking glass supported by a wishbone frame with applied foliate carving, on a base with a serpentine marble top, the case with an upper drawer of like-form, over a bank of three recessed graduated drawers flanked by molded pilasters, raised on turned legs, h. 85‑1/2”, w. 45”, d. 23‑1/2”.

[500/800] 581 American Late Victorian Walnut Bookcase/Armoire, fourth quarter 19th century, the projecting cornice supporting a foliate- and scroll-carved crest, over a pair of glazed doors, the base fitted with a pair of drawers, each with fruit- and foliate-carved pulls, h. 95”, w. 53” , d. 19”.

[800/1200] Illustrated

584 Marble Statue of a Young Couple Embracing, first quarter 20th century, the cove-molded base supporting the pair, who are dressed in traditional 18th century costume, she is holding roses in her skirt while he kisses her cheek, formerly mounted as a lamp, h. 17”, w. 7”, d. 7”.

[300/500] 585 American Gimballed Dory Compass, fourth quarter 19th century, signed “J.H. Rowe, Gloucester, Ma.”, and held in an old pine box, no lid, h. 2”, w. 4‑3/4”, d. 4‑3/4”.

[100/200] 586 Three-Piece Brass and Marble Girandole Set in the Philadelphia Style, each comprised of a square marble plinth supporting a round brass base held in an egg-anddart molding, supporting a tapering standard, scrolled pierced arms support the outer candle cups which are mounted on pierced leaf-form bobeches hung with cut prisms, h. 16‑1/4”, w. 15‑1/4”, d. 5‑1/2”, the single light ends wired for electricity and mounted with shades, h. 26‑1/2”, w. 12”, d. 12”. [200/400] 587 Patinated-Bronze Solar Lamp, mid-19th century, attributed to Dietz Companies, New York, the doublestepped base trimmed in molded lotus leaves on the lower edge and acanthus leaves on the upper edge, the vase-shaped standard molded with masks, scrollwork and cartouches on a fluted ground, molded, downturned leaves support the tank, and mounted with a fine period frosted and cut tulip shade depicting grapes and sprays of flowers, hung with spear-point prisms, h. 24‑3/4”. [100/200] 588 Bronze and Marble Solar Lamp, Attributed to Dietz, New York, mid-19th century, the two-step Egyptian marble base divided by a leaf-molded bronze trim and supporting a fluted standard mounted with a leaf-molded tank, the period shade with a frosted ground and a panel of cut and etched grapes and leaves, with a ruffled top, wired for electricity, h. 21‑3/4”, dia. 6‑1/2”. [75/125]

581 582 Pair of Giltwood Looking Glasses in the Neoclassical Taste, ca. 1900, each with rectilinear plates and a stepped frame, retaining its antique gilt surface, h. 21”, w. 19”.

[200/400] 583 Neoclassical-Style Giltwood Looking Glass, with beveled mirror plate in a cove-molded frame with shells at each corner, h. 27”, w. 23”. [40/70]

589 American Glass, Bronze and Marble Solar Lamp, mid-19th century, the stepped marble base with molded gilt-bronze trim supports a glass standard, white-cut-toruby with thumbprints and fleur-de-lis, the leaf-molded tank mounted with a period ruffled, frosted, etched and cut shade decorated with a band of flowers, h. 30‑1/2”, dia. 6‑1/2”. [75/125] 590 Pair of Late Victorian Gilt-Bronze Wall Sconces, ca. 1900, each scroll-molded round wall plate supporting a standard with four rope-twist, scrolled branches holding candle cups, the center fitted with an electric socket holding a cut-glass shade, and with a winged griffin below, now heavily patinated, h. 19”, w. 19”. [500/800]

43

591 American Rococo Revival Oval Giltwood Mantle Mirror, third quarter 19th century, the crest depicting a large shell in deep relief with outstretched scrolls and a central flower, h. 51”, w. 51”. [400/700] Illustrated

594 Paris Porcelain Spill Holder, third quarter 19th century, executed in the style of Jacob Petit, depicting a monkey painting a landscape on an easel with a palette and brush in hand, and with the spill holder behind the painting, the whole on an oval turquoise and blue plinth, h. 5‑1/4”, w. 4”, d. 5”. [300/500] 595 Set of Thirteen White Paris Porcelain Bowls, each with reserves of various floral bouquet motifs and remnants of gilt accents, dia. 9”. [150/300] 596 Ten-Piece Haviland, Limoges Fish Service, ca. 1900, retailed by Ephraim Offner, New Orleans, including nine scalloped fish plates, dia. 8‑1/2” and a matching platter, l. 20‑1/2”, decorated with a central game fish and floral border. [500/800] Illustrated

591

592 American Loom-Woven Linsey Woolsey Coverlet, mid-19th century, woven in red and white, w. 70”, l. 82”.

[200/400] 593 Large South German Elaborately Carved and BlackStained Lindenwood and Cut Glass Vase, third quarter 19th century, in the Schwartzwald style, the carved lindenwood base featuring a pair of chamois and their kid, the inserted trumpet vase of panel-cut glass with a “Van Dyke” edge, h. 26”, w. 11‑1/2”. [300/500] Illustrated

596

597 Three Bavarian JKW Porcelain Fish Plates, third quarter 20th century, decorated by by Josef Kuba Porzellan, Wiesau, on blanks by Heinrich & Co., Selb, each decorated with a different fish surrounded by other aquatic animals, dia. 9‑3/4”. [20/40] 598 Large Paris Porcelain Vase, late 19th century, having a magenta field and the front with a painted panel of classical maidens, h. 16‑3/4”. [250/400] 599 Large Paris Porcelain Vase, having a pink field and featuring a painted panel of a courting couple, h. 17”.

[250/400] Illustrated

593

44

599

600 Unusual Pair of Paris Porcelain Vases, third quarter 19th century, each having a violet field with applied flowers and a painted panel with birds, h. 15‑1/4”. [150/300] 601 French Third Republic Bronze and Marble Mantel Clock, fourth quarter 19th century, the black marble case resting on bronze paw feet, with a lower case adorned by bronze anthemia, the black marble chapter ring with bronze numerals and bezel, the sides mounted with bronze leopard heads grasping rings and with a bronze and marble turret forming the upper finial, h. 18‑1/2”, w. 10‑1/4”, d. 7”. [150/300] 602 Pair of Miniature Bronze Centurions, fourth quarter 19th century, each depicted seated and wearing battle garb, mounted on rouge marble plinths, h. 5‑1/4”, w. 2‑1/2”, d. 2‑1/2”. [50/80] 603 Pair of Neoclassical-Style Faux Stone and Gilt Bookends, the plaster bodies painted to resemble granite, the molded French Empire-style figures on the fronts decorated to resemble gilt bronze, h. 5‑1/2”, w. 4‑3/4”, d. 5‑3/4”. [40/70] 604 Vernacular American Cherry Tester Bed, second quarter 19th century, of the type made in and for the Southern market, the stepped molded tester on turned and octagonal posts, supporting a paneled headboard with scroll crest rail, one foot post now broken, h. 106‑1/2”, inside w. 58”, inside l. 76”, outside w. 72”, outside l. 84”.

