New Orleans Auction Galleries: July 25-26, 2015

New Orleans Auction galleries

july 25-26, 2015

Lot 796 Cover: Lot 286

Exhibition:

July 13 - 24, 2015

9:00 a.m. - 5:00 p.m.

(Excluding Sunday)

Evening Preview Reception:

Thursday, July 23, 2015

5:00 - 8:00 p.m.

Session I:

Saturday, July 25, 2015

10:00 a.m. CDT, Lots 1 - 594

Session II:

Sunday, July 26, 2015

10:00 a.m. CDT, Lots 595 - 1017

New Orleans Auction Galleries 504-566-1849 | 333 St. Joseph Street, New Orleans, Louisiana 70130 | NewOrleansAuction.com | Info@NewOrleansAuction.com LA Auction License AB-363, Steinkamp #1265, Thomas #1833, EICHENWALD #1922/23% Buyer’s Premium (3% Discount for Prompt Payments Made by Cash, Check, or Wire)

M ay 3 0 - 3 1 , 2 0 1 5 E s tat e s A u c t i on

Evening Preview Reception

(L-R) Jim Blanchard, Cecily Boudreaux, Kevin Kelly and Beth James; Dr. William and Mary Lynn Lunn, Dr. Catherine Cashman and Coach Chuck Stall, Grace Kim and Burke; Don Fuson, Mathile and Steven Abramson; Jelena James and Mario Villa; Alex Caffey, Liz Steinbeiser and Mathilde Semmes; Louis and Sandra Wilson, Diane and Chuck Zatarain; Richard and George Jeansonne, Mary Ann and C.J. Aucoin; Robert Keller, Moira Carroll and Corey Charles

Letter from the CEO

Renowned author and interior designer Alessandra Branca was recently recognized by domino magazine’s editorial director, Robert Leleux, for her fresh and fervent philosophy on decorating: “She said that you can approach interior design either as an expression of self, with furnishings and objects that directly reflect your own experience, or as the pursuit of a showplace, stocked with attractive yet impersonal items.”

President Ashton Thomas, CEO Susan D. Sarofim and Director of Auctions Tessa Steinkamp

That’s a fairly universal thought, but Leleux added, “…Alessandra also said that, in her experience, there’s karma associated with decorating and that the people who pursue the first option are ultimately happier. So, in some sense, the way you relate to your sofa is, like it or not, the way you relate to the people in your life, because you are either being authentic, or you’re not.”

It is in those final words, in their succinct clarity, that reveal a profound truth.

Auction items are what they are; there’s no pretense. Some come through the door with age showing; paint scraped away here, a few chips showing there, fabric that’s been worn, torn and frayed; but yet they are beautiful, having lived useful lives. At the opposite end, we have showpieces that come sailing in, still grand, marvelous and commanding respect. And then there are all of those items that fall somewhere in between.

In the past three years, as I’ve gotten to know many of our browsers, bidders and buyers, I’ve come to appreciate the auction process from a different perspective. I realize shopping for auction items can bring an immediate attraction. The piece whispers, “Take me home. I’m yours.” I’ve actually stopped, turned around, sometimes in surprise, to consider the possibilities. And when I know in my heart I have no use for the object, nowhere for it to live, my next reaction is to hope it goes to an appreciative bidder.

Auction aficionados are in love with the hunt, of course, but it isn’t simply about the passion of pursuit. They seek to bring a piece of the past into the present, and, as Branca said and Leleux agreed, it becomes an interpretation of who they are and what they wish for their life’s experience to be. Like the objects they collect, they are originals, often shunning the conventions of established decorating concepts. They don’t care because they’re creating a place and a life that reflects who they are, not who they want people to think they are.

With the opening of each auction, as the guests move about the showroom, I can now quickly find those among us who are the true auction lovers. I see the joy in their eyes and hear the edge of excitement in their voices as they search for what will become that tangible “expression of self” - and the karma of decorating authentically.

At New Orleans Auction Galleries, we too are always on the hunt, searching for the art, furniture, jewelry, and eclectic pieces that will make you want to bid. To that end, we are so pleased and excited to introduce you to our newest team member, Nicole Casi.

Nicole joins New Orleans Auction Galleries after more than a decade of scholarship, academia and instruction in art history and visual studies, as well as some excellent auction house experience.

Auction aficionados, come by the gallery and view and fall in love with one of our 1,017 lots during our two-week exhibition, or attend our evening reception on Thursday, July 23 from 5-8 p.m. The auction begins at 10 a.m. on Saturday and Sunday, July 25-26.

Happy hunting!

Susan D. Sarofim, CEO

The E s tat e of V iole ta Jude ll Va n R onz e le n N e w Or l e a n s , Lo u i si a n a a nd L i m a , P e r u

An elegant woman with exquisite taste and a knack for collecting only the finest things, Violeta Judell Van Ronzelen was born in 1921 in Lima, Peru. Her mother’s family emigrated from Spain in the early 1700s, remaining there for generations. Violeta attended school at Sacred Heart in Vienna each fall, returning to her family’s home in the Barranco district of Lima, a fashionable beach resort, for the summer months. She continued her education in Europe until the German invasion of Vienna when her family was compelled to return to Peru by way of Holland, forcing her to complete her education in Lima.

At age 25, Violeta worked as a flight attendant for Pan American Grace Airways, flying throughout the United States and South America and fulfilling her lifelong passion for travel. Her educational background and remarkable fluency in English, Spanish, French, Portuguese, Italian and German afforded her an opportunity to become an interpreter at the United Nations. A 1946 newspaper article remarked, “Speaking in six languages doesn’t faze Violeta Van Ronzelen, the blonde, green-eyed Peruvian interpreter of the U.N. assembly, but the rush and hubbub of New York City does. The 25-year-old stewardess […] was given a special leave of absence to interpret for the South American delegates.”

Violeta met her husband of many years, Harold Judell, when he was stationed in Lima working as a counterespionage agent. Judell began his career as an FBI investigator in New Orleans, Newark and Baltimore before being transferred to Washington to serve as an administrative assistant to FBI Director J. Edgar Hoover. After a year at the bureau’s headquarters, Judell was selected for the Special Intelligence Service. After serving in the Navy, Judell married Van Ronzelen and the two moved to New Orleans, where they lived for the duration of their marriage.

From a young age, architecture had always been a passion for Violeta. While in New Orleans, she purchased and rebuilt 2434 St. Charles Avenue. Working with New Orleans architect Barry Fox, Violeta designed and constructed a condominium building. Her impeccable taste helped her to succeed at this business venture as she oversaw the entire project from beginning to end, from the initial design to the staging and presenting of the property to potential buyers once construction was complete.

Judell and Van Ronzelen eventually divorced and Violeta moved back to Lima, residing in the San Isidro neighborhood.

New Orleans Auction Galleries is pleased to offer a selection of English and Continental fine art, furniture and silver, including colonial and contemporary Peruvian examples, from the Estate of Violeta Judell Van Ronzelen. The collection reflects the elegant formality that she exuded throughout her life.

Lot 261

S ession I S atu r day, July 25, 2015 Lots 1 - 594

10:00 - 11:00

1

1 2 : 0 0 - 1: 00

200 - 299

11:00 - 12:00

1 : 0 0 - 2: 00 2 : 0 0 - 3: 00 3 : 0 0 - 4: 00

-

99

100 - 199 300 - 399 400 - 499 500 - 594

1 William and Mary-Style Walnut Blanket Chest-onStand, 19th century, the rectangular hinged top with a finely inlaid oyster veneering in circular patterns, lifting to an open space, over two long drawers, the sides with brass carrying handles, the whole with oyster veneers, raised on barley-twist legs joined by a shaped stretcher and ending in ball feet, h. 34”, w. 39‑1/2”, d. 25‑1/2”. [3000/5000] Illustrated

3 William and Mary Mahogany and Fruitwood Highboy, 18th century, of diminutive proportions, the molded cornice above a case fitted with three graduated long drawers, the associated lower section fitted with a single drawer, raised on barley-twist legs joined by an X-form stretcher and ending in bun feet, h. 54‑1/2”, w. 30‑1/2”, d. 21”. [1000/1500] Illustrated

2 Assembled Set of Thirty-Eight Galle Blue and White Faience Armorial Plates, fourth quarter 19th century, Nancy, molded in the Louis XV taste, comprising twenty-six dinner plates, dia. 9‑1/2”, and twelve salad/dessert plates, dia. 8‑1/2”, variously marked “S. Clement”, “Galle Nancy” and “E. Galle Nancy Depose”. [700/1000] Illustrated The comital arms here are those of Bigot de la Touanne et de Morogues, a French family ennobled in the 14th century. The Comte de la Touanne at the time these plates were manufactured, and thus presumably the owner, was Charles Felix-Marie-Olivier Bigot (b. 1861), who later joined the priesthood. Slight variations in the dimensions, color and marks on the plates suggest that the set was assembled over time.

4

4 Meissen “Blue Onion” Porcelain Soup Tureen, ca. 1860‑1922, German, the oval tureen with scrolled handles, the knop decorated in blue and white, and the bottom marked with pommel-ended crossed swords, h. 9‑3/4”, w. 12‑3/4”, d. 8‑3/4”. [500/800] Illustrated

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1

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6 Framed Needlepoint Armorial Panel, ca. 1900, probably English, worked in wool thread tent stitches, the unidentified arms emblazoned “vert (azure?) three horses courant argent, two and one” with a crest “an arm in armour embowed, holding a sword impaled with a severed head” and motto (below, on a red banner) “Gaudet Tentamine Virtus”, all on a cream-colored ground surrounded by ropetwist gimp with colors of the field and ground, the panel 24‑3/4” x 17”, on a cream silk backing, presented in a glazed shadowbox, the frame painted in mottled cream, red and gold, overall, 27‑1/2” x 23‑3/4”. [500/800] 7 Queen Anne Walnut Cabinet-on-Stand, late 18th century and later, the molded and domed cornice above two glazed cupboard doors over two small drawers, the lower section with turreted corners and fitted with a single long drawer, raised on cabriole legs ending in pad feet, h. 62”, w. 30”, d. 18”. [800/1200] Illustrated 8 5 Queen Anne-Style Walnut Secretary Bookcase, mid19th century, the molded cornice above a case fitted with two doors, each inset with a domed and beveled mirror plate, opening to an interior fitted with shelves, a cupboard and four small drawers, the lower section fitted with a slant front opening to an inset leather writing surface, a storage well and a variety of drawers and cubbyholes, over a small drawer and two graduated long drawers, all banded, raised on large bun feet, h. 83‑1/2”, w. 42‑1/2”, d. 24‑1/2”.

[2000/4000] Illustrated

5

8 Queen Anne Walnut Lowboy, mid-18th century, the rectangular top banded and quarter-veneered, above a conforming frieze fitted with a single banded drawer, raised on tapering circular legs headed by a flared knee and ending in pad feet, h. 28”, w. 27‑1/2”, d. 18‑1/2”. [1000/1500] Illustrated 9 Queen Anne-Style Mahogany Silver Table, 19th century, the rounded rectangular top with a dished edge, above a frieze fitted to each end with a candle slide over a drawer, raised on cabriole legs ending in pointed toes on pegs, h. 29”, w. 30‑1/2”, d. 19‑1/4”. [1500/2500]

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10 Pair of Chinese Porcelain Lidded Temple Jars, late 19th/ early 20th century, the large blue and white baluster-form vessels decorated with village scenes, the undersides with two concentric circles in underglaze blue, h. 24”, dia. 12”.

[700/1000] Illustrated 11 Chinese Porcelain Jardiniere, Qing Dynasty (1644‑1911), the blue and white vessel with bird and flower decoration, unmarked, h. 14”, dia. 16‑1/4”. [600/900] 12 Queen Anne-Style Walnut Highboy, 19th century, the molded and domed broken pediment above a case fitted with three small drawers, the center one with shell carving, over two short drawers over three graduated long drawers, the lower section fitted with a brushing slide over two short drawers and three small drawers, the center one with shell carving, all banded, raised on cabriole legs ending in pad feet, h. 94‑1/2”, w. 45‑1/2”, d. 21”. [3000/5000] Illustrated

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13 Pair of Chinese Export Blue and White Porcelain Plates, probably 19th century, the borders covered with a stylized geometric pattern with cartouches, each containing a grouping of peaches, the central reserves with an elegant noblewoman and scholar seated together in a pavilion, the sides of each plate painted in a wash style with depictions of mountains, pagodas and boats, with apocryphal Ming Chenghua (1447‑1487) marks on the underside, dia. 11‑3/8”. [1200/1800] Illustrated

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14 Near Pair of Chinese Blue and White Porcelain Lidded Temple Jars, 19th/20th century, one decorated with sages and children in a garden, the other with a qilin surrounded by lush flora, each with four foo dog lugs and the lids with a foo dog finial, h. 26‑1/2”, dia. 14”.

[1000/1500]

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16 Pair of Chinese Porcelain Palace Vases on Stands, 20th century, each monumental amphora-form vase with a landscape scene of a palace situated among mountains rendered in blue and white with 18 red accents on flowering prunus trees, unmarked, on carved wooden stands, h. 53‑1/2”, dia. 15”, without stand.

[700/1000] Illustrated 17 George III Mahogany Kneehole Desk, late 18th century, the rectangular top banded and with notched rounded corners, above a case fitted with a single frieze drawer over a recessed kneehole cupboard, flanked to either side by a bank of three small drawers, all with decorative inlaid string banding, raised on bracket feet, h. 30‑1/2”, w. 31”, d. 19‑1/2”.

[600/900] Illustrated 16

15 George III Walnut and Burl Bureau, fourth quarter 18th century, the banded rectangular top above a like slant front opening to an inset leather writing surface, a lidded storage well and a variety of drawers and cubbyholes flanking a central arched panel cupboard opening to three drawers, over two short drawers and two graduated long drawers, all banded, raised on bracket feet, h. 40”, w. 36‑1/2”, d. 20‑1/2”. Provenance: Royal Antiques, New Orleans, Louisiana. [1000/1500] Illustrated

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18 Chinese Blue and White Porcelain Lidded Jar, Qing Dynasty (1644‑1911), the thickly potted vessel decorated with dragons and clouds, h. 11‑1/2”, dia. 11”. [700/1000] Illustrated 19 George III Mahogany Tripod Table, 18th century, the circular tilting top with a dished edge and raised on a balusterform standard to three splayed legs headed by foliate carving and ending in pad feet, h. 29”, dia. 35”. [1500/2500] Illustrated

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20 George II-Style Walnut-Stained Wing Chair, early 20th century, the padded rectangular back joined by shaped sides and outscrolled arms to the cushioned seat, raised on cabriole legs headed by shell carving and ending in ball-and-claw feet, h. 46”. [700/1000] 21 Queen Anne Mahogany Tilt-Top Table, fourth quarter 18th century, the tilting circular top raised on a birdcage support, above a graduated columnar standard to three splayed legs ending in pad feet, h. 30‑1/2”, dia. 30”. [500/800] Illustrated

23 English Tortoiseshell Spectacles Case, ca. 1898, the oblong case with gold-filled strapwork fittings engraved “RCW” and “Nov 10 1898”, l. 5‑1/4”, w. 2‑3/4”. [500/800]

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22 Rare French Tortoiseshell Loving Cup, fourth quarter 19th century, of Renaissance inspiration, the round molded base supporting the concave standard with gold-capped bosses, the body set with a pair of scrolled handles and decorated with strapwork punctuated with graduated gold-capped bosses, h. 14”, w. 12‑1/4”, d. 7”.

[1400/1800] Illustrated

24 Seven-Piece Collection of English Tortoiseshell Cases, including a silver-mounted oval lorgnette case, l. 5‑3/4”, and a change purse inlaid with a shield-form initialed escutcheon, framed with an inlaid garland of flowers, l. 3‑1/4”, each second half 19th century, a small domed cover box, l. 2‑1/2”, two card cases, h. 3‑3/4” and 4”, a table box with a hinged cover, w. 5‑1/2”, all Edwardian, first quarter 20th century, and a cigarette case, h. 4‑1/2”, second quarter 20th century. [500/800] Illustrated

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25 George III-Style Mahogany Side Table, early 20th century, the rectangular top with a molded blind fret-carved edge, over a conforming like-carved frieze, raised on cabriole legs headed by scrolling foliate carving and ending in ball-and-claw feet, h. 30”, w. 42”, d. 22‑1/2”.

[1000/1500] Illustrated

25

26 George III Mahogany Armchair, early 19th century, the shaped and earred crest with foliate carving and above a pierced and like-carved splat, joined by shaped arms to the padded seat, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 37‑1/2”. [700/1000] 27 George III Mahogany Kettle Stand, early 18th century, the piecrust top raised on a turned, bulbous and spiralreeded standard, to three splayed cabriole legs headed by acanthine carving and ending in paw feet, h. 21‑1/4”, top dia. 9‑1/2”, base dia. 18‑1/2”. [1000/1500]

28

30 28 After John Frederick Herring, Jr. (British, 1820‑1907), “Horse in the Stableyard”, oil on canvas, signed lower left, 24” x 35‑3/4”. Framed. [1500/2500] Illustrated 29 George III Mahogany Candle Stand, late 18th century and later, the piecrust top raised on a foliate-carved baluster standard to three pierced and splayed legs ending in scrolled toes, the underside bearing the label “Frank Partridge Works of Art, 26 King St., St. James & New York”, h. 25”, dia. 19”. [1000/1500] 30 Edwin Frederick Holt (British, 1830‑1912), “Charlie in His Stall, with Terrier”, 1885, oil on canvas, signed and dated lower left, 22” x 26”. In an antique frame.

[1000/1500] Illustrated

31

31 George III Mahogany Tall Case Clock, ca. 1800, with a swan’s-neck pediment with brass rosettes and an eagle finial, the painted face featuring a cottage and river, time and strike movement with calendar hand, h. 87”, w. 21”, d. 11”. [1200/1800] Illustrated

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32 Pair of Chinese Antique Carved Fluorite Lidded Vases Mounted as Lamps, 20th century, on pierced wooden stands with brass fittings and bronze bases inlaid with hardstone cabochons, with silk shades, base, h. 15”, w. 6‑1/2”, overall, h. 29‑3/4”. [500/800] Illustrated 33 Pair of Chinese Hongmu Armchairs, 20th century, the two carved chairs with scrolling ruyi clouds on the arms and backs, h. 38‑1/4”. [800/1200]

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34 Chinese Cabinet on Stand, 20th century, incorporating an antique wooden panel inlaid with hardstone, depicting peonies and rocks, h. 61”, w. 32‑1/2”, d. 15”. [700/1000] Illustrated

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35 Chinese Cabinet with Huanghuali Veneer, late Qing Dynasty (1644‑1911), the lacquered cabinet with hardstone inlay, with reserves on the front depicting scenes from the emperor’s court, with motherof-pearl embellishments, the lacquered sides with bird and flower paintings, the interiors lined with imperial gold velvet, h. 68‑1/2”, w. 20”, d. 18”.

[1800/2500] Illustrated 36 Chinese Cabinet with Huanghuali Veneer, late Qing Dynasty (1644‑1911), the lacquered cabinet with hardstone and mother-of-pearl-inlaid panels on the front depicting scenes from history, the lacquered sides depicting birds and flowers and the interiors lined with imperial gold velvet, h. 68‑1/2”, w. 20”, d. 18”. [1800/2500] Illustrated 37 Pair of Chinese Export Rosewood Sidechairs, ca. 1890, with Queen Anne cabriole legs and a scrolling back and seat inlaid with mother-of-pearl flower decoration, h. 40‑1/8”.

[500/800] 38 Chinese Hongmu Stand, Qing Dynasty (1644‑1911), the pink marble-topped tripodal table with a gadrooned edge with mother-of-pearl inlay, the table leg carved with a dragon and wave motif, h. 37‑3/4”, dia. 22”. [600/900]

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42 Chinese Softwood Cabinet, 20th century, with four painted and gilded doors, each bearing a bird and flower motif, with two interior drawers, h. 63‑1/2”, w. 54”, d. 21‑1/8”. [600/900] 43 Chinese Eight-Panel Coromandel Screen, Qing Dynasty (1644‑1911)/Qianlong Dynasty (1736‑1795), the lacquered wood screen depicting a scene from the historic “Battle of Red Cliffs”, with small reserves across the top and bottom depicting arrangements of flowers and archaic vessels, the reverse depicting a landscape with pagodas and figures, h. 68‑1/4”, w. 100”. [3000/5000] Illustrated

39 Unusual Pair of Asian Carved and Polychromed Pedestals, early 20th century, each with elephant-form legs, aprons with carved serpents, and recessed circular tops and lower shelves, h. 28”, w. 21”, d. 21”. [2000/4000] 40 Shanxi Red-Lacquered Elm Cabinet, mid-19th century, the rectangular top above a case fitted with two doors featuring traditional hardware and a figural scene, above a deep shaped apron centered by a flowering vase, raised on square legs, h. 43”, w. 37‑1/4”, d. 20‑1/4”. [600/900] Illustrated 41 Shanxi Red-Lacquered Elm Cabinet, mid-19th century, the rectangular top above a case fitted with two doors featuring traditional hardware and a figural scene, above a deep shaped apron centered by a flowering vase, raised on square legs, h. 43”, w. 37‑1/4”, d. 20‑1/4”. [600/900] Illustrated

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44 Chinese Twelve-Panel Coromandel Screen, Qing Dynasty (1644‑1911), the brightly painted black lacquer folding screen depicting an elaborately rendered village scene with numerous figures engaged in such pursuits as greeting one another, weaving, boating, farming and fishing on one side, with smaller reserves at the top and bottom of each panel with vignettes of beautiful ladies, as well as bird and flower arrangements, the other side with eight cranes in a forest surrounded by prunus limbs, pine trees, bamboo and lingzhi, inscribed in the upper right corner, overall, h. 106‑3/4”, w. 216”. [2500/4000] Illustrated 45 Chinese Polychrome Wood Figure of Guanyin, late Qing Dynasty (1644‑1911), the carved wood and polychrome figure of the Goddess of Mercy in the Ming style, wearing blue, green and reddish-brown robes, on a raised base, unmarked, h. 25‑3/4”, w. 7”.

[500/800]

49 detail

46 Chinese Gilt and Polychrome Figure of Laozi, 20th century, the seated figure with a long beard and wearing flowing robes and a lotus crown, h. 33”, w. 20”.

[500/800] Illustrated

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47 Thai Giltwood Buddha, 20th century, inlaid with colored glass, the figure holding back its robes and bearing a faint smile on its serene face, affixed to an ebonized wood base, figure, h. 56”, overall, h. 67”, w. 24‑3/4”. [1000/1500] Illustrated 48 Italian Rococo Polychrome and Parcel-Gilt Mirrored Vitrine, late 19th century, the mirror with a scrolling foliate-carved crest centered by a lattice-pierced shield above a trisected mirrored panel frieze, the long plate below flanked to either side by a narrow plate with smaller pendant panels, all within a notched frame with applied scrolling designs, the vitrine with a molded central crest over an astragal-glazed cupboard door, flanked to either side by a small drawer over two open shelves, the whole accented with gilt scrolling foliate moldings and raised on scrolled toes, h. 145”, w. 62”, d. 19”. [3000/5000] Illustrated 49 Seven-Piece Italian Rococo Polychrome and Parcel-Gilt Parlor Suite, late 19th century, comprised of a settee, h. 43‑1/2”, w. 60‑1/2”, d. 25”, a pair of bergeres, h. 40”, and four sidechairs, h. 36‑1/2”, all with shaped padded backs surmounted by a lattice-pierced foliate crest, the padded seats raised on cabriole legs headed by a foliate shield and ending in scrolled toes. [3000/5000] Illustrated 48

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50 Italian Rococo Polychrome and Parcel-Gilt Cabinet, late 19th century, the foliate-carved shaped crest above a medallion of classical children over a single door inset with a beveled glazed panel and flanked to either side by two open shelves, joined by a paneled back and scroll supports to the lower section, fitted with a shaped top above a bombe case fitted with a single drawer over a cupboard door, flanked to either side by shaped open shelves, raised on scrolled toes, h. 90”, w. 41‑1/2”, d. 20”. [2000/4000] Illustrated

52 51 Pair of Louis XV-Style Gilt-Bronze Five-Light Sconces, mid-20th century, with rococo backplates and molded with leaves and rocaille work, the intertwining branches supporting matching drip pans and candle sockets, hung with crystal drops, h. 23”, w. 17”, d. 9”.

[600/900] Illustrated 52 Louis XV Polychrome and Parcel-Gilt Trumeau, 18th century, the molded frame with a green background surrounding a canvas of “Rebecca and Eliezer at the Well”, the back wall with the Hebraic inscription “For Jacob Son of Isaac”, the painting signed “R. Lanten In et Fec 1773”, over a trisected mirror within foliate scroll frames, h. 79‑1/2”, w. 52”. [6000/9000] Illustrated 53 Rococo Giltwood and Marble-Top Side Table, 19th century, the serpentine Carrara marble top above a conforming frieze with incised panels and pendant foliate scrolls centered by floral carving, raised on molded cabriole legs joined by a floral shield-carved stretcher and ending in foliate-scrolled toes, the top bearing the label “Sr. D. Miquel de Sola Barcelona”, h. 37”, w. 53”, d. 23”.

[2000/4000] Illustrated 50

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55 54 Pair of Napoleon III Gilt- and Patinated Bronze ThreeLight Candelabra, third quarter 19th century, in the Neo-Grec style, the paw-footed tripartite bases mounted with lion’s heads and supporting leaf-molded, tapered and fluted standards set with three molded arms decorated with molded lotus leaves on a stippled ground, each candelabrum with a central removable flame finial, revealing an optional fourth candle socket, h. 26”, dia. 5‑3/4”. [800/1200] Illustrated 54

55 After Francesco Beda (Italian, 1840‑1900), “A Game of Billiards”, 20th century, signed “Chapman” lower right, 48” x 72”. Presented in an elaborate giltwood frame. [3000/5000] Illustrated 56 Rococo-Style Brass-Plated Twenty-Four-Light Chandelier, the scroll-molded standard set with two tiers of pierced and scrolled branches set with prism-hung foliate-form drip pans and molded candle cups, h. 50”, dia. 38”. [1000/1500] Illustrated

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57 Rococo-Style Brass-Plated Twenty-Four-Light Chandelier, the scroll-molded standard set with two tiers of pierced and scrolled branches set with prism-hung foliate-form drip pans and molded candle cups, h. 50”, dia. 38”. [1000/1500] 58 Louis XVI Giltwood Oval Mirror, 20th century, the frame decorated with a beaded inner liner and a ribbon-bound design on the outer edge supporting a pierced crest in the form of a bowknot and ribbon, h. 35‑1/2”, w. 22”. [600/900] Illustrated

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59 Louis XV-Style Polychrome Settee, 19th century, the padded triple-back back surmounted by a molded foliate-carved crest, joined by padded scrolling arms to the shaped seat, raised on cabriole legs ending in foliate scrolled toes, upholstered in Fortuny fabric, h. 39‑1/2”, w. 78”, d, 31”. Provenance: Bremermann Designs, New Orleans, Louisiana. [1400/1800] Illustrated 60 Louis XVI Giltwood Stool, late 18th century, the padded rectangular top retaining the original fabric, with scrolling foliate patterns centering an oval avian medallion, above a molded frame, raised on fluted tapering circular legs headed by foliate medallions and ending in toupie feet, h. 17”, w. 22”, d. 20”. Provenance: mac MAISON, ltd., New Orleans, Louisiana. [600/900] Illustrated

61 Pair of Louis XVI Giltwood Fauteuils, early 19th century, each with a padded medallion back within a rope-twist-carved and annulated frame, joined by padded acanthine-carved arms to the like seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 35‑1/4”. [600/900] Illustrated 62 French Polychrome and Parcel-Gilt Wooden FourFold Screen, 19th century, each panel surmounted by a scrolling foliate-carved crest over a scene of various animals from Les Fables de la Fontaine, including “The Wolf and the Crane”, “The Cock and the Pearl”, “The Fox and the Crow”, and “The Fox and the Grapes”, within flowering vine-entwined porticos, all within a molded giltwood frame, h. 73‑1/2”, w. 94”. Provenance: Lucullus, New Orleans, Louisiana. [3000/5000] Illustrated

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63 Pair of Louis XVI-Style Baccarat Crystal and Bronze Five-Light Candelabra, fourth quarter 19th century, the fluted and leaf-molded gilt-bronze standards with unusual notch-cut prisms, the bobeches marked “Baccarat” in a molded signature, h. 17‑1/2”, dia. 11‑1/2”. [600/900] Illustrated

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63

64 Louis XVI-Style Mahogany and Marble-Top Bouillotte Table, late 19th century, the circular marble top within a full pierced brass gallery, above a conforming case fitted with two small drawers and two candle slides, raised on fluted tapering circular legs ending in brass caps, the whole accented with brass banding, h. 28‑3/4”, dia. 23‑1/2”. [1200/1800] Illustrated

65 French Belle Epoque Parcel-Gilt Trumeau Mirror, ca. 1900, of Louis XVI inspiration, the gadrooned mirror surround with a tablet decorated with trophies, holding floral swags over the mirror, the upper tablet with a Renaissance-style still life painting, framed in gilt eggand-dart with a shell-form crest, h. 67‑1/2”, w. 31‑1/2”.

[1200/1800] Illustrated

64

16

66 French Gilt-Bronze and Glass Thermometer, ca. 1900, in the Louis XVI style, the oval bronze frame decorated with pierced crests of floral wreaths crossed with torches and quivers and sprays of laurel, set with a glass alcohol-filled tube and marked “Opticien du roi”, h. 13‑1/2”, w. 6‑1/4”. [600/900] Illustrated

67 Louis XVI-Style Mahogany Bureau Plat, 19th century, the rectangular top with an inset leather writing surface and within a foliate-pattern ormolu band, above a conforming frieze fitted with a single drawer centered by a Jasperware roundel, the frieze with finely modeled ormolu mounts in foliate guilloche and fruit garland patterns, raised on tapering square legs joined by a shaped stretcher, with decorative annulated millwork and ending in foliate peg caps, h. 29‑1/2”, w. 49‑1/2”, d. 29”. [2500/4000] Illustrated 68 Pair of Hand-Painted Paris Porcelain Cachepots, second quarter 19th century, molded with gilt lion’s head handles, and decorated with hand-painted roses and scrollwork on a ground of gilt sprigs, h. 6‑3/4”, dia. 6‑3/4”. [600/900]

69

69 Set of Twelve French Porcelain Cabinet Plates, decorated with portraits of French nobility, the ca. 1846 Sevres blanks transfer-printed at the turn of the century, with gilt-rocaille borders, marked with an underglaze “S46”, the Louis-Philippe Sevres blue medallion mark, the Chateau de St. Cloud medallion mark, “France” in rouge-de-fer script, and the identity of the subjects, dia. 9‑1/2”. [500/800] Illustrated 70 Pair of Franco Bohemian Hand-Painted Porcelain Baluster Vases, mid-19th century, hand-painted with portraits of French noble women, with petal-form bases and pierced handles decorated with grapes and grape leaves, the polychrome portraits framed with gilt, pink and tea strapwork borders, an impressed “AA” on the bottoms, h. 17‑1/2”, w. 10‑1/4”, d. 6”. [600/900] Illustrated

70

67 66

17

71 Alex de Andreis (British, 1880‑1929), “The Unexpected Visitor”, oil on wood panel, signed lower right, 23‑1/4” x 28‑3/4”. In an ornate carved and gesso giltwood frame. [3000/5000] Illustrated

73

73 Pair of French Bronze Three-Light Sconces, second quarter 20th century, in the Louis XVI style, the tapered backplates terminating in flame finials, the molded arms, matching candlecups and drip pans hung with drops and swags of prisms, h. 22”, w. 13”, d. 10”. [600/900] Illustrated

71

72 Transitional Louis XV-into-Louis XVI-Style Kingwood, Marquetry and Marble-Top Commode, early 20th century, the rectangular marble top with a shaped front, above a conforming case fitted with two long drawers with decorative banding and centered by an inlaid floral spray, raised on splayed legs ending in floral sabots, h. 31”, w. 33”, d. 16‑1/2”. [1500/2500] Illustrated

74

72

18

74 KPM-Style Porcelain Plaque, ca. 1900, German, depicting a beauty in a diaphanous gown, reading a book in a garden, unmarked, in a contemporary giltwood frame, plaque, h. 15‑1/2”, w. 11‑1/4”, overall, h. 24‑1/2”, w. 20”.

[3500/5000] Illustrated

75 French Belle Epoque Biscuit Figural Group, fourth quarter 19th century, depicting a pair of putti arranging a flower basket, seated on a rocky plinth with a tree stump, the flowers carefully molded, with a blue Sevresstyle mark on the base, h. 18‑3/4”, w. 11‑1/4”, d. 5‑3/4”. [500/800] Illustrated

75

76 Pair of Restauration Gilt-Bronze Two-Light Candelabra, second quarter 19th century, the engine-turned cylindrical bases holding Dionysian figures standing before turned standards mounted with a pair of molded arms and matching candle sockets, decorated with grapes and grape leaves, h. 13‑1/2”, w. 6‑1/4”, d. 2‑3/4”. [600/900] Illustrated 77 Three-Piece Italian Rococo Giltwood Parlor Suite, 19th century, comprised of a settee and two sidechairs, each with a padded back surmounted by a foliate crest, with shaped padded seats above floral- and foliate-carved aprons, raised on cabriole legs ending in scrolled toes on pegs, now upholstered in Fortuny fabric, settee, h. 47”, w. 85”, d. 25”, sidechairs, h. 37”.