[600/900] 605 American Elizabethan Revival Walnut Occasional Chair, third quarter 19th century, the turned stiles joined to a pierce-carved back depicting foliate-carved scrolls beneath, floral crest with serpentine seat and scalloped aprons, on turned front legs, h. 42‑1/4”. [75/125] 606 American Rococo Revival Rosewood Dressing Bureau, third quarter 19th century, the double serpentine top over a conforming case with four graduated drawers, the canted corners with foliate-carved brackets, each drawer centered by foliate- and scroll-carved escutcheons, h. 36‑1/8”, w. 43‑3/4”, d. 23”. [300/500] Illustrated

607 American Rococo Revival Walnut Center Table, third quarter 19th century, the ovoid top over a conforming apron, raised on cabriole legs with foliate carving above the knees and ending in French toes, h. 30”, w. 46”, d. 39‑1/2”. [250/400] 608 American Rococo Revival Rosewood Armchair, mid-19th century, of generous proportions, the pierced floral- and leaf-carved crest over a shaped back joined to open arms, with serpentine seat and cabriole legs, now upholstered in taupe brocade, h. 45‑1/2”. [100/200] 609 Two Diminutive Rococo Revival Walnut Settees, third quarter 19th century, with serpentine backs, seat rails and cabriole legs, h. 28”, w. 53”, d. 21”. [200/400] 610 American Transitional Classical and Rococo Revival Walnut Chest, late 19th century, the top with carved edge and serpentine front over three graduated paneled doors flanked by acanthus-carved pilasters, h. 36‑1/2”, w. 43”, d. 21”. [300/500] 611 American Late Victorian Walnut Occasional Table, ca. 1900, the ovoid top with carved edge, frieze drawer and trestle bar, h. 28‑1/8”, w. 29‑1/2”, d. 19”. [100/200] 612 Italian Alabaster Pedestal, ca. 1900, the standard with carved reeding on the lower portion and spiral carving on the upper, supported by an octagonal base, and with a square top set on a cove-molded base which revolves on a brass socket, h. 43‑1/2”, w. 9‑1/2”, d. 9‑1/2”. [300/500] 613 Regency-Style Plank and Cast-Iron Bench, the plank backrest and seat joined to a trio of cast-iron supports, each with open arms terminating in griffin supports, raised on a curule-form base, h. 28‑1/4”, w. 105”, d. 20”.

[300/500] 614 Victorian-Style Cast-Iron Garden Urn, early 20th century, marked Kramer Bros., Dayton, Ohio, the bowl of tazza form, mounted to a fluted column joined to a stepped square base, h. 25”, dia. 23”. [75/125] 615 Victorian-Style Cast-Iron Jardiniere, mid-20th century, in vintage decor, of rectilinear form, modeled as joined scrolls, grapes and leaves with a conforming tole liner, h. 13‑3/4”, w. 30‑1/2”, d. 7‑3/4”. [150/300] 616 Painted Copper Wall Fountain in the Neoclassical Taste, the dolphin with a water spout under his mouth sitting over the shell-molded basin, with a suspended shell-molded soap dish, h. 24‑1/2”, w. 13”, d. 11‑1/2”.

[200/400]

606

45

617 American Renaissance Revival Spring Steel, Burled Walnut and Walnut Palmer Patent Rocking Chair, the patent granted in 1870, the crests with a central carved medallion depicting a classical bust edged in Greek-key decor, the upholstered back joined to spring steel arm supports which return the reclined chair to its upright position, the whole on a cheval base, h. 43”. Theodore Palmer received an award for his “elastic arms” rocking chair at the 1876 Centennial Exhibition in Philadelphia, wherein the judges sited it for “originality in purpose”. For a discussion of Palmer’s Patent rocking chairs, see Hanks, Innovative Furniture in America from 1800 to Present pp. 34‑35. [400/700] 618 Unusual American Folk Art Nautical Easel, early 20th century, contrived of various nautical and steamboat related elements, h. 74”, w. 20”. [300/500] Illustrated

619 American Aesthetic Movement Silver MetalMounted Night Stand, fourth quarter 19th century, with the impressed brand “Herts Brothers New - York”, the square top above a frieze drawer joined by fluted columns to an open shelf above a cupboard door and raised on ball-and-claw feet, the whole adorned with ribbon, laurel wreaths, swags and beading, h. 33”, w. 18”, d. 18”. Herts Brothers, at 806 Broadway at 20th Street, New York City, was a prominent New York cabinetmaking and decorating firm from 1872 to 1908. For further information on the Herts firm, see Art and Enterprise - American Decorative Art, 1825‑1817, the Virginia Carroll Crawford Collection, 1999. Pieces by Herts Brothers are in the collections of the Newark Museum, New Jersey, and the High Museum of Art, Atlanta, Georgia. [700/100] Illustrated

619

620 618

46

620 American Aesthetic Movement Silver MetalMounted Bedstead, fourth quarter 19th century, the paneled head and foot boards adorned with ribbon, laurel wreaths, swags and beading, fluted posts and foliatecarved capitals, and raised on squat ball-and-claw feet, h. 64”, inside w. 58”, l. 84”, outside w. 66‑1/2”, l. 89‑1/2”.

En suite with the previous lot. [400/700] Illustrated

621 American Aesthetic Movement Giltwood Mantle Mirror, fourth quarter 19th century, the projecting cornice with a carved crest over an angled mirror plate oriented to reflect back into the room, the large central mirror flanked by shelves of carved columns and brackets, all backed by mirror plates, the upper mirrors canted to reflect into the room, all mirrors beveled and of the period, h. 78‑1/8”, w. 69”, d. 12”. According to the consignor, the present mirror graced the front parlor of one of two decrepit townhouses in the French Quarter near Bourbon street. The elderly woman that had inherited the house and resided there through much of her adult life repeatedly volunteered that “this was never a wh***house”. The interior of the adjoining house featured a bar in the first floor front parlor, and on the second floor, al long hallway with a row of numerous doors to narrow rooms. In July 2007, another local auction house sold an apparently identical mantle mirror that was reputedly from Josie Arlington’s infamous Storyville bordello. In 1917 when Federal officials imposed on the city to close the district, the trade in flesh went underground and was diffused throughout the city, particularly to the neighborhoods in the periphery of Storyville. [900/1200] 622 American Eastlake Mahogany Tri-Fold Firescreen, fourth quarter 19th century, each panel with a floral painted scene on glass and having a spindled gallery across the top, h. 32‑1/2”, l. 36”. [200/400]

625 American Classical Revival Mahogany Table, fourth quarter 19th century, the rectilinear top over a frieze with scroll-carving and drop-palmettes, raised on canted, foliate-carved C-scroll legs ending in dolphin heads, h. 27‑1/2”, w. 42”, d. 21‑1/2”. [250/400] 626 Red Glass Cup, dia. 4‑1/4”. [20/40] 627 Etched Cranberry Glass Lidless Decanter, h. 11”. [30/50] 628 Four Pieces of American Brilliant Cut Glass, consisting of a relish tray, l. 11‑1/2”, and three circular bowls, dia. 6” to 8”. [100/200] Illustrated

628

623 Victorian Mahogany Banquet Table, fourth quarter 19th century, in the Aesthetic taste, the rectilinear top opening in the center and extending via a crank worm drive system to accommodate three leaves, the top extending over an apron with a lower reeded molding, raised on four generous turned-and line-incised legs with ebonized accents, h. 29”, w. 54”, l. 61‑3/4”, extended l. 121‑1/2”.

[800/1200]

628A Set of Four Lalique, France Salt Dishes, the rims with embossed birds, dia. 3‑3/4”. [50/80]

624 American Aesthetic Movement Marquetry Inlaid Carpathian Walnut and Walnut Library Table, fourth quarter 19th century, the top with an inset leather top with Greek-key inlay at the perimeter, the frieze with a drawer on each side, each with raised burlwood panels over foliate-carved brackets joined to line-incised and fluted legs, the legs joined by an incised and foliate-carved stretcher centered by a finial, h. 29‑1/2”, w. 48”, d. 28”.

[300/500]

630 Seven Piece Collection of Cut-Glass Items, consisting of a swan-shaped bowl, l. 4‑1/2”, two finger bowls, l. 6‑1/2”, a condiment dish, l. 6‑1/4”, a two-handled sugar bowl, l. 5‑1/2”, and a sugar and creamer in the “Rose of Sharon” pattern, l. 5‑1/8” and 6”. [100/200]

624A American Aesthetic Movement Carved Walnut Settee, third quarter 19th century, New York or Philadelphia, the crest rail with a central panel depicting leaves and berries on a stippled ground, the tufted backrest flanked by paired columns centered by similarly carved panels, the open arms raised on pierced supports terminating in winged paw feet, the seat apron with a trio of floral-carved panels, raised on turned legs, h. 38-1/4", .

[300/500]

632 Twenty-Seven Piece Collection of Webb Corbett English Crystal in the Georgian Pattern, ca. 1941, consisting of eight sorbet stems, h. 3‑3/4”, dia. 3‑1/2”, eight footed sorbets, h. 3‑1/2”, dia. 3‑1/4”, nine juice stems, h. 4‑1/4”, dia. 2‑1/8”, one water glass, h. 2‑1/2”, dia. 4”, and one liquor stem, h. 3‑1/2”, dia. 2‑1/2”.

[100/200]

629 Five Piece Collection of Cut-Glass Items, consisting of a decanter, h. 8”, a vase, h. 9‑1/4”, two footed compotes, h. 3‑1/2” and 6‑1/2”, and a footed bowl, h. 4‑3/4”.

[150/300]

631 Two American Brilliant Cut-Glass Bowls, dia. 7‑1/4” and 8‑1/2”. [100/200]

633 Fostoria Open Compote, ca. 1900, Moundsville, West Virginia, made in the “heavy drape” pattern of colorless glass, h. 9‑1/2”, dia. 10‑1/2”. [40/70]

47

634 Large Two-Piece Footed Punch Bowl and Ten Cups, deeply pressed with a “snowflake” pattern and scalloped edge, bowl h. 12”, dia. 14”. [100/200] 635 Fostoria Footed Punch Bowl in the American Pattern, together with a group of six, four and one mismatched cups, bowl h. 7‑1/2”, dia. 12‑1/4”. [100/200]

644 American School (Second Quarter 19th Century), “Portrait of a Young Gentleman With a Blue Vest”, oil on canvas, unsigned, 35” x 27‑1/2”. Framed. [400/700] Illustrated

636 Thirty-Three Piece Collection of Pressed and Cut-Glass Tableware, consisting of twelve cut-glass “snowflake” condiment bowls, dia. 4”, a pressed glass dinner bell, h. 7‑1/2”, twelve various pressed glass individual salt bowls, dia. 4”, four small pressed glass salt and pepper shakers, h. 1‑3/4”, and two cut-glass knife rests, l. 3‑1/2” and 5‑1/8”. [150/300] 637 Fourteen Piece Pressed Glass Punch Bowl Set, consisting of a scalloped bowl, h. 6”, dia. 15”, an under tray, dia. 20”, and twelve cups, h. 2”. [100/200] 638 Four Piece Group of Glassware Table Items, consisting of a water pitcher, h. 9”, a lemonade pitcher, h. 12”, a footed celery bowl, h. 8” and a vase, h. 13‑1/4”.

[100/200] 639 Twenty-Four Piece Collection of Colorless Glass Stemware, consisting of six brandy snifters, h, 4‑1/2”, three red wine stems, h. 7‑1/2”, five white wine stems, h. 6‑1/2”, a pair of dessert wine stems, h. 4‑1/2”, four water glasses with handles, h. 5‑1/4”, a pair of champagne flutes, h. 9”, and a pair of two-part hurricane candlesticks, h. 10”. [100/200] 640 American Oak Library Armchair, mid-19th century, the back and seat with worn leather-covered cushions, with shaped stiles, open arms, serpentine seat and turned front legs, h. 37”. [250/400] 641 Three Section Mixed Woods Stacking Bookcase, having mahogany sections with an oak top and base, h. 49”, w. 34”, d. 12”. [300/500] 642 Three Section Mahogany Stacking Bookcases, early 20th century, h. 49”, w. 34”, d. 12”. [300/500] 643 Bicorn Knight’s Templar Hat, second quarter 20th century, New York, decorated with feathers and a gilt braid-lined red cross, marked with the name of the original owner, James M. Laidlaw, and the maker, Superior Uniform and Regalia Company, New York, in its brown leatherette case, h. 7‑1/2”, w. 20‑1/2”, d. 10‑1/2”. [75/125]

48

644 645 William F. Wilson (American, Third Quarter 19th Century), “Portrait of a Bearded Man Holding a Letter”, oil on canvas, signed and dated lower right “W.F. Wilson, June 1875”, 34” x 27”. Presented in a giltwood frame. [200/400] 646 Circle of Claude Raguet Hirst (American, 1855‑1942), “Ethicks”, oil on canvas, unsigned, 20” x 24”. Presented in a molded gitlwood frame. [500/800] 647 American School (19th Century), “Two Figures in a Mountainous River Landscape”, oil on canvas, signed “F.G. Taylor” and illegibly dated lower left. Presented in a Federal bird-eye maple frame. [200/400] 648 Hudson River School (Second Quarter 19th Century), “A River Landscape With Sailboats”, oil on board, unsigned, 6‑1/2” x 12‑1/2”. Presented in a giltwood and gesso frame. [300/500] 649 Louis Krupp (German/American, 1888‑1978), “Fishing Under the Golden Gate”, oil on board, signed lower left, 11” x 15‑1/2”. Framed. [200/400] 650 Emile Artiges (Belgian/American, 1864‑1938), “Stopping for Water”, oil on canvas, signed and dated lower left “E. Artiges-1895”, 22” x 30”. Presented in a period giltwood and gesso frame. [500/800] 651 Attributed to Clara Elizabeth Sackett (American, 20th Century), “Behind The House”, oil on canvas, partial signature lower right, 18‑1/4” x 25‑1/2”. Framed.