[2500/4000] Illustrated

76

78 Louis XVI-Style Giltwood and Creme-Peinte Fauteuil, early 20th century, the padded rectangular back with canted corners and surmounted by a foliate floral crest, joined by padded acanthine arms to the like seat, raised on fluted tapering circular legs headed by foliate capitals and ending in casters, h. 39”. [500/800]

77 part of a 3-piece suite

19

81

79 Antique French Aubusson Carpet, 7’ x 10’ 8”. [4000/7000] Illustrated 80 French Belle Epoque Giltwood Overmantel Mirror, fourth quarter 19th century, the ogee-molded surround embellished with molded leaves and scrollwork at the base and sides, the triple upper edge decorated with an elaborate crest of pierced rocaille and flowers, flanked by a pair of putti supporting floral swags over the mirror, h. 80‑1/2”, w. 48”. [2500/4000] Illustrated 80

81 French Gilt-Bronze Rococo Revival Corona, fourth quarter 19th century, supported on a metal bracket, the pierced, serpentine bracket decorated with scrollwork and molded flowers and leaves, h. 5‑3/4”, w. 14‑1/2”, d. 10”. [500/800] Illustrated

79

20

83 84 Louis XV-Style Kingwood and Marble-Top Commode, early 20th century, the shaped marble top above a conforming bombe case fitted with two long drawers, each banded and quarter-veneered and with two floral-inlaid panels, the sides en suite, raised on splayed legs ending in sabots, h. 36”, w. 49”, d. 21”. [1500/2500] Illustrated

82

85 Pair of French Glass Four-Light Candelabra in the Baccarat Style, second quarter 20th century, the petal-molded base supporting a glass-clad standard holding rope-twist candle branches alternating with rope-twist glass scrolls, and fitted with prism-hung bobeches, electrified, h. 31‑1/2”, dia. 17”.

[1000/1500] Illustrated

85

82 After Marie-Francois Firmin-Girard (French, 1838‑1921), “The Godmother’s Garden”, oil on board, inscribed lower left “d’apres F. Girard”, 5” x 3‑1/2”.

Presented in a Beaux-Arts-style giltwood frame. [600/900] Illustrated 83 Antoine-Emile Plassan (French, 1817‑1903), “Visit From the Village Girl”, oil on panel, signed lower right, 4‑1/2” x 5‑3/4”. Presented in a handsome, giltwood and gesso, incised and molded Beaux-Arts frame. [700/1000] Illustrated

84

21

86 Louis XVI-Style Giltwood Mirror, circa 1900, with Bacchanalian decoration, pierced and carved grapes wrapping the molded surround, and a pierced urn of grapes forming the crest, framed with acanthus leaves, grapes and grape leaves, h. 46”, w. 57‑1/2”. [1400/1800] Illustrated 87 Italian Neoclassical Faux-Bois and Parcel-Gilt Bed, 19th century, the headboard with a raised center section surmounted by a torchere and ribbon-shield crest flanked to either side by lower flowering urn mounts over a molded Greek-key pattern, joined by paneled rails to a like foot rail with fluted posts, the whole raised on tapering circular legs ending in toupie feet, h. 64”, w. 71”, l. 74”.

[700/1000] Illustrated

86

88 Louis XVI-Style Mahogany and Marble-Top Cabinet, early 20th century, the bowed violet jura brocatelle marble top with a molded edge, above a conforming case fitted with a central drawer with applied scrolling ormolu over two long drawers, with marquetry inlay in the form of a classical floral garden, flanked to either side by a like-applied drawer over a cupboard door inlaid in a floral lattice pattern, raised on tapering circular legs ending in caps, the whole with decorative ormolu mounts, h. 39”, w. 51‑1/2”, d. 21”. [1500/2500] Illustrated

87

22

90 Louis XVI-Style Mahogany Desk, early 20th century, the rectangular top with an inset leather writing surface and within a brass banding, above a conforming frieze fitted with a central drawer flanked to either side by a deep drawer faced as two small drawers, raised on tapering square legs ending in brass caps, h. 29”, w. 46‑1/2”, d. 21”.

[1000/1500]

89

91 Transitional Louis XV-into-Louis XVI Fruitwood and Oak Poudreuse, early 19th century, the trisected top banded and quarter-veneered, the center section opening to a mirrored interior and lidded storage compartments, the sides opening outward to storage wells, one lidded, the front with two small faux drawers over a long faux drawer and one long drawer, the sides chevron veneered, raised on cabriole legs, h. 30”, w. 20”, d. 13”. [800/1200] Illustrated 92 Pair of German .800 Silver Wine Coolers on Stands, first quarter 20th century, by Georg Roth, Hanau, in the Louis XV taste, each of campana form, the lower section with embossed panels of Poseidon and his attendants, the upper section with laurel-mantled cartouches with the Bourbon arms, with melusine and dolphin handles, reed-and-ribbon rim and gadrooned foot-ring, presented on a turned ebonized base with applied sterling plaques, h. 8‑3/4” (10‑1/2” with base), dia. 8‑1/2”, 106.86 total t. oz. (excluding bases). [2000/4000] Illustrated

89 Napoleon III Giltwood Looking Glass, third quarter 19th century, the cove-molded frame decorated with acanthus and laurel leaves and a Greek-key-molded liner, h. 63‑1/2”, w. 43‑1/2”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [1000/1500] Illustrated

88

91

23

93 Pair of German .800 Silver Rococo-Style Sauceboats-on-Stand, first quarter 20th century, each of batteau form with arched handle, decorated with embossed flower-and-scroll rococo cartouches on an engraved lattice ground, with oval domed foot and fitted to a conforming waiter en suite, monogrammed “PGR”, h. 6‑3/4”, l. 9‑5/8”, w. 6‑5/8”, 48.25 total t. oz.

[1800/2500] Illustrated

95

92

93

94 German Five-Piece .800 Silver Coffee and Tea Set, first quarter 20th century, by Georg Roth, Hanau, in the Louis XV taste, comprising a kettle-on-stand, h. 16‑1/4”, a coffeepot, h. 10”, a teapot, h. 7‑3/4”, a covered sugar bowl, h. 6‑1/4”, and a cream jug, h. 6‑1/2”, each with a pear-shaped body embossed with an acanthus calyx on a matte ground below a broad band of floral rococo scrolls, putti, and laurel cartouches, with crested handle(s) and raised on four lion’s masque-crested paw feet, the pots and kettle with acanthus-mounted “gooseneck” spouts, 144.47 total t. oz. [2000/4000] Illustrated

94

24

95 Monumental WMF Silverplate and Cut Glass Punch Pot, first quarter 20th century, by the Wurttembergische Metallwarenfabrik, Geislingen, Germany, the pearshaped glass pot cut with spiral flutes, lattice and wheelengraved floral scrolls, fitted in an openwork silverplate frame decorated with rococo scrolls, the handles with male and female Bacchanal figures, the sides with putti-crested shells, above a waisted, domed base with integral scroll feet, with rococo-style collar en suite fitted with a steeply domed lid with Bacchante bust finial, monogrammed “S”, h. 23‑1/4”, w. 16‑3/4”, d. 13‑3/4”.

[4000/7000] Illustrated

98

96 German .800 Silver-Mounted Ruby Glass Decanter, ca. 1900, by Moritz Elimeyer, Dresden, the flat pearshaped ruby glass bottle clad in an openwork silver frame decorated with rococo scrolls, latticed flowers and human figures, with a conforming foot-ring en suite and fitted stopper with figural finial, h. 11‑3/4”, w. 6‑1/8”.

[1800/2500] 97 German Historizmus Sterling Silver Figure of a Knight, first quarter 20th century, by Ludwig Neresheimer, Hanau, with London import marks 1924‑1925 of Berthold Mueller, the well-detailed figure in full armor and mail, with sword, shield and plumed crown, the hounskull bascinet lifting to reveal a carved ivory face, the whole presented on an openwork floral-banded plinth base, h. 9‑3/4”, 19.68 total t. oz.

[800/1200] Illustrated

97

99

98 Pair of German Historizmus .800 Silver Figures of Knights, first quarter 20th century, Hanau, each well-detailed figure in full armor, holding a halberd and armorial shield, the burganet visor lifting to reveal a carved ivory face, the whole presented on an openwork plinth base banded with varicolored glass cabochons, h. 13‑1/4”, 76.77 total t. oz.

[1400/1800] Illustrated 99 Large Pair of German Historizmus .800 Silver Figures of Knights, first quarter 20th century, by Ludwig Neresheimer, Hanau, each well-detailed figure in full armor and mail, holding an armorial shield, one holding a halberd, the bascinet visor lifting to reveal a carved ivory face (one visor lacking), the whole presented on an octagonal plinth base with Gothic panels, h. 16‑1/4”, 87.11 total t. oz. [1800/2500] Illustrated

25

100 German .800 Silver Neoclassical-Style Fruit Bowl, first quarter 20th century, by Georg Roth, Hanau, of navette form, the bottom embossed with a scene of neoclassical figures in relief, the reticulated sides with embossed floral swags, the pierced rim with rinceaux and addorsed gryphons, h. 2‑1/2”, l. 15‑5/8”, w. 10‑5/8”, 18.08 t. oz. [600/900] Illustrated

103 100

101 Amusing German .800 Silver-Mounted Engraved Glass Figural Claret Jug, first quarter 20th century, by J. D. Schleissner Sohne, Hanau, in the form of a swan, the blown body with pulled handles forming the wings and wheel-engraved with feathers, the neck fitted with a realistically detailed silver head with glass eyes, hinged at the throat, the base fitted with a silver foot-ring with realistically detailed feet, h. 11‑1/2”, l. 9”. [1000/1500] Illustrated

101

26

102 Continental Silverplate Tray, mid-20th century, of oval form, with reticulated rim and applied “vintage rococo” rim, the plateau engraved with concentric rococo banding, with robust rocaille handles and feet, l. 34”, w. 21‑1/4”.

[1000/1500] 103 Pair of French Bronze Argente Lamp Bases, first quarter 20th century, each of urn form, decorated in the round with figures of neoclassical maidens in relief, with arched, squared, acanthus-mounted handles, waisted and spiral gadrooned collar, and ovolo, laurel and reedand-ribbon banding, h. 15‑1/4”, w. 6‑1/2”. [500/800] Illustrated

104

104 French Empire First Standard (.950) Silver Coffeepot, 1798‑1809, Paris, by Jean-Pierre-Nicolas Bibron (fl. 1796‑1818), the pear-shaped body with fluted “duck’s beak” spout, narrow palmette banding, and baluster-turned wooden straight handle, the cavettodomed lid with scrolling billet and baluster finial, the whole raised on fillet-crested pad feet, engraved on the body with comital arms and monogrammed “CB”, h. 9‑1/2”, dia. 4‑1/2”, l. 9‑1/4”, 21.89 total t. oz. (including wooden handle). [1400/1800] Illustrated 107

106 Continental .875 Silver-Mounted Cut Glass Claret Jug, first quarter 20th century, with Russian import marks, the glass body of tapering square section cut with strawberry diamonds and fans, mounted in a silver collar decorated with chased acanthus fronds, with beaded rim, hinged and domed lid with pyriform finial, and squared handle, h. 12‑1/4”, w. 3‑1/2”, l. 6”. [1400/1800] Illustrated 105

105 Maison Odiot First Standard (.950) Silver Legumier, 1894‑1906, Paris, of lobed circular form, with acanthus scroll rim and handles, the domed lid en suite and lifting to reveal a fitted liner, h. 6‑1/4”, dia. 9‑1/8”, w. 11”, 50.33 t. oz. [1000/1500] Illustrated

107 Russian 84 Zolotnik (.875) Silver Cigarette Case, dated 1892, St. Petersburg, by Mikhail Yakovlevich Isakov (fl. 1889‑1899), the ribbed case decorated with silver and gold memento ornaments, the interior gilt and engraved with an anniversary inscription dated “1882‑1892” , the match compartment with interior strike, the tinder cord compartment now sealed on one end with a rhinestone and fitted on the other with a gold-filled mechanical pencil, l. 3‑3/4”, w. 3‑3/8”, 10.59 t. oz. [1200/1800] Illustrated

109

108 Turkish .900 Silver Art Nouveau-Style Receiving Tray, fourth quarter 20th century, by Sener Silversmiths, Istanbul, of shaped outline, the rim embossed with a Bacchante squeezing wine from surrounding grapes into a flagon, raised on three ball feet, one with a hook for wall display, l. 11”, w. 11‑1/4”, 11.92 t. oz. [500/800]

106

109 Christofle Silverplate Tray, mid-20th century, Paris, in the Empire taste, of oval form, with leaf-and-dart banding and paterae-mounted addorsed, reeded handles, l. 25‑1/4”, w. 16‑1/2”. [500/800] Illustrated

27

110 Fourteen Pieces of Georg Jensen “Blossom” Sterling Silver Flatware, the pattern designed in 1919 by Georg Jensen (1866‑1935), Copenhagen, Denmark, including ten demitasse spoons, l. 3‑1/4”, and four iced tea spoons, l. 7”, 6.13 total t. oz. [500/800] Illustrated

113

110

112 Sixty-Nine Pieces of Georg Jensen “Cactus” Sterling Silver Flatware, the pattern designed in 1930 by Gundorph Albertus (1887‑1970), including eight eightpiece place settings, with four butter spreaders and a cake knife, all with the post-1945 Jensen mark, 66.46 total t. oz. (weighable silver). Detailed list of pieces available on request. [4000/7000] Illustrated

111

111 Four Georg Jensen Sterling Silver Salt and Pepper Casters, the pattern designed ca. 1920 by Georg Jensen (1866‑1935), each of toupie form with spiral and beaded top and raised on three spherical feet, h. 2‑7/8”, dia. 1‑12”, 6.06 total t. oz. [1000/1500] Illustrated

112

115

28

113 Thirty-Two Pieces of Georg Jensen “Acorn” Sterling Silver Flatware, the pattern designed in 1915 by Johan Rohde (1856‑1935), Copenhagen, including six dessert forks, l. 6‑1/2”, six dessert spoons, l. 6‑3/4”, seven teaspoons, l. 6‑1/8”, twelve demitasse spoons, l. 3‑7/8”, and a cheese plane with steel blade, l. 8‑1/4”, no monograms, 29.14 total t. oz. (excluding cheese plane). [800/1200] Illustrated 114 Chinese Coral Carving, 20th century, the white coral figure of a warrior and a small boy, carved in the round, h. 6‑1/4”, w. 2‑3/4”. [500/800] 115 Chinese Carved Malachite Budai, 19th/20th century, the jovial figure depicted with five children on a rockwork base with pine limbs, on a carved and molded wooden base, figure, h. 19‑1/2”, w. 10‑1/2”, overall, h. 21‑1/2”. [4000/7000] Illustrated 116 Chinese Carved Hardstone Seal, 19th/20th century, the rectangular four-character seal with a foo dog and two pups carved on the top, and flower and bird motifs on the sides, h. 10‑1/2”, l. 4‑3/4”. [600/900] 117 Pair of Chinese Jade Bowls, 20th century, the two light green and translucent oval-form petaled bowls each with a carved wooden stand, unmarked, bowl, h. 2‑1/2”, w. 3‑1/4”, l. 6”. [600/900] 118 Pair of Chinese Spinach Jade Horses, late 19th/ early 20th century, the finely carved imperial steeds on rectangular bases, each with a custom carved wooden stand, h. 10‑1/4”, w. 3‑1/2”, l. 10‑1/2”. [4000/7000] Illustrated

119

119 Chinese Carved Spinach Jade Lidded Ewer, Qing Dynasty (1644‑1911), the flattened baluster-form vase with a tapered body and dragon-head suspended ring handles at the neck, each side with a taotie lug with a loose ring, the body decorated with a taotie motif and the lid of the ewer topped with a finely rendered qilin, displayed on a carved and pierced wooden stand, jade, h. 18‑1/4”, w. 8‑1/2”, overall, h. 20‑3/4”. [3000/5000] Illustrated

118

29

120 Important Chinese Spinach Jade Censer, Qing Dynasty (1644‑1911), the very large, exquisitely carved, three-chambered censer with a globular body with a fully reticulated floral scroll and kui dragon decoration throughout, ornate handles and round finials, each side adorned with two jade chains, a fish suspended from each, the censer affixed to a circular wooden base, censer, h. 28”, overall, h. 32”, w. 15”. [3000/5000] Illustrated

121

121 Pair of Chinese Antique Ivory Figures of a Royal Couple, Qing Dynasty (1644‑1911), the emperor and empress each on an octagonal raised base, and wearing a large crown inlaid with lapis, turquoise and coral, the underside of each base bearing a four-character mark in a square cartouche, with carved wooden stands, ivory, h. 28”, overall, h. 30‑1/2”, w. 6‑1/2”. [5000/8000] Illustrated 120

122

30

124

124 Pair of Chinese Antique Ivory Figures, Qing Dynasty (1644‑1911), the two carved figures, one male and one female, each seated beneath a fruit-laden peach tree, a child depicted climbing up each tree handing the ripe peaches to the figure seated below, each marked on the underside with four characters and in a square cartouche, displayed on reticulated wooden stands, figure, h. 13‑3/4”, w. 4‑5/8”. [800/1200] Illustrated 125 Chinese Antique Ivory Carving, Qing Dynasty (1644‑1911), carved depicting the emperor and ladies of the imperial court reveling in an elegant mountain pavilion, flanked by willow and pine trees overlooking a lotus pond, h. 10”, w. 4‑3/4”. [700/1000]

126

122 Chinese Carved Antique Ivory Group, Qing Dynasty (1644‑1911), the carriage with a canopy conveying an empress, with a seated coachman and two horses, displayed on a custom-fitted carved wooden stand, ivory, h. 10‑3/8”, l. 12‑3/4”, overall, h. 11‑3/4”. [1500/2500] Illustrated 123 Chinese Antique Carved Ivory Figure of Guanyin, Qing Dynasty (1644‑1911), the seated figure holding a bottle in its left hand, affixed to the pierced and carved wooden stand, ivory, h. 6‑1/4”, w. 3‑1/2”, overall, h. 8‑1/2”. [800/1200]

128

126 Chinese Antique Ivory Carving of a Peacock Perched on a Rock, Qing Dynasty (1644‑1911), 19th century, set among pine branches and blooming peonies, marking on the underside, 15‑1/4” x 4‑3/4”. With a carved and pierced wooden stand. [2500/4000] Illustrated 127 Chinese Antique Ivory Canton Village Scene, Qing Dynasty (1644‑1911), intricately carved and finely articulated with a scene of a mountain village with figures, horses and buildings set among trees, displayed on a carved and molded wooden stand, ivory, h. 7‑3/4”, l. 15”, overall, h. 9”, l. 16‑1/4”. [700/1000] Illustrated

127

128 Pair of Chinese Antique Ivory Carved Tusks, Qing Dynasty (1644‑1911), each tusk decorated with a reticulated and finely rendered depiction of immortals in mountain forests, carefully carved in the round, with carved wooden stands, tusk, h. 14”, w. 3‑3/4”.

[1000/1500] Illustrated

31

129 Pair of Chinese Carved Antique Ivory Immortals, Qing Dynasty (1644‑1911), the female example holding a child and peony stem, a phoenix with another child on its back standing beside her, the male example of an elderly sage holding a bough of the peaches of longevity, a dragon with a child on its back standing beside him, each affixed to a tiered wooden base, ivory, h. 45”, w. 6”, overall, h. 50”, w. 12”, wt. approx 40 lbs each. [30000/50000] Illustrated 130 Chinese Carved Antique Ivory Tusk, Qing Dynasty (1644‑1911), carved with dragons with red inlaid eyes, set among ruyi clouds, the tusk base inscribed with a Qianlong reign (1736‑1795) mark in an oval cartouche, on a pierced and carved wooden stand, ivory, h. 24”, w. 5‑1/2”, l. 80” along the curve, l. 57” tip to tip, overall, h. 33‑1/4”, wt. 51.2 lbs. [15000/25000] Illustrated 131 Chinese Carved Antique Ivory Ewer, Qing Dynasty (1644‑1911), in the form of a standing phoenix with a meiping vase on its back, the vase surmounted with a lid with two rings, the phoenix carved with a scrolling floral decoration and reserves of the ewer adorned with dragons, a four-character mark on the underside of the vessel, h. 20‑3/8”, w. 5‑1/8”, l. 12”. [1400/1800] Illustrated 132 Chinese Carved Antique Ivory Vase, Qing Dynasty (1644‑1911), the intricately carved large vessel covered with a scrolling floral motif and reserves depicting the immortals around the body of the vessel, with two taotie lugs on the neck of the vase, each with a suspended ring, the underside with a four-character Qianlong mark, h. 20”, w. 6”. [3000/5000] Illustrated

129

133 Pair of Chinese Antique Ivory Urns, the pair of elaborately carved urns with dragon and ruyi cloud panels on the sides of each vessel, each urn with a pair of taotie lugs with a suspended ring, the lids topped with a dragon finial, displayed with carved wooden stands, urn, h. 17”, w. 3‑3/8”. [2500/4000] Illustrated

130

32

134 Pair of Monumental Chinese Antique Ivory Palace Urns, Qing Dynasty (1644‑1911), each of the two tiled decorative vessels with ruyi scepter handles and foo dog lugs, decorated with floral scrollwork, phoenixes, dragons and auspicious characters, with reserves on the body of each vessel 131 depicting sages with mythical animals and groups of immortals, the lids topped with a figure of Guanyin, the goddess of mercy, astride an elephant, the pachyderm inlaid with lapis, coral and turquoise, and the lids marked with the goddess’ name, each with a carved wood stand, vase, h. 62”, overall, h. 68”, w. 13”, d. 17”.

[50000/80000] Illustrated 133

132

134

33

135

135 Significant Chinese Antique Ivory Figural Group, Qing Dynasty (1644‑1911), depicting a scene from the Chinese literary masterwork Dream of the Red Chamber, by Cao Xueqin (1715‑1763), affixed to a wooden base inlaid with phoenixes, with a plexiglass bonnet, ivory, h. 16”, w. 13‑3/4”, l. 32‑1/4”, bonnet, h. 21‑1/4”. [30000/50000] Illustrated In the chapter depicted, the novel’s primary protagonist, Jia Baoyu, attends the meeting of his sister, Jia Tanchun’s poetry club.

The ladies are writing poems about chrysanthemums and dining on fish, crabs and other delicacies. Jia Baoyu’s wife Xue Baochai, writes a satirical verse on the subject of eating crabs. In the ivory vignette, the figure of Xue Baochai holds her poem out over the table. Jia Baoyu stands before a screen flanked by two finely carved reticulated lanterns. The terrace is fitted with such fineries associated with classical Chinese aristocracy as archaic bronzes, fine porcelains, supplies for writing and scholar’s rocks.

135 detail

34

135 detail

135 detail

136 136 Semi-Antique Sarouk Carpet, 13’ 3” x 9’ 7”.

[1000/1500] Illustrated

135 detail

137

137 Oushak Carpet, 11’ 3” x 17’ 4”. [5000/8000] Illustrated

35

138

141

139

36

143 Turkish Angora Oushak Carpet, 6’ 3” x 9’. [600/900] 144 Turkish Angora Oushak Carpet, 9’ x 12’. [1200/1800] Illustrated 145 Turkish Angora Oushak Carpet, 8’ 10” x 12’.

[1400/1800] 146 Semi-Antique Aubusson Carpet, 8’ 2” x 12’ 3”.

[1000/1500] Illustrated

144

138 Sultanabad Carpet, 8’ 11” x 11’ 7”. [4000/7000] Illustrated 139 Oushak Carpet, 12’ x 16’. [4000/7000] Illustrated 140 Semi-Antique Hamadan Carpet, 4’ 6” x 7’ 11”.

[700/1000] 141 Agra Serapi Carpet, 9’ x 12’. [1500/2500] Illustrated 142 Agra Heriz Runner, 2’ 8” x 18’. [700/1000]

146

37

147 French Rococo-Style Boulle and Ormolu-Mounted Bombe Tall Case Clock, early 19th century, the face with porcelain chapters, the time and strike movement with a spring chime, h. 91”, w. 32”, d. 15”. [7000/10000] Illustrated

148

147

148 Pair of Napoleon III Gilt-Bronze Five-Light Sconces, third quarter 19th century, also referred to as “wall chandeliers” in the Louis XIV taste, with wall brackets decorated with leaves and pierced swags, with fluted arch leaf-molded standards decorated with masques and scrollwork, the scrolled candle arms terminating in reeded candle cups, the leaf-molded drip pans drilled for prisms, h. 21‑3/4”, w. 9‑3/4”, d. 8”. [700/1000] Illustrated

151

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149 Napoleon III Ebonized and Boulle Center Table, third quarter 19th century, the turtle-form top banded and within a foliate gadroon banding, above a conforming frieze centered by an applied ormolu masque, raised on cabriole legs headed by espagnolettes and ending in sabots, the whole with richly inlaid boulle patterns, h. 31”, w. 51‑1/2”, d. 29‑1/2”. [1500/2500] Illustrated 150 French Marble, Bronze and Cast Iron Clock in the Renaissance Taste, fourth quarter 19th century, the base with mottled marble trim, bronze handles mounted on the sides and bronze mounts with female masques flanking the dial, with an exposed escapement and a glass chapter ring, the top adorned with a plaque depicting cupids, h. 19”, w. 18”, d. 5”. [500/800] 151 Pair of Belle Epoque-Style Bronze Fifteen-Light Torcheres, with scrolled feet and molded bases supporting the patinated bronze figural standards, one depicting a satyr, the other his consort, each holding gilt-bronze scrolled candle branches on three levels, electrified, h. 67”, dia. 29”. [4000/7000] Illustrated 152 Regence-Style Tortoiseshell Boulle and Gilt-Bronze Bracket Clock, fourth quarter 19th century, the clock with a circular dial with porcelain enameled chapters, the top with a gilt-bronze finial of the seated figure Minerva, the lower portion with mounted figures of the Three Fates, resting on a conforming wall-mounted bracket, clock, h. 45‑1/2”, w. 20”, d. 8‑1/2”, bracket, h. 13‑1/2”.

[2000/4000] Illustrated

149

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154 Plaster Bust of Antoine Lavoisier, (1743‑1794), fourth quarter 19th century, depicting the French nobleman and “father of modern chemistry”, who died during the reign of terror, the metal interior of the bust marked “Musee du Louvre”, h. 27”, w. 15‑1/2”, d. 13‑3/4”.

[1000/1500] Illustrated

153

153 French Art Moderne Patinated Iron and Crystal Eight-Light Chandelier, second quarter 20th century, in the style of Maison Jansen, the scrolling cage supports with flower- and pendant-hung arms, enclosing a crystal baluster-form standard, h. 36”, dia. 22”. [1800/2500] Illustrated

154

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155 French Marble Bust of a Mustachioed Male, mid-19th century, carved with hair and sideburns in the mode of the period, h. 23”, w. 13”, d. 9”. [1500/2500] Illustrated

155

156 Louis XV-Style Polychrome and Marble-Top Console Table, early 19th century, the shaped rouge royale marble top above a conforming paneled frieze centered by a shell carving, raised on C-scroll legs joined by a shell stretcher and ending in scrolled toes, h. 33”, w. 37”, d. 17”. [700/1000] Illustrated 157 French Gilt-Bronze and “Egyptian” Marble Encrier, decorated with the bust of Domingo Faustino Sarmiento (1811‑1888), president of Argentina, the marble base with an inset pen trough in front of a bronze bust of Sarmiento, flanked by molded bronze ink pots with leaf-molded hinged covers, h. 8‑1/2”, w. 17”, d. 10”. [500/800] 158 French Baccarat Gilt-Crystal Liqueur Set, in a leatherbound case mimicking a stack of books, the set comprised of two decanters, h. 4‑1/2”, and five glasses, h. 2”, all in fitted compartments, case, h. 5‑1/4”, w. 8”, d. 5‑1/4”. [500/800] Illustrated 159 Pair of Louis XV-Style Bronze Two-Light Sconces, second quarter 20th century, the rocaille-molded backplates decorated with molded Chinese figures, the pierced and scroll-molded branches set with matching drip pans and candle sockets, h. 17”, w. 12‑1/4”, d. 8‑3/4”. [600/900] 160 Napoleon III Burl Walnut Games Table, third quarter 19th century, the shaped rectangular top banded and with highly figured veneers, hinged and opening to an inset sueded gaming surface, above a shaped and banded frieze, raised on cabriole legs ending in sabots, h. 29”, w. 36”, d. 21”. [800/1200] Illustrated 161 Napoleon III Polychrome Vitrine, late 19th century, the trefoil-form stepped top above a conforming case fitted with a single door, the upper two-thirds glazed, the lower third with a scene of a courting couple, opening to a mirrored interior, the sides en suite, raised on cabriole legs ending in sabots, h. 57‑1/2”, w. 27”, d. 17”. [500/800]

156

163

162 Belle Epoque Marble and Bronze Four-Light Candelabrum, now mounted as a lamp, the black marble base raised on gilt-bronze paw feet, trimmed with verde antique marble, supporting a bronze angel holding a bouquet of gilt-bronze flowers interspersed with candle cups, h. 39”, w. 12”, d. 7”. [500/800] 163 French Belle Epoque Gilt-Bronze Centerpiece, fourth quarter 19th century, of Louis XIV inspiration, the fluted and leaf-molded base decorated in bas relief with trophies symbolizing the harvest, the top of the base decorated with swags of pierced laurel leaves, the lobed bowl decorated with scroll-framed panels of flowers on a stippled ground molded with leaves and berries, with a removable liner, h. 12”, w. 12‑3/4”, d. 10‑1/4”. [1200/1800] Illustrated

160

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164 Napoleon III Ebonized and Burl Jardiniere, third quarter 19th century, the oval top with a molded edge and removable banded and scroll-inlaid panel, removing to a tole liner, above a conforming frieze, joined by shaped supports headed by gilt gargoyles, joined by a shaped shelf and ending in sabots, h. 33‑1/2”, w. 22”, d. 15”.

[1200/1800] Illustrated

170

165 Pair of Louis XVI-Style Gilt-Bronze Six-Arm Candelabra, late 19th century, now mounted as lamps, each standard with profile busts and applied floral garlands and six acanthus scrolled arms, the central nozzle drilled for wiring, mounted to a rectangular base with classical reliefs, h. 25”, dia. 12”. [2000/4000] Illustrated

165

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166 Napoleon III Ebonized Bureau Plat, third quarter 19th century, the shaped rectangular top within a molded ormolu banding and centered by an elaborate scrolling foliate inlay, above a conforming frieze fitted with a single long drawer, raised on cabriole legs headed by shield-form mounts and ending in sabots, h. 30”, w. 54”, d. 30‑1/2”.

[700/1000] Illustrated

167

169 167 Pair of Napoleon III Patinated Bronze and Siena Marble Five-Light Candelabra, third quarter 19th century, in the Renaissance taste, the bronze tripartite base molded with figures and supporting the cluster-column marble standard, set with four molded candle branches around a central candle socket, the central socket set with a finial, h. 27”, w. 7‑1/4”, d. 7‑1/4”. [1000/1500] Illustrated

170 Pair of French Bronze Two-Light Sconces, in the Belle Epoque taste, the backplates decorated with masques depicting Lucifer, terminating in flame finials, the downturned arms leaf-molded and mounted with frosted floriform shades, h. 18‑1/2”, w. 14”, d. 7”.

[500/800] Illustrated

168 Pair of French Empire-Style Bronze Five-Light Candelabra, now mounted as lamps, on paw feet with applied masques on the bases and clustercolumn standards, the scrolled and pierced arms set with molded drip pans and candle cups, h. 34‑1/2”, dia. 11‑1/2”. [500/800] 169 Large and Impressive Napoleon III Giltand Patinated Bronze Clock Garniture, 19th century, the clock with a cast bronze model of Zeus holding the infant Cupid, after Emile Boyer (French, 1877‑1948) and signed “Boyer” in the casting, raised on a three-part architectural black slate case, the center section with an inset clock, the movement signed “L. Japy Fils”, h. 27‑1/2”, w. 29”, d. 9‑3/4”, the candelabra each with a patinated bronze figure of a maiden and signed “Boyer”, supporting five giltbronze candle arms and a greyhound finial, raised on a stepped gilt-bronze base, h. 34”, w. 16”, d. 11”.

[5000/8000] Illustrated

166

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171 Eugene Galien-Laloue (French, 1854‑1941), “Parisian Street Scene in Winter”, watercolor and gouache on paper, signed lower left, 9‑3/8” x 12‑7/8”. Framed. [8000/12000] Illustrated 172 Floris Arntzenius (Dutch, 1864‑1925), “Rainy Day”, oil on canvas, signed lower left, 12” x 9‑3/4”.