[200/400]

652 Galle Cameo Glass Bud Vase, first quarter 20th century, the vase in cream-colored glass overlaid in deep reds, cut in patterns of water flora in a pond, signed “Galle” on the neck, h. 12‑1/4”. [500/800] Illustrated

658 Daum Pate de Verre Vase, first quarter 20th century, the mottled amber, green and gray vase inscribed “Daum Nancy” on the side with the cross of Loraine, pontil marked, h. 4‑3/4”, w. 7”, d. 2‑1/2”. [100/200] 659 Continental Art Glass Vase, ca. 1900, attributed to Loetz, Czechoslovakia, the olive green vase with amber flecks and dimpled sides, ground pontil on base, h. 5‑1/2”, dia. 4”. [100/200] 660 Contemporary Threaded Art Glass Vase, the aurenecolored vase threaded with purple, attributed to Lundberg Studios, Davenport, California, h. 6‑3/4”. [100/200] 661 Multi-Colored Art Glass Ball on Stand, the blown glass ball of teardrop form, and signed “Wren Helury”, resting on a bronze tripodal stand, h. 7‑1/2”. [30/50] 662 Fifteen Books on Homes and Architecture, including works on Palladio, Pei, P. Johnson, Tallibert, along with others on American houses, landmarks and theatres.

(Complete list available on request.) [100/200]

652

653 Fine French Cameo Glass Finger Bowl, ca. 1900, the colorless glass cased in purple and depicting a landscape with a waterside view with sailboats in the background, signed “C. Vessiere, Nancy”, h. 2‑1/8”, dia. 4‑3/8”.

[400/700] 654 French Cameo-Cut and Gilded Art Glass Vase, ca. 1900, the vase in green glass cut with grapes and vines, attributed to Monte Joye by Legras, h. 12”. [300/500] 655 Art Deco Cameo Glass Vase, second quarter 20th century, the mottled pale blue body, overlaid with dark blue glass, cut in patterns of flowered balloons, attributed to Charles Schneider, Nancy, France, h. 7”. [150/300] 656 Art Glass Vase Bearing the Signature of “Loetz”, first quarter 20th century, the iridescent green vase molded in a pattern resembling rippling fabric, fitted with a pierced brass neck piece inspired by arts and crafts design, h. 5‑3/8”. [150/300] 657 Two Patte de Verre Vases, first quarter 20th century, the shorter example, mottled green and blue and signed “Daum Nancy” in script on the lower side, h. 7‑1/2”. the taller amber example mottled with gray and signed “Delatte Nancy”, h. 8‑1/2”. [150/300]

663 Seven Reference Works on Antique Furniture, including D. Ledoux-Lebard, Les Ebenistes du XIX Siecle, P. Verlet, French Cabinetmakers of the Eighteenth Century, and works on Mormon, Hispanic and other styles.

(Complete list available on request.) [100/200] 664 Withdrawn 665 Five Unusual Illustrated Gift Books, including Patrick Mauries, Cabinet of Curiosities, James Harpur, et al., Revelations: The Medieval World, and three copies of Matthew Landrus, The Treasures of Leonardo da Vinci.

[100/200] 666 Nineteen Books on Decorative Arts and Antiques, including reference works Staffordshire figures, silverware, linen, glass, Oriental carpets, along with catalogues of major museum collections. (Complete list available on request.) [100/200] 667 Nineteen Books on England and English Homes, including works on Chatsworth, Georgian country homes, Robert and James Adam, the Brighton Pavilion and more.

(Complete list available on request.) [100/200] 668 Fourteen Books on Interiors and Decorating, including works on decorative painting, feng shui, chandeliers, the White House, and French, American and other styles of design. (Complete list available on request.)

[100/200]

49

669 Twenty-Six Books on Natural History Illustration, including works by Gould, Audubon, Redoute, Besler, Lear and others. (Complete list available on request.)

[100/200] 670 Thirty-Eight Books and Journals on Asia and Asian Cultures, including works on Japanese prints, kimono, photography and tea ceremony, Chinese art, emperors, ceramics, snuff bottles and other topics, with five sale catalogues and four issues of Arts in Asia. (Complete list available on request.) [100/200] 671 Leaded Glass Lamp, ca. 1900, the leaded shade, probably made in Czechoslovakia, comprised of orange glass with scattered orange “jewels”, the patinated metal two-light base, probably American, h. 20‑1/2”. [300/500] 672 Tiffany Studios Bronze Dish, first quarter 20th century, possibly the “Chinese Pattern”, with a gold dore finish and stamped “Tiffany Studios New York 4021”, dia. 9”.

[100/200] 673 Rare Tulane Decorative Art League Brass-Inlaid Rosewood Chamberstick, first quarter 20th century, unmarked, h. 4‑3/8”. Under the direction of Ellsworth Woodward, the Art League produced some of the earliest examples of Arts and Crafts manufactured in Louisiana.

[400/700] 674 University of North Dakota School of Mines Pot by Julia Matson, ca. 1924‑1949, the pot with a high glaze in lavender and blue, with sgraffito decoration of a cowboy with a lasso, the pot marked with the University imprint and hand inscribed “J. Matson Cowboy, 54‑0”, dia. 5”.

[400/700] 675 Shearwater Pottery Cast “Woman with Basket on Head” Figurine, ca. 1940, by James McConnell (Mac) Anderson, with an unusual alkaline blue overglaze, h. 6”. Illustrated in Stewart, Shearwater Pottery, p. 222.

[250/400] 676 Shearwater Pottery Cast Brightly-Colored Dragon, fourth quarter 20th century, designed by Walter Inglis Anderson, from “Golden Apples of Hesperides” in the Fairy Tale Series, h. 8‑3/4”, l. 13”. Illustrated in Stewart, Shearwater Pottery, p. 234. [100/200] 677 Mexican Hardstone Figure of a Parrot, with glass eyes, l. 10‑3/4”. [30/50] 678 Feathered Egg on Stand, h. 8‑1/2”. [30/50] 679 Group of Six Continental Peacock Feather Fans, h. 13‑1/4” to 17”. [30/50]

50

680 Pair of Attractive Obelisks, each completely encrusted in blue limpet shells and within a tapering ebonized base, h. 27‑1/2”. [75/125] 681 Pair of Murano, Italy, Glass Tropical Birds, 1980, with gold-flecked aqua plumage, h. 11‑1/2”. Provenance: Adler’s, New Orleans, Louisiana. [200/400] 682 Fifteen Austrian Gilt Metal and Intaglio Glass Placecard Holders, first quarter 20th century, probably Julius Spitzer & Co., Vienna, each with an engraved or filigree stand, some with rhinestone decoration, supporting and intaglio glass plaque, each one of five different colors and depicting a neoclassical or galants scene, h. 1‑1/2” to 2‑1/4”. [100/200] 683 Three Piece Group of Carved Jade and Hardstone Fruit, l. 4” to 7”. [30/50] 684 Suite of Eight Silver Leafed Foliate Wall Sconces, consisting of five fitted with electric candle sockets and three without, each with colorless glass leaves and various faceted crystal pendalogues, h. 12” to 21‑1/52”.

[200/400] 685 Polychromed and Mirrored Occasional Table, the circular top with an inset mirrored surface, raised on a heavily turned graduated circular standard, h. 22”, dia. 16”. [150/300] 686 Unusual Galvanized Metal Occasional Table, the circular top raised on a shaped pedestal base, h. 23‑3/4”, dia. 14”. [100/200] 687 Two-Piece Silvered Copper Bowl with Lid, the bowl with a wide flaring rim and fitted with a ventilated inner liner, dia. 15‑3/4”. [50/80] 688 After Romain de Tirtoff Erte (Russian/ French/ American, 1892‑1990), “Belle Du Bal”, enameled bronze sculpture, in typically dramatic Erte style, depicting a woman of color, wearing a gilt-beaded silver gown with a dramatic lavender train, stamped “479/500 1988 Seven Arts Ltd. London”, h. 18”, w. 13‑1/4”, d. 5‑1/2”.

Provenance: Dyansen Gallery, San Francisco, California, accompanied by original documentation. [1400/1800] 689 Orientalist Figure in the Viennese Style, the Arabian figure with an ivory-colored head and limbs, depicted riding a camel with a traditional Middle Easter saddle, resting on a black marble plinth, h. 12”, w. 13‑1/2”, d. 6”.

[700/1000]

690 Patinated-Bronze Bust of a Maiden, 20th century, mounted to a rectangular black marble base, h. 12‑1/2”.

[150/300] 691 Eleven Books and Ephemera of Cafe Society and Celebrity, including works on the Kennedys, the Windsors, Baryshnikov, Cecil Beaton, the designs of Tiffany and Valentino, and ephemera related to luxury liners and the coronation of George V. (Complete list available on request.) [100/200]

697 Seiko Quartz Shelf Clock, mounted within a brass and plexiglass stand, h. 7”, w. 6”. [30/50] 698 Pair of Continental Brass and Wood Table Lamps, first half 20th century, interestingly composed of an engraved Chinese brass panel of flowering plants and a butterfly set into a conforming brass frame, mounted on a wooden base and wired, h. 15”. [100/200]

692 Three Books of Homoerotic Male Nude Art and Photography, including Cecil Beurdeley, L’Amour Bleu, Wilhelm von Gloeden, 30 Postcards, and Marcello Grand, ed., Dreamboys, v. III. [50/80] 693 Contemporary Glass and Burnished Steel Side Table, of Directoire inspiration, the rectangular glass top raised on a curule-form back with central ram’s head accents, and joined by a stretcher modeled as antlers, ending in hoof feet, h. 27”, w. 42”, d. 24‑1/4”. [100/200] 694 Contemporary Steel, Iron and Glass Cocktail Table, the rectangular glass top above two elaborately patterned and pierced iron panels, raised on square legs, h. 19”, w. 48”, d. 43”. [200/400] 695 Venetian-Style Beaded Basket Six-Light Chandelier, first quarter 20th century, the central basket lined with alternating colorless and green strands of beads, hung with a ball finial, a scalloped crown of beads finishes the top, the scrolled arms wrapped in strings of beads and strung beads create baskets around the faux candles, festoons of green and colorless beads drape from the arms, h. 29‑1/4”, dia. 30‑3/4”. [300/500] 696 French Enamel-Banded Gilt-Brass and Beveled Glass Mantel Clock, fourth quarter 19th century, of “carriage” form, the circular dial of enamel-enframed white enamel with black chapters, retaining the original double-mercury pendulum and the period winding key, the interior backplate touchmarked “Japy Freres”, h. 10‑1/2”, w. 6‑1/4”, d. 5”. [300/500] Illustrated

696

699 Pair of Contemporary Wall Sconces, each with a beige laminate plinth faced with a bronze elephant head and surmounted by a trapezoidal taupe silk shade with brass trim, electrified, overall h. 19”, w. 10”, d. 5‑1/4”. [200/400] Illustrated

699

51

700 Contemporary Pickled Oak Dining Table, the square slab top with a chamfered edge, supported by a rectilinear column on a stepped plinth base, h. 30‑1/2”, w. 48”, d. 48”.

[300/500]

708 Georges Briard “Persian Garden” Glass Dish, second half 20th century, of slightly concave square form, with gilt flowers on opaque white glass, with raised dish-ring at center, w. 9‑3/4”. [20/40]

701 Contemporary Cast-Stone and Glass Triple Pedestal Banquet Table, the top of two pieces of three-quarter thick glass, supported by a trio of flaring pedestals with canted corners and cyma-form plinth bases, the pedestals crafted by Stone Yard Inc., CA, h. 29‑3/4”, w. 56”, d. 128”.

[1000/1500] Illustrated

709 Unusual Pottery “Seashell” Planter, in the form of nine murex shells arranged in a tower, with cream colored glaze, h. 19‑1/4”, dia. 10‑3/4”. [50/80]

701 702 English Wicker Picnic Basket, with leather buckles, interior fitted with service for four, and with a Thomas B. Swain & Son tag, h. 17”, l. 15”. [50/80] 703 Sango “Jonty” Porcelain Sauceboat-on-Stand,” fourth quarter 20th century, Japan, pattern number 9090, l. 8‑1/2”. [20/40] 704 Set of Five Hall Shirred Egg Dishes, third quarter 20th century, East Liverpool, Ohio, pattern number 432, forest green exterior glaze, w. 6‑1/2”. [20/40] 705 Group of Six Royal Worcester Silvered Porcelain Pieces, consisting of two cups, dia. 3‑1/2”, and four au gratins, l. 7‑1/4”. [20/40] 706 Set of Six Richard-Ginori “Aragosta” Soup Bowls, 20th century, Milan, with shellfish decoration and gold rim, dia. 9‑1/4” [40/70] Illustrated