Framed. [1000/1500] Illustrated 173 Continental School (First Quarter 20th Century), “Canal Scene”, oil on canvas, unsigned, 19‑1/2” x 24‑1/2”.

Framed. [700/1000] 174 Paul Renard (French, 1871‑1920), “Parisian Street Scene”, oil on canvas, signed lower right, 30” x 38”. Framed.

[1500/2500] Illustrated 175 Armando Gentilini (Italian, 1909‑1981), “Watching the Races”, oil on canvas, signed lower left, 22” x 18‑3/4”. In an ornate gesso and giltwood frame. [2500/4000] Illustrated

174 176 Napoleon III Ebonized Writing Table, third quarter 19th century, the rectangular top with an inset leather writing surface, above a frieze fitted with a single drawer with an ormolu guilloche inset, the frieze with applied porcelain plaques depicting various butterflies and moths, raised on tapering square legs headed by a molded ormolu capital and ending in caps, the bottom bearing the label “Frederick Litchfield, The Sinclair Galleries 555 759 Shaftesbury Avenue London, W.”, h. 27‑1/2”, w. 49‑1/4”, d. 27”. [2500/4000] Illustrated

176

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178

182 Pair of Delft Plaques, depicting the primary subjects of “The Night Watch” by Rembrandt Harmenszoon van Rijn (Dutch, 1606‑1669), mounted in quarter-sawn oak frames with gilt liners, h. 28‑1/2”, w. 28‑1/2”. [600/900]

177 Baroque-Style Brass, Tortoiseshell and Ebonized Wood Mirror, fourth quarter 19th century, Flemish or Dutch, the beveled mirror plate framed in brass, boldly molded with flowers, raised on bolection-form tortoiseshell trimmed with floral-molded brass, the pediment-form brass crest decorated with a molded masque, h. 33‑1/4”, w. 22‑1/2”. [800/1200] Illustrated 178 Andries Scheerboom (Dutch, 1832‑1880), “Interior Domestic Scene”, 1863, oil on wood panel, signed lower right, 10‑3/4” x 13‑3/4”. Framed. [1500/2500] Illustrated 179 Set of Ten Moser Bohemian Enameled Hock Glasses, fourth quarter 19th century, each with finely enameled polychrome foliate sprays and jeweled panels, raised on spun trumpet stems with central knop and flared foot, signed “Moser, 92” to the underside of the foot, h. 7‑3/4”, dia. 3‑1/4”. [1000/1500] Illustrated

183 Dutch Tortoiseshell-Framed Mirror, fourth quarter 19th century, in the Baroque style, the bolection-molded frame trimmed with ebonized wood, set with an antique mirror glass and mounted with a pierced bronze hanger, h. 19‑1/4”, w. 17”.

[500/800] 184 English Oak Court Cupboard, late 19th century, of diminutive and traditional form, the guilloche-carved frieze above a central cupboard with canted sides, joined by cup and cover supports to two cupboard doors, all cupboards with a carved floriform medallion, raised on cup and cover legs joined by a box stretcher, h. 41”, w. 27‑1/2”, d. 14‑1/2”. [800/1200] Illustrated 185 Pair of Flemish Mahogany Wing Chairs, 19th century, each with a tall, shaped padded back and sides, joined to the cushioned seat by outscrolled arms, raised on cabriole legs joined by a block and turned H-form stretcher and ending in Flemish feet, h. 50”. [800/1200]

180 Attributed to John Watkins Chapman (British, 1832‑1903), “Cavalier in a Tavern”, oil on wood panel, unsigned, 9” x 7”. Attractively framed. [800/1200] Illustrated 181 Frank McNamara Evans (British, 1859‑1929), “Portrait of a Newlyn Fisherman”, watercolor on paper, signed lower right, 6‑3/4” x 4‑1/2”. Glazed and framed.

[600/900] Illustrated

46

179

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181

186 William and Mary Japanned Dressing Mirror, first quarter 18th century and later, with a blocked base and a slant lid case supporting the tombstone-form mirror set between turned supports, the red ground decorated in the Chinoiserie manner, and gilt-trimmed with the fall board panel contained in a painted ivory scrollwork frame, h. 37‑1/2”, w. 25”, d. 19”. [900/1200] Illustrated

184

186

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188 187 English Oak and Mahogany Side Table, 18th century and later, the rectangular top above a heavily carved and dentillated frieze fitted with a single drawer, raised on barley-twist and acanthine-carved legs joined by a boxform stretcher and ending in block feet, h. 30‑1/2”, w. 67”, d. 32”. [1000/1500] Illustrated

189 one of two 188 Austrian School (19th Century), “The Pet Squirrel”, oil on canvas, illegibly signed and dated “1899” lower right, 28” x 21”. Framed. [800/1200] Illustrated

187

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191 Continental Walnut Secretary Bookcase, early 19th century, the molded and broken pediment above a chevron-veneered frieze, over two doors, each inset with a shaped mirror plate and opening to a shelved interior over two small candle slides, the lower section fitted with a banded slant front opening to an interior fitted with a central cupboard flanked to either side by an open cupboard over a drawer, over three long serpentine drawers, raised on bracket feet, h. 99‑1/2”, w. 42‑1/2”, d. 22”. [2500/4000] 192 Dutch Walnut Secretary, early 19th century, the molded domed cornice above a deep frieze and a single domed door, inset with an etched mirrored panel depicting a shepherd and his flock, the lower section fitted with a banded slant front opening to a central banded cupboard flanked to either side by drawers and cubbyholes, over two short drawers and two long drawers, all banded and with highly figured veneers, raised on block feet, h. 86”, w. 37”, d. 20‑1/2”. [2000/4000] Illustrated

190 189 Fernando S. Pla (Spanish, 20th Century), a pair of still life oils on canvas, including “Melon and Charcuterie” and “Pears and Crystal”, each signed lower right, each 29” x 19”. Framed alike. [2000/4000] Illustrated 190 Jean Lavilledieu (French, Late 19th/Early 20th Century), a pair of nature morte oils on canvas, including “Fowl” and “Hare”, 1901, one signed lower left and the other signed lower right, each 25‑1/2” x 21‑1/2”. Framed alike. [2000/4000] Illustrated

192 190

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193 Pair of Northern Italian Walnut and Fruitwood Commodes, 19th century, each with a banded serpentine top above a conforming case fitted with three drawers, all double banded, raised on bracket feet, h. 25‑1/4”, w. 26”, d. 14‑1/2”. [500/800] Illustrated

196 Dutch Mahogany and Marquetry Bureau, late 18th century, the rectangular top above a slant front opening to an inset baize writing surface, a storage well and a variety of drawers and cubbyholes, centering a central cupboard flanked by columnar uprights fronting secreted compartments, above a kettle-form base fitted with two small end drawers, over two drawers, over two long drawers, flanked to either side by canted, molded pilasters, raised on paw feet, the whole richly inlaid in foliate, floral and avian patterns, h. 43”, w. 43”, d. 28”. [1800/2500] Illustrated

195

194 Dutch Walnut and Burl Secretary Cabinet, mid-19th century, the shaped and molded cornice above a paneled frieze over two paneled doors opening to an interior fitted with three short drawers, the bombe-form lower section fitted with three drawers, the middle one with a drop front opening to various drawers and cubbyholes over two short drawers and two long drawers, flanked to either side by a molded pilaster, hinged and opening to six small drawers, raised on ogee-molded bracket feet, h. 99”, w. 73‑1/2”, d. 22‑1/2”. [2000/4000] Illustrated

197 197 Manner of Narcisse-Virgil Diaz de la Pena (French, 1807‑1876), “Forest Interior with Figure”, second quarter 19th century, oil on wood panel, unsigned, 21‑1/2” x 36”.

Framed. [1200/1800] Illustrated

195 Pair of German Gilt-Bronze-Mounted Covered Drinking Horns, ca. 1900, inspired by drinking horns of the Middle Ages, the pair with pierced, scrolled feet set with vasiform supports and pierced bronze mounts for covers, h. 18‑1/2”, w. 16”, d. 13‑1/2”. [1500/2500] Illustrated

199 198 George Thompson Pritchard (American, 1878‑1962), “Landscape with River and Cattle”, oil on canvas, signed lower left, 25” x 30”. Presented in a giltwood and gesso frame. [1500/2500] Illustrated 199 Adolf Schreyer (German/French, 1828‑1899), “Arab Horsemen”, oil on beveled wood panel, signed lower right, 9‑3/4” x 11‑3/4”. Framed. Provenance: Michael D. Horikawa Fine Art, Honolulu, Hawaii; Private collection.

[2000/4000] Illustrated 198

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200 Dutch Mahogany and Marquetry Display Cabinet, late 18th century, the molded and domed cornice above a case fitted with two astragal-glazed cupboard doors opening to a shelved interior, the sides glazed en suite, the lower section fitted with two paneled cupboard doors, raised on bun feet, the whole richly inlaid in floral, avian and foliate marquetry patterns, h. 88‑1/2”, w. 67‑3/4”, d. 14‑1/2”. [2500/4000] Illustrated 201 Dutch Mahogany and Marquetry Cabinet, 19th century, the rectangular top with a full shaped gallery surrounding an inlaid floral urn, above a case fitted with two cupboard doors over a single drawer, raised on cabriole legs ending in ball-and-claw feet, the whole accented in floral-patterned marquetry inlays, h. 26‑1/4”, w. 21”, d. 15”. [600/900] Illustrated 202 Circle of Abraham Mignon (German/Dutch, 1640‑1679), “Arrangement with Peonies, Grapes, Pears, Sunflowers and Peaches”, fourth quarter 17th/first quarter 18th century, oil on canvas, unsigned, stretcher inscribed “Abraham Mignon”, 25‑1/2” x 29‑3/4”.

Presented in an 18th-century giltwood frame inscribed “Georg Frederick Carl Joseph”. [3000/5000] Illustrated

202

Abraham Mignon’s still lifes belong to the canon of the Dutch Golden Age. Shortly after arriving in Utrect from his native Germany, Mignon joined St. Luke’s painters guild, where he met and trained under the Dutch still life master Jan de Heem. Mignon went on to become one of the most celebrated painters of St. Luke’s guild, producing work for King Louis XIV and the Electorate of Saxony. Mignon’s delicate style of diverse flowers and fruits reflect the maritime prosperity of the Dutch Republic, which controlled European trade to the East through the East India Company. Peaches, poppies, pomegranates, indigenous to China and Southwest Asia, were revered delicacies in 17th century Holland.

To possess a table with such an assortment of flowers and ripe fruits, which Mignon often accentuated with mollusks and butterflies, was the ultimate symbol of secular wealth.

The painting offered here exemplifies many of the distinct qualities of Mignon’s work, notably the use of chiaroscuro in the foreground, which brilliantly lights the peonies and peaches against a dark background on a slight diagonal plane that barely recedes in space.

The lighting of the peaches almost makes them appear white against the red peony. Centering a composition by the juxtaposition of red and white flowers/fruit was one of Mignon’s trademark characteristics, as was the use of sunflowers and grape leaves as framing devices.

This painting is probably from the St. Luke guild circle of Abraham Mignon, possibly even the apprenticed hand of one of Mignon’s disciples: Elias van den Broeck (1649‑1708), Ernest Stuven (1657‑1712) or Willem Grasdorp (1678‑1723). The massive gilt frame is of equal historic merit. The partially effaced inscription on the side, which denotes the tile and birth date in German of Georg Frederick Carl Joseph, Grand Duke of Mecklenburg-Strelitz, along with the different rabbets on two of the four sides, strongly suggests that the frame once contained a portrait of the Duke. Sometime between the early to mid-19th century, this frame was cut down and resized to fit the current painting from the circle of Mignon.

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200

203 203 Dutch School (ca. 1900), “Still Life with Flowers and Book”, illegibly signed “Piet. Co...” lower right, 31‑1/2” x 39‑1/2”. Unframed. [1500/2500] Illustrated

201

204 Dutch Walnut Bookcase Cabinet, 19th century, the molded and double-domed cornice above a case fitted with two doors, each inset with a beveled glazed panes, over a bushing slide, the lower section fitted with two paneled cupboard doors, the whole raised on bracket feet, h. 89”, w. 51”, d. 19‑1/2”. [1000/1500] Illustrated 205 Continental Fruitwood Tub Chair, 19th century, in the neoclassical taste, the padded back and downswept arms within a rounded frame, the shaped padded seat raised on bulbous tapering circular legs ending in toupie feet, h. 32‑1/2”. [500/800] Illustrated

204

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206 Dutch Mahogany and Marquetry Corner Cabinet, mid-19th century, the molded cornice above a single glazed door, the lower serpentine section fitted with two cupboard doors, each with marquetry inlays of a flowering urn, raised on bracket feet, h. 81‑1/2”, w. 32‑1/2”, d. 18”.

[600/900] Illustrated 207 Gerardina Jacoba van de Sande Bakhuyzen (Dutch, 1826‑1895), “Hay Wagon”, oil on canvas, signed lower right, 20” x 12”. Framed. [800/1200] Illustrated

209

210 Auguste Serrure (Belgian, 1825‑1903), “Watering”, oil on canvas, signed lower right, 17‑1/4” x 12‑1/4”.

Framed. [800/1200] Illustrated 211 Dutch Neoclassical Mahogany and Marquetry Recamier, early 19th century, the padded back-scrolled end joined by a long padded seat to the lower scrolled end, the whole with inlaid marquetry scrolling foliate patterns, raised on acanthine-carved sabre legs ending in scrolled toes, h. 32”, w. 24”, l. 75”. [1200/1800] Illustrated

208 208 Circle of Nicolaes Pietersz Berchem (Dutch, 1620‑1683), “Italianate Landscape with Woman and Child Pasturing Their Livestock”, first quarter 18th century, signed and dated “Berchem/1656” lower right, 18‑1/2” x 22‑1/2”. Framed. [2500/4000] Illustrated This painting is a fine example of the style of Italianate views that Nicolaes Berchem perfected in the late 1650s-1660s. The arrangement of peasants and cattle/ sheep, framed by imposing skies and golden crepuscles, in hilly landscapes dotted with classical ruins, are recurring subjects in Berchem’s work. His fine attention to the effects of lighting on texture through delicate brush work transforms daily scenes into veritable pastorals and vedute capriccios. The painting offered here closely shares these compositional and stylistic characteristics, notable Berchem’s finesse for texture: the wisped tree leaves at the periphery of the sky scintillate warm amber hues as the sun sets; the interlocking layered circles of paint in the cattle’s head and wooly sheep capture the curled coarseness of their hair; even the weave on the boy’s sock, reflected by the light, is evidenced.

209 Continental Mahogany and Onyx-Top Commode, in the rococo taste, the onyx top with a molded edge and canted corners, above a conforming case fitted with a carved laurel swag over two roundel drawers with lattice and floral carving, raised on splayed legs ending in scrolled toes, h. 43‑1/2”, w. 49‑1/2”, d. 24‑1/2”. [2000/4000] Illustrated

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212 Dutch Mahogany and Marquetry Pedestal Desk, mid19th century, of Georgian form, the rectangular top with a three-quarter gallery above a frieze with three drawers, raised on two pedestals, each fitted with a paneled cupboard door, one opening to four short drawers, the other to shelves, raised on plinth bases, the whole inlaid throughout with marquetry scrolling foliate and floral urn panels, h. 35”, w. 55‑1/2”, d. 33”. [1000/1500] Illustrated 213 Dutch Mahogany and Marquetry Sidechair, mid-19th century, in the Regency style, the paneled foliate-inlaid crest above a padded back, the padded seat raised on sabre legs, the whole with floral foliate inlays, h. 36”.

[500/800] Illustrated 214 Dutch Mahogany and Marquetry Settee, early 20th century, the backswept crest above the padded back, joined by flat arms to the cushioned seat, raised on sabre legs, the whole with inlaid scrolling foliate marquetry patterns, h. 37”, w. 37”, d. 20”. [800/1200] Illustrated

215

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216 217

215 Continental Mahogany and Mixed Woods Miniature Roll-Top Desk, late 19th century, the rectangular top hinged and opening to a storage space, over a banded and diamond-inlaid roll-top opening to two small drawers, with two bi-paneled cupboard doors below, each with decorative diamond inlays, opening to three drawers, all raised on a plinth base, h. 18‑1/2”, w. 13‑1/2”, d. 8‑1/2”. [800/1200] Illustrated 216 French Handsomely Fitted Carved Walnut Jewel Chest, fourth quarter 19th century, the serpentine chest with a stippled exterior decorated with carved flowers, the birdcarved cover opening to reveal six side-hinged, velvet-lined compartments, swinging aside to allow access to the base, h. 14”, w. 10‑1/2”, d. 6”.

[500/800] 217 Abraham van der Waeyen Pieterszen (Dutch, 1817‑1880), “Bucolic Village Scene”, oil on beveled wood panel, signed lower left, 11” x 16”. Framed. [1000/1500] Illustrated

214

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218 Baroque-Style BolectionMolded Tortoiseshell Mirror, fourth quarter 19th century, probably Dutch, set with a pierced brass hanger decorated with a masque and scrollwork, h. 13‑1/2”, w. 11”. [600/900] Illustrated

218

219 Seven-Piece Collection of European Objets de Vertu, including a shagreen-covered silver and ivory monocular marked “Dollond London”, fourth quarter 19th century, h. 2‑3/4”, dia. 2”, a Continental miniature on ivory depicting a child holding a puppy, ca. 1800, h. 3‑1/4”, w. 2‑1/4”, a tortoiseshell watch fob and chain, first quarter 20th century, l. 10‑1/4”, a tortoiseshell fan, ca. 1900, h. 9‑1/4”, w. open, 16”, an ivory-handled tortoiseshell bookmark in the shape of a trowel, fourth quarter 19th century, l. 4‑3/4”, a tortoiseshell case, first quarter 20th century, h. 4‑1/4”, w. 2‑1/2”, and a serpentine front tortoiseshell ring case, fourth quarter 19th century, h. 3”, w. 1‑1/4”. [500/800] Illustrated 220 Rare Tortoiseshell and Red Lacquer Cylindrical Box, second quarter 19th century, possibly Chinese export, with a black lacquer bottom and a lower red lacquer border decorated with gilt “wan” peace symbols, the interior red lacquer and the exterior of the box covered in tortoiseshell, h. 4‑1/4”, dia. 9‑1/2”. [800/1200] Illustrated

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221 George III Mahogany Pembroke Table, late 18th century, the rectangular top with two like-shaped drop leaves, above a frieze fitted with a single drawer, raised on chamfered square legs, h. 27”, w. 25‑1/2”, l. 24”, extended l. 42”. [500/800] Illustrated

221

223

222 George III-Style Mahogany Wing Chair, 19th century, the padded rectangular back joined by shaped sides and outscrolled arms to the cushioned seat, raised on square legs joined by an H-form stretcher and ending in casters, h. 46”. [800/1200] Illustrated 223 George III Mahogany Bookcase, late 18th century, the molded and dentillated cornice above a case fitted with two astragalglazed doors, the lower section fitted with two paneled cupboard doors with applied carved foliate accents, opening to two short drawers over a long drawer, surrounded by shelves, raised on a plinth base, h. 96”, w. 68”, d. 15‑1/2”. [1000/1500] Illustrated 224 Pair of English Cut Glass, Crystal and Bronze Three-Light Girandoles, fourth quarter 19th century, in the Georgian style, the diamond-cut bases set with leaf-molded bronze fittings supporting diamond-cut candle cups and drip pans, hung with faceted prisms, h. 13‑1/4”, w. 11‑1/2”, d. 3‑1/2”. [600/900] Illustrated

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226 Circle of Sir Peter Lely (Dutch/British, 1618‑1680), “Portrait of a Woman with Red Hair, Possibly Mary, Lady Broghill”, oil on canvas, 49” x 40”. Presented in a later frame affixed with an artist plaque. [2000/4000] Illustrated 227 George III Mahogany Tall Case Clock, fourth quarter 19th century, the face engraved “John Monkhouse, London”, having a time and strike movement with a calendar dial, h. 93”, w. 20”, d. 10”. [900/1200] Illustrated

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228 225 Pair of Anglo-Irish Cut and Engraved Glass Girandoles, third quarter 19th century, decorated with strawberry cutting and engraved grapes and grape leaves, the round bases holding vasiform standards with integral bobeches hung with prisms, h. 13‑3/4”, dia. 5‑1/4”.

[500/800]

60

228 After Peter Paul Rubens (Flemish, 1577‑1640), “Portrait of the Artist”, fourth quarter 19th century, oil on canvas, 26” x 20‑1/2”. Framed. [700/1000] 229 Waterford-Style Diamond-Cut Glass and Crystal Ten-Light Chandelier, second half 20th century, with a scallop-rimmed corona, the conforming bowl flanked by reverse dishes, with tiered scrolled arms hung with crystal prisms, h. 36”, dia. 22”. [2500/4000] Illustrated 230 George III-Style Ebonized and Japanned Breakfront Bookcase, early 20th century, the pierced broken swan’sneck pediment with urn finials above above a finialated frieze, with four astragal-glazed doors below, the lower section fitted with four paneled cupboard doors, all with polychrome and gilt scenes of oriental landscapes, raised on a plinth base, h. 91”, w. 84‑1/2”, d. 20”. [1800/2500] Illustrated 229

230

61

231

235

231 Gilt-Composition Mirror in the Chinese Chippendale Taste, mid-20th century, the two-part mirror framed with pierced scrollwork and rocaille work, and crowned with a pagoda-form leaf-molded finial, h. 75”, w. 28”. [800/1200] Illustrated 232 Chinese Export Lacquered Panel, 19th century, of rectangular form, depicting various figures engaged in aquatic activities, now raised on an ebonized base of turned, paneled and tapering circular legs ending in peg feet, h. 24‑1/2”, w. 40”, d. 20”. [1000/1500] Illustrated

235 Chinese Rose Medallion Vase on Stand, 20th century, the large baluster-form vase with heavy gilding and reserves depicting imperial court scenes, displayed on a wooden stand, vase, h. 36‑1/2”, overall, h. 46‑1/2”, dia. 16”. [500/800] Illustrated 236 Chinese Porcelain Garden Seat, 20th century, the famille rose cylindrical seat with a bird and flower decoration, h. 19‑1/4”, dia. 12”. [500/800]

233 Chinese Export Lacquered Quartetto Tables, 19th century, the nesting tables with harp-form legs, with various decorations of chrysanthemums, bamboo, prunus blossoms and lotus blooms, each with gilded dragon feet, h. 25‑3/8” to 27‑1/2”, w. 10‑1/4” to 11‑3/4”, l. 14‑1/2” to 20‑5/8”. [700/1000] 234 George III Oak Tall Case Clock, fourth quarter 18th century, the door with an inlaid star, the clock with an engraved brass face with rotating calendar dial and engraved inscription “Geo White, Bristole”, h. 78”, w. 21”, d. 12”. [800/1200] Illustrated

62

232

237 Sino-German Porcelain and Bronze Banquet Lamp, fourth quarter 19th century, the pierced rocaille-molded base supporting the Chinese export porcelain lamp, decorated with panels of mandarin figures on a ground of flower sprigs, the font set with a burner marked “M.K. & Co., Berlin”, electrified, h. 11‑1/2”, dia. 9‑1/4”. [800/1200] 238 George III Mahogany Kneehole Desk, fourth quarter 18th century, the rectangular top with a molded edge, above a case fitted with a long drawer over a recessed paneled kneehole cupboard, flanked to either side by a bank of three graduated short drawers, raised on bracket feet, h. 30”, w. 36‑1/2”, d. 19‑1/2”.

[800/1200] Illustrated 239 George III-Style Mahogany Secretary Bookcase, mid-19th century, the molded cornice above two astragal-glazed doors, the lower section fitted with a drop-front secretary drawer opening to an inset leather writing surface and a variety of drawers and cubbyholes, over three graduated long drawers, raised on bracket feet, h. 85‑1/2”, w. 43‑1/4”, d. 23”.

[1000/1500] Illustrated

234

238

239

63

241 Pair of Hand-Painted Derby Duesbury Period Fruit Coolers, ca. 1784‑1811, English, decorated with scattered hand-painted roses alternating with gilt sprigs, the covers with leaf-molded supports on the gilt acornform knops, each retaining its gilt-trimmed liner and marked with the red crown over crossed swords and a “D”, h. 10‑3/4”, w. 9”, d. 8‑1/4”. [1200/1800] Illustrated

241 243

240 George III-Style Mahogany Settee, 19th century, of box form, the padded rectangular back joined by tall sides to the cushioned seat, raised on tapering square legs ending in brass caps and casters, h. 36”, w. 76”, d. 29”.

[700/1000] Illustrated

242 George III-Style Mahogany Pembroke Table, 19th century, the rectangular top with a molded edge and two like-shaped drop leaves, above a frieze fitted with a single end drawer, raised on tapering square legs ending in brass caps and casters, h. 29”, w. 36”, l. 21”, extended l. 43‑1/2”.

[500/800] Illustrated

240

64

243 George III-Style Mahogany Gainsborough Chair, late 19th century, the padded rectangular back joined by like arms to the padded seat, raised on chamfered square legs joined by an H-form stretcher, h. 38”. [700/1000] Illustrated 244 Chinese Export Platter in the Famille Rose Palette, ca. 1800, with notched corners and highlighted with painted flower sprigs, the center decorated with an unusual medallion in the “Queen Charlotte” pattern, w. 17‑1/2”, d. 14‑1/4”. [500/800] Illustrated

242

247 Three Hand-Painted Derby Plates, ca. 1777‑1784, English, each plate with a narrow cobalt border framing a decoration of urns supporting swags of green bellflowers, a single urn in the center, and marked with a hand-painted blue crown over a “D”, dia. 8‑3/4”. [500/800] Illustrated 244

245 Chinese Export Famille Rose Punch Pot, fourth quarter 18th century, set with twisted handles and decorated with a blue and white border incorporating moths, the barrelform body decorated with sprigs and swags of roses, h. 9”, w. 8‑1/2”, d. 6”. [700/1000]

247

246 George III Mahogany Secretary Chest, fourth quarter 18th century, the molded and dentillated cornice above a blind fret-carved frieze, over two short drawers and three graduated long drawers, the lower one with a drop front opening to a central mirrored cupboard flanked to either side by drawers and cubbyholes, all flanked to either side by an engaged fluted pilaster, the lower section fitted with three graduated long drawers, flanked en suite, the whole raised on ogee-molded bracket feet, h. 71‑1/2”, w. 43‑1/2”, d. 21‑1/2”. [2000/4000] Illustrated

246

65

248 Pair of Chinese Export Porcelain Sauce Boats, fourth quarter 18th century, in the famille rose palette, with twisted handles and a sepia vine border, each decorated with a hand-painted basket of berries under the spout, h. 3‑1/2”, w. 6‑3/4”, d. 3‑1/2”. [700/1000] 249 Chinese Export Armorial Charger, mid-18th century, possibly Dutch, with a scalloped and floral-decorated edge, the armorial decoration including a pair of angels and a roundel with a clipper ship, which appears to be flying the Dutch flag, dia. 12‑1/4”. [600/900]

250 one of twelve

250 one of twelve

250 one of twelve

250 Johannes Kip (Dutch, 1653‑1722), “Twelve Views of English Country Estates from Britannia Illustrata”, etchings, signed in plate lower right, published 1708‑1726, including “Wyck the Seat of Richard Haines, Esq.”, “Fairford the Seat of Samuel Barker”, “Sherburn the Seat of Sir Ralph Dutton”, and others, plate 13‑1/4” x 17‑1/4”. Glazed, handsomely matted and framed alike. Provenance: Ex-collection Walker Ronaldson, New Orleans, Louisiana. [2500/4000] Illustrated Johannes Kip, a Dutch engraver and draughtsman, who worked under the auspices of William of Orange in Amsterdam, moved to London at the end of the 17th century, where he established a thriving print business working for various publishers. The twelve etchings offered here comprise one of the most important English topographical publications of the 18th century titled Britannia Illustrata (1707), or Views of Several of the Queen’s Palaces, also of the Principal Seats of the Nobility and Gentry of Great Britain (1707‑1709), which was also published in French (1715). Originally, Kip collaborated on the project with fellow Dutchman Leonard Knyff, doing etchings after his bird’s eye view drawings of the country seats. As the “delin.” and “sculp.” notations in the lower right corners of these etchings indicate, Kip also began to create his own drawings as the project progressed.

Between 1716 and 1728, three more volumes and a supplement were added to Britannia Illustrata.

250 one of twelve

66

251 Swedish George III-Style Polychrome Secretary Bookcase, 19th century, the molded and domed cornice above two arched paneled doors, opening to a shelved interior, the lower section fitted with a slant front opening to an assortment of drawers and storage spaces, over two cupboard doors, each inset with a panel, raised on bracket feet, h. 83”, w. 44‑1/2”, d. 18”. [1500/2500] Illustrated

253

252 George III Brass-Mounted Oak and Mahogany Tall Case Clock, late 18th century, the hood with a swan’sneck pediment, brass rosettes and string-inlaid details, the painted face with floral corners, h. 87”, w. 24”, d. 10”.

[800/1200] Illustrated 253 Handsome English Giltwood Chimney Glass, fourth quarter 19th century, in the Adam taste, trimmed with molded and fluted pilasters terminating in bucrania, with a delicate pierced crest molded with leaves and scrollwork, h. 47‑1/2”, w. 53”. [600/900] Illustrated

251

252

67

254 Fine Pair of Wedgwood, England, Blue and Violet Jasperware Lidded Barber Bottles, fourth quarter 19th century, with applied Bacchic masques and a laurel band at the shoulder, the body with four oval medallions depicting classical figures, the bottoms impressed “Wedgwood, HKV”, h. 10‑1/2”, dia. 5‑3/4”. [1500/2500] Illustrated

256

254

259 Twelve Wedgwood, England, Sage Jasperware Items, late 19th/early 20th century, including a clock, h. 6”, a bowl, dia. 8‑1/2”, a pair of candlesticks, h. 7”, a water pitcher, h. 6‑1/2”, a milk pitcher, h. 5”, a creamer, h. 2‑1/2”, a mug, h. 5‑1/2”, and four small lidded boxes.

[500/800]

255 George III-Style Mahogany Bowfront Sideboard, the bowed top above a conforming case fitted with a central cutlery drawer flanked to either side by a short drawer over a deeper drawer and further flanked by a cupboard centered by an inlaid patera, raised on tapering square legs ending in spade feet, h. 36”, w. 72”, d. 31”. [1200/1800] Illustrated

258

256 George III Inlaid Mahogany Cellarette, fourth quarter 18th century, on ogee bracket feet, the case trimmed with crossbanding and line inlay, the hinged cover inlaid with a central patera and green-stained, sand-shaded quarter fans, the interior originally fitted with dividers, h. 14‑1/2”, w. 19‑1/2”, d. 15”. [500/800] Illustrated 257 Pair of Georgian Allegorical Embroideries of “Spring” and “Autumn”, fourth quarter 18th/first quarter 19th century, silk thread on painted silk, one depicting a woman with a floral garland, the other a woman gathering sheaves of wheat, each figure rendered in delicate satin, long-and-short, and French knot stitches, surrounded by small metallic spangles, both with an elaborate and finely detailed floral vine border, each with a “Rigo Gardens / Antique Textile / New York” label en verso, each sight 14” x 12”. Glazed, matted and framed alike.

[700/1000] Illustrated 258 Ten Wedgwood, England, Sage Jasperware Items, late 19th/early 20th century, including a pair of vases, h. 10‑1/2”, a pair of lidded barber bottles, h. 10”, a water pitcher, h. 7‑1/2”, an urn, h. 6‑1/4”, a lidded biscuit jar, h. 5‑1/2”, a lidded sauce jar, h. 4”, a lidded teapot, h. 5”, and a small vase, h. 4”. [500/800] Illustrated

68

262

262

260 George III Mahogany Side Table, early 19th century, the rectangular top above a dentillated frieze centered by a swag-carved drawer, raised on fluted tapering square legs ending in block feet, h. 30‑1/2”, w. 60”, d. 23‑1/2”. [1200/1800] Illustrated 261 Arthur Meadows (British, 1843‑1907), “After the Catch”, oil on canvas, signed lower left, 13” x 18‑1/2”. Presented In a period giltwood and gesso frame. [2000/4000] Illustrated 262 Pair of George III-Style Giltwood and Eglomise Mirrors, with molded upper corner blocks, eglomise side trim decorated with black laurel garlands on a gilt ground, and an upper tablet decorated with a gilt urn and framed in leaves on a black ground, h. 35‑1/2”, w. 24”. [1200/1800] Illustrated 261

255 257

260

257

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263

70

264

263 Pair of Imposing Empire-Style Gilt-Bronze and Malachite Twenty-One-Light Torcheres, each standard surmounted with two tiers of ten arms, and a single central nozzle, each raised on a triangular concave-sided plinth, electrified, h. 96”, dia. 32”.

[12000/18000] Illustrated 264 Russian Empire-Style Malachite and Gilt-Bronze Center Table, the circular malachite top above a conforming ebonized frieze with applied ormolu anthemion mounts, and raised on three supports headed by winged Egyptian maiden’s heads and ending in paw feet on a circular base with an ormolu lotus banding, h. 36”, dia. 41‑1/2”.

[10000/15000] Illustrated 265 Pair of Franco-Russian Malachite and Gilt-Bronze Urn-Form Garnitures, fourth quarter 19th century, in the Empire style, the vases mounted with molded handles and integral covers and decorated with cherubim riding dolphins, the square bases decorated with mounts of a quiver of arrows crossed with a bow and torch, h. 14‑1/2”, w. 4‑1/4”, d. 4‑1/4”. [2000/4000] Illustrated

265

71

266 Franco-Russian Malachite and Gilt-Bronze Centerpiece, fourth quarter 19th century, in the form of a bowl on a brazier, the gilt-bronze base formed by the paw-footed monopodia-form legs around a fire pot, the malachite “bowl” with a faux cover mounted with a leaf-molded finial, h. 16‑1/2”, dia. 11‑3/4”.

[3000/5000] Illustrated 267 Pair of Empire-Style Mahogany Throne Chairs, early 20th century, each with a padded rounded crest joined to the padded seat by carved winged lion sides, above a paneled ormolu applied apron, raised on a plinth base, h. 40”. [4000/7000] Illustrated 268 Baltic Neoclassical-Style Sidechair, early 20th century, the padded back surmounted by a paneled backswept crest with an ormolu masque and anthemion mount, the padded seat raised on tapering circular legs ending in lotus-form ormolu caps, h. 34”.

[500/800] Illustrated

268

267

72

269 Exceptional Napoleon III Gilt-Bronze and Glass Lozenge-Form Jewel Casket, third quarter 19th century, framed with an unusual pierced bronze border, and fitted with frosted glass panels set with frosted emerald green glass cameos, lined with antique silk and stamped “Moreau” underneath, h. 4‑3/4”, w. 11”, d. 6”. [700/1000] Illustrated

266

270 270 Pair of Russian Empire-Style Polychrome and Giltwood Armchairs, each with a guilloche ribbon-carved crest above an X-form splat, encircled by a gilt laurel wreath and centered by a sunburst masque, joined by downswept wing-carved arms on maiden’s bust uprights, raised on splayed legs ending in paw feet, h. 42”. [2000/4000] Illustrated These exquisite armchairs were commissioned after the “Egyptian chairs” in the boudoir of Empress Maria Fyodorovna in the Pavlovsk Palace. Designed by Andrei Voronikhin, the Palace architect, they were executed ca. 1803‑1804 in the workshop of Karl Scheibe, after an earlier design created for the Palace’s “Greek Hall”. The latter is nearly identical in form with the exception of two notable differences: the chair backs have foliate-carved splats centered by an octagonalshaped sunburst masques’ and the arm supports are carved in the likeness of eagle heads, instead of maidens. Both Voronikhin’s chairs are conserved at the Pavlovsk Palace, and have been illustrated widely. The boudoir set, identical to the ones offered here, were exhibited and illustrated in the accompanying catalogue Palaces of St. Petersburg: Russian Imperial Style, Mississippi Arts Pavilion, 1996.

271

269

271 Neoclassical-Style Plaster Bust of Pauline Borghese, depicted as Venus, after the original attributed to Antonio Canova (Italian, 1757‑1822), h. 21”, w. 13‑3/4”, d. 7‑1/2”.

[1200/1800] Illustrated

73

272 Pair of French Bronze and Cut Glass Table Lamps in the Baccarat Manner, 20th century, the bronze bases supporting glass plinths cut with sunbursts, mounted with bronze trophies and supporting cut glass column standards with molded bronze fittings, h. 36‑1/2”, w. 5”, d. 5”. [800/1200] Illustrated

274

274 Baltic Empire-Style Mahogany Settee, early 20th century, the padded back and downswept arms within a plain frame to giltmetal ram’s head mounts, the padded seat raised on square sabre legs ending in ormolu hoof feet, h. 35‑1/2”, w. 52”, d. 25”.

[600/900] Illustrated

272

273 French Neoclassical Cut Glass and Gilt-Bronze Jewel Casket, second quarter 19th century, in the Baccarat taste, raised on bronze dolphin feet, the diamond-cut glass box with a leaf-molded bezel, h. 5”, w. 5‑3/4”, d. 3‑3/4”.

[800/1200] Illustrated

273

74

275

275 Swedish-Style Parcel-Gilt Pier Mirror, mid-20th century, the two-part beveled mirror plates framed with segmented mirror surrounds and trimmed in beading, the parcel-gilt tablet depicting a mirrored roundel set with a pair of classical figures, framed with scrollwork and floral cornucopias on a black ground, the crest in the form of a pierced ribbon, h. 66‑1/2”, w. 30”.

[800/1200] Illustrated

277

278 276

276 Napoleon III Polished Bronze Figure of Artemis, After A. D. Saibas, fourth quarter 19th century, the goddess of light modeled holding aloft a lamp, inscribed on the back “Saibas, 1869”, h. 25”, w. 7‑3/4”, d. 7‑1/4”.

[800/1200] Illustrated 277 Empire-Style Mahogany and Granite-Top Center Table, late 19th century, the circular granite top above a molded frieze, raised on a tripartite base, each side with an applied ormolu winged maiden and corner giltwood cornucopia accents, to a tripartite base on block feet, h. 31”, dia. 41”. [600/900] Illustrated 278 Henry Etienne Dumaige (French, 1830‑1888), “Calliope”, fourth quarter 19th century, patinated bronze, the Muse of epic poetry depicted with her usual attributes of a stylus and writing tablet, cast signature along edge of base, h. 15”, w. 7‑1/2”, d. 7‑1/2”. [1500/2500] Illustrated 279 Henry Etienne Dumaige (French, 1830‑1888), “Clio”, fourth quarter 19th century, patinated bronze, the Muse of history depicted with her usual attribute of a scroll, cast signature along edge of base, h. 15”, w. 7‑1/2”, d. 7‑1/2”.

[1500/2500] Illustrated

279

75

280

281 Biedermeier Mahogany Pier Mirror, second quarter 19th century, the triangular crest above a frieze with a recessed domed panel with applied ormolu griffins flanking a flaming urn, the beveled rectangular plate within a plain frame with molded base, h. 90‑1/2”, w. 36‑1/2”. [2000/4000] Illustrated 282 Russian Empire-Style Mahogany Three-Piece Parlor Suite, comprised of a settee and two fauteuils, each piece with a domed gilt foliate-carved crest above a padded in-curved rail, with a gilt imbricate-carved intertwining serpent splat, joined by molded arms to the padded seat, raised on tapering circular legs with gilt foliate banding, settee, h. 37”, w. 67”, d. 22”, fauteuils, h. 37”. [2500/4000] Illustrated

280 Louis-Philippe Gilt-Brass Basket-Form Eight-Light Chandelier, second quarter 19th century, the scrollmolded ring set with four scrolled candle branches, alternating with candle sockets raised above “sun” motifs flanked by kneeling angels, the scrolled corona set with brass medallions molded with doves, strung with strands of drops and hung with prisms, not electrified, h. 45‑1/4”, dia. 41”. [1200/1800] Illustrated

285

76

This parlor suite was custom-made after the set Andrei Voronikhin designed for Pavlosk Palace, ca. 1805, which is illustrated in The Palaces of St. Petersburg, (1996), on p. 180.

Voronikhin, the premier architect for the palace, along with the assistance of Italian born Russian designers, Carlo Rossi and Giacomo Quarenghi, oversaw palace renovations after the great fire of 1803. The sunburst crest rails and entwined serpents in the settee and sidechair splats, are characteristic of Empire-style examples that Voronikhim and his designers had executed for Empress Maria Feodorovna in the workshop of Carl Sheibe, court cabinetmaker. The serpents, influenced

by Eastern mysticism and recent excavations at Pompeii and Herculaneum, were thought to symbolize everlasting love/ life in 19th century Europe and were employed throughout Faberge designs on snuff boxes and cigarette cases.

283 Pair of French Empire-Style Gilt-Metal Seven-Light Sconces, mid-20th century, the rectangular backplates with leaf-carved and fluted balusters, set with scrolled arms terminating in matching candle cups, h. 37”, w. 13‑3/4”, d. 7‑1/2”. [600/900] Illustrated

283

282

282 281

284

284 Continental Empire Mahogany Commode, early 19th century, the rectangular case fitted with a single long frieze drawer over three long recessed drawers, flanked to either side by an engaged pilaster headed by a maiden’s head capital, raised on tapering square legs, h. 37”, w. 50‑1/2”, d. 24‑1/2”. [2000/4000] Illustrated

285 Suite of Eight Neoclassical-Style Ebonized Dining Chairs, consisting of two armchairs and six sidechairs, each with an ormolu-mounted curved crest above a shaped splat, the padded seat raised on sabre legs, h. 35‑1/2”. [1000/1500] Illustrated

77

78

286 Highly Important Russian Neoclassical Mahogany Bureau Cylindre “Trois Corps”, late 18th century, in the Jacob style, the galleried pediment with ormolu urn finials, above a triangular-patterned central frieze flanked to either side by a stepped gallery, above a conforming case fitted with a central astragal-glazed cabinet, flanked to either side by fluted uprights with Ionic capitals and a cupboard door, the lower section fitted with three small drawers over an oval-patterned cylindre opening to a mechanical pull-out leather-inset writing surface and a variety of drawers and cubbyholes, over a bank of four graduated drawers, flanked to either side by a recessed paneled cupboard and further flanked by a freestanding fluted column, raised on tapering square legs, the whole richly adorned with decorative inlaid brass banding and panels, h. 93”, w. 50‑1/2”, d. 24”. [100000/150000] Illustrated

This rare “trois corps” bureau bookcase exemplifies the Russian “Jacob” style as it closely relates to examples illustrated in Antoine Cheneviere’s Russian Furniture, (2001), 33. 124‑126. Characterized by clear geometric lines inspired by Palladian architecture, the style is accentuated by elaborate brass stripping and cross hatching as evidenced by the inlaid drawers and tracery on the glass door offered here. This piece, clearly influenced

by Roetengen, is more likely attributed to the workshop of Christian Meyer than Gambs and Ott. Though both firms supplied large quantities of Jacob-style furniture for the Imperial court, the latter incorporated more elements of the Empire style than the former. Other mahogany cylinder bureaus, bearing similar design and form, are conserved in the formal reception room of the Alexander Palace and Pavlovsk Palace.

79

287 Suite of Six Russian Neoclassical Mahogany Sidechairs, early 19th century, in the Jacob style, each with a rectangular back with pierced interlacing diamond patterns, all with ribbed brass-inlaid banding, the padded seat raised on tapering square legs joined by an H-form stretcher and ending in peg feet, the base inlaid en suite, h. 35‑1/2”. [4000/7000] Illustrated Identical sidechairs to the ones offered here are conserved throughout Russian Imperial Palaces/ Museums: a set of ten dining chairs is in the library of the Empress at Pavlovsk Palace; one is conserved by the Hermitage Museum in room 176 of the Winter Palace; and a third, in the Wing of Catherine the Great at the Monplaisir Palace, is illustrated in Antoine Cheneviere’s Russian Furniture: the Golden Age, as plat 104, page. 121. According to specialist Anatoly Kuchumov, author of Pavlovsk Palace and Park, these Jacobeanstyle chairs, with their characteristic mahogany veneers accentuated by brass fluted stipping and roundels, were probably made in the workshop of Heinrich Gambs, ca. 1790, even though they are attributed to Jonathan Ott, who oversaw the firm’s accounting.

288 Russian Neoclassical Mahogany Pedestal Desk, early 19th century, in the Jacob style, the rectangular top with a three-quarter pierced brass gallery with a decorative urn on block finials, above a brass-banded tambour section opening to a pull-out leather-inset writing surface and a variety of drawers, raised on two pedestals, both fitted with a single paneled cupboard door centered by a diamond pattern, one opening to three small drawers, the other to three pull-out shelves, raised on plinth bases, the whole with decorative inlaid brass banding and diamond patterns, h. 40‑1/2”, w. 61‑1/2”, d. 33‑1/2”.

[15000/25000] Illustrated

287 detail

287

80

288

288

81

289 Russian Neoclassical Mahogany Secretaire a Abattant, early 19th century, in the Jacob style, the stepped and galleried crest above a case fitted with a frieze drawer over a paneled drop front, opening to an inset leather writing surface and a central cupboard surrounded by small drawers, over three long drawers, the whole flanked on either side by fluted uprights headed by Corinthian capitals, raised on paneled tapering square feet, the whole richly accented with inlaid brass banding and ribbed panels, h. 68‑1/2”, w. 42”, d. 22‑1/2”.

[3000/5000] Illustrated

291

This mahogany secretaire a abattant, with its brass bandings, galleried crest and pilaster uprights, shares many stylistic similarities to secretaires and bureaus produced in the workshops of David Roentgen, Christian Meyer, and Heinrich Gambs for the Russian Imperial court. One such example, by Gambs, is conserved at the Winter Palace in room 185.

290 Russian Neoclassical Mahogany Desk, early 19th century, in the Jacob style, the rectangular top with an inset leather writing surface and reeded brass banding, above a frieze fitted with a central drawer, flanked to either side by a small drawer over a full galleried shelf, raised on fluted tapering square legs, headed by a ribbed glass panel and ending in caps, the whole accented with decorative brass banding, h. 31‑1/2”, w. 55”, d. 29‑1/4”.

[2500/4000] Illustrated

289

82

289

291 Russian Neoclassical Mahogany Fauteuil, early 19th century, the spiral-ribbed crest above a plain frieze and padded back, joined by gilt foliatecarved scrolling downswept arms to the cushioned seat, raised on sabre legs headed by gilt anthemion and patera carving and ending in scrolled toes, h. 37”. [800/1200] Illustrated 292 Continental Mahogany and Burl Bed, late 19th century, the headboard with a ribbed crest rail with ormolu banding, above a burl panel with side wreath mounts joined by banded rails to the like lower footboard, centered by an applied ormolu urn and butterfly within an ebonized laurel leaf frame, raised on tapering square legs ending in peg feet, h. 67‑1/2”, inside, w. 33”, l. 85”, outside, w. 35”, l. 88”. [1500/2500] Illustrated

292

290

83

293 Empire Mahogany Tub Chair, early 19th century, the backswept crest above the barrel-form back and sides, terminating in ram’s head hand rests, the back with an elaborate addorsed swan mount, the padded seat raised on molded sabre legs ending in ormolu palmetto sabots, h. 30”. [2000/4000] Illustrated

293 295 294 Continental Neoclassical Mahogany and Marble-Top Cabinet, early 19th century, the rectangular marble top above a conforming case fitted with two drawers over two cupboard doors, raised on gilt paw feet, h. 58”, w. 37‑1/2”, d. 25”. [2500/4000] Illustrated 295 Baltic Empire Mahogany Secretaire a Abattant, early 19th century, the stepped triangular crest above a case fitted with a frieze drawer above a drop front opening to a central architectonic cupboard centered by an ormolu angel, surrounded by a variety of thirteen drawers above three long drawers, the lower two centered by a recessed arch, raised on bracket feet, h. 57‑1/2”, w. 37‑1/2”, d. 21”.

[2500/4000] Illustrated

294

84

295

296

296 Baltic Neoclassical Mahogany Fauteuil, early 19th century, the scrolling foliate and earred crest above a plain back with pendant crest, joined by downswept arms ending in cornucopia-form carving, the padded seat raised on sabre legs, h. 38”. [500/800] Illustrated

298

298 Empire-Style Mahogany Center Table, early 20th century, the rectangular top centered by a painting of various Empire designs within a gilt anthemion border, under glass, above an ormolu-applied frieze, raised on square legs joined by a stretcher shelf and raised on block feet on casters, h. 34”, w. 26”, d. 21”. [800/1200] Illustrated

297

297 Suite of Four Baltic Neoclassical Mahogany and Oak Sidechairs, early 19th century, each with a scrolling crest above a paneled back with shaped pendant, the padded seat raised on sabre legs, h. 35”. [800/1200] Illustrated

298 detail

85

302

299

301 Carved and Pierced Commemorative AustroHungarian Empire Crest, commemorating actions during 1914‑1915, the First World War, mounted with a brass-plated plaque and the photograph of a soldier, h. 32‑3/4”, w. 27‑1/2”. [1000/1500] Illustrated

299 French Empire-Style Tole and Bronze Four-Light Chandelier, first quarter 20th century, the green tole base set with bronze dolphin-molded candle branches, alternating with pierced bronze trim over lion’s heads, with a tole and bronze feather-molded canopy, h. 25‑3/4”, dia. 19”. [1000/1500] Illustrated

301

300

300 Baltic Neoclassical Mahogany Chaise Lounge, early 19th century, the padded barrel-form back within a molded frame, joined to the long padded seat by shaped sides and padded arms to ball-carved uprights, the lower outswept end padded, raised on sabre legs, the whole with decorative ormolu mounts, h. 40‑1/2”, w. 28‑1/2”, l. 62”.

[1000/1500] Illustrated

86

302 Pair of Baltic Empire-Style Mahogany Bergeres, late 19th century, each with a padded back surmounted by a flat crest, joined to the padded seat by downswept arms raised on tapering columnar uprights headed by a foliate capital and ending in foliate caps, h. 36”. [1200/1800] Illustrated 303 Patinated Bronze Bust of Tsar Nicholas II in Military Regalia, first quarter 20th century, h. 28”, w. 24”, d. 12”.

[1000/1500] Illustrated

303

304 Baltic Mahogany Armchair, second quarter 19th century, the padded rectangular reclining back flanked to either side by acanthine uprights, joined by padded foliate wing-carved arms on masque uprights to the padded seat, above a pull-out foot rest, raised on foliate-carved paw feet, h. 44‑1/2”. [800/1200] Illustrated

304

304 detail

305 Contemporary Decorative Painting on Canvas, depicting a “Russian 17th Century Boyar”, 59” x 39”.

Unframed. [1000/1500] Illustrated

305

87

306 Contemporary Decorative Painting on Canvas, depicting a “European Nobleman in Maharaja’s Ceremonial Robes”, 59” x 39”. Unframed. [1000/1500] Illustrated

310

306 307 Continental School (First Quarter 20th Century), “Portrait of a Turbaned Scholar”, watercolor and gouache on paper, unsigned, sight 11‑1/2” x 7‑1/4”. Matted, glazed and framed. [500/800] 312

308 308 Set of Four Doucai Wine Cups, late Qing Dynasty (1644‑1911), decorated in the doucai style with green, yellow and red overglaze and underglaze blue, covered with a motif of floral sprays, the underside marked “Horseshoe Kiln”, h. 2”, dia. 2‑1/2”. [700/1000] Illustrated

88

309 Pair of Chinese Famille Verte Porcelain Lidded Jars, late 19th/early 20th century, the two egg-shaped vessels with a motif of lotus flowers, each lid topped with a patinated reeded ring, the undersides with a six-character Kangxi mark encircled with two concentric rings in underglaze blue, h. 13”, dia. 9‑1/2”. [800/1200] 310 Chinese Sancai Pottery Jar, Qing Dynasty (1644‑1911), with a petaled foot and tapered body, decorated with scrollwork and lotus roundels in relief, h. 12”, dia. 9”.

[600/900] Illustrated

314 Two Chinese Porcelain Water Pots, 19th century, consisting of a deep red beehive-form pot with green mottling to the surface, the underside marked with two concentric circles in underglaze blue, h. 3‑5/8”, dia. 5‑1/4”, and an apple-shaped vessel with a six-character Kangxi reign (1662‑1822) mark, h. 3‑1/4”, dia. 4”. [1200/1800] Illustrated

314

315 Chinese Flambe Glazed Porcelain Fanghu Vase, Qing Dynasty (1644‑1911), the body of the “arrow vase” in sang de boeuf glaze streaked on the side with white and deep purple, and with handles on each side of the neck, the underside with an incised Qianlong reign mark, h. 12”, w. 7‑1/4”. [800/1200] Illustrated A nearly identical fanghu vase sold on June 10, 2014 at Sotheby’s, Paris. Another similar vase sold on June 18, 2002 at Christie’s, London.

313

311 Chinese Peachbloom Beehive Water Pot, 19th century, the porcelain bottle with a mottled green and brownish-red glaze, a two-column six-character Yongzheng reign (1723‑1735) mark on the underside in underglaze blue, h. 3‑7/8”, dia. 5‑1/2”. [600/900] 312 Chinese Porcelain Water Pot, possibly 18th century, the peachbloom-glazed vessel in the beehive or taibo bun form, incised with three coiled kui dragons, the underside with a six-character Kangxi reign (1662‑1722) mark in underglaze blue, h. 3‑1/4”, dia. 5”. Provenance: Private collection, Massachusetts. Comparable examples are published in Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection; Hong Kong, 1989, p. 142, pl. 125. [800/1200] Illustrated 313 Chinese Peachbloom Beehive Water Pot, probably 19th century, the beehive-form glazed porcelain water pot with a red and green mottled surface, the curving sides incised with dragon roundels, the underside centered with a six-character Kangxi reign (1662‑1722) mark in two rows in underglaze blue, h. 3‑1/2”, dia. 5”. Provenance: Private collection, Massachusetts. [800/1200] Illustrated

315

316 Pair of Chinese Blue Monochrome Bowls, late Qing Dynasty (1644‑1911), the two large monochrome cobaltglazed bowls with wide mouths and tapering to a flat underside, the undersides unmarked and unglazed, each with a carved wooden stand, bowl, h. 5”, overall, h . 7”, dia. 10”. [600/900] 317 Chinese Porcelain Floor Vase, 20th century, the baluster-form vase with gilded handles, enameled in a famille rose palette on a blue ground, the reserves depicting sages and court officials, h. 54”, w. 18‑1/2”.

[800/1200]

89

318 Monumental Chinese Palace Vase, 20th century, the baluster-form vase with a long neck and flared lip, in a famille rose palette with reserves depicting scenes of the imperial court, h. 61‑1/2”, dia. 18”. [800/1200]

319

319 Pair of Chinese Porcelain Famille Jaune Moon Flasks, 19th century, the two yellow-ground vessels with roundels of scenes of small boys playing in an idyllic garden setting, with bats and floral sprays surrounding the reserves and a molded dragon adorning each shoulder of the vessel, unmarked, h. 15”, dia. 10”. [700/1000] Illustrated

327

321 Five-Piece Chinese Porcelain Garniture Set, 19th century, the famille jaune set comprised of two candlesticks, h. 8‑3/4”, w. 3‑1/2”, two zun-form vases, h. 8‑3/4”, w. 3‑1/4”, and a censer-shaped vessel with a lid on a raised base, finished with a foo dog finial on the lid, h. 11‑1/2”, w. 6‑3/4”. [700/1000] Illustrated

320

320 Pair of Chinese Porcelain Temple Jars, 19th/20th century, each vessel covered with an aquatic scene and a lid with a red foo dog knob, enameled in a famille verte palette, with a six-character Xuande reign (1425‑1435) mark on the side, h. 22”, w. 11”. [1000/1500] Illustrated

90

324

322 Chinese Famille Rose Porcelain Bowl, Qing Dynasty (1644‑1911), decorated with a dragon and phoenix chasing a flaming pearl over crashing waves, the underside with an iron-red Guangxu reign (1875‑1908) mark, h. 2”, dia. 4‑1/2”.

[700/1000] Illustrated 323 Chinese Porcelain Fishbowl, Republic period (1912‑1949), the vessel with famille rose reserves depicting peacocks in lush garden settings, the interior painted with fish and aquatic plants, h. 13‑1/2”, dia. 15‑1/2”.

[500/800]

321

324 Pair of Chinese Porcelain Temple Jars, Qing Dynasty (1644‑1911), each lidded jar decorated with a cockerel, prunus and peony motif in a famille rose palette on a white ground, unmarked, h. 18”, dia. 9”. [900/1200] Illustrated 325 Pair of Chinese Porcelain Chargers, Qing Dynasty (1644‑1911), each depicting a peacock in a garden setting among rocks and vibrantly rendered blossoms, unmarked, dia. 13‑3/4”.

[1800/2500] Illustrated 326 Pair of Chinese Famille Rose Porcelain Vases, Republic period (1912‑1949), the two gu-form vases each with a flared mouth, tapered body and splayed foot, each decorated with an arrangement of flowers in an elegant vessel, with a sixcharacter collection mark in red, h. 15‑1/2”, dia. 8‑1/4”.

[800/1200] 327 Pair of Chinese Porcelain Temple Jars, 19th century, the two large vessels enameled in a famille rose palette, the reserves with arrangements of birds and flowers, the undersides marked with an underglaze blue six-character Kangxi reign (1662‑1722) mark, h. 22‑1/2”, w. 11”. [1200/1800] Illustrated

325

322

91

328

328

92

328 James Digman Wingfield (British, 1800‑1872), Eight Oil-on-Canvas Panels, ca. 1866, signed and dated in self-portrait lower right, mounted within an English walnut double-sided screen, overall, h. 83‑1/2”, l. 106‑1/2”.

Provenance: Estate of the Artist, Messrs. Christie, Manson & Wood, London, July 13, 1872, lot 199; George Richards Burnett, Esquire (1823‑1915). Illustrated: Phillips, Betty Lou. Villa Decor. Layton, UT: Gibbs Smith, 2002, p.102.

[8000/12000] Illustrated This rare screen, comprised of eight panels and thirty-two pictures titled in tromp-l’oeil frames, is as illustrious as its history. It was featured in Villa Decor in 2000 as part of a prominent New Orleans furniture collection, and it was one of the four screens in the studio of James Digman Wingfield at the time of his death. It is the only known screen by Wingfield to come to auction since it was sold in the artist’s estate auction in July, 1872 by Messrs. Christie, Manson and Wood (now Christie’s) to George Richards Burnett, an English squire in the London banking insurance business.

Burnett, an avid art collector, consigned and purchased hundreds of paintings through Christie’s during the latter part of the 19th century. In addition to Wingfields, Burnett’s collection included Constables, Turners, Bonheurs, Velazquezs and Israels.

The screen’s stacked arrangement of paintings in columns and rows was prototypical of 19th-century Salon-style exhibitions, and can be seen throughout Wingfield’s famed interiors of Hampton Court Palace, such as “Schonheitsgalerie (Beauty Gallery),” 1849 and “the Cartoon Gallery,” 1840‑1850. Divided by subjects and themes, the rows on the double-sided screen are an homage to the English courts and 17th-century Baroque masters, as well as a celebration of Wingfield’s oeuvre within this tradition. The portraits of women that line the top rows are not only reproductions of Sir Peter Lely’s “Windsor Beauties” that were displayed at Hampton Court Palace, but they are also reproduced in Wingfield’s painting of the Palace’s female portrait gallery. The second and third rows, largely painted by Wingfield, present another intertextual assortment of historical and fictive personages and views of London, such as “Amy Robsart” - the ill-fated wife of Lord Dudley”, “Belinda” - after poet Alexander Pope’s celebrated beauty, and “Rehearsal” and “Beau”- after two garden views of Hampton Court. Equally telling is Wingfield’s signed and dated self-portrait in the dress of a 17th-century master inserted in the fourth row among other period master portraits including: Titian, Murillo, Rubens, van Dyck, Dobson, Gainsborough and Reynolds.

As this screen demonstrates, Wingfield, an active member of the Royal Academy, achieved much recognition in his life for his historical landscapes and interiors. A screen strikingly similar to this one was purchased by Colnaghi, a preeminent London gallery, at Christie’s June 27, 1863 sale for an impressive 335 guineas, the equivalent of roughly 167,000 British pounds by today’s standard. The Art Journal described it as a “series of thirty-two pictures

by J. D. Wingfield, including sixteen original compositions, views of Hampton Court, with historical subjects...” that featured Lely’s courtly beauties and works after the same 17th-century masters portrayed in the fourth row on this lot. Given the screen’s illustrious history, shrouded for almost a century in mystery, it is a stunning example of an academic artist paying tribute to the history of art as well as immortalizing himself in a decorative object.

328 detail

328 detail

93

329 Collard and Collard, London, Amboyna Wood and Parcel-Gilt Grand Piano, third quarter 19th century, bearing the serial number 9432, h. 38”, w. 58‑1/2”, l. 81”.

[1500/2500] Illustrated

332

331 Paint-Decorated Lead Hitching Post, third quarter 19th century, probably English, decorated with molded acanthus and fluting, a cast putto atop the standard, h. 48”, w. 5”, d. 7‑1/2”. [500/800] Illustrated

330 330 Benjamin Rutherford Fitz (American/New York, 1855‑1891), “Two Pence Worth”, 1888, oil on canvas, signed and dated lower right, partial label en verso stretcher, 29” x 36”. Presented in a period giltwood exhibition frame. [2500/4000] Illustrated

331

94

332 Pair of Continental Patinated and Gilt-Bronze Sculptures of the Marly Horses, 19th century, after the monumental marbles designed for Louis XIV’s chateau at Marly by Guillaume Coustou (French, 1677‑1746), each inscribed “Coustou” at edge of self-base, h. 22‑1/2”, w. 9”, d. 21”. [3000/5000] Illustrated

329

335 Rare Agate, Sterling Silver and Malacca Tippler’s Walking Stick, first quarter 20th century, the finial comprising a single piece of banded agate, bored and polished to form a receptacle for a small flask (now lacking), fitted with a sterling silver ferrule and hinged cap inset with agate, the malacca shaft unscrewing into five sections, with horn tip, l. 38”. [900/1200] Illustrated

333

333 Pair of Royal Worcester Pate-sur-Pate Orientalist Vases, fourth quarter 19th century, English, the square vases decorated with feet, handles and necks of Persian inspiration, with teal-ground panels of Persian form, one vase decorated with pate-sur-pate ferns and gilt bas-relief foliage and the other with pate-sur-pate flowers and basrelief gilt foliage, each vase with teal panels decorated with raised gilt on the reverse, one vase with a puce post-1876 printed mark and an unusual raised and molded mark, each with the remnants of original paper labels reading “Worcester Royal Porcelain Works”, h. 8”, w. 4”, d. 3”.

[900/1200] Illustrated

335

334

334 Two Vintage China Straits Malacca Walking Sticks, first quarter 20th century, including a rare example with eighteen-karat gold finial embossed with scenes of sages and attendants, l. 35”, the other with sterling silver handle embossed en suite, both with silver tips, l. 33‑1/2”.

[1200/1800] Illustrated

336 336 J. J. Hovener (Dutch, b. 1936), “Puppies Taunting a Mouse”, oil on wood panel, signed lower right, 15‑3/4” x 20”. Framed. [1000/1500] Illustrated 337 Charles Richard Bone (British, 1809‑1880), “Portrait of a Bespectacled Young Man”, watercolor on paper, signed mid-right, sight 8‑3/4” x 6‑3/4”. Glazed and framed.

[500/800] 338 Pair of Austrian Majolica and Gilt-Metal Banquet Lamps, fourth quarter 19th century, with scrolled gilt-metal feet supporting the tapered majolica base, decorated with gray and pink anthemia over molded taupe fluting, now electrified, h. 28”, dia. 7‑1/4”. [500/800] Illustrated

338

95

340

341 Collection of Twenty-Seven Fine Leather Bindings, 19th and early 20th centuries, comprising four sets in full or half leather with gilt lettering and decoration, including the works of Byron, Dickens, Shakespeare and E. B. Browning, with various 8vo sizes. Detailed list of books available on request. [600/900] Illustrated

343 339 Victorian Ebonized and Thuya Parlor Cabinet, third quarter 19th century, the stepped center section banded and with a three-quarter pierced brass gallery, above a frieze with inset Jasperware plaques above an arch paneled cupboard door centered by a like larger oval plaque, flanked to either side by rounded cupboards inset with glazed panels, raised on toupie feet, the whole accented with ormolu millwork, h. 46”, w. 58”, d. 17‑1/2”.

[2000/4000] Illustrated

341 342 Collection of Fifty-Eight Fine Leather Bindings, 19th and early 20th centuries, comprising eight sets in full or half leather with gilt lettering and decoration, including the works of Chaucer, Smollett, Reynolds, Spenser, Lecky, Rousseau, Sterne and various British essayists, 12mo, 16mo and 18mo sizes. Detailed list of books available on request. [700/1000] 340 Collection of Sixty-Nine Fine Leather Bindings, 19th and early 20th centuries, comprising seven sets in full or half leather with gilt lettering and decoration, including the works of Johnson, Swift, Dickens, Pindar and Scott, with J. G. Lockwood’s Life of Scott and J. B. Green’s Short History of the English People, various 8vo sizes. Detailed list of books available on request. [900/1200] Illustrated

339

343 Robert (1812‑1889) and Elizabeth Barrett Browning (1806‑1861), Poetical Works, London: Smith, Elder & Co., 1888‑1894, complete in twenty-three volumes, octavo, in tan half leather on green cloth with gilt fillet, the spine with raised bands with gilt lettering and decorative panels, the top edge cut and gilt, with green register ribbon, the front board with armorial bookplate of William Hall, Baron Wavertree, 6” x 9‑1/8”. [2000/4000] Illustrated William Hall Walker (1856‑1933) was the son of wealthy brewer Sir Andrew Barkley Walker, 1st Baronet and his wife Eliza Reid. A keen polo and racehorse enthusiast, Walker built the Grange News Stables and the Irish Stud Farm which, after he gave his entire bloodstock to the crown in 1916, was to form the basis of both the Irish National Stud and the National Stud of the United Kingdom. He served as M.P. for Widnes from 1900 to 1919, his service for which he was elevated to the peerage. In addition to his equestrian pursuits, he also built the popular Japanese Gardens at the Irish National Stud, amassed a large art collection (much of which he bequeathed to the Walker Art Gallery) and created a large and impressive library, from which the present lot comes.