706 707 Set of Nine Mexican Blue Glazed Stoneware Plates and Two Bowls, the group comprised of ten plates depicting a bird perched on a foliate spray, dia. 8‑1/2”, together with a pair of matching lidded chamber pots, h. 4‑1/2”. [30/50]

52

710 Group of Fifteen Assorted Shells, consisting of two murex, one melon, three lampas, three spyder, two oleria and three conch shells, l. 5” to 16”. [150/300] 711 Seventeen Pieces of Assorted Coral and Sea Life, consisting of four barnacle clusters, two starfish, one mushroom coral, and ten pieces of various types of cat’s paw coral, h. 2” to 10”. [150/300] 712 Oskar L. W. Hansen (1892‑1971) Brass Leaf, number 4‑16, “Calathea”, the pattern introduced in 1948, by Virginia Metalcrafters, Waynesboro, Virginia, l. 10‑1/2”, w. 3‑1/4”. [50/80] 713 Monumental Log and Slab Low Table, late 20th century, the crotch-cut and burlwood top of irregular shape, one side carved depicting a snarling Bengal tiger atop a rocky crag, with a contiguous tripodal base, h. 34”, w. 70”, d. 59”. [700/1000] 714 Contemporary Ebonized and Upholstered Barrel Chair, the domed back and downswept arms within an ebonized frame, raised on circular legs, h. 33”. [50/80] 715 Contemporary Ebonized and Upholstered Revolving Barrel Chair, the domed and padded back and downswept arms within an ebonized frame, raised on a rotating support to four legs on casters, h. 33”. [50/80] 716 Contemporary Ebonized Metal Floor Candelabrum, 1980’s, with eight candle stands of staggered height, resting on a reticulated abstract base, h. 53‑3/4” with candles. [200/400] 717 Group of Four Tall Crystal Candlesticks, the tallest retaining its label “Dresden Crystal, Lead Crystal, Hand Cut”, h. 19‑1/2”, together with a set of three candlesticks, each marked on the underfoot “AC”, h. 13‑1/2” to 18‑1/2”.

[300/500]

718 Mid-Century Colorless Art Glass Basket, h. 9”, l. 24”.

[30/50] 719 Pair of Signed Baccarat Crystal Candlesticks, the quadripartite candlesticks with tapered bases with flaring candle cups, h. 6‑3/4”. [150/300]

724 Bentwood Beechwood Hall Tree, Attributed to Michael Thonet, ca. 1900, the column supporting an upper tier of eight S-form hooks joined to a ring and with a finial above, the four shaped bentwood legs extending to end scrolls and joined by a ring, h. 77‑3/4”, dia. 26‑3/4”.

[400/700] 725 Jeffrey Cook (American/Louisiana, 1961‑2009), “Untitled”, oil and mixed media on paper, signed lower left, 22” x 30”. Unframed. [150/300] 726 Charles Malcolm Campbell (American, 1905‑1985) “Untitled Nude”, oil on canvas, signed lower right “Charles Campbell”, 28” x 37”. Presented in a carved hardwood frame. [500/800]

723 720 Seventy Pieces of Assorted Cobalt Glass Dinnerware, comprised of eight dinner plates, dia. 11‑3/4”, seven deep bowls, dia. 5‑1/4”, sixteen ruffled plates, dia. 6‑1/2”, eight mugs, h. 5‑1/2”, eight large sorbet stems, h. 5”, six wine stems, h. 8‑1/2”, six water goblets with clear stems, h. 7‑3/4”, a water pitcher, h. 9‑1/2”, a shallow preserves bowl, dia. 4‑1/4”, five water glasses, h. 5”, and four juice glasses, h. 3‑3/4”. [150/300] Illustrated

727 Charles Malcolm Campbell (American, 1905‑1985) “Dreamer Adrift”, oil on canvas, initialed and dated lower left ‘CC ‘45”, titled on the reverse artist inventory label, 28” x 36”. Presented in a carved hardwood frame. [500/800] 728 James Louis Steg (American/Louisiana, 1922‑2011), “Picnic Scene”, color etching, pencil signed lower right, titled and numbered in pencil lower left “21/25”, sight 24” x 35”. Glazed, matted and framed.

[200/400] 729 Gregory Grenon (American, 20th/21st Century), “Personal Details”, oil on plexiglass within an artist designed polychrome three-dimensional wood frame, titled and dated “1988” bottom, signed and dated on the glazed surface “G.M. Grenon 88”, h. 6‑1/4”, w. 7”, d. 3‑3/8”. [200/400]

720 721 Tall Cobalt Blue Satin Glass Trumpet Vase, h. 20‑1/4”, dia. 7‑3/4”. [100/200]

730 American School (Contemporary), “Untitled Abstract in Black, White and Yellow”, mixed media on canvas, unsigned, 36” x 30”. Unframed. [400/700] Illustrated

722 Pair of Mid-Century Modern Teak Armchairs, with reed-covered seat backs extending to the arms and woven fiber seats, h. 30‑3/4”. [30/50] 723 Eight Piece Set of Vintage “Hollywood Regency” Sea Horse and Shell Outdoor Furniture, mid-20th century, of salt-resistant cast-aluminum and magnesium, the set comprised of a settee, four arm chairs, a glass-topped rectangular coffee table, a glass-topped circular cocktail table and a small glass-topped side table, manufactured by the Molla Company, New York. Provenance: The Estate of Zoe B. Talbert, Tyler, Texas. [700/1000] Illustrated

730

53

731 James Coignard (French, 1925‑2008), “Untitled ABCD Composition”, color carborundrum etching with collage, pencil signed and numbered “91/95” lower right, sheet size 24‑1/2” x 19”. Glazed, matted and framed. [400/700] Illustrated

737 Robert Gordy (American, Louisiana, 1933‑1986)”By The Sea”, serigraph, pencil signed and numbered 18/75, sight 28” x 55”. [400/700] Illustrated

737 738 Sergey Meytev (Russian, 20th Century), collection of five watercolor and gouache paintings of classical and industrial ruins, one dated 1986, four dated 1989, each signed and dated lower right, 3‑1/2” x 3‑1/4” to 4‑3/4” x 4‑3/4. All matted. [200/400] 739 Bychkov Gennadi Nikolaevitch (Russian/Moscow, b. 1960) “Vanity”, oil on canvas, signed and titled verso, 31‑1/2” x 24”. Unframed. [100/200]

731 732 Elijah Pierce (American, 1892‑1984), “Billie Holiday”, mixed media, signed and dedicated on the reverse “Elijah Pierce for Miriam Brofsky”, 15” x 11”. [500/800] 733 Christopher Guarisco (American/Mississippi, b. 1958), “Crucifixion”, mixed media on quilted canvas, 52‑1/2” x 59”. [700/1000] 734 Daniel Butler (American, 1898‑1997), “Marsupial With Baby”, oil on tin, initialed “D.B”, 11” x 19”, together with R.A. Miller (American/Georgia, 1912‑2006), “Flag”, oil on tin, signed lower left “R.A. Miller”, 13” x 17”.