344 American School (Fourth Quarter 19th Century), “Landscape with Lakeside Cabin and a Figure in a Boat”, 1899, oil on canvas, signed and dated lower right, 20” x 30”. Handsomely framed. [1500/2500] Illustrated

96

344 345 Victorian Polychrome Papier-Mache Tray, third quarter 19th century, the rounded rectangular tray with a full raised edge and decorated in foliate and butterfly patterns, now raised on a stand of tapering square splayed legs, h. 20‑1/4”, w. 29‑1/2”, d. 22”. [500/800] Illustrated

346

345

346 Walter Boodle (British, 1859‑1914), “The Silver Birches”, oil on canvas, signed lower left, sight 24” x 13‑3/4”. Framed. [800/1200] Illustrated 347 George III Sterling Silver Coffeepot, hallmarked London, 1777‑1778, by Walter Brind (1722‑1796; free 1743), the pear-shaped body with “gooseneck” spout, hinged domed lid with toupie finial, and crested-double scroll wooden handle, decorated with later repousse flowers and latticed rococo cartouches, engraved, on the body, with the crest and motto of Long, h. 10‑1/2”, dia. 4‑3/4”, l. 8‑1/2”, 25.92 t. oz. (including wooden handle). [800/1200] Illustrated

347

97

348 George III Sterling Silver Tea and Sugar Box, hallmarked London, 1798‑1799, by Robert Jones II, of oval section, the lower half gadrooned, the flat lid hinged at the center with locks for both compartments, with reeded rim and fixed acanthus-mounted handle, the lid engraved with the arms of Proctor of Thorp Hall, Lofthouse, Yorkshire, h. 7‑7/8”, l. 6‑3/8”, w. 4‑1/2”, 20.05 t. oz. [2500/4000] Illustrated

350 Set of Four George III Sterling Silver Coquille Dishes, hallmarked London, 1793‑1794, by Henry Green (1732‑1798; free 1772), of traditional form, each with two whelk-form feet, l. 4‑7/8”, w. 4‑7/8”, 11.75 total t. oz.

[1400/1800] Illustrated

350

348

348 detail

349 Late Georgian Old Sheffield Plate Hot Water Urn, fourth quarter 18th century, of rounded rectangular section, with gadrooned calyx and rim, raised on four reeded flat column legs with lion’s paw feet, above a shaped plinth base with central decorative urn, fitted with a pair of reeded scroll-mounted turned ivory handles and tap en suite, the waisted collar fitted with a gadrooned domed lid with flammiform finial and lifting to reveal the original billet frame and cover, h. 17‑3/4”, w. 13‑1/4”, d. 11”. [600/900]

98

351 George III Sterling Silver Tureen, hallmarked London, 1794‑1795, by John Wakelin & Robert Garrard I (fl. 1792‑1802), in the neoclassical taste, of oval form, with arched handles and reeded rim, the fitted, domed lid with vasiform finial, the whole raised on a conforming torus-molded foot, engraved on the body and lid with a crest of a cubit arm erect, vested azure and holding a dagger, below the motto “Pro Patria”, h. 10‑3/4”, l. 15‑3/4”, w. 9”, 72.94 t. oz. [8000/12000] Illustrated

351

352 Good George III Sterling Silver Bateman Family Teapot and Stand, hallmarked London, 1790‑1791,

by Peter and Jonathan Bateman (fl. 1790‑1791), of oval section, with conical spout, cavetto collar with hinged, domed lid, and wooden finial and crested handle, decorated with bright-cut, wriggle-work and engraved banding and oval cartouches with foliate mantling, with the original conforming stand decorated en suite and raised on four gadrooned feet, overall, h. 6‑7/8”, l. 10‑1/2”, w. 5‑1/4”, 18.22 total t. oz. [2000/4000] Illustrated

354 Set of Four Regency Sterling Silver Salt Cellars, hallmarked London, 1818‑1819, by Rebecca Emes & Edward Barnard (fl. 1808‑1829), each of rounded rectangular form, the bulbous body with acanthus, gadroon and shell border and gilt interior, the whole raised on a conforming gadrooned foot, engraved on one side with the crest and the other with the arms of Greig of Eccles, co. Berwick, h. 2”, l. 4‑1/2”, w. 3”, 13.25 total t. oz.

[800/1200]

352

356

353

353 George III Irish Sterling Silver Cake Basket, hallmarked Dublin, 1806, by Robert Breading (ca. 1754‑1822; free 1782), of oval form, the everted rim decorated with chased and wrigglework cartouches of roses, acorns, shamrocks and thistles on a latticework ground, with reeded rim, swing handle and conforming foot-ring, monogrammed “RA”, h. 4‑1/2” (10‑1/2” with handle), l. 13‑1/4”, w. 9‑7/8”, 31.56 t. oz. [2500/4000] Illustrated

355

355 Regency Sterling Silver Inkstand, hallmarked Sheffield, 1816‑1817, by Samuel and Charles Younge & Co., of rectangular form, with gadrooned rim and crested at the sides with acanthus-mantled shells, fitted with two pens trays, two receptacles with cut glass ink and water wells, and a central hemispherical nibs bowl, the whole raised on four acanthus feet, engraved on the pen trays with the crest of Dewes of Warwickshire, h. 3‑1/4”, l. 11”, w. 7‑1/4”, 22.84 total t. oz. (excluding glass wells).

[1400/1800] Illustrated Lots 355-357 are examples of the Regency-Era Sheffield firm of Samuel & Charles Younge & Co., which was organized on August 18, 1810 by brothers Samuel (17611840) and Charles Younge (1771-1831) with George Kitchen of Sheffield and Henry Walker of London. The firm was a continuation of the firm of John Trevers Younge & Co., founded in 1779, John Trevers Younge (1719-1807), being the father of Samuel and Charles. The firm, which entered its first mark on July 15, 1811, produced a wide variety of silver tablewares, as evidenced by the present lot, but the Younge brothers also concurrently ran a wine & spirit dealership. By the late 1820s, the latter business was their primary concern, and the silver business seems to have stopped the production of completed silverware and concentrated on operating a rolling press providing sheet silver, copper and (presumably) fused sheets of the two for Sheffield Plate. After the deaths of the Younge brothers, both business were run by Charles’ son Robert Younge (1799-1874), the metal rolling mill closing around 1855, with the wine and spirit concern continuing until Robert’s death.

356 Set of Four George IV Sterling Silver Wine Coasters, hallmarked Sheffield, 1827‑1828, by Samuel & Charles Younge & Co. (fl. 1811‑1828), each of squat bulbous cylindrical form, with a turned wooden base clad in a silver collar banded with embossed grapevines, with shaped rococo rim, the base inset with a silver medallion, h. 2”, dia. 6‑1/2”. [3000/5000] Illustrated

99

357 Pair of Regency Sterling Silver Candlesticks, hallmarked Sheffield, 1816‑1817, by Samuel and Charles Younge & Co., each with a waisted standard of cavetto square form between a pair of integral rococo knops, raised above an elaborately decorated and shaped rococo shell-and-scroll base and surmounted by an acanthusdecorated vasiform nozzle fitted with a detachable bobeche en suite, engraved on the body with the crest of Baron Newborough, h. 8‑3/4”, dia. 4‑1/2”, weighted.

[800/1200] Illustrated

359

359 Suite of Four William IV Old Sheffield Plate Candlesticks, second quarter 19th century, each with a tapering standard between floral knops, above a domed foot banded en suite and surmounted by a thistle-form nozzle with detachable bobeche, h. 10‑3/4”, dia. 5‑1/4”.

[600/900] Illustrated

357

358 Pair of William IV Old Sheffield Plate Sauce Tureens, second quarter 19th century, each of bulbous rectangular form with opposing square reeded handles and waisted neck, the gadrooned rim quartered by acanthus and shell mounts, the conforming domed lid with large acanthusbud finial, the whole raised on haunched lion’s-paw feet, the rim and neck detaching to reveal a hot water reservoir, engraved, on the lid, with the crest of Hamilton of Biseland, Tobago et al., h. 4‑3/4”, l. 7”, w. 5”. [500/800] Illustrated

358

100

360

361

360 George IV Old Sheffield Plate Tureen, first quarter 19th century, of bulbous oval form, with molded rim and robust acanthus-crested handles and feet, the fitted, domed lid with addorsed acanthus handle, engraved on the body with the crest of Trant et al., h. 9‑3/4”, l. 16”, w. 9‑1/2”. [1000/1500] Illustrated

363

361 Pair of William IV Old Sheffield Plate Goblets, second quarter 19th century, each with an inverted bell-form body with lobed calyx, with knopped and lobed domed foot en suite, the interior gilt, engraved with a leafy-mantled morion and the double crest of Hudson-Kinahan, h. 8‑3/8”, dia. 4‑1/4”. [600/900] Illustrated

363 Good Early Victorian Sterling Silver Inkstand, hallmarked London, 1843‑1844, by Joseph Angell Sr. & Jr. (fl. 1840‑1848), of rectangular form, the everted rim with pierced rococo scrolls and applied flowers, fitted with two pen trays, a pair of receptacles with hinged lids opening to reveal green glass ink and water wells, and a central taperstand detaching to reveal the glass nibs container, the whole raised on four robust openwork acanthus feet, engraved on the well lids with a crest of a bull’s head couped and pierced with an arrow, h. 5‑1/4”, l. 11”, w. 7‑3/4”, 27.49 total t. oz. (excluding glass fittings).

[1200/1800] Illustrated 364 Early Victorian Sterling Silver Egg Frame, hallmarked London, 1842‑1843, by Joseph Angell Sr. & Jr. (fl. 1840‑1848), of sexfoil form, with pierced rococobanded rim and raised on three scrolling feet, with a central columnar standard with rococo-scroll ring handle, surrounded by six tall egg cups with pierced bowls en suite, and fitted with a central knop holding six “Hanoverian” egg spoons of later date (Sheffield, 1924‑1925, by J. & W. F. Deakin), engraved on the frame and cups with a crest of a horse passant, overall, h. 9”, w. 8”, 26.55 total t. oz.

[900/1200] Illustrated 365 Seven-Piece English Colonial Silver Salt and Pepper Set, second quarter 19th century, probably Indian, including three urn-form salt cellars, h. 2‑7/8”, dia. 2‑5/8”, and four baluster-form pepper casters, h. 7”, dia. 2‑1/2”, each with applied mascarons, engraved with the arms of Bishopp impaling Southwell, 28.50 total t. oz. [700/1000] 366 Pair of Victorian Sterling Silver Candlesticks, hallmarked Sheffield, 1851‑1852, by Henry Wilkinson & Co., in the rococo taste, each of baluster form with integral nozzle and base, decorated with spiraling rococo scrolls and acanthus fronds, the nozzle with detachable bobeche en suite, h. 12‑3/4”, dia. 6‑1/4”, weighted. [3000/5000] Illustrated

364

362 Pair of Old Sheffield Plate Candelabra, first quarter 19th century, in the Adam taste, each with a tapering fluted columnar standard, raised above a trumpeting foot and surmounted by an urn-form nozzle, fitted with detachable superstructure with a central urn flanked by reeded S-scroll arms with vasiform nozzles, the whole decorated with beaded and leaf-and-dart banding, h. 14‑1/2”, w. 11‑1/4”. [900/1200]

366

101

367

367 Victorian Silverplate Desk Stand, mid-19th century,

by Creswick & Co., Sheffield, of rounded rectangular form with a leafy rocaille border, centered by a taperstick en suite over a nibs compartment, flanked on the long sides by pen trays and on the narrow sides by a pair of gadrooned receptacles fitted with glass diamondpatterned ink and water wells with silverplate caps, the whole raised on acanthus and shell-crested lion’s paw feet, engraved on the pen trays with the arms and crest of Close quartering Maxwell impaling Brownlow quartering Chamberlain, h. 4”, w. 12‑1/4”, d. 9”.

[800/1200] Illustrated The ornate arms here - with sixteen quarterings - are those of Col. Maxwell Close (1783‑1867) and his wife Anna Elizabeth Brownlow of Lurgan. Col. Close was the son of the Rev. Samuel Close of Elm Park, co. Armagh, Ireland, and was educated at Trinity College. He served in the Egyptian Campaign during the Napoleonic Wars, and was later both J.P. and Sheriff for Armagh. He married Anna Brownlow, daughter of Lt. Col. Charles Brownlow and brother of the 1st Baron Lurgan, in 1820; she died in 1863. The couple had several children, among them Maxwell Charles Close (1827‑1903), conservative M.P. for Armagh, 1857‑1864 and again 1874‑1885. For further information on the Close and Lurgan families, see Burke’s Commoners (1836) v. III, pp. 247‑250 and Burke’s Peerage (1852), pp. 632‑633.

See also the January 1868 edition of The Gentleman’s Review (London, Bradbury & Evans), p. 122 for an obituary and brief biography of Col. Close.

368 Assembled Pair of Victorian Elkington Silverplate Figures of Spring and Winter, 1849 and 1864, Birmingham, Spring depicted as a young maiden with flowers, Winter as an old man, robed and warming himself with a small cauldron fire, both figures presented on a gauffered base and surmounted by a threaded nozzle, h. 14‑1/2”, dia. 6‑1/2”. [1000/1500] Illustrated

102

369 Fine Cased Victorian SixtyFive-Piece Sterling Silver Gilt “Bacchanalian” Dessert Service, hallmarked London, 1885‑1887, by Wakely & Wheeler, the pattern designed ca. 1812 by Thomas Stothard (1755‑1834), comprising eighteen three-piece dessert settings, with six berry spoons and five additional serving pieces, no monograms, 152.07 total t. oz. (including filledhandle pieces with silver blades/ tines), presented in the original calamander cabinet, the cupboard doors opening to reveal four fitted, burgundy velvet-lined drawers, two with lift-out trays, 13” x 16‑1/2” x 13‑1/4”, above a later rectangular faux calamander-finished table with tapering legs, 26‑1/2” x 19‑3/4” x 15” (overall height 39‑1/2”).

Detailed list of pieces available on request. [2000/4000] Illustrated

The intricate and ornate “Bacchanalian” pattern was designed around 1812 by noted illustrator Thomas Stothard (1755-1834) for Rundell, Bridge & Rundell, Principal Goldsmiths & Jewellers to the King. (Indeed, the earliest known examples of the pattern are those in the Royal Collection hallmarked 1812.) The pattern is wholly representative of Stothard’s exuberant classical style based on Roman cameos and other carvings, and is echoed in his larger silver masterworks, the Bacchic Vase and Bacchus and Ariadne Charger. The pattern was almost invariably gilded and reserved for elaborate dessert sets, as the present lot, which was created by the Victorian firm of James Wakely (1851-1929) and Frank Clark Wheeler (1859-1918), formed in 1884 as successors to the 18th century firm John Lias & Son.

368

369 detail

369 detail

369 detail

369

103

370 Victorian Sterling Silver Biscuit Box, hallmarked London, 370 1868‑1869, by Charles detail Boynton II (1829‑1899; free 1853), of oval section, decorated with a wide band of beaded oval cartouches with repousse floral bouquets (the central cartouches void), with ringed lion’s masque handles, beaded edges and raised on four foliate-crested lion’s paw feet, the hinged and shallow domed lid banded en suite with a central figural wheat sheaf and scythe finial, engraved on one void cartouche with the crest of Insole of Ely Court, Glamorganshire, h. 7‑1/2”, l. 7‑1/2”, w. 5‑1/2”, 34.90 t. oz.

[500/800] Illustrated

370

372

371 detail

371

104

371 Rare Set of Eight Graduated Victorian Entree Domes, third quarter 19th century, by Martin, Hall & Co., Sheffield, each of oval form with beaded banding, with ring handle en suite, engraved with the badge of Lumsden of Cushnie, Aberdeenshire, opposing the conjoined monogram “HGL”, the largest, h. 12‑3/4”, l. 20‑1/4”, w. 16”, the smallest, h. 6‑1/4”, l. 9‑1/8”, w. 7‑1/2”. [1500/2500] Illustrated 372 Pair of Contemporary Silverplate Wine Coolers, Royal Castle, Sheffield, in the Regency taste, each of campana form, with acanthus calyx, gadrooned rim and mascaronmounted addorsed acanthus handles, with fitted liner, h. 10”, dia. 9‑1/2”. [900/1200] Illustrated 373 George V Sterling Silver Fruit Bowl, hallmarked London, 1914‑1915, by Daniel & John Welby, of oval form, the everted side with lattice-pierced base and rim, h. 3‑3/8”, l. 13‑1/8”, w. 10‑1/8”, 23.78 t. oz. [600/900] Illustrated

374 George V Cased Twenty-Four-Piece Sterling Silver Dessert Service, hallmarked Sheffield, 1924‑1925,

by Harrison Brothers & Howson, including twelve forks, l. 6‑3/8”, and twelve knives, l. 7‑3/4”, with sterling tines and blades, the filled sterling handles with raised wrigglework threading, presented in a cream satin- and indigo-velvet lined mahogany case with lift-out tray, 2‑3/8” x 13‑1/2” x 10‑1/2”. [500/800] Illustrated 375 Pair of Regency-Style Silverplate Wine Coolers, contemporary, by Royal Castle, Sheffield, each of flared cylindrical form, with broad vertical gadroons, decorated with applied “vintage” rim, handles and feet, with detachable collar and liner, h. 9‑1/2”, dia. 11”. [800/1200]

374 373

376 Continental Three-Fold Canvas Screen, early 20th century, in the chinoiserie taste, with a central cockerel surrounded by floral patterns, within a frame band depicting various Asian figures with corner dragon accents, the sides with decorative brass tacks, h. 82‑1/2”, w. 72”.

[1500/2500] Illustrated

376 374 detail

105

377 Suite of Six Georgian Polychrome Armchairs in the Sheraton taste, comprised of one period chair, ca. 1790, and five bench-made copies, each with a floral-painted crest above a double X-form splat, joined by downswept arms on baluster-form uprights to the cushioned seat, raised on tapering circular legs ending in toupie feet, h. 35”. [1500/2500] Illustrated

379 377

378 Charles Martin Hardie (British, 1858‑1916), “Portrait of a Man in a Bowler Hat, Possibly Andrew Carnegie”, oil on canvas, monogrammed and dated “20‑4‑99” lower right, 16” x 12”. Glazed and framed. [800/1200] Illustrated

379 Edwardian Satinwood Tiered Table, early 20th century, the oval top tier centered by a polychrome oval medallion of classical ladies, joined by downswept supports to the like-shaped lower tier, centered by a floral spray, raised on slender tapering square legs joined by an H-form stretcher, h. 30‑1/2”, w. 35”, d. 22”. [1000/1500] Illustrated

381

378

106

383

381 Edwardian Ebonized Armchair, ca. 1900, in the Regency taste, the backswept crest centered by a polychrome floral spray within an oval panel, above the caned back, joined by downswept arms to the cushioned caned seat, raised on turned and tapering circular legs ending in toupie feet, h. 32”. [500/800] Illustrated 382 Victorian Ebonized Tole Tray, third quarter 19th century, of oval form, the full raised edge with a gilt anthemion-patterned border centering a polychrome scene of oriental figures in a garden scape, the underside stamped “Griffiths and Browett Ltd. Makers Birmingham”, now raised on an ebonized stand with gilt accents, h. 18”, w. 30”, d. 23‑1/2”. [500/800] Illustrated 383 Georgian-Style Colorless and Green Glass TwelveLight Chandelier, early 20th century, the alternating green and colorless glass standard hung with prisms, and supporting twelve glass candle branches set with silverplate sockets and green prism rings hung with swags of drops, h. 53”, dia. 34”. [2000/4000] Illustrated

384

380 Benson and Hedges George V Inlaid Mahogany Humidor, first quarter 20th century, in the Hepplewhite style, the mahogany-veneered humidor inlaid with paterae and bellflower swags in cut-corner panels, the interior tin-lined and labeled, h. 10‑3/4”, w. 16‑1/2”, d. 12‑3/4”.

[600/900]

382

384 Pair of Napoleon III Ebonized Tole Hanging Vitrines, third quarter 19th century, each with a domed crest above a case fitted with a single glazed door, opening to an interior fitted with glass shelves, the sides also glazed, h. 40”, w. 15‑1/2”, d. 8”. [800/1200] Illustrated

107

385 Pair of Edwardian Polychrome Armchairs, ca. 1900, in the Sheraton style, each with a stepped crest above a caned splat flanked to either side by an “X”, joined by high arms on bulbous uprights to the cushioned caned seat, raised on tapering circular legs ending in bulbous feet, h. 35”. [800/1200] Illustrated

387 388 American School (First Quarter 20th Century), “The Grove at Dusk”, oil on canvas laid down on board, unsigned, 14‑1/2” x 11‑1/2”. Glazed and framed.

[700/1000] 385

386 George III Polychrome Cabinet, early 19th century, in the Adam taste, the hinged lift-lid top with concave canted corners and a bowed front, centered by an oval medallion of a lady in a woodland landscape, flanked to either side by a cherub medallion, above a conforming case fitted with two cupboard doors, each centered by a figural medallion, flanked to either side by bellflower and laurel leaf painted panels with cluster upright column dividers, raised on toupie feet, h. 36”, w. 54”, d. 20”. [4000/7000] Illustrated

390

389 Pair of E. F. Caldwell, New York, Bronze and Rock Crystal Four-Light Table Lamps, second quarter 20th century, in the neoclassical taste, set on tripartite bases with paw feet, the standards decorated with depictions of the god Hermes as the good shepherd and supporting two graduated spheres, one of rock crystal and one of molded bronze, marked with the Caldwell “C” in a lozenge under one foot, h. 28‑1/2”, dia. 10‑1/2”. [2000/4000] 386

387 Jan C. Van der Heyden (Dutch, 1911‑1988), “Lakeview”, oil on canvas, signed lower right, 19‑1/2” x 27‑1/2”. Framed. [600/900] Illustrated

108

390 Regency-Style Polychrome Armchair, early 20th century, the paneled crest featuring a scene of putti playing with dolphins above a pierced diamond and X-form stretcher, joined by downswept arms to the cushioned caned seat, raised on ring-turned circular legs ending in splayed feet, the whole with delicate polychrome accents, h. 36”. [500/800] Illustrated

391 Set of Twelve Minton’s Porcelain Dinner Plates, ca. 1917, English, decorated with bunches of flowers alternating with latticed yellow-ground panels, all framed with green scrollwork and highlighted with swags of delicate leaves, dia. 10‑1/4”. [800/1200]

394

393

392 392 Pair of Chinoiserie Gilt-Metal Etageres, 20th century, each with a pagoda-form top joined by bamboo-form supports to three mirrored shelves, the mirrored cove-molded rectangular base raised on splayed bamboo legs, h. 70”, w. 21‑3/4”, d. 18”. [1200/1800] Illustrated 393 George III-Style Giltwood Oval Mirror, mid-20th century, in a beaded surround, the central plate framed with segmented plates divided with leaf molding, set with beveled glass, h. 59‑1/2”, w. 51”.

[1400/1800] Illustrated 394 Edwardian Polychrome Armchair, ca. 1900, in the Regency taste, the backswept crest with a polychrome scene of two putti above the caned back, joined by daisy chain painted arms on vasiform uprights to the cushioned caned seat, raised on tapering circular legs ending in splayed feet, h. 32”. [500/800] Illustrated

395 Pair of Edwardian LeatherUpholstered Chesterfield Club Chairs, early 20th century, the padded and tufted back and wrap-around sides above a like seat, raised on bun feet, h. 29”, w. 43”, w. 38”. [1500/2500] Illustrated 395

109

396 Partial Service of Wheel-Engraved Crystal Stemware, first quarter 20th century, probably French, decorated with panels composed of scroll-framed flowers against a diamond-cut band, the service comprised of six white wine goblets, h. 7”, dia. 4”, thirteen red wine goblets, h. 5‑3/4”, dia. 3‑3/4”, nineteen champagne coupes, h. 5”, dia. 3‑1/2”, fourteen plates, dia. 8‑3/4”, fourteen plates, dia. 6‑1/2”, together with six similar cut aperitif glasses engraved with thistles, of a later date, h. 3‑1/2”, dia. 1‑3/4”. [700/1000] Illustrated

396

398

397 George III-Style Mahogany Cabinet-on-Stand, 20th century, in the Chinese Chippendale taste, the molded and dentillated cornice above a blind fret-carved frieze, over two astragal-glazed doors, each with fretwork banding, the lower section fitted with two drawers joined to a concave lower shelf by fret-carved square legs ending in block feet, h. 77‑1/2”, w. 47‑1/2”, d. 18‑1/2”. [600/900] Illustrated

398 Edwardian Mahogany Drum Table/Bookmill, ca. 1900, in the George III taste, the circular top with an inset leather surface above a rotating frieze fitted with four open compartments and four panels, raised on a reeded standard to four splayed legs ending in turreted feet on casters, h. 28‑1/2”, dia. 32”. [900/1200] Illustrated 399 Bohemian Overlay Glass Vase, first quarter 20th century, composed of mauve glass cutto-clear, with archtop panels and a border of alternating bull’s eyes under a scalloped trim, h. 16”, dia. 6”.

[800/1200] Illustrated

399 400 Pair of AngloAmerican Cast Stone Griffins, first quarter 20th century, the seated figures molded on plinths and depicted baring their fangs, h. 35”, w. 17‑1/4”, d. 28‑3/4”. [1500/2500] Illustrated

397

110

401 Transitional Louis XV-into-Louis XVI-Style Polychrome and Parcel-Gilt Trumeau, late 18th century, the molded frame with an olive background surrounding a canvas depicting courtiers in a wooded landscape within a foliate scroll-carved frame above a mirror framed en suite, h. 81”, w. 68‑1/2”. [5000/8000] Illustrated

402

400 401

402 Large Rococo Revival Brass Twelve-Arm Gasolier, third quarter 19th century, possibly English, with scrolled and foliatedecorated arms, now converted to electricity, h. 42”, dia. 40”.

[1200/1800] Illustrated 403 Pair of Louis XIV-Style Mahogany Commodes, each with a shaped rectangular top with chevron veneering, decorative inlaid banding and a three-quarter pierced brass gallery, above a case fitted with an applied ormolu garland above two drawers, each with like banding, raised on cabriole legs ending in sabots, the whole accented with ormolu mounts and millwork, h. 31‑1/4”, w. 25‑1/2”, d. 20‑1/2”. [2500/4000] Illustrated

403

404 Louis XIV-Style Ormolu-Mounted Mahogany Commode, the shaped rectangular top with chevron veneering, decorative inlaid banding and a three-quarter pierced brass gallery, above a case fitted with an applied ormolu garland above two drawers, with like banding, raised on cabriole legs ending in sabots, the whole accented with ormolu mounts and millwork, h. 31‑1/4”, w. 25‑1/2”, d. 20‑1/2”. [1800/2500] Illustrated

404

111

405 detail

405 detail

405 detail

405

112

406 French School (19th Century), “The Letter”, oil on wood panel, initialed “R.F.” and illegibly dated lower left, 21‑1/2” x 16‑3/4”. Framed. [800/1200] Illustrated

406 407 Pair of Louis XVI-Style Gilt- and Patinated Bronze and Marble Lamps, 19th century, each with a seated putto holding a gilt torch and raised on a fluted columnar marble base with floral festoons, h. 22‑1/4”, dia. 6”.

[700/1000] Illustrated

405 detail

407

405 Paul Sormani, Paris, Louis XV-Style Kingwood and Marble-Top Commode, third quarter 19th century, the shaped Sarrancolin Ilhet marble top above a conforming bombe case fitted with two long drawers with chevron veneering and an inlaid floral spray, the sides en suite, raised on sabre legs ending in scrolled sabots, the whole with finely figured ormolu mounts and millwork, the top rail stamped “Sormani Paris” in three places, the lock labeled “Paul Sormani 10, r. Charlot Paris, h. 36”, w. 46”, d. 19‑1/2”.

[6000/9000] Illustrated

113

408 Pair of Napoleon III Bronze Dore et Patine SingleLight Sconces, second quarter 19th century, in the Baroque taste, on leaf-molded backplates, the scrolled arms terminating in putti heads, supporting the spiralfluted and beaded candlecups and leaf-molded drip pans, h. 10”, w. 2‑3/4”, d. 8”. [700/1000] Illustrated

410 Louis XVI-Style Giltwood and Marble-Top Center Table, early 20th century, the rectangular marble top with bowed ends and raised on a conforming paneled and annulated frieze with scrolling foliate carving centering a portrait medallion, raised on beaded and fluted legs headed by caducei, joined by an urn-centered laurelcarved stretcher and ending in fluted feet, h. 30”, w. 52”, d. 30”. [1500/2500] Illustrated

410

408

409 Pair of French Gilt-Bronze Three-Light Candelabra, second quarter 19th century, in the Restauration taste, now mounted as lamps, the tapered reeded standards with molded capitals and candle cups, and set with leafmolded candle branches decorated with leaves, fluting and medallions, the bases molded with swans drinking from fountains, base, h. 15‑1/2”, overall, h. 28‑3/4”, dia. 6‑1/2”.

[1000/1500] Illustrated

409

114

411 Continental School (Fourth Quarter 19th Century), “At the Market” and “In the Pub”, a pair of oils on beveled wood panel, one signed “...Lopez”, each 4” x 6”. Framed alike. [500/800] 412 Frank LeBrun Kirkpatrick (American/Philadelphia, 1853‑1917), “The Reliquary and the Rhyton”, 1910, oil on canvas, signed and dated lower right, signed and titled en verso, old handwritten exposition en verso frame, 24‑3/4” x 36”. Framed. [4000/7000] Illustrated

413

412 detail 416 Belle Epoque Franco-Chinese Bronze and Porcelain Jardiniere, fourth quarter 19th century, fitted with a pierced gilt-bronze scrollwork base, handles and rim, the ruby-ground porcelain planter decorated in the famille rose palette with peonies and plum branches, h. 11‑1/4”, w. 15‑1/4”, d. 10‑1/2”.

[1200/1800] Illustrated 412 413 Impressive French Louis-XIV-Style Giltwood Wall Bracket, third quarter 19th century, the incised backplate with a carved bellflower drop holding a fully carved ram’s head shelf support, under the three-sided shelf with a molded and scalloped edge, h. 13‑3/4”, w. 11‑3/4”, d. 6‑1/4”. [500/800] Illustrated

416

414 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Commode, fourth quarter 19th century, the rectangular Breche d’ Alep marble breakfront top with canted corners, above a conforming case fitted with three long drawers, all inlaid with parquetry panels and centered by a floral basket, raised on cabriole legs ending in sabots, h. 36”, w. 44‑1/2”, d. 21”.

[1000/1500] Illustrated 415 Frans Mortelmans (Belgian, 1865‑ca. 1936), “Still Life of Roses and a Delftware Jug”, oil on canvas, signed lower right, 24” x 32”. Presented in a period giltwood and gesso frame. [1500/2500] Illustrated

414 415

115

417 Sino-French Famille Noir Vase, Mounted as a Lamp, second quarter 20th century, with French gilt-bronze fittings, the vase decorated with plum branches and birds on a black ground, base, h. 19”, overall, h. 30‑1/2”, dia. 8”.

[1200/1800] Illustrated

419 Louis XVI-Style Kingwood and Marble-Top Bouillotte Table, early 20th century, the circular inset marble top above a conforming frame fitted with two drawers and two pull-out leather-inset slides, the frieze with banding and inlaid foliate patterns, raised on tapering square legs ending in brass caps, h. 29”, dia. 35‑1/2”. [1000/1500] Illustrated

419

417

418 French Onyx and Champleve Enamel Tazza, first quarter 20th century, the enameled bronze base of Southeast Asian inspiration, in the form of elephants wearing ceremonial decorations on a gilt-bronze standard, holding the turned onyx plateau, h. 8‑1/2”, dia. 10‑1/2”.

[800/1200] Illustrated

420 Pair of Louis XV-Style Mahogany, Kingwood and Marble-Top Occasional Tables, early 20th century, each with a “turtle”-form marble top within an ormolu banding, above a conforming ormolu-mounted frieze, raised on cabriole legs ending in sabots, h. 20”, w. 26”, d. 18‑1/2”. [600/900] Illustrated

420

418

116

421 Italian Giltwood Oval Mirror in the Baroque Taste, ca. 1900, finished with contrasting burnished and matte gilt, a shell decorating the lower edge, with pierced scrollwork forming the surround, an overhanging leaf forming the crest, h. 26‑1/2”, w. 18‑1/2”. [600/900] Illustrated

422 Napoleon III Kingwood Wardrobe Cupboard, late 19th century, the stepped crest with ormolu banding above a frieze with an applied scrolling foliate ormolu garland, above a case fitted with a single door inset with a mirrored oval panel with corner porcelain accents, opening to a shelved interior with two lower cupboards, with a single drawer below, raised on bracket feet, the whole richly ornamented with ormolu mounts and millwork, h. 86‑1/2”, w. 40”, d. 18‑1/2”. [1500/2500] Illustrated 421

423

423 Sevres-Style Hand-Painted Porcelain Box, first quarter 20th century, French, the oval box with a cobalt ground decorated with raised gilt trophies and scrollwork, the cover with a hand-painted panel depicting a courting couple in 18th-century dress, marked on the bottom with spurious “Sevres” and “Chateau de Tuileries” marks, h. 3”, w. 10‑1/2”, d. 6‑1/2”. [700/1000] Illustrated

424

422

424 French Sevres-Style Porcelain and Gilt-Bronze Centerpiece, 19th century, the oval-form plate with a scene of a couple with a pair of lovebirds in a pastoral landscape, signed “A.Max”, within a gilt cobalt band and gilt-bronze border, with a foliate-patterned handle to either end, raised on acanthine scrolled feet, h. 6‑1/2”, w. 20”, d. 12‑1/4”. [1200/1800] Illustrated

117

425 Pair of Meissen Cobalt-Ground and Parcel-Gilt Porcelain Urns, late 19th century, of baluster form, each with a pair of applied foliate handles, and egg-and-dartmolded borders and acanthus details, raised on a waisted socle and circular base with crossed marks and “27” in underglaze blue along with an incised “D153”, h. 24‑1/4”, w. 13‑1/2”. [2000/4000] Illustrated

428

425

426 Set of Nine Choisy-le-Roi Creamware Plates, ca. 1824‑1836, French, made by V. Paillart and N. Hautin, decorated with busts of notables framed with a transferprinted border of leaves and vines, each with an impressed shield marked “P&H Choisy II”, dia. 9‑1/2”. [500/800] Illustrated

428 French Provincial Walnut and Burl Armoire, late 18th century, the molded and domed cornice with canted corners, above a conforming case fitted with two doors, each inset with three shaped and burled panels, above a deep scalloped apron, raised on shaped legs, h. 98”, w. 66”, d. 25”. [2000/4000] Illustrated

426 427 Napoleon III Ebonized and Burl Parlor Cabinet/ Desk, third quarter 19th century, the central section with a three-quarter pierced brass gallery above an open mirrored compartment, flanked to either side by a lower cupboard, centered by a Sevres-style portrait plaque, the lower section banded and having a drawer fitted with a desk above, with a frieze of inset ormolu guilloche mounts centered by floral porcelain medallions joined by a mirrored back and shaped shelf on fluted and block supports to a plinth shelf on toupie feet, the whole with decorative inlaid banding and ormolu mounts and millwork, h. 59‑1/2”, w. 53‑1/2”, d. 21‑1/2”. [3000/5000] Illustrated

118

427

429 Flemish-Style Mahogany Bench, early 20th century, the padded rectangular top raised on turned and block legs, joined by scrolling end stretchers and plain side stretchers ending in fluted Flemish toes, h. 18”, w. 37”, d. 18‑1/2”. [500/800]

432 Provincial Louis XV-Style Fruitwood and Marble-Top Server, the shaped and bowed marble top with a molded edge, above a conforming case fitted with a central drawer over a paneled cupboard door, flanked to either side by a faux drawer over two open rounded shelves, raised on scrolled toes, h. 39”, w. 51”, d. 23”. [600/900] 433 Regence Walnut and Fruitwood Commode, late 18th century, the rectangular top with a shaped front edge, above a conforming case fitted with three long drawers, each with three shaped panels, raised on cabriole feet, h. 37”, w. 47‑1/2”, d. 22”. [1800/2500] Illustrated

430

430 French Carved Walnut Cigar Case, fourth quarter 19th century, the sides and cover decorated with stippling and incised leaves, the facade with applied carved leaves and vines, the interior fitted with three trays of molded cigar trays, h. 5‑1/2”, w. 9”, d. 8”. [500/800] Illustrated

433

434 French Provincial Oak and Fruitwood Bookcase/ Cupboard, late 19th century, in the Louis XV taste, the molded and rounded cornice above a case fitted with a bisected open section fitted for adjustable shelves, over a single long drawer, flanked to either side by a long tripaneled cupboard door, raised above a shaped apron on scrolled toes, h. 81”, w. 102”, d. 22‑1/2”. [700/1000] Illustrated

431

431 Louis XV-Style Fruitwood Fauteuil, late 18th century, the padded shaped back surmounted by a floral crest and joined by padded scrolling acanthine-carved arms to the shaped padded seat, raised on molded cabriole legs headed by foliate carving and ending in scrolled toes, upholstered in needlepoint and petit point in geometric, figural and avian patterns, h. 35‑1/4”. [800/1200] Illustrated

434

119

435 Continental School (19th Century), “Pilgrims en Route to Santiago de Compostela”, oil on canvas, unsigned, 18‑3/4” x 14‑3/4”. In an antique carved wood frame.

[1200/1800] Illustrated

439 438 Provincial Cherrywood Side Table, mid-19th century, the rectangular top with a slightly bowed front and three-quarter raised gallery, above a shaped frieze fitted with a single end drawer, raised on cabriole legs, h. 26”, w. 30‑1/2”, d. 16‑3/4”. [500/800] 439 Large French Landscape Tapestry in the Aubusson Style, first quarter 20th century, depicting a wooded landscape overlooking a valley, mounted in a narrow giltwood frame, h. 39‑1/2”, w. 88”. [700/1000] Illustrated

435 436 French Provincial Faux-Bois Morbier Tall Case Clock, early 19th century, the porcelain dial signed “Bonhomme a Flers”, h. 87”, w. 21”, d. 91”. [1000/1500] Illustrated

431

437 437 Regence-Style Fruitwood Commode, early 20th century, the rectangular top with a serpentine front, above a conforming case fitted with three long drawers, all with three shaped panels, raised on cabriole feet ending in scrolled toes, h. 35‑1/2”, w. 44‑1/2”, d. 22‑1/2”.

[1800/2500] Illustrated

120

436

442 Pair of Regence-Style Polychrome Fauteuils a la Reine, early 19th century, each with a tall padded rectangular back joined by downswept ribbed acanthinecarved arms to the padded seat, raised on shaped foliate-carved legs joined by a molded X-form stretcher and ending in ribbed feet on recessed casters, h. 47”.

[800/1200]

441

444

443 Provincial Louis XVI Polychrome Pine Trumeau Mirror, late 18th century, the upper section with a canvas depicting peasants in a landscape with a village in the background, within a molded frame with a shield crest, the lower mirrored section within a like frame, the whole flanked to either side by a paneled pilaster with bellflower and foliate carving, h. 76‑1/2”, w. 50”. Illustrated: Phillips, Betty Lou. Villa Decor. Layton, UT: Gibbs Smith, 2002, p. 106. [1000/1500] Illustrated

443

444 French Provincial Cherry Wood Farmhouse Table, mid-19th century, the rectangular top banded and above a shaped frieze fitted with a drawer to either end, raised on cabriole legs, h. 29‑1/2”, w. 29‑1/2”, l. 78”. [1000/1500] Illustrated 445 Regence Fruitwood Commode, mid- to late 18th century, the rectangular top with a molded edge and slightly bowed front, above a conforming case fitted with three drawers, each with decorative panels and hardware, above a shaped apron, raised on shaped legs, h. 31‑1/2”, w. 39”, d. 20”. [1000/1500] Illustrated

440 Unusual Metal Strapwork and Wire Basket, 19th century, Provence, France, heavily constructed with tapered sides set with wire, the upper border attached with “rose head” bolts, the hanging base with a twisted hook, h. 13‑1/2”, dia. 17‑3/4”. [600/900] 441 Pair of Regence-Style Oak Fauteuils, each with a padded back surmounted by a shell- and foliate-carved crest, joined by acanthine-carved arms to the padded seat, raised on cabriole legs headed by shell carving and ending in scrolled toes, h. 42‑1/4”. [1500/2500] Illustrated

445

121

446 Henry Schouten (Belgian, 1864‑1927), “Chickens and Rooster”, oil on canvas, signed lower left, 15” x 18‑1/2”. In a period frame. [1000/1500] Illustrated

446 447 Pair of French Hand-Painted Creamware Chargers, ca. 1882, painted in the Impressionist style, one depicting chickens and the other turkeys, signed “C. Angelo, 1882”, dia. 15”. [600/900] Illustrated

448

448 detail

447

448 Adriano Cecioni (Italian, 1838‑1886), “Enfant au Coq”, bronze, fourth quarter 19th century, cast signature at back, h. 20”, w. 10”, d. 12”. [2000/4000] Illustrated 449 French Provincial Faux-Bois Buffet a Deux Corps, mid-19th century, the molded cornice above a paneled frieze and two cupboard doors, each inset with a grilled panel, the lower section fitted with two drawers flanking a panel with the incised initials “M.C.”, over two paneled cupboard doors, raised on a plinth base, h. 86”, w. 54”, d. 20‑1/2”. [1500/2500] Illustrated

122

450 French Provincial Faux-Bois Morbier Long Case Clock, early 19th century, of bombe form, the porcelain face with a floral embossed brass surround, h. 93”, w. 21”, d. 11”. [700/1000] Illustrated 451 Louis XVI-Style Carved Giltwood Chandelier, first quarter 20th century, the acanthine-carved baluster standard incised with decorative patterns, the scrolled arms with foliate bobeches, h. 27‑1/2”, dia. 20”.

[1200/1800] Illustrated

451

452 Provincial Directoire Walnut Folio Cabinet, early 20th century, the deep rectangular top above a conforming case fitted with two cupboard doors, each inset with a diamondpatterned panel and opening to three pull-out shelves, raised on block feet, h. 39”, w. 56”, d. 34”. [1800/2500] Illustrated

449

450

452

123

458 Pair of Antique Tapestry Pillows, the tapestry fragments depicting winged figures in flight amid eagles, each backed with light gold silk and trimmed with rich tan fringe, h. 12”, w. 15”. [500/800]

453

457

453 Francois Charles Cachoud (French, 1866‑1943), “La Maison sur la Route au Clair de Lune, Savoie, France”, oil on canvas, signed lower right, titled en verso stretcher, 26” x 32”. Presented in a polychrome exhibition frame.

[2000/4000] Illustrated 454 Directoire-Style Polychrome Cabinet, early 20th century, the molded cornice above a case fitted with two paneled doors, each with an applied pateracentered “X” pattern, raised on block feet, h. 64‑3/4”, w. 47”, d. 18‑1/2”. [600/900]

455

455 Faience Covered Ginger Jar in the Rouen Style, ca. 1900, decorated in cobalt, yellow and orange scrollwork and flowers, the domed cover with a sheep-form knob, the unidentified mark with an anchor between an “H” and a “D”, and “France”, h. 24‑1/2”, dia. 10‑1/2”. [500/800] Illustrated 456 Provincial Louis XV-Style Fruitwood Table, late 18th century, the rectangular top above a frieze fitted with a single drawer, raised on cabriole legs, h. 26”, w. 37”, d. 26”.

[1200/1500] 457 Louis XVI-Style Fruitwood Settee, early 20th century, the padded rectangular back within a molded frame joined by downswept reeded and padded arms to the cushioned seat, raised on fluted tapering circular legs ending in toupie feet, upholstered in tan Fortuny fabric, h. 37”, w. 58‑1/2”, d. 31”. [1200/1800] Illustrated

124

459 Three Antique Tapestry and Velvet Pillows, comprising a small B. Viz Designs example with a floral tapestry panel trimmed in gold metallic galon backed with taupe silk velvet and edged with gold metallic cording knotted at the corners, h. 10”, w. 13”, a tapestry panel depicting a monkey drummer in a butterscotch and tan landscape backed with taupe velvet and trimmed with knotted fringe, h. 14”, w. 20” and another B. Viz Designs example with a leafy fruit and floral tapestry panel framed with a broad gold galon border and backed with tan silk velvet, h. 15”, w. 20”. [500/800] Illustrated

459

460 Provincial Directoire Fruitwood Window Seat, early 19th century, the cushioned caned seat flanked to either end by outscrolled sides with stylized wreath-form splats, the whole raised on tapering square legs ending in shaped peg feet, with a conforming cushion and two bolsters, h. 28”, w. 49”, d. 15‑1/2”. [700/1000] Illustrated 461 Provincial Directoire Fruitwood Games Table, late 18th century, the rectangular top triple-banded and with a raised edge centering an inlaid chess board, above a conforming frieze fitted with a single drawer, raised on tapering square legs, h. 26‑1/2”, w. 23‑1/2”, d. 15‑1/4”.

[600/900] Illustrated

462 Provincial Directoire Fruitwood Rafraichissoir, late 18th century, the square top with a marble top and two inset copper bottle holders, each custom-made by Ellis Joubert, New Orleans, Louisiana, and so stamped, above a conforming frieze fitted with a single small drawer, joined to two lower shelves by bulbous supports, the whole raised on tapering circular legs, h. 28”, w. 17‑1/2”, d. 17”.

[1000/1500] Illustrated

460

463 Louis XVI-Style Fruitwood Settee, late 19th century, the padded medallion back within a rope-carved and annulated frame, joined by padded acanthine-carved arms to the like seat, raised on stop-fluted circular legs ending in toupie feet, h. 40”, w. 51”, d. 22”. [800/1200] Illustrated

463

461

464 Pair of Louis XVI-Style Mahogany Fauteuils, late 19th century, each with a padded medallion back within a ropecarved frame, joined by padded acanthine-carved arms to the like seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 37”. [1500/2500] Illustrated

464

462

125

466 Niek Van der Plas (Dutch, b. 1954), “A Day at the Beach”, oil on wood panel, signed lower right, 12” x 16”.

Framed. [1500/2500] Illustrated

465 one of eight

466 467 Niek Van der Plas (Dutch, b. 1954), “Honfleur, France”, oil on wood panel, signed lower right, signed and titled en verso, 17‑3/4” x 14”. Framed. [1500/2500] Illustrated

467 465 one of eight 465 Suite of Eight Hand-Colored Engravings of Seashells, 18th century, from Index Testarum Conchyliorum by Niccolo Gualtieri (Italian, 1688‑1744), published 1742 in Florence, engraved by Pietro Antonio Pazzi (Italian, 1706‑1766), after Giuseppe Menabuoni (Italian, b. 1708), each sight 15” x 10”. Each glazed, French-matted and presented in burlwood frames.

[500/800] Illustrated

126

468 Italian School (Fourth Quarter 19th Century), “Polo del Carmine, Napoli” and “Castellammare, Napoli”, a pair of watercolor and gouaches on paper, unsigned, each titled en verso, each sight 16‑1/2” x 24‑1/2”. Glazed and framed alike. [800/1200] Illustrated 469 French Provincial Polychrome Armoire, 19th century, the rounded and molded cornice above a conforming case fitted with two doors, each inset with three foliateand shell-carved panels, raised on rounded block feet, h. 84‑1/4”, w. 52‑1/2”, d. 24”. [1000/1500] Illustrated

471 Pair of Louis XVI-Style Polychrome Fauteuils, late 18th century, each with a padded rectangular back surmounted by end finials, joined by padded arms on spiral-reeded uprights, the padded seat raised on fluted tapering circular legs ending in toupie feet, upholstered in period tapestry in figural and animal patterns, h. 39”. [1500/2500] Illustrated

468

470

468

471

470 Directoire-Style Polychrome Lit du Jour, 19th century, the long cushioned seat flanked to either end by a padded out-scrolled side, raised on splayed end legs and tapering circular interior legs ending in foliate toupie feet, h. 36”, w. 28”, l. 82‑1/2”. Illustrated: Phillips, Betty Lou. Villa Decor. Layton, UT: Gibbs Smith, 2002, p. 107.

[1000/1500] Illustrated

469

127

472 Louis XV-Style Polychrome Fauteuil, mid-19th century, the domed and padded back surmounted by a foliate shield-carved crest and within a molded frame, joined by scrolled arms to the padded seat, raised on cabriole legs to foliate-scrolled toes, h. 39”. [600/900] Illustrated

474

476 Louis XV-Style Polychrome Fauteuil, late 18th century, the padded and rounded back surmounted by a floral crest, joined by padded molded arms to the like seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 38”. [700/1000] Illustrated

472

473 Louis XVI Creme-Peinte and Parcel-Gilt Trumeau, 18th century, with two shaped mirrored plates, each within a molded scrolling foliate frame against a rectangular creme-peinte back, h. 74‑1/2”, w. 29‑1/2”. [800/1200] Illustrated 474 Continental Neoclassical Elm Settee, 19th century, the domed and padded back joined by closed padded arms to the cushioned seat, raised on tapering square legs, h. 34”, w. 59”, d. 26”. [700/1000] Illustrated

473

475 Rare French Hand-Blocked Canvas Window Shade on a Brass and Wood Rod, second quarter 19th century, the shade decorated with a lush romantic landscape framed with scrollwork and gadrooning, relating to 19th-century French scenic wallpaper, the wooden rod with pressed brass pinecone finials, of the period and possibly original to the shade, h. 74‑1/2”, w. 45‑1/2”. [700/1000] Illustrated

128

475 477 French Painted Architectural Trumeau Mirror, fourth quarter 19th century, painted blue-gray and fitted with antique glass, the mirror plate framed by raised panels on three sides, h. 93‑1/2”, w. 46‑1/2”. [2000/4000] 478 Louis XV-Style Polychrome Commode, 19th century, of bombe form, the top with a molded edge and bowed front, above a bombe case fitted with two long drawers, all tri-paneled, raised on splayed legs, h. 31”, w. 33‑1/2”, d. 19”. [1400/1800] Illustrated

479

481 Italian School (First Quarter 20th Century), a pair of nature morte oils on canvas, including “Hare” and “Mallards”, each illegibly signed lower right, each 39‑3/4” x 16”. Framed alike. [1500/2500] Illustrated

476

481

481

478

479 Pair of Louis XV-Style Giltwood and Polychrome Stools, 19th century, each with a padded rectangular top above a shell- and foliate-carved frieze, raised on like-carved cabriole legs joined by a shaped X-form stretcher and ending in scrolled toes, h. 18”, w. 22”, d. 19”.

[600/900] Illustrated 480 Charming Louis XVI-Style Polychrome Child’s Bergere avec Orielles, 19th century, the caned rectangular back and like downswept sides within a molded frame and joined to the cushioned caned seat by scrolling arms on vasiform uprights, raised on fluted tapering circular legs ending in toupie feet, h. 29‑1/4”. Illustrated: Phillips, Betty Lou. Villa Decor. Layton, UT: Gibbs Smith, 2002, p. 106. [700/1000] Illustrated

480

129

487

482

483

482 Italian Neoclassical Fruitwood Commode, early 19th century, the banded rectangular top above a case fitted with three graduated long drawers, flanked to either side by fluted uprights, raised on fluted tapering square feet, h. 36‑1/4”, w. 47”, d. 24‑1/2”. [1500/2500] Illustrated

484 French Empire-Style Tole-Peinte Two-Light Bouillotte Lamp, second quarter 20th century, decorated in Chinese red and black, the oil lamp-style base set with two “candles” and a shade decorated with cornucopias of flowers, h. 22‑1/2”, w. 11”, d. 8‑3/4”. [500/800] Illustrated

483 Suite of Four Continental Neoclassical Sidechairs, early 19th century, each with a curved crest above an arched and pierced splat, the padded seat raised on tapering square legs ending in splayed feet, h. 36‑1/4”.

[1000/1500] Illustrated

485 Pair of French Tole-Peinte Bottle Coolers, first quarter 19th century, decorated with pairs of sphinxes flanking a lyre, with details picked out in delicate penwork, one cooler retaining its lead liner, h. 6‑1/4”, dia. 7”. [500/800] Illustrated

130

488

486 Two Grand Tour Bronze Souvenirs, fourth quarter 19th century, comprising an Italian gilt-bronze example of a triumphal arch on a black marble base, h. 4”, w. 4‑3/4”, and a French patinated bronze lion on an ebonized wooden base, probably after Antoine-Louis Barye (French, 1796‑1875), h. 3‑1/4”, w. 4”. [500/800] 487 Cast Iron Figure of a Classical Nymph Bearing a Water Jug, on a neoclassical-style cast iron plinth molded with cow’s skulls and scrollwork, h. 89”, w. 23‑1/2”, d. 23‑1/2”. [2000/4000] Illustrated

484

485

489

488 Pair of Hand-Painted Paris Porcelain Neoclassical Plates, first quarter 19th century, featuring characters from a Racine play, the harlequin borders, one in pink and the other in apricot, framing polychrome depictions of characters in neoclassical dress, one marked “Hermione” and the other “Cephise”, both characters in “Andromaque”, a play written by Jean Racine, dia. 9”. [900/1200] Illustrated 489 Continental Neoclassical Mahogany Cabinet, early 19th century, the rectangular top with a raised edge, decorative banding and canted corners, above a conforming case fitted with a long drawer over two cupboard doors and centered by a shell-inlaid oval panel, all with decorative banding, raised on canted tapering square legs ending in peg feet, h. 34”, w. 34”, d. 17‑1/2”.

[1800/2500] Illustrated

131

490 French Empire Mahogany Settee, early 19th century, the triangular foliate-carved crest above a frieze with applied anthemion mounts, joined by closed downswept arms on gilt foliate uprights to the padded seat, raised on bulbous outer legs and tapering square inner legs, h. 38‑1/2”, w. 70”, d. 22”. [1500/2500] Illustrated

491

491 Pair of Charles X Mahogany Fauteuils, second quarter 19th century, each with a paneled crest over a padded back, joined by reeded downswept anthemion-carved arms to the padded seat, raised on sabre legs, h. 36”.

[800/1200] Illustrated 492 Austrian School (Third Quarter 19th Century), “Portrait of a Father, Mother, and Young Child”, oil on canvas laid down on board, unsigned, 39” x 29”. In an antique carved wood frame. [800/1200] Illustrated

492 493 Pierre Adolphe De Lattre (French, 1805‑1854), “Portrait of a Young Girl and Boy”, 1836, watercolor on ivory, signed, dated and inscribed “New York” lower right, 5‑3/8” x 4‑3/4”, presented in a velvet-lined leather case, overall, 7‑1/4” x 6‑3/8”. Provenance: Private collection, Covington, Louisiana. [600/900] Illustrated

490

132

496 Empire-Style Mahogany Daybed, 19th century, the headboard and footboard of equal height, and each with a rounded crest and fronted by an ormolu-mounted freestanding column, joined by a shaped rail and ending in turreted feet, h. 43”, inside, w. 41”, l. 73”, outside, w. 47”, l. 77”. [600/900] Illustrated

493

494 Collection of Three Shadowboxed Pieces of Napoleonica and Other French Memorabilia, including a Third Republic-era Legion d’Honneur medal in eighteenkarat gold and enamel, with Officier-rank ribbon, sight l. 4‑1/2”, on imperial green matte with giltwood and red silk slip in a laurel giltwood frame, overall, 11‑5/8” x 8‑7/8”, a varicolored silk thread and gold bullion raised embroidery badge of the French Imperial arms on white silk faille, sight l. 3‑1/2”, on black matte with giltwood slip in a gilt rococo frame, overall, 11‑1/2” x 10‑1/4”, and a giltbrass cloak clasp with Napoleonic monogram terminii and thick textured curb-link chain, sight w. 7‑1/2”, on black matte with giltwood slip in a black-painted and gilt molded frame, overall, 13‑3/4” x 15‑3/4”, all glazed. [500/800]

496

497 Suite of Four Restauration Mahogany Gondola Chairs, early 19th century, each with a curved crest above an addorsed dolphin splat, joined by downswept sides with swan’s head carving to the padded seat, raised on sabre legs, h. 32”. [500/800] Illustrated

497

498 Two Similar French Tole-Peinte Verrieres, first quarter 19th century, each with crenellated rims, one decorated with leafy scrollwork and grapes on a dark green ground, h. 4”, w. 10‑1/2”, d. 8”, and the other with a “smithy” putto in the center panel flanked by seated griffins, and pineapples under each handle, h. 4”, w. 10‑1/2”, d. 8”. [500/800] Illustrated

495

495 Empire-Style Mahogany and Burl Commode, 19th century, the rectangular top within a gilt banding, above a conforming case fitted with three drawers, all with highly figured veneers, flanked to either side by fluted ormolumounted pilasters, raised on block legs ending in caps, h. 33‑3/4”, w. 39‑3/4”, d. 18”. [1500/2500] Illustrated

498

133

499 Biedermeier Elm and Burl Elm Mirror, early 19th century, the triangular crest with ebonized molding, the rectangular plate within a plain frame with a molded base, h. 55”, w. 26”.

[700/1000] Illustrated

499

500 Pair of Restauration Bronze Dore et Patine Three-Light Candelabra, second quarter 19th century, each with a molded and engine-turned tapered base topped with a sphere supporting a patinated bronze figure of Eros, holding aloft three molded and pierced candle arms around a central torch finial, h. 19‑3/4”, dia. 7‑1/2”.

[700/1000] Illustrated

502

500

501 Baltic Neoclassical-Style Brass-Mounted Mahogany Pier Mirror, mid-19th century, with brass bandings and moldings with inset brass linings in the fluted areas, the ends of the base depicting lyres, h. 124”, w. 39”, d. 18‑1/2”. [1500/2500] Illustrated 501

134

503

502 Swedish/Continental Neoclassical Rosewood and Mahogany Bureau, early 19th century, in the manner of George Haupt, the banded rectangular top above a slant front, banded and centered by an inlaid laurel leaf garland with pendant wheat sheaf medallion, opening to a variety of drawers and cubbyholes, over two long drawers with floral inlays, raised on banded tapering square legs ending in caps, h. 40‑1/2”, w. 33”, d. 18”.

[2500/4000] Illustrated

504

503 French Empire GiltBronze, Marble and Burl FruitwoodVeneered Oval Encrier, first quarter 19th century, the engineturned trimmed and veneered base mounted with swans drinking from fountains, the marbleclad top set with a central molded candlestick surrounded by four quill holders, flanked by a pair of cut glass inkpots in engine-turned bezels, h. 6”, w. 7”, d. 4‑1/2”.

[500/800] Illustrated

506

504 Restauration Rosewood and Gilt-Bronze Lyre-Form Mantel Clock, second quarter 19th century, the base decorated with a leaf-molded gilt-bronze trim holding the clock, and gilt-bronze cornucopias framing the “strings” of the lyre, the pendulum swinging behind the strings, finished with a bronze basket of flowers forming the crest, h. 21”, w. 7‑3/4”, d. 5‑3/4”. [1000/1500] Illustrated 505 Neoclassical Fruitwood and Walnut Partner’s Writing Table, early 19th century, the square top banded and centered by a heraldic emblem, above a conforming frieze fitted to either end with a writing slide over three drawers, all banded, the sides banded en suite, raised on tapering square legs, h. 32”, w. 45”, d. 45‑1/4”.

[2500/4000] Illustrated 506 French Marble and Bronze Figural Mantel Clock, third quarter 19th century, the bronze and marble case set with signed Marti works, and by the retailer, Baschet Baullier, Paris, the figure on the top depicting Charles Louis de Montesquieu, author of De l’Esprit des loix, a copy of the book leaning on one side, h. 21”, w. 12‑3/4”, d. 5‑3/4”. [500/800] Illustrated

505

135

507 Pair of Restauration Patinated Bronze and Marble Four-Light Candelabra, second quarter 19th century, on stepped tripartite bases decorated with bronze, molded with lotus leaves and scrollwork, the tapered marble standards terminating in Egyptian-style capitals molded with lotus leaves, and a central candle socket on a bronze standard surrounded by three scroll-molded and pierced candle arms, h. 22‑3/4”, dia. 18”. [500/800] Illustrated

509

507

508 Suite of Four Biedermeier Elm Sidechairs, early 19th century, each with a curved crest above an arched architectonic splat with decorative inlay, the padded seat raised on square legs ending in block feet, h. 36”.

[1200/1800] Illustrated

510

508

136

510 detail

509 French Empire-Style Gilt-Bronze Two-Light Bouillotte Lamp, ca. 1900, the engine-turned base supporting a pair of swan-molded candle branches holding engine-turned candle cups, the central shade support mounted with an adjustable parcel-gilt black tole shade, h. 22‑1/2”, w. 13”, d. 8‑1/4”. [500/800] Illustrated 510 Pair of Christofle Bronze and Metal Two-Light Bouillotte Lamps, ca. 1901‑1903, French, the Louis XV-style bronze leaf-molded and fluted bases holding quiver-form standards with shade supports, a pair of scrolled candle arms, and adjustable black tole shades, marked “Christofle”, along with a registration symbol, h. 22‑1/2”, w. 11‑1/4”, d. 8‑3/4”. [800/1200] Illustrated 511 Italian Neoclassical Fruitwood Center Table, early 19th century, the quarter-veneered circular top banded and above a conforming diamond-inlaid frieze fitted with a single drawer and candle slide, raised on banded tapering square legs ending in pegs, h. 29‑1/2”, dia. 23‑1/2”.

[700/1000] Illustrated

512 one of four

512 one of four

511

512 Continental School (Fourth Quarter 18th Century), suite of four oils on canvas of “Bucolic Rural Scenes”, each 24‑3/4” x 24‑3/4”. Framed alike. [1500/2500] Illustrated 513 Pair of Louis-Philippe Walnut Fauteuils, mid-19th century, each with a rounded crest above a padded rectangular back, joined by flat arms to the padded seat, raised on tapering square legs, h. 35‑1/2”. [1200/1800] Illustrated

513

137

514 Italian Neoclassical Mahogany and Fruitwood Commode, late 18th century, the rectangular top banded, quarter-veneered and centered by an elaborately scrolling urn medallion, above a conforming case fitted with a frieze drawer with an inlaid basket garland, over two long drawers, banded and veneered en suite and centered by an oval inlaid pastoral scene, raised on tapering square legs, h. 34”, w. 49”, d. 22‑3/4”. Illustrated: Phillips, Betty Lou. Villa Decor. Layton, UT: Gibbs Smith, 2002, p. 106.

[2500/4000] Illustrated

516 Pair of Hand-Painted Paris Porcelain Urns, second quarter 19th century, now mounted as lamps, the gilded urns with carefully rendered depictions of water nymphs in diaphanous gowns decorating the obverse, and panels with tooled gilt trophies framed with laurel wreaths decorating the reverse, the molded, scrolled handles terminating in matte gilt leopard-head finials, base, h. 16”, overall, h. 28”, w. 5‑1/4”. [1000/1500] Illustrated

515 Pair of Paris Porcelain White and Gold CampanaForm Urns, first quarter 19th century, with square bases, the gilt handles decorated with bisque lotus leaves and terminating in classical masques of bearded Greek scholars, h. 12”, dia. 8‑3/4”. [500/800] Illustrated

515

516

514

138

517

520 Cast Iron Figure of Moses, After Michelangelo Buonarroti (Italian, 1475‑1564), on a neoclassicalstyle plinth, h. 71‑1/2”, w. 23‑1/2”, d. 23‑1/2”.

[1500/2500] Illustrated

517 Restauration Fruitwood Settee, early 19th century, of diminutive proportions, the paneled rectangular back surmounted by a plain crest rail, joined by closed arms on shaped uprights to the padded seat, raised on tapering square legs, h. 34‑1/4”, w. 61”, d. 19”. [800/1200] Illustrated 518 Italian Specimen Marble and Hardstone Stone Side Table, the rectangular specimen top centered by a fruit spray and surrounded by a band of flowering and fruit-filled branches, raised on two supports, each in the form of a griffin on a molded base, h. 30‑1/2”, w. 86‑1/2”, d. 39”. [4000/7000] Illustrated

519

519 Pair of Italian Marble Garden Urns on Plinths, in the Renaissance Revival style, the octagonal gadrooned bases supporting the lobed urns carved with lion’s head corners, raised on rectangular plinths, h. 49‑1/2”, w. 21”, d. 21”. [1000/1500] Illustrated

518 detail 518

520

139

522

524

521 Carved Marble “Odalisque”, fourth quarter 19th century, probably Italian, the sleeping harem girl depicted en deshabille, reclining on drapery, h. 7”, w. 22‑1/2”, d. 8‑1/4”. [800/1200] Illustrated

524 Italian Rococo Polychrome and Parcel-Gilt Mirror, late 18th century, the slightly molded plate surmounted by a pierced foliate crest and surrounded by a foliate vineentwined frame, h. 48”, w. 27”. [800/1200] Illustrated

521 523

522 Italian Polychrome, Silver-Leaf and Rock Crystal Eight-Light Chandelier, the crown issuing eight foliatepatterned arms with a pendant crystal pendalogue suspended from a large free-form rock crystal stone, above a cage centered by an upright prism with eight foliate-modeled arms ending in cups, each richly dressed with double strands of rock crystal beads and with pendant faceted prisms and pendalogues, h. 43”, dia. 30”.