Provenance: Gasperi Gallery, New Orleans, LA. [400/700] 735 N. benoit (French, 20th c.), “Harbor in Sunlight”, oil on canvas, signed lower right. In a satin-washed metal frame.

[100/200] 736 Marco Eder (German, Contemporary), “Untitled”, mixed media on canvas, 26‑1/2” x 34‑1/2”. Unframed.

[800/1200]

740 After Pablo Picasso (Spanish/French, 1881‑1973), “Cote d’Azur”, color offset lithograph, printed by Mourlot, Paris, sight 41” x 28‑1/2”. Glazed and framed. [150/300] 741 Philip Bascle (American/New Orleans/ Contemporary) “The Doctor Says Caffeine Bothers Him”, graphite on paper, titled lower left, signed lower right, sight 14” x 16‑1/2”. Glazed, matted and handsomely framed.

For over thirty years, Philip Bascle has designed posters for all the major Louisiana festivals and his cousin Andrew Bascle, also an artist, was an assistant to New Orleans painter Ida Kohlmeyer. [200/400] 742 Albert Hirschfeld (American, 1903‑2003), “The Game’s Afoot”, Basil Rathbone as Sherlock Holmes and Nigel Bruce as Dr. Watson, lithograph, pencil signed lower right, numbered lower left “20/320”, sight 22” x 18”.

Glazed, matted and framed. [700/1000] 743 Emery Ann Clark (American/Louisiana, b. 1950) “Bayou St. John”, 1997, mixed media on paper, signed and dated in pencil lower right “Emery Clark 1997”, sight 20‑1/2” x 31”. Glazed, handsomely matted and framed.

Provenance: Acquired directly from the artist by a private collector, New Orleans, Louisiana. [2000/4000] 744 A Pair of Botanical Giclees, after george Cooke (English, 1781‑1834), including “Magnolia Grandiflora’ and “Magnolia Glauca”, each image 19‑1/2” x 14‑3/4”.

Attractively glazed, matted, and framed. [400/700]

54

745 Regency Old Sheffield Plate Wine Cooler, first quarter 19th century, of traditional campana form with gadrooned rim and addorsed acanthus handles, with fitted collar and liner, engraved on the body with the badge of the clan McNeill of Colonsay, h. 10”, w. 9‑1/2”. [400/700] Illustrated

748 Victorian Scottish Silverplate Cake Basket, fourth quarter 19th century, James Fullerton, Glasgow, of circular form, with bands of bead-and-bobbin, leaf-anddart, ovolo and floral swag decor, with domed foot fin and beaded swing handle, h. 4” (10” with handle). dia. 10‑34”.

[75/125] Illustrated 749 Victorian Silverplate and Ivory Cased Fish Set, 1896, by Walker & Hall, Sheffield, including twelve fish forks, l. 7‑5/8”, and twelve fish knives, l. 8‑1/23”, the forks with four silverplate tines, the knives with scimitar-shaped silverplate blades flat-stamped with fish, foliage and “aesthetic” scrolls, all with plain spatulate ivory handles, presented in a lavish royal purple velvetand ruched satin-lined fitted mahogany case, 2‑1/2” x 14” x 10”. [200/400] Illustrated

745

749

748

746 Withdrawn 747 Victorian Silverplate Revolving Vegetable Dish and Two Later Asparagus Tongs, the dish dated by design registry November 4, 1870, of oval form, with a naturalistic currule “branch” frame, the domed lid engraved with ferns and revolving by means of an ivory button to reveal a pair of dishes, one pierced, over a hot water reservoir, h.8”, w. 13”, d. 9‑1/4”, accompanied by two individual asparagus tongs of later date, l. 5” [200/400]

750 Twenty-One Pieces of Victorian and Edwardian Silverplate Flatware, late 19th/early 20th century, including a sixteen-piece Mappin & Webb dessert set, including eight knives, l. 7‑3/4”, and eight forks, l. 6‑3/4”, in an “Onslow”-inspired pattern, a pair of William Hutton & Sons “Old English” teaspoons, l. 5”, a pair of Mappin Brothers “Old English” salt spoons, l. 4”, and a George Waterhouse & Co. “Fiddle” salt spoon, l. 4”. [100/200] 751 Victorian Silverplate Cruet Frame, third quarter 19th century, of scalloped oval form, with rocaille border and central ring handle, with eight bottle receptacles, h. 10”, l. 10‑3/4”. [100/200] 752 English Silverplate Caster, mid-20th century, by the Ellis-Barker Silver Co., Birmingham, of traditional baluster form with raised rococo decoration, h. 6‑1/4”. [50/80] 753 Portuguese Pewter Water Jug, 20th century, in the Joseph I taste, with spherical body and flared collar, h. 9‑3/4”, dia. 5‑1/4”. [50/80]

55

754 Pair of Austrian Brass Candlesticks, fourth quarter 19th century, in the Renaissance Revival taste, retaining traces of the original silvering, h. 12” [100/200] 755 Two-Piece German Jugendstil .800 Silver and Gilt Stainless Steel Fish-Serving Set, first quarter 20th century, by Franz Mosgau, Berlin, including a fish-serving knife, l. 11”, and fork, l. 10‑3/8”, each with a shaped and filled .800 silver handle decorated with sinuous water lilies, the scimitar-shaped blade and four-pronged tines of gilt stainless steel and etched en suite. [75/125] Illustrated

759 Three Pieces of Continental Small Silverware, including an 1888 Dutch .833 silver double-compartment snuffbox decorated with pastoral scenes, 2‑1/4” x 1‑5/8”, a 1953 Dutch .830 silver pastry spade in the modernist taste, l. 9‑1/8”, and an unmarked ashtray inset with an 1867 French five-franc piece, dia. 4‑1/8”, 7.39 total t. oz.