[900/1200] Illustrated 523 Italian Polychrome and Giltwood Fauteuil, late 18th century, the padded tapering rectangular back within a molded frame, joined by shaped and scrolling arms to the padded seat, raised above a dentillated apron on ribbed tapering circular legs, h. 32”. [700/1000] Illustrated

140

525 "The Pilgrim Shield", after the 1878 model by Leonard Morel Ladeuil (ca. 1820-1866), the composition cameo plaque in white on a marbelized ground, the side panels depicting hell on the bottom and heaven on the top, h. 32‑1/2”, w. 24‑1/2”.

[1200/1800] Illustrated 526 Pair of Italian ParcelGilt Walnut and MarbleTop Console Tables, 19th century, each with a 525 deeply canted top and a conforming Notre Dame marble top, above a conforming anthemioncarved frieze, raised on a paneled foliate-carved back and a single winged female front support to a molded base, h. 36‑1/2”, w. 29‑1/2”, d. 15”. [1800/2500] Illustrated

527

527 Grand Tour Bronze and Marble Stand, ca. 1900, with satyr-form legs and a round marble top, inspired by the Antique, h. 15‑1/2”, dia. 11”. [500/800] Illustrated 528 Mottled Green Marble Sculpture of a Satyr with Cymbals and Kroupezion, first quarter 20th century, probably Italian, on a round plinth, after the Roman marble copy of a 1st century BC Greek sculpture in the National Gallery of Ancient Art, Rome, h. 18‑1/4”, dia. 5‑1/4”. [2000/4000] Illustrated 529 Italian School (19th Century), “Pompeian Putti with Spoils of War”, gouache on board, unsigned, sight 11‑1/2” x 17”. Glazed and framed.

[800/1200] Illustrated 529

528

526

141

530 detail

530

530 Italian Giltwood Vitrine, 19th century, the masque-carved crest above a pietra dura panel of a bird perched on a rose branch, flanked to either side by small shelves, over a foliate-carved dentillated frieze, the case fitted with two beveled glazed doors opening to a mirrored and shelved interior, joined by a mirrored back and winged maiden supports to a stretcher shelf ending in scrolled toes, h. 87‑1/2”, w. 40‑1/2”, d. 17‑1/2”. [6000/9000] Illustrated

531

531 Pair of French Rock Crystal and Gilt-Metal Two-Light Sconces, 20th century, in the Bagues style, modeled as vases holding flowers and leaves, and mounted with scrolled candle arms, electrified, h. 22”, w. 14”, d. 7‑1/4”. [2000/4000] Illustrated

142

532 Italian School (First Quarter 19th Century), “Floral Still Life in a Classical Urn, Inside an Arched Niche”, oil on canvas, unsigned, 36” x 10”. Presented in a fauxweathered polychrome frame. [500/800] 533 Baroque-Style Giltwood Mirror, fourth quarter 19th century, Provence, France, resting on leaf-molded supports with leaf-molded sides, the mirror-backed arched crest depicting a basket of flowers framed with rocaille work on a Greek-key platform, h. 40‑1/2”, w. 20‑1/2”.

[1200/1800] Illustrated

533

534

534 Louis XV-Style Wrought Iron and Griotte Rouge Marble-Top Console Table, 19th century, the serpentine-form marble top above an open C-scrollpatterned frieze centered by a gilt foliate mount, raised on scrolling legs headed by foliate capitals and ending in upturned toes, h. 33”, w. 41‑1/2”, d. 16”. [700/1000] Illustrated 535 Julius Horn (b. Josef Kamenitzky Steiner/Austrian, 1910‑1981), “The Guitar Player”, oil on canvas, signed lower right, signed en verso canvas, 30” x 24”. Framed.

[700/1000] Illustrated 536 After Titian (Italian, ca. 1488/1490‑1576), “Young Girl Holding Fruit Tray”, oil on canvas, unsigned, 25” x 20”.

Presented in a carved giltwood frame. [500/800] 537 G. Carabba (Italian, 19th Century), “The Lottery Numbers”, oil on canvas, signed upper right, 18” x 12”. In an antique carved and gessoed giltwood frame.

[700/1000]

535

143

538 Adriano Bonifazi (Italian, 1858‑1914), “Feeding the Turkeys”, 1882, oil on canvas, signed, dated and inscribed “Capri” lower left, 32” x 24”. Framed. [1500/2500] Illustrated

539 Pair of Neoclassical Giltwood Wall Brackets, 20th century, probably Italian, the scrolled leaf-carved backplates holding supporting tops with molded edges, h. 21‑1/2”, w. 16”, d. 10‑1/4”. [600/900] 540 Continental Walnut Commode, early 19th century, the rectangular top banded and with inlaid turreted corners, above a conforming case fitted with a banded frieze drawer over two long, deep, like-banded drawers, flanked to either side by ring-turned pilasters, raised on bun feet, h. 39”, w. 47‑1/2”, d. 24‑1/2”. [600/900]

544

538 541 Northern Italian Burl Walnut Commode, late 18th century, the rectangular top with a canted serpentine front, above a conforming case fitted with three long banded drawers, above a shaped apron, raised on cabriole feet, h. 34”, w. 50‑1/2”, d. 21‑1/2”.

[3000/5000] Illustrated

541

144

542 Venetian Baroque Hand-Painted Mirror, mid-18th century, the molded frame hand-painted with flowers on a yellow ground, trimmed in gilt scrollwork, the pierced crest depicting a couple gathering fruit, h. 25”, w. 19”. [700/1000] Illustrated

543 Italian Rococo Giltwood and Marble-Top Console Table, late 19th century, the shaped marble top with a molded edge, above a lattice-pierced and foliate-carved frieze centered by a shell shield, raised on supports in the form of a winged maiden on a foliate C-scroll leg to peg feet, h. 36”, w. 80”, d. 22”. [1500/2500] Illustrated 544 Louis-Philippe Giltwood Wall Bracket, mid-19th century, the half serpentine shelf with leaf-carved supports, with carved borders, h. 13‑1/4”, w. 18”, d. 7”.

[500/800] Illustrated

545

545 Italian Giltwood Mirror in the Baroque Taste, with a surround of brightly gilded scrollwork and flower piercings, and an overhanging leaf-form crest, h. 40‑1/2”, w. 48”.

[1000/1500] Illustrated

542

546

543

546 Louis XV-Style Polychrome and Marble-Top Commode, 19th century and later, the shaped marble top above a conforming bombe case fitted with two long drawers, the drawers and sides paneled and painted with figural pastoral scenes, raised on splayed legs ending in scrolled toes, h. 36”, w. 47‑1/2”, d. 19‑1/2”.

[2500/4000] Illustrated

145

547 Unusual Pair of Copper, Brass, Enamel and Pietra Dura Planters in the Aesthetic Taste, fourth quarter 19th century, possibly Italian, supported on faceted feet, the rectangular copper planters decorated with oval pietra dura plaques depicting flowers with arcaded framing of enamel meanders, now with arrangements of dried wheat and flowers, h. 5”, w. 9”, d. 6”. [1500/2500] Illustrated

547

550

550 Provincial Polychrome Side Table, 19th century and later, the rectangular faux verde antico top with a molded edge, above a frieze fitted with a single drawer flanked on polychrome tapering square legs headed by floral accents and ending in shaped feet, h. 29‑1/2”, w. 45”, d. 24”.

[1000/1500] Illustrated

548 Nineteen Pieces of J. & L. Lobmeyr Molded, Cut and Engraved Glassware, ca. 1900, Austrian, including two pitchers, h. 7‑1/2”, dia. 4‑1/2”, and seventeen handled cups, h. 2‑1/4”, dia. 2‑3/4”, the pitchers with an engraved mark. [700/1000]

551 549

549 Partial Set of Blown, Gilded and Enameled Venetian Glassware, Attributed to Salviati, first quarter 20th century, Murano, Italy, comprising thirteen wine goblets, h. 7‑3/4”, twelve aperitif glasses, h. 6‑1/4”, twelve champagne coupes, h. 5‑1/2”, and twelve finger bowls, h. 2‑1/4”, with twelve underplates, dia. 7”, decorated with gilt scrollwork trimmed with enameled “jewels”, the stems on the glasses with gadrooned knops. [1800/2500] Illustrated

146

551 Large and Impressive Italian Baroque-Style Giltwood Mirror, fourth quarter 19th century, exuberantly designed with leaf and thistle motifs, with a beveled mirror plate, h. 69”, w. 56”, d. 7”. [5000/8000] Illustrated

556 Turkish Angora Oushak Carpet, 6’ x 8’ 7”. [600/900] 557 Antique Kurd Carpet, 3’ 7” x 11’. [600/900] 558 Semi-Antique Aubusson Carpet, 9’ 4” x 13’. [800/1200] Illustrated

553

555

554 552 Semi-Antique Spanish Oushak Carpet, 10’ x 10’ 7”.

[700/1000] 553 Agra Serapi Carpet, 11’ 9” x 14’ 9”. [1800/2500] Illustrated 554 Semi-Antique Sarouk Carpet, 8’ x 8’ 8”. [1200/1800] Illustrated 555 Angora Oushak Carpet, 9’ 9” x 13’ 9”. [6000/9000] Illustrated

558

147

559 Turkish Angora Oushak Carpet, 7’ 10” x 10’ 2”.

[800/1200] Illustrated

560 Angora Oushak Carpet, 7’ 8” x 9’ 8”. [4000/7000] Illustrated 561 Turkish Angora Oushak Carpet, 11’ 10” x 14’ 3”.

[1800/2500] Illustrated 562 Turkish Angora Oushak Carpet, 9’ 2” x 12’.

[1200/1800] Illustrated 563 Turkish Angora Oushak Runner, 2’ 8” x 29’ 7”.

[900/1200]

559

560

148

561

562

565 Pair of Napoleon III Gilt-Bronze Vases in the NeoGrec Style, third quarter 19th century, the bodies molded in bas-relief with cherubim riding minotaurs, the contrasting matte-gilt fluted necks mounted with snakeform handles terminating in masques of Pan, raised on griffin-form paw feet, h. 18‑1/2”, w. 7‑3/4”, d. 5‑1/2”.

[1200/1800] Illustrated

566

565

564 French Empire-Style Mahogany Three-Piece Bedroom Suite, early 20th century, consisting of a dresser and a pair of twin beds, the dresser with an affronted griffin crown and side finials above a foursectioned beveled mirror, the lower section with a marble top above a case fitted with a single frieze drawer over three short central drawers flanked to either side by a paneled cupboard centered by a classical ormolu maiden mount, raised on paw feet, h. 90‑1/2”, w. 51”, d. 23‑1/2”, the beds each with a like crest above a tri-paneled headboard flanked by ormolu maiden-capped uprights, the lower footboard paneled en suite, raised on paw feet, all accented with decorative ormolu mounts and millwork, h. 68”, inside, w. 34”, l. 79”, outside, w. 40”, l. 89”.

Provenance: Gianni Versace, Miami, Florida. [5000/8000] Illustrated

566 Pair of French Neo-Grec Bronze Moderator Lamps, third quarter 19th century, the cylindrical bodies molded in bas relief with Greek and Egyptian figures, framed with Greek-keys and lotus leaves, mounted with leaf-molded handles, now electrified, h. 19‑1/2”, dia. 4‑1/2”. [500/800] Illustrated

564

564 3-piece suite

564 3-piece suite

149

569

568

567 Suite of Three Louis XVI-Style Gilt-Bronze Two-Light Sconces, early 20th century, each with a cherub-form backplate issuing two foliate-modeled arms, electrified, h. 14”, w. 5”. [1000/1500] Illustrated

570 Berlin Iron Work Figure of Frederick William IV of Prussia (1795‑1861), third quarter 19th century, mounted on an “Egyptian” marble base with rosso antico trim, the “romanticist on the throne” depicted standing with a sword at his side, h. 15”, w. 4‑1/4”, d. 4‑1/4”.

[1500/2500] Illustrated

567 570

568 Restauration Creme-Peinte Mirror, early 19th century, the rectangular plate within a molded frame with carved foliate shield and floral garland accents, h. 27”, w. 22‑1/2”.

[600/900] Illustrated 569 Exceptional Louis-Philippe Bronze Dore et Patine Chandelier, second quarter 19th century, the turned and leaf-molded standard base hanging from pierced scrolls, supported by the twisted, fluted upper standard, with scrolled leaf-molded arms supporting contrasting dore and patinated candle cups, drip pans and matching bobeches, not electrified, h. 33‑1/2”, dia. 27”. [3000/5000] Illustrated

150

573 Continental Patinated Bronze of Paris, first or second quarter 20th century, the prince of Troy holding the Apple of Discord, h. 48”, w. 16”, d. 16‑1/2”.

[1500/2500] Illustrated

571

571 Pair of French Empire-Style Gilt-Bronze Two-Light Sconces, with backplates in the form of Athena masques, the candle branches molded as swan’s heads and wings, h. 11”, w. 11‑1/2”, d. 7”. [800/1200] Illustrated

572

572 Pair of Napoleon III Gilt- and Patinated Bronze Candelabra, third quarter 19th century, after a design by Clodion, each with a central socket surmounted by five candle arms issuing from a patinated urn decorated with Bacchic putti in relief, h. 25”, dia. 12‑1/2”.

[2000/4000] Illustrated

574

574 French Patinated Bronze of a Nymph Carrying a Young Faun, ca. 1900, h. 24‑1/2”, w. 7‑1/2”, d. 10”. [800/1200] Illustrated 575 Pair of EmpireStyle Ebonized and Polychrome Twin Beds, early 20th century, each with a turned and lotus-carved crest above a doubleX-form and paneled back, the footboard with scrolling uprights, the whole with gilt and polychrome designs in anthemion and other patterns, h. 41”, inside, w. 39”, l. 76”, outside, w. 41‑1/2”, l. 83”.

[700/1000] Illustrated

576

576 Continental Giltwood and Ebonized Mirror, mid-20th century, in the Swedish neoclassical taste, set with a beveled plate, decorated with wheat tied with a bowknot and an elaborate pierced crest of a medallion holding a vase of flowers, each side with cascading drapery and scrolls, h. 50‑1/2”, w. 22”.

[900/1200] Illustrated

573 575 pair

151

577 French School (First Quarter 19th Century), “Adam and Eve Mourning the Death of Abel”, oil on canvas, unsigned, 28” x 37”. Framed. [2500/4000] Illustrated

577 580 578 Pair of Napoleon III Bronze Figures of Greek Maidens, third quarter 19th century, the gilt-bronze bases decorated with Empire-style applied masques and swags, and supporting the patinated bronze figures, h. 11‑1/2”, w. 3‑1/4”, d. 3‑1/4”. [500/800]

579 Italian Grand Tour Bronze Depicting Narcissus, fourth quarter 19th century, after the Antique, the nude youth dressed in sandals, with a pelt on his shoulder, h. 24”, w. 10‑1/2”. [600/900] Illustrated

581

579

152

580 Pair of Restauration Bronze Dore et Patine FourLight Candelabra, second quarter 19th century, the unusual reeded and leaf-molded bases supporting gilt spheres with figures of, respectively, Dionysus and a Maenad, each clutching a bunch of grapes and holding aloft grape-molded scrolled candle arms and sockets, h. 25”, dia. 7‑3/4”. [2000/4000] Illustrated 581 Pair of Empire-Style Bronze Four-Light Sconces, the gilt-bronze quiver-form backplates mounted with patinated bronze figures holding pairs of candle branches in each hand, h. 25”, w. 13”, d. 10‑1/4”. [1800/2500] Illustrated

583 Suite of Two Empire-Style Mahogany Tub Chairs, early 20th century, one example with a rounded crest and downswept arms above an ormolu wreath applied splat, the padded seat raised on tapering square legs ending in gilt paws, h. 32”, and the other example with a flat crest and arms above an ormolu maiden applied splat, the padded seat raised on tapering square legs, h. 28”.

[500/800] Illustrated

584

584 Italian Neoclassical Mahogany Commode, early 19th century, the rectangular top above a case fitted with two short drawers over two long drawers, flanked to either side by stop-fluted uprights headed by foliate carving, above a stop-fluted apron, raised on scrolled toes, h. 33‑1/2”, w. 47‑1/2”, d. 25‑1/2”. [1000/1500] Illustrated 582

582 Empire-Style Mahogany Center Table, 20th century, the circular top with an inset glass surface over five circular panels, each within an ormolu frame and depicting courting couples, raised on three supports headed by ormolu winged maiden’s heads, and joined by a stretcher centered by an ormolu figure of a child, raised on splayed legs ending in sabots, h. 31‑1/2”, dia. 28”. [800/1200] Illustrated

585 Neo-Grec-Style Patinated Metal Clock, on paw feet, the leaf-molded base supporting the body, set with works with an enamel chapter ring, the figure on the top depicting the Goddess Athena bouncing Cupid on her knee, her bow and arrows to one side, h. 26‑1/2”, w. 22”, d. 15‑1/2”.

[500/800] Illustrated

585

583

153

586 Pair of French Marble and Bronze Ewer-Form Garnitures, third quarter 19th century, in the Renaissance Revival style, the marble bases resting on paw feet and supporting the basrelief-molded ewers, decorated with battle scenes and giltbronze horizontal ribbing, h. 17‑1/2”, dia. 4‑1/4”. [1000/1500] Illustrated 587 Empire-Style Mahogany Bibliotheque, early 20th century, the molded cornice above a frieze with three affronted ormolu swan mounts, over three doors, the upper part glazed, the lower section with diamond panels, divided by and flanked by engaged pilasters headed by ormolu maiden’s heads, raised on a plinth base, h. 78”, w. 88”, d. 18‑1/2”. [5000/8000] Illustrated

586

588 German Hand-Painted Porcelain Plaque of Napoleon, first quarter 20th century, the emperor depicted with one hand tucked into his vest, the rear marked “Napoleon” in rouge-defer script and impressed “311” below the shield-form mark of C. M. Hutschenreuther used from 1904, in a giltwood rococo-style frame, plaque, h. 7‑1/4”, w. 5”, overall, h. 16‑3/4”, w. 14‑1/2”.

[500/800] Illustrated

587

154

591 French Belle Epoque Parcel-Gilt Pier Mirror, ca. 1900, the leaf-molded gilt surround on a fawn ground, with a round upper tablet decorated with crossed arrows, wreaths and ribbons over a mirror plate, h. 60”, w. 19”. [800/1200] Illustrated

590

588

589

591

589 Two French Portraits of Napoleon, including a glass sulphide profile portrait, ca. 1825, possibly Baccarat, the octagonal sulphide depicting Napoleon in profile, wearing a laurel wreath crown, in a gilt-brass bezel on a fabric ground and framed in an early 19th-century giltwood frame decorated with molded acanthus leaves, h. 9”, w. 8‑1/4”, d. 2‑3/4”, and a miniature portrait, ca. 1900, depicting Napoleon with downcast eyes, signed “Delaroche”, h. 5‑1/2”, w. 4‑3/4”. [500/800] Illustrated 590 French Empire-Style Gilt-Bronze and Verde Antique Marble Encrier, ca. 1900, of Napoleonic inspiration, the paw feet supporting the marble body, set with an inset pen tray and a central eagle finial, flanked by a pair of fluted bronze inkpots, h. 7‑1/2”, w. 10‑1/2”, d. 6”. [500/800] Illustrated

155

593 Gilt-Metal and Glass Basket-Form Twelve-Light Chandelier, of Italian neoclassical inspiration, set with lights on two levels, alternating with sprays of drops holding swags of prisms, h. 41”, dia. 33‑1/2”. [700/1000] Illustrated 594 Handsome Directoire Trumeau Mirror, fourth quarter 18th century, the ogee-molded giltwood frame with a leafmolded inner liner, holding a gray-painted lower panel under the mirror, set with antique glass, the upper oilon-canvas panel depicting a romantic couple in a verdant landscape, h. 65‑1/4”, w. 30‑1/2”. [2500/4000] Illustrated

593

592 Directoire Polychrome Fauteuil, late 18th century, the padded rectangular back surmounted by a rounded foliatecarved crest, joined by downswept like-carved arms to the cushioned seat, raised on tapering circular legs headed by foliate capitals and ending in like pad feet, h. 35‑1/2”.

[1000/1500] Illustrated

594

592

156

157

S ession II S u nday, July 26, 2015 Lots 595 - 1017

1 0 : 0 0 - 11 : 00

595

1 2 : 0 0 - 1 : 00

746 - 845

11 : 0 0 - 1 2 : 00

1 : 0 0 - 2 : 00 2 : 0 0 - 3 : 00

- 655

656 - 745 846 - 945 946 - 1017

Lot 736 Lot 888

597 Victorian Fourteen-Karat Yellow/Green Gold, Garnet and Pearl Brooch, the two-tone gold brooch with a drop pendant with applied green gold leaves, and set with two seed pearls and three square table-cut garnets, with an approximate total weight of 1.80 carats, the drop set with a square table-cut garnet, with an approximate weight of 0.75 carats, h. 2‑1/4”, w. 1‑1/2”, 9.2 grams total weight. [500/800] Illustrated

597

596

598 Fourteen-Karat Yellow Gold, Kunzite and Diamond Ring, the faceted emerald-shaped kunzite, with an approximate weight of 11.20 carats, flanked by six round brilliant-cut diamonds, with an approximate total weight of 0.18 carats, size 6‑1/4, 8.3 grams total weight.

[800/1200] Illustrated

595 Le Vian Fourteen-Karat Rose Gold, Garnet and Chocolate Diamond Necklace, together with a fourteenkarat rose gold, garnet and chocolate/white diamond ring, the Le Vian rose gold pendant set with a cushion faceted garnet, with an approximate weight of 1.00 carat, and two round brilliant-cut chocolate diamonds, suspended from a fourteen-karat rose gold chain, l. 18”, and the ring set with a cushion faceted garnet, with an approximate weight of 2.00 carats, thirty-six round brilliant-cut white diamonds and 112 round brilliant-cut chocolate diamonds, with an approximate total diamond weight of 2.00 carats for both, size 7, 9.5 grams total weight. [1000/1500] 596 Eighteen-Karat Yellow Gold, Pink Tourmaline and Diamond Pendant with Chain, the large oval faceted pink tourmaline pendant, with an approximate weight of 20.25 carats, surrounded by seventy-five round brilliantcut diamonds, with an approximate total weight of 0.80 carats, suspended from an eighteen-karat yellow gold woven herringbone chain, pendant, l. 1‑3/8”, chain, l. 18”, 21.0 grams total weight. [500/800] Illustrated

160

598

599 Two Pairs of Fourteen/Ten-Karat Gold and Diamond Earrings, the fourteen-karat yellow, rose and white gold earrings each set with 136 single-cut diamonds, with an approximate total weight of 1.00 carat for the pair, l. 5/8”, and the ten-karat yellow gold earrings each set with twenty-six single-cut diamonds, with an approximate total weight of 0.20 carats for the pair, l. 1”, 8.3 grams total weight. [600/900] 600 Fourteen-Karat Yellow Gold, Smoky Quartz and Diamond Ring, set with a cushion faceted smoky quartz, with an approximate weight of 7.00 carats, surrounded by a halo of thirty-two round brilliant-cut diamonds and an additional twelve round brilliant-cut diamonds on the shank, with an approximate total weight of 0.20 carats, size 7, 5.0 grams total weight. [500/800]

601

601 Fourteen-Karat Rose Gold and Diamond Bracelet, the tapered hinged cuff bracelet in a stylized leaf design, set with approximately 461 single-cut diamonds, with an approximate total weight of 1.60 carats, inside circumference, 7”, 21.0 grams total weight. [2500/4000] Illustrated

603

602 Fourteen-Karat Rose Gold and Diamond Ring, set with a central radiant-cut white diamond, with an approximate weight of 1.02 carats, color E and clarity VVS2, and two oval-cut brown diamonds, with an approximate total weight of .076 carats, clarity SI1‑SI2, size 6, 4.0 grams total weight. [2500/4000] Illustrated

602

603 Fourteen-Karat Rose Gold, Diamond, Amethyst and Pink Sapphire Lavaliere Necklace, the pendant set with 106 round brilliant-cut diamonds, with an approximate total weight of 1.25 carats, 107 round faceted pink sapphires, with an approximate total weight of 3.00 carats, and seventeen oval faceted amethysts, with an approximate total weight of 11.00 carats, pendant, l. 4‑1/2”, chain, l. 16‑1/2”, 20.6 grams total weight.

[4000/7000] Illustrated

161

604 Fourteen-Karat Rose Gold, Amethyst and Diamond Earrings, the dangling pendant earrings each set with a round faceted amethyst cabochon, with an approximate total weight of 1.60 carats for the pair, accented with single-cut diamonds, with an approximate total weight of 0.25 carats for the pair, l. 7/8”, 2.7 grams total weight. [500/800] Illustrated 605 Striking Fourteen-Karat Yellow Gold and Amethyst Necklace, composed of 1400.0 carats of faceted free-form amethyst beads, finished with a fourteen-karat yellow gold toggle clasp, l. 17”, 287.4 grams total weight.

[500/800] Illustrated 606 Stunning Eighteen-Karat White Gold, Lavender Jade and Diamond Brooch, the custom-made brooch composed of a carved flower-shaped lavender jade, with an approximate weight of 37.00 carats, the center and the outer border set with 176 round-cut diamonds, with an approximate total weight of 8.50 carats, approximate color E-G and clarity VVS2‑VS1, size, 2” x 3”, 58.0 grams total weight. [14000/18000] Illustrated

605

607 Fourteen-Karat Yellow Gold and Carved Amethyst Necklace, composed of 620.0 carats of carved amethyst beads and gold roundels, finished with a gold clasp, l. 19‑1/2”, 191.6 grams total weight. [500/800] Illustrated

604

162

606

608

607

609 Stunning Eighteen-Karat Yellow Gold and Multi-Stone Necklace, bezel-set with 850.0 carats of various gemstones, including emerald, amethyst, aquamarine, citrine, smoky quartz, pink quartz, garnet, blue topaz, white quartz, rutilated quartz, green tourmaline and black onyx, l. 66”, 194.0 grams total weight.

[15000/25000] Illustrated

609 608 Eighteen-Karat White/Yellow Gold, Pink Sapphire, South Sea Pearl and Diamond Ring, designed as a flower, the “petals” mounted with 150 round-cut pink sapphires, with an approximate total weight of 7.90 carats, 150 round-cut diamonds, with an approximate total weight of 0.90 carats, color G-I and clarity VS1‑SI1, and finished in the center with a 13.0 mm South Sea pearl, with a pink/rose color and a medium luster, size 7, 25.0 grams total weight. [12000/18000] Illustrated

163

610 Armenta Teal Caiman Envelope Clutch, fronted with a jeweled medallion, opening to an unlined interior with a half-gusseted slip pocket and zippered pocket, the flap with the gilt-brass “Armenta” label, h. 6‑1/4”, w. 12‑1/4”, d. 1”. [600/900] Illustrated

612 Beautiful Platinum, Diamond and Emerald Bracelet, set with eleven baguette- and square-cut emeralds, with an approximate total weight of 5.00 carats, and 145 roundcut diamonds, with an approximate total weight of 5.00 carats, approximate color E-G and clarity VS2‑SI2, l. 7”, 40.0 grams total weight. [25000/40000] Illustrated

610

611 Eighteen-Karat White Gold, Diamond and Garnet Ring, composed of a central hexagonal-shaped tsavorite garnet, with an approximate weight of 0.63 carats, four small round brilliant-cut diamonds, two large round brilliant-cut diamonds and four baguette-cut diamonds, with an approximate total diamond weight of 1.13 carats, color E-F and clarity VVS2‑VS1, size 7‑1/2, 9.0 grams total weight. [900/1200]

614

613 Eighteen-Karat White Gold, Emerald and Diamond Ring, set with a central emeraldcut treated emerald, with an approximate weight of 4.09 carats, and seventy round brilliant-cut diamonds, with an approximate total weight of 0.78 carats, color G-I and clarity VS2‑SI1, size 6‑3/4, 6.0 grams total weight.

[700/1000]

612

164

614 Platinum, Emerald and Diamond Ring, the starburstdesigned ring composed of a central round brilliant-cut diamond, with an approximate weight of 0.62 carats, color D-E and clarity VS2, twelve round brilliant-cut diamonds, with an approximate total weight of 0.65 carats, color D-E and clarity VS1‑VS2, and twelve round-cut emeralds, with an approximate total weight of 0.72 carats, size 8‑1/2, 6.0 grams total weight.

[2000/4000] Illustrated

615 Fourteen-Karat Yellow Gold and Emerald Necklace, composed of 693.0 carats of graduated treated emerald beads, finished with a gold clasp, l. 19‑1/2”, 120.8 grams total weight. [500/800] Illustrated 616 Eighteen-Karat Yellow Gold, Emerald and Diamond Earrings, each earring set with an oval-shaped emerald cabochon, with an approximate total weight of 20.00 carats for the pair, and surrounded by twenty-eight round-cut diamonds, with an approximate total weight of 1.75 carats, approximate color E-G and clarity SI1‑SI2, l. 1”, 22.0 grams total weight.

[10000/15000] Illustrated 617 Eighteen-Karat Yellow Gold, Emerald and Diamond Ring, set with a central emerald-cut emerald, with an approximate weight of 3.27 carats, surrounded by thirty-two round brilliant-cut diamonds, with an approximate total weight of 1.17 carats, color E-G and clarity VVS2‑VS1, size 7, 11.0 grams total weight.

[9000/12000] Illustrated

617

615

616

165

618 Pair of Fourteen-Karat White Gold, Diamond and Jade Earrings, and a Fourteen-Karat Yellow Gold, Jade and Pearl Butterfly Brooch, each ear clip set with a cruciform-shaped green jade, with four round brilliant-cut diamonds at each corner, with an approximate total weight of 0.40 carats for the pair, h. 3/4”, and the butterfly brooch with wings composed of green jade and a body composed of three freshwater pearls, h. 1‑3/4”, w. 3‑1/8”, 19.6 grams total weight. [800/1200] Illustrated

620

618

619 Eighteen-Karat Yellow Gold, South Sea Pearl and Diamond Ring, composed of a central white South Sea pearl, measuring 14.00 mm and with a high luster, surrounded by 130 round brilliant-cut diamonds, with an approximate total weight of 4.76 carats, color D-F and clarity VVS1‑VVS2, size 7, 22.0 grams total weight.

[6000/9000] Illustrated

619

8 166

620 Pair of Fourteen/Eighteen-Karat Yellow Gold, Diamond and South Sea Pearl Earrings, each earring mounted with a South Sea Baroque golden pearl, measuring 13.0 mm and with a very good luster, suspended from a cluster of diamonds, composed of a central European-cut diamond surrounded by eight round brilliant-cut diamonds, with an approximate total diamond weight of 1.59 carats for the pair, color H-I and clarity SI1‑SI2, l. 1”, 15.0 grams total weight. [3000/5000] Illustrated

621

621 Eighteen-Karat Yellow Gold, Gold South Sea Pearl and Diamond Ring, set with a central golden South Sea Pearl measuring approximately 12.50 mm, with a high luster, surrounded by nine diamond clusters, set with nine oval-shape diamond slices, with an approximate total weight of 1.22 carats, color L-N and clarity VS2‑SI2, and fifty-six round brilliant-cut diamonds, with an approximate total weight of 0.91 carats, color E-G and clarity VVS2‑VS1, size 8‑1/2, 12.0 grams total weight.

[3000/5000] Illustrated

624

622

622 Fourteen-Karat White Gold, Pearl, Diamond and Sapphire Ring, set with a creamy-white-colored 10.0 mm cultured pearl with a good luster, surrounded by a halo of twenty round brilliant-cut diamonds, with an approximate total weight of 0.20 carats, and fourteen round faceted sapphires, with an approximate total weight of 0.28 carats, size 7, 5.3 grams total weight. [600/900] Illustrated 623 Custom-Made Fourteen-Karat White Gold, Diamond, Ruby, Emerald and Sapphire Brooch, possibly Cartier, the unusual brooch composed of a circle mounted with round brilliant-cut diamonds and supporting various images, including a heron mounted with single-cut diamonds and a round-cut ruby, a martini glass mounted with single- and triangular-cut diamonds, a bird mounted with round-cut rubies, emeralds and single-cut diamonds, a bus mounted with a cabochon-cut ruby and single-cut diamonds and a seal mounted with an oval sapphire and single-cut diamonds, with an approximate total diamond weight of 0.86 carats, color G-I and clarity VS1‑SI1, l. 2‑1/2”, 14.0 grams total weight. [2000/4000] Illustrated

623

624 Platinum, Sapphire and Diamond Marcus and Company Brooch, with a filigree design and set with a central pear-shaped treated sapphire, with an approximate weight of 1.45 carats, and 104 round European-cut diamonds, with an approximate total weight of 1.14 carats, color G-I and clarity VS2‑SI1, l. 1‑1/4”, 7.0 grams total weight. [1000/1500] Illustrated

167

625 Eighteen-Karat White Gold, Diamond and Sapphire Ring, set with a central round brilliant-cut diamond, with an approximate weight of 1.06 carats, color H and clarity SI2, flanked on either side by trapezoidal-cut treated sapphires, with an approximate total weight of 0.62 carats, and accented by sixtysix round brilliant-cut diamonds, with an approximate total weight of 0.30 carats, color E-F and clarity VS1‑VS2, signed “Simon G.”, size 7, 5.0 grams total weight.

[3000/5000] Illustrated

626

626 Fourteen-Karat White Gold and Diamond Necklace, with hexagonal-shaped links alternating with bars, set with 186 round brilliantcut diamonds, with an approximate total weight of 10.50 carats, color E-G and clarity VVS2‑VS1, l. 16”, 46.0 grams total weight. [9000/12000] Illustrated

627 Fourteen-Karat Yellow Gold, Sapphire and Diamond Ring, set with an oval faceted sapphire, with an approximate weight of 1.00 carat, set in a double quatrefoil-designed mounting set with thirty-two round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, size 7, 4.1 grams total weight. [700/1000] 628 Pair of Fourteen-Karat White Gold and Diamond Hoop Earrings, each hinged hoop earring set with seven round brilliant-cut diamonds separated by six diamond baguettes, with an approximate total weight of 0.66 carats for the pair, l. 7/8”, 6.2 grams total weight. [900/1200] Illustrated 629 Eighteen-Karat White Gold and Diamond Ring, set with 301 round-cut diamonds, with an approximate total weight of 3.50 carats, approximate color E-F and clarity VVS2‑VS1, size 8, 14.0 grams total weight. [6000/9000] Illustrated

625

168

630 Two Fourteen/Eighteen-Karat White Gold and Diamond Rings, the fourteen-karat white gold ring with a crisscross design and set with nine round brilliant-cut diamonds, with an approximate total weight of 0.20 carats, size 7‑1/12, and the eighteen-karat white gold double loop design ring set with fifty round brilliant-cut diamonds, with an approximate total weight of 0.20 carats, size 7‑1/2, 12.2 grams total weight. [600/900]

632 Platinum and Diamond Ring, composed of a round European-cut diamond, with an approximate weight of 2.38 carats, approximate color J and clarity VS2, and thirty-one round single-cut diamonds, with an approximate total weight of 0.15 carats, and flanked on either side by calibrated-cut black onyx, size 6‑1/2, 3.0 grams total weight. [6000/9000] Illustrated

628

631

629

631 Fourteen-Karat White Gold and Diamond Hinged Bangle Bracelet, designed with three butterflies, the bangle and butterflies pave-set with approximately 4.39 carats of diamonds, approximate color G-I and clarity VS1‑SI1, inside circumference, 6‑1/2”, 64.0 grams total weight. [7000/10000] Illustrated

632

169

633

634 Stunning Custom-Made Platinum and Diamond Van Clief Brooch, the cascading design mounted with twentyone marquise-cut diamonds, with an approximate total weight of 9.66 carats, color D-E and clarity VVS1‑VVS2, five pear-shaped diamonds, with an approximate total weight of 1.44 carats, color D-E and clarity VVS1‑VVS2, and seventy-seven baguettecut diamonds, with an approximate total weight of 1.54 carats, color D-E and clarity VVS1‑VVS2, stamped “Van Clief”, l. 2‑1/4”, 24.0 grams total weight.

[10000/15000] Illustrated

633 Beautiful Platinum and Diamond Brooch, the custommade Art Deco brooch set with 116 European- and singlecut diamonds, with an approximate total weight of 4.00 carats, approximate color E-G and clarity SI1‑SI2, size, 1‑1/2” x 3”, 27.0 grams total weight. [9000/12000] Illustrated

635

634

170

635 Stunning Platinum and Diamond Ring, composed of a central bezel-set emerald-cut diamond, with an approximate weight of 3.02 carats, color H and clarity VVS2, flanked on either side by a bezel-set calf’s head-cut diamond, with an approximate total weight of 1.72 carats, color H-I and clarity VVS2, size 7‑1/2, 15.0 grams total weight. [25000/40000] Illustrated

636 Fourteen/Eighteen-Karat White Gold and Diamond Brooch/Pendant with Chain, the brooch mounted with eight European-cut diamonds, with an approximate total weight of 1.27 carats, color H-I and clarity VS2‑I1, twentythree round brilliant-cut diamonds, with an approximate total weight of 1.03 carats, color H-I and clarity VS2‑I, fifty-four single-cut diamonds, with an approximate total weight of 0.67 carats, color H-I and clarity VS2‑SI2, and eighteen baguette-cut diamonds, with an approximate total weight of 2.60 carats, color H-I and clarity VVS2‑VS1, l. 2”, converting to a pendant suspended from an 18” white gold chain, 20.0 grams total weight. [3000/5000] Illustrated

637

638 Fourteen-Karat White Gold and Diamond Ring, the bypass design ring set with a round brilliant-cut diamond, with an approximate weight of 0.20 carats, flanked by four leaves each set with a round brilliant-cut diamond, with an approximate total weight of 0.33 carats, size 7‑3/4, 3.7 grams total weight. [500/800] Illustrated

636

637 Three Fourteen/Eighteen-Karat White Gold and Diamond Crosses on Chains, including two fourteenkarat gold crosses and chains and one eighteen-karat white gold cross on a fourteen-karat white gold chain, each set with a variety of round brilliant-cut diamonds and tapered baguette-cut diamonds, with an approximate total weight of 0.75 carats for the three crosses, chain, l. 18”, 18” and 20”, 12.0 grams total weight. [800/1200] Illustrated

638

171

639 Beautiful Custom-Made Fourteen-Karat White Gold, Spinel and Diamond Earrings, each three-drop dangle earring composed of a round-cut orange-red spinel, with an approximate total weight of 1.26 carats for the pair, a triangular-cut orange-red spinel, with an approximate total weight of 1.86 carats for the pair, an oval-cut red spinel, one with a weight of 3.44 carats and the other with a weight of 3.56 carats, AGTA Lab certification number 96000409‑96000309, accented by fifty-eight round brilliant-cut diamonds, with an approximate total weight of 0.42 carats for the pair, color F and clarity VS1‑VS2, l. 2”, 18.0 grams total weight. [15000/25000] Illustrated

640

639

172

640 Beautiful Custom-Made Fourteen-Karat White Gold, Spinel and Diamond Pendant with Chain, the pendant composed of a round-cut orangered spinel, with an approximate weight of 0.54 carats, a triangular-cut orange-red spinel, with an approximate weight of 1.25 carats, and an ovalcut red spinel, with a weight of 10.13 carats, AGTA Lab certification number 96000709, accented with sixty-one round brilliant-cut diamonds, with an approximate total weight of 0.51 carats, color G and clarity VS1‑VS2, suspended from a fourteen-karat white gold necklace, pendant, l. 1‑3/4”, necklace, l. 18”, 15.0 grams total weight. [40000/70000] Illustrated

641

641 Spectacular Custom-Made Fourteen-Karat White Gold, Red Spinel and Diamond Ring, set with a central round-cut red spinel with a weight of 22.37 carats, AGTA Lab certification number 93025409, flanked on either side with fourteen round brilliantcut diamonds, with an approximate total weight of 0.15 carats, color G and clarity VS1‑VS2, size 7‑1/2, 25.0 grams total weight.

[75000/125000] Illustrated

173

642 Eighteen-Karat White Gold, Diamond and Pink Tourmaline Bianco Pendant, set with a central ovalshaped pink tourmaline, with an approximate weight of 1.90 carats, and 113 round brilliant-cut diamonds, with an approximate total weight of 1.04 carats, color H-I and clarity SI1‑I1, l. 1‑3/4”, 12.0 grams total weight.

[500/800] Illustrated

644

644 Fourteen-Karat Yellow Gold, Ruby and Diamond Earrings, with a button design, each set with thirty-seven round-cut rubies, with an approximate total weight of 7.50 carats for the pair, and twenty-four round-cut diamonds, color E-G and clarity VVS2‑VS1, with an approximate total weight of 0.50 carats for the pair, dia. 3/4”, 20.0 grams total weight. [4500/7000] Illustrated 642

643 Eighteen-Karat White Gold, Ruby and Diamond Ring, the domed ring designed with four rows of 112 roundcut diamonds, with an approximate total weight of 0.53 carats, color E-G and clarity VVS2‑VS1, and three rows of forty-five round-cut rubies, with an approximate total weight of 1.68 carats, size 7‑1/2, 10.0 grams total weight.

[4000/7000] Illustrated

645

643

174

645 Eighteen-Karat Yellow Gold, Ruby and Diamond Ring, the domed ring mounted with seventy-eight round-cut rubies, with an approximate total weight of 10.00 carats, and twelve round-cut diamonds in a flower design, with an approximate total weight of 2.20 carats, approximate color E-F and clarity VVS2‑VS1, size 6‑3/4, 14.0 grams total weight. [6000/9000] Illustrated

648 Pair of Fourteen-Karat Yellow Gold and Gold Vermeil Sterling Silver, Diamond and Ruby Pendant Earrings, each set with approximately 114 round single-cut diamonds, with an approximate total weight of 2.00 carats for the pair, and three foil-backed glass-filled rubies, measuring 8.0 mm x 12.5 mm to 15.0 mm x 29.0 mm, l. 4”, 27.2 grams total weight. [1200/1800] 649 Beautiful Eighteen-Karat White Gold, Diamond and Rubelite Necklace, set with twenty-three oval-cut rubelites, with an approximate total weight of 52.65 carats, and approximately 7.00 carats of round brilliant-cut white and brown diamonds, color G-I and clarity VS2‑SI1, l. 17”, adjustable, 103.0 grams total weight. [15000/25000] Illustrated

649

646 Fourteen-Karat Yellow Gold, Diamond and Ruby Ring and Earrings, the tapered ring band set with twelve round brilliant-cut diamonds and nine channel-set ruby baguettes, size 8, and the matching earrings each set with six round brilliant-cut diamonds and nine channel-set ruby baguettes, l. 1/2”, with an approximate total diamond weight of 0.25 carats and ruby weight of 1.00 carat for both pieces, 7.5 grams total weight. [600/900] 647 Fourteen-Karat Yellow Gold and Ruby Necklace, composed of 702.00 carats of pear-shaped treated rubies, separated by gold tubes and finished with a gold clasp, l. 17‑1/2”, 134.0 grams total weight. [500/800] Illustrated

647

175

650

653

652

650 Eighteen-Karat White Gold, Diamond and Rubelite Earrings, set with sixty round brilliant-cut diamonds, color G-I and clarity VVS2‑VS1, and eight round brilliant-cut brown diamonds, clarity VS1‑VS2, with an approximate total diamond weight of 1.50 carats for the pair, and two oval-cut rubelites, with an approximate total weight of 7.18 carats for the pair, l. 1‑3/4”, 12.7 grams total weight. [3500/5000] Illustrated

176

651 Fourteen/Eighteen-Karat White Gold, Ruby, Sapphire, Emerald and Diamond Necklace, the four-strand ruby necklace with two eighteen-karat white gold spacers, each set with eighteen round brilliant-cut diamonds, two carved sapphires, two carved emeralds and two carved rubies, the fourteen-karat white gold clasp pave-set with twenty-nine round brilliant-cut diamonds, with an approximate total diamond weight of 1.65 carats, sapphire weight of 3.50 carats, emerald weight of 3.50 carats and ruby weight of 102.0 carats, l. 17”, 1112.5 grams total weight. [4500/7000] 652 Eighteen-Karat White Gold, Blue Topaz and Diamond Ring, set with a central blue topaz, with an approximate weight of 19.32 carats, flanked on either side with two oval-cut blue topaz, with an approximate total weight of 0.84 carats, and seventy round brilliant-cut diamonds, with an approximate total weight of 0.53 carats, color G-I and clarity VS1‑VS2, size 7‑1/4, 17.0 grams total weight.

[1200/1800] Illustrated

654 Fourteen-Karat White Gold, Aquamarine and Diamond Ring, composed of a central light blue aquamarine, with an approximate weight of 10.00 carats, surrounded by round-cut diamonds, with an approximate total weight of 0.50 carats, color H-I and clarity VS2‑SI1, size 7, 10.0 grams total weight.

[4000/7000] Illustrated

654

653 Custom-Made Eighteen-Karat White Gold, Black Opal and Diamond Necklace, the free-form black opal pendant, measuring 33.00 mm x 29.00 mm x 4.00 mm, and with an approximate weight of 25.30 carats, accented with ninety round brilliant-cut diamonds, with an approximate total weight of 2.00 carats, color G-I and clarity VVS2‑VS1, l. 2”, together with an eighteenkarat white gold chain, l. 18”, 20.0 grams total weight.

[8000/12000] Illustrated

656

655 Fourteen-Karat White Gold, Turquoise, Blue Topaz, Sapphire and Diamond Ring, the pear-shaped turquoise cabochon surrounded by a halo of thirty-one single-cut diamonds, with an approximate total weight of 0.25 carats, twenty-one faceted pear-shaped blue topazes, with an approximate total weight of 4.15 carats, and fifty-nine round faceted sapphires, with an approximate total weight of 0.60 carats, size 8, 8.7 grams total weight. [1200/1800] Illustrated

655

656 Beautiful Fourteen-Karat Yellow Gold and MultiGemstone Necklace, composed of two strands of various pear-shaped faceted gemstones, including aquamarine, garnet, citrine, pink quartz, amethyst, agate, rock crystal, green amethyst, labradorite, pink opal, rhodochrosite, tourmaline, iolite and rutilated quartz, with an approximate total weight of 570.0 carats, l. 24”, 209.5 grams total weight.

[600/900] Illustrated

177

659 Eighteen-Karat Yellow Gold, Aquamarine and Diamond Necklace, composed of five oval-cut aquamarines, with an approximate total weight of 25.50 carats, and 112 round brilliant-cut diamonds, with an approximate total weight of 3.31 carats, color G-I and clarity VS2‑SI2, l. 18”, 40.0 grams total weight. [4500/7000] Illustrated 660 Two Pairs of Fourteen-Karat Yellow Gold and Diamond Earrings, the hinged hoop earrings each set with seven round brilliant-cut diamonds and six baguette-cut diamonds, and the clip-back earrings each set with fourteen round brilliant-cut diamonds, with an approximate total weight of 0.65 carats for both pairs, 8.4 grams total weight.

[700/1000] Illustrated

659

661

657 Mario Buccellati EighteenKarat Yellow Gold, Ivory and Turquoise Ring with Matching Earrings, the ring with an open shank and with a bezel-set high dome oval ivory cabochon with a gold-leaf design, stud-set with an approximate 4.0 mm turquoise cabochon at the center, size 7‑1/2”, adjustable, and the round ivory button dome cabochon earrings stud-set with a round 6.0 mm turquoise cabochon, surrounded by six gold studs, dia. 18.0 mm, both pieces engraved “Mario Buccellati”, 23.4 grams total weight.

[5000/8000] Illustrated 658 Fourteen-Karat White Gold and Carved Aquamarine Necklace, composed of carved aquamarine beads separated by curved white gold tubes and finished with a white gold clasp, l. 16‑1/2”, 6.1 grams total weight. [500/800] Illustrated

658

178

662 Eighteen-Karat White/Yellow/Rose Gold and Diamond Bracelet, the five-strand bracelet set with 515 round-cut diamonds, with an approximate total weight of 7.82 carats, approximate color E-F and clarity VS1‑VS2, l. 7”, 28.0 grams total weight. [15000/25000] Illustrated

657

663 Fourteen-Karat Yellow Gold and Chocolate and White Diamond Ring, set with twelve princess-cut chocolate diamonds and thirty-six round brilliant-cut white diamonds, with an approximate total weight of 1.25 carats, stamped “R. Klein”, size 7, 4.8 grams total weight.

[800/1200] Illustrated

660

661 Fourteen-Karat Yellow Gold and Diamond Ring, set with seven rows of channel-set diamonds, comprised of six princess-cut diamonds and forty-four baguette-cut diamonds, with an approximate total weight of 1.50 carats, size 7, 5.5 grams total weight. [800/1200] Illustrated

663

662

179

665 Le Vian Fourteen-Karat Rose Gold and Chocolate and White Diamond Ring, set with a round brilliant-cut chocolate diamond, with an approximate weight of 0.45 carats, surrounded by a halo of twenty round brilliant-cut white diamonds and twentyfour round brilliant-cut chocolate diamonds on the shank, with an approximate total weight of 1.00 carat, stamped “Le Vian”, size 7‑1/4, 3.7 grams total weight.

[600/900] Illustrated 666 Eighteen-Karat Rose Gold and Diamond Necklace, composed of seven drop diamond clusters, set with forty-two round brilliantcut diamonds, with an approximate total weight of 1.75 carats, color D-E and clarity SI1‑SI2, l. 18‑1/2”, 5.0 grams total weight.

[3000/5000] 664

664 Eighteen-Karat White/Yellow Gold and White/ Yellow Diamond Necklace, composed of graduating and alternating bezel-set white and yellow round brilliantcut diamonds, with fifty-seven treated faint yellow diamonds, with an approximate total weight of 5.84 carats, clarity VS2‑SI2, and sixty-one white diamonds, with an approximate total weight of 3.52 carats, color E-G and clarity SI1, l. 19”, 23.0 grams total weight. [4000/7000] Illustrated

668

665

180

667 Eighteen-Karat Yellow Gold, Moonstone and Diamond Flower Ring, the “petals” of the ring set with nine pear-shaped moonstone cabochons, measuring 11.0 mm x 5.00 mm, and the center of the ring set with seven round-cut diamonds, with an approximate total weight of 0.60 carats, approximate color D-E and clarity VVS2‑VS1, size 6‑3/4, 14.0 grams total weight. [3500/5000] Illustrated

669 Pair of Fourteen-Karat Yellow Gold, Gold Vermeil Silver, Diamond and Moonstone Earrings, the elegant earrings each set with approximately 166 round singlecut diamonds, with an approximate total weight of 27.90 carats for the pair, four faceted pear-shaped moonstones and one faceted oval-shaped moonstone, l. 2‑5/8”, 18.0 grams total weight. [1500/2500] Illustrated 670 Gold Vermeil Sterling Silver, Diamond, Sapphire and Moonstone Ring, set with an oval moonstone cabochon, with an approximate weight of 26.0 carats, surrounded by a halo of forty-four round single-cut diamonds, thirty-four oval sapphire cabochons and twenty round brilliant-cut diamonds, with an approximate total diamond weight of .050 carats and sapphire weight of 4.00 carats, size 7‑1/2, 15.4 grams total weight. [1000/1500] Illustrated

667

668 Gold Vermeil Sterling Silver, Diamond and Moonstone Bracelet, the hinged cuff bracelet set with approximately 368 round single-cut diamonds, with an approximate total weight of 2.00 carats, and ninety-six oval moonstone cabochons, with an approximate total weight of 40.0 carats, inside circumference, 7”, 72.0 grams total weight. [900/1200] Illustrated

670

669

671 Pair of Eighteen-Karat Yellow Gold, Silver, Sapphire and Diamond Earrings, the large round anodized silver earrings set with fourteen rose-cut diamonds, with an approximate total weight of 0.25 carats for the pair, 210 round faceted sapphires, forty oval-shaped faceted sapphires and thirty-six pear-shaped faceted sapphires, with an approximate total sapphire weight of 28.0 carats for the pair, l. 3”, 22.0 grams total weight. [800/1200]

181

674 Tiffany and Company Eighteen-Karat Gold TwoTone Italian Bracelet, the heavy bracelet composed of white and yellow gold links in an alternating design, marked “Tiffany & Co., Italy 18kt”, l. 7‑3/4”, 59.0 grams total weight. [4000/7000] Illustrated

672

675 Vintage Judith Leiber Red and Black Crystal Geometric Minaudiere, 1980s, with an inset onyx push clasp, the gold kidskin interior bearing the gilt-brass “Judith Leiber” label, includes a swing mirror and tasseled comb, h. 3‑3/8”, w. 5‑1/2”, d. 1‑1/2”, chain drop: 19‑3/4”. See Enid Nemy & John Bigelow Taylor, Judith Leiber: The Artful Handbag (New York: Harry N. Abrams, 1995), p. 147, for an identical example in black and clear crystals. [500/800] Illustrated

672 Fourteen-Karat Yellow Gold, Gold Vermeil Silver, Diamond, Emerald and Tanzanite Bracelet, the wide hinged cuff bracelet set with approximately 950 single-cut diamonds, with an approximate total weight of 12.0 carats, six oval emerald cabochons, with an approximate total weight of 18.50 carats and ten tanzanite cabochons, with an approximate total weight of 28.0 carats, inside circumference, 6‑3/4”, 80.5 grams total weight.

[7000/10000] Illustrated 673 Judith Ripka Sterling Silver, Eighteen-Karat Yellow Gold and Diamond Necklace, the smooth and textured link chain with an eighteen-karat yellow gold heart clasp set with three round brilliant-cut diamonds, with an approximate total weight of 0.10 carats, stamped “JR”, l. 19‑1/4”, 123.0 grams total weight.

[600/900] Illustrated

182

673

676 Eighteen-Karat Yellow Gold Quenton Elliott Choker, the smooth solid choker composed of 2.9 mm yellow gold, stamped “QE, 18K”, accompanied by a Quenton Elliott case, l. 16‑1/4”, 45.4 grams total weight. [900/1200] 677 Pair of Eighteen-Karat Yellow Gold, Diamond, Ruby and Enamel Leopard Ear Clips, each clip colored with white, black and red enamel and pave-set with twentytwo round brilliant-cut diamonds, with an approximate total weight of 0.35 carats for the pair, the eye of each leopard set with a round faceted ruby, l. 1‑1/8”, 40.2 grams total weight.

[2500/4000] Illustrated 678 Italian Eighteen-Karat Yellow Gold Necklace, the tapered interlocking link design chain stamped “18K, Italy, 750”, l. 16‑3/4”, 60.0 grams total weight. [1500/2500] Illustrated 679 Two Eighteen-Karat Yellow/White Gold Bracelets, one bracelet composed of alternating white and yellow gold links, l. 7‑1/4”, and the other bracelet composed of yellow gold “X” links with a horseshoe design, the clasp set with two small round black onyx cabochons, l. 6‑1/2”, 27.8 grams total weight.

[600/900]

678

675

677

674

680

680 Fourteen-Karat Yellow Gold Victorian Carved Coral Bacchanal Cameo Brooch, the reddishorange coral cameo of a bacchanal maiden carved in high relief and bezel-set in a simple yellow gold frame, l. 2”, 38.0 grams total weight. [700/1000] Illustrated

183

681 After John James Audubon (American, 1785‑1851), “Collared Peccary”, Plate 31, hand-colored lithograph from The Viviparous Quadrupeds of North America, sheet 21‑1/2” x 26‑3/4”. Glazed, matted and framed.

[800/1200] Illustrated

681

682

682 detail

683

682 Achille Perelli (Italian/New Orleans, 1822‑1891), “Nature Morte - Mallard”, watercolor on paper, signed “A. Perelli N.O.” lower left, sight 23‑3/4” x 17‑3/4”. Glazed, matted and framed. [6000/9000] Illustrated 683 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Cypress”, oil wash on paper, signed lower left, sight 10” x 19”. Glazed and framed.

[2000/4000] Illustrated 684 Don Reggio (American/Louisiana, 20th/21st Century), “Sugar Barrels on the Levee”, oil on canvas, signed lower right, 18” x 24”. Handsomely framed.

[1500/2500] Illustrated

684

184

687 Colette Pope Heldner (American/New Orleans, 1902‑1990), “Swamp Idyll”, oil on canvas, signed lower left, signed and titled en verso, 18” x 22”. Framed.

[600/900] Illustrated

685 685 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Dawn on the Bayou”, 1911, oil wash on paper, signed and dated lower right, sight 17” x 27”.

Glazed, matted and framed. [3000/5000] Illustrated

687

688 Rolland Harve Golden (American/Louisiana, b. 1931), “French Quarter Scene”, 1958, watercolor on paper, signed and dated lower right, sight 21” x 29”.

Framed. [800/1200] Illustrated

686 686 Colette Pope Heldner (American/New Orleans, 1902‑1990), “Swamp Idyll, Louisiana Bayou Landscape”, oil on canvas, signed lower left, signed and titled en verso canvas, 16” x 20”. Framed. [500/800] Illustrated

688

185

689 Rolland Harve Golden (American/New Orleans, b. 1931), “Bayou Scene” and “Architectural Sketch”, double-sided watercolors on paper, former signed and dated “1959” lower right, 20” x 28”. Glazed on one side, matted and framed. Provenance: A gift from A. Hays Town, Baton Rouge, Louisiana, descended in the family of the consignor. [2000/4000] Illustrated

691

693

689

692 Suite of Six Hepplewhite Mahogany Dining Chairs, ca. 1800, probably American, from the Washington, D.C./ Northern Virginia area, each with molded stiles and shaped swag-carved crest rails, five molded slats adorned with swags and tassels, a serpentine seat rail and tapering paneled legs ending in spade feet, h. 38”. [1500/2500] Illustrated 689 verso 690 Gene Kloss (American, 1903‑1996), “Arched Doorway”, etching, pencil signed lower right, titled lower left, sight 7” x 5‑3/8”. Glazed, matted and framed.

[600/900] 691 American Federal Line-Inlaid Mahogany Games Table, ca. 1800, in the Sheraton taste, the shaped fold-over top supported by a fly leg when extended, the conforming bowed frieze centered by a rectilinear panel framed by contrasting banding, the lower edge of the frieze with similar banding, raised on tapering reeded legs, h. 28‑1/2”, w. 35‑1/2”, d. 17‑3/4”, extended l. 35‑1/2”.

[900/1200] Illustrated

186

By repute, the present suite of chairs was found in the estate of a long-term Baltimore, Maryland, area family.

693 Anglo-American Carved and Painted Wooden Model of a Four-Masted Schooner, first quarter 20th century, in a glass-enclosed wooden case, h. 50”, w. 66”, d. 14‑1/4”.

[800/1200] Illustrated 694 American Federal Mahogany Server in the Hepplewhite Taste, first quarter 19th century, New York, the rectangular top with a molded edge, above a conforming case fitted with two short drawers over a single long drawer, joined by square uprights to the concave lower shelf, raised on tapering square legs, h. 35”, w. 35‑1/2”, d. 18‑1/2”. [1000/1500]

695 American Federal Mahogany Sofa in the Hepplewhite Taste, ca. 1800, the reeded crest rail extending to shaped closed arms, raised on tapering reeded legs ending in brass cap casters, now upholstered in toneon-tone striped yellow brocade, h. 34‑1/2”, w. 74‑1/4”, d. 27”. [700/1000] Illustrated

697

696 Early American Sponge-Painted Blanket Chest, early 19th century, with mortised and pegged construction, raised on turned legs, the interior fitted with a hinged till, h. 25‑1/2”, w. 48‑1/2”, d. 21”.

[700/1000] 697 Set of Two Continental Polychrome Dummy Boards, 19th century, each in the form of an elaborate floral arrangement in an urn, raised on a molded plinth back, h. 43”, w. 30”.

[800/1200] Illustrated 695

692

187

698 American Federal Tiger Maple Chest, early 19th century, the case with four graduated drawers, each with oval brass bail pulls, raised on bracket feet, h. 42‑1/2”, w. 37”, d. 19”.

[1500/2500] Illustrated 699 Rare Southern Federal Sideboard, ca. 1800, probably Georgia or the Carolinas, composed of birch, with a southern yellow pine secondary, the sideboard with a fitted bottle drawer on the right side, with line inlay and “ice cream cone” shaped escutcheons, constructed with tenon-through construction, h. 39”, w. 62”, d. 23‑1/4”. [3000/5000] Illustrated

701 American Federal Tiger Maple Field Bed, first quarter 19th century, the segmented ring-turned posts supporting a single-board headboard, with shaped sides, h. 59”, inside, w. 39”, l. 72”, outside, w. 45”, l. 78”. [600/900] Illustrated

701

702 American Late Classical Figured Elm Center Table, second quarter 19th century, Philadelphia, the rectilinear marble top over a cyma-molded frieze, raised on lyreform supports on scroll feet, joined by a shaped stretcher, h. 28‑3/4”, w. 35‑1/2”, d. 19‑1/2”. [700/1000] Illustrated

699

700 Suite of Eight American Classical Birdseye and Tiger Maple Dining Chairs, early 19th century, comprised of an armchair and seven sidechairs, each with a shaped and crossbanded top rail over a foliate- and scroll-carved splat, molded seat rail and saber legs, h. 31”. [2500/4000] Illustrated

698

188

700

703 American Classical-Style Parcel-Gilt and Eglomise Mirror, framed with turned and leaf-molded pilasters with Corinthian capitals, the gilt and black tablet decorated with a roundel of crossed trophies under a lattice-molded giltwood panel, the cove-molded crest set with giltwood spherules, h. 49‑1/4”, w. 31”. [600/900] Illustrated

704 American Classical Stenciled and Parcel-Gilt Mahogany Pier Table, ca. 1825, the marble top over a gilt-stenciled frieze raised on figured columns with bronze capitals and rings, the columns on a shaped low shelf with a stenciled perimeter and backed by a looking glass, raised on carved paw feet, h. 36‑3/4”, w. 42”, d. 18‑1/4”. [3000/5000] Illustrated

702

703

705 American Federal Giltwood Tabernacle Mirror, first quarter 19th century, New York, framed with pairs of ribbonwrapped pilasters supporting leaf-molded brackets, the patriotic verre eglomise panel under an entablature molded with medallions and laurel garlands, h. 46‑1/2”, w. 26”. [500/800] 706 American Classical Mahogany Sideboard, ca. 1825, Baltimore, the top with a single reeded gallery, the case with a projecting band of drawers over paneled doors flanked by heavily reeded columns with foliate-carved capitals, raised on bun feet, h. 45‑3/4”, w. 69‑1/2”, d. 27”. [1200/1800] Illustrated 707 William IV Giltwood Bull’s-Eye Mirror, second quarter 19th century, the lotus-molded bolection surround mounted with decoration on the lower edge composed of a pineapple framed in leaves with an acorn finial, and a hippocampus on a rocky outcropping forming the crest, mounted with antique mirror glass and a reeded ebonized liner, h. 32‑1/2”, w. 22”.

Provenance: Didier, Inc., New Orleans, Louisiana. [1000/1500] Illustrated

704

706

707

189

708 Near Pair of American Classical Mahogany Wash Stands, second quarter 19th century, Baltimore, the inset marble top set in a reeded gallery with scroll ends, the rear of the top with a raised platform, the frieze with a molded drawer flanked by foliate-carved panels, raised on tapering columns joined to a concave base on bun feet, h. 33”, w. 25‑1/2”, d. 22‑3/4” and h. 33”, w. 25‑3/4”, d. 22‑3/4”. [3000/5000] Illustrated 711

710 American Classical Mahogany Pier Table, second quarter 19th century, the marble top over a cymamolded frieze, raised on tapering columns with carved capitals, the back with like pilasters flanking a mirror plate, raised on leaf-carved and turned feet, h. 35‑1/2”, w. 46‑1/4”, d. 19‑3/4”. [900/1200] Illustrated

708

709 Attributed to Eliza Goodridge (American, 1798‑1882), “Portrait of the Family Children”, possibly related to the Foster/ Stiles families, watercolor and gouache on ivory fixed to wood panel, unsigned, 10‑3/4” x 7‑5/8”, framed, overall, 15‑1/2” x 12‑5/8”. Provenance: Private collection, Covington, Louisiana.

Illustrated: Phillips, Betty Lou. Villa Decor. Layton, UT: Gibbs Smith, 2000, p. 106. [800/1200] Illustrated

709

710

190

711 American Late Classical Giltwood Looking Glass, second quarter 19th century, the oval mirror plate in a cornucopia-carved frame with deeply carved produce and foliate decor, h. 42”, w. 39‑1/2”, d. 6‑1/4”.

[2500/4000] Illustrated

712 American Late Classical Mahogany Bookcase, second quarter 19th century, in two parts, the upper section with a figured arched pediment over a pair of glazed doors, the projecting base with a pair of paneled doors, h. 84‑1/2”, w. 54”, d. 15‑3/4”. [1000/1500]

714

713

713 American Late Classical Mahogany Server, second quarter 19th century, Baltimore, the figured back board joined to scroll sides on a spindle gallery, the case with a projecting pair of drawers over paneled doors, flanked by spiral-reeded columns on turned feet, h. 56‑1/2”, w. 46‑1/2”, d. 22‑1/2”. [700/1000] Illustrated

714 714 American School (Second Quarter 19th Century), “Portrait of a Man and Woman”, pair of oils on canvas, unsigned, each 27” x 22”. Each presented in a handsome, period, mahogany frame. [2000/4000] Illustrated

715

715 American Late Classical Mahogany Center Table, second quarter 19th century, the circular portoro marble top over a conforming figural frieze, raised on a tapering three-sided pedestal with canted corners, on a concave base with scroll feet, h. 29”, dia. 40”. [900/1200] Illustrated

191

716 American Late Classical Mahogany Four-Post Bed, second quarter 19th century, the