[125/250] 760 Cambodian Silverplate Betel Box, 20th century, in the form of a recumbent deer, with traditional repousse decoration, h. 6‑3/4”, l. 7‑3/4”, w. 4‑1/2”. [75/125] 761 Large Tortoise Carpace, with natural lines segmenting the shell, h. 34”, w. 27”, d. 8”. [200/400] Illustrated

755 756 Six Pieces of Silver Jewelry and Dresser Articles, 20th century, including a Gustav Keller, Paris .950 silver hand mirror, monogrammed, dia. 5‑1/2”, an unmarked propelling pencil, l. 2‑3/4”, a sterling flat curb-link necklace, l. 18”, a pair of sterling circular chain-and-bar cufflinks, dia. 5/8”, and a sterling “hammered” finish cuff bracelet dia. 3”, with matching lozenge-and-sphere drop earrings, l. 2‑1/2”, 4.43 total t. oz. (excluding mirror and pencil). [100/200] 757 Fourteen Pieces of Victorian and Later Silverplate Flatware, third quarter 19th century and later, including, six Elkington demitasse spoons, 1863, with gilt bowls and “branch” handles, l. 4‑1/4”, a pair of Elkington meat skewers, 1870 and 1877, with figural putti finials, l. 6‑1/2”, three traditional meat skewers by J. Dixon & Sons, l. 10‑1/4”, Roberts & Belk, l. 7‑7/8” and Wm. Hutton & Sons, l. 8”, a John Neal fish slice monogrammed “B”, l. 11‑3/4”, a J. Dixon & Sons pastry spade monogrammed “S”, l. 12”, and a Bingley, Worrall & Co. spring-action sandwich server, l. 10”. [40/70] 758 Twelve Pieces of Assorted Sterling and Silverplate Flatware, including four sterling silver pieces a Gorham “Strasbourg” baby spoon, l. 4‑1/2”, a Gorham “Villa Norfolk” olive spoon, l. 8‑5/8”, a Gorham “Fleury” pickle fork, l. 7‑7/8” and a Towle “Louis XV” lemon fork, l. 5‑1/2”; sterling handles pieces with stainless steel blades a Gorham “Strasbourg” luncheon fork, l. 7‑5/8”, an unmarked Art Deco letter opener, l. 8‑1/4”, a Royal Family cheese server, l. 6”, and silverplate pieces an English mother-of-pearl-handled pickle fork, l. 6”, a pair of 1881 Rogers “La Vigne” grapefruit spoons, l. 5‑7/8”, a Holmes & Edwards “Century” luncheon fork, l. 6‑1/8”, and an Ercuis toddy ladle, l. 12‑1/2”, 2.83 total t. oz. (sterling pieces only). [75/125]

56

761

762 Fossil of a Pair of Trilobites, Chinese inscription on the front with a Chinese carved wooden base, h. 9‑1/2”, w. 10‑1/2”. [250/400] 763 Carved and Stained African Passport in the form of a Diminutive Mask, 18th century, the back side bearing a museum inventory number EHX 1033, h. 4‑1/2”, w. 2‑3/4”.

[50/80]

764 African Carved and Polychromed Ceremonial Mask, depicting a rooster with a snake mounted on the top of the helmet, h. 19”. [150/300] Illustrated

769 African Mixed-Media Carved and Polychrome Ceremonial Mask, Silampasu, Zaire, the head covered with woven hemp and rattan spheres, mounted to a contemporary ebonized base, h. 21‑1/2”. Provenance: Charles Davis, New Orleans, Louisiana. [100/200] Illustrated

764

765 Large Carved African Figure, 20th century, bas reliefcarved with snakes and a pair of eyes, depicted with a protruding belly button and elongated neck with concentric rings, a clay attached to its neck, h. 31‑3/4”. [200/400] 766 African Carved and Polychromed Wooden mask, Salampusa, vermilion with a white headband and woven coils of hair, mounted to a contemporary ebonized base, h. 21‑1/2”, including stand. [100/200] 767 African Carved and Polychromed Rooster Head Songye Male Kifwebe Mask, 20th century, h. 20”.

[100/200] 768 Carved and Stained African Passport in the form of an Diminutive Mask, 18th century, the backside bearing a museum inventory number EHX 1031, h. 4”, w. 2‑3/4”.

[50/80]

769

770 Early Don-Gere, Sudan Carved African Passport in the form of a Diminutive Mask, 18th century, h. 6”.

[50/80] 771 Unique Carved African Stool, 19th century, in the form of a lion, h. 8”. [150/300] 772 Two Carved African Figures, 20th century, the first carved with crosshatching and wears a conical hat with vertical ear pieces, h. 24”, the other wearing a cylindrical garment with a checked pattern and with a forward peaked hair style, h. 25”. [100/200] 773 Interesting Pre-Columbian Pottery Jug, having four tubular handles joining to form the mouth, carved details throughout, h. 8‑1/2”. [100/200] 774 Two Pre-Columbian Pottery Jugs, each with carved decoration and hatch marks in the form of stripes, h. 8” and 10”. [150/300] 775 Stoneware Storage Crock of Ovoid Form, having a single handle and decorative stripe around the shoulder, h. 13”. [75/125]

57

776 Pre-Columbian-Style Pottery Vessel, having a figural handle, h. 7‑1/2”. [100/200] 777 Pre-Columbian Figural Pottery Vase, in the form of a kneeling female figure, h. 7‑3/4”. [100/200] 778 Small Pre-Columbian Redware Pottery Bowl, dia. 3‑1/2”. [50/80] 779 Pre-Columbian Redware Pottery Bowl of Chalice Form, the exterior with black and red decoration, dia. 6‑1/4”. [75/125] Illustrated 780 Unusual Carved African Vessel, in the form of a water buffalo, h. 10”, l. 27”. [100/200] 781 Unusual Pre-Columbian Inverted “Head” Jug, h. 8‑1/2”. [50/80] Illustrated

781

58

779

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Customers, Please Note: Deadline for Absentee/Telephone Bidding Guidelines for Telephone Bidding 5:00 p.m. Central - Friday, January 18, 2013

estimate on each item.

Deadline for Condition Report Requests 5:00 p.m. Central - Friday, January 18, 2013

We Accept VISA and MasterCard for Invoices Up to $25,000 There will be a buyer’s premium of 23% (3% discount if paying by cash, check or wire) of the final bid price up to and including $200,000 and 10% of the amount by which the lot exceeds $200,000 added to the hammer price on all lots sold.

Items in the catalogue are sold as is, where is. On the fall of the auctioneer’s hammer, the highest bidder shall be deemed to have purchased the lot in accordance with the Conditions of Sale. All sales are final.

Where possible, significant damage is mentioned but does not include all faults and imperfections. Unless stated in the catalogue description, lampshades and keys are not included.

NEW ORLEANS AUCTION GALLERIES

New Orleans Auction Galleries is not responsible for damage to property during pick ups and loading.

We will assist clients with moving and loading items at the client’s own risk.

We are not responsible for any damage to items during moving, packing, or loading within or outside our premises.

I have read and understand the above statement: Signature:_____________________________ Date: ________

CATALOGUE ORDER FORM

NEW ORLEANS AUCTION GALLERIES

Please Print, Complete and mail or Fax New Orleans Auction Galleries 801 Magazine Street, New Orleans, LA 70130 Phone: (504) 566-1849 • Fax (504) 566-1851 Email: info@neworleansauction.com www.neworleansauction.com

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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 WARRANTY 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 23% of the Hammer Price (discounted to 20% if the method of payment is by check, cash, or wire transfer) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b).

Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 801 Magazine Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c).

Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the

full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d).

Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e).

Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation. (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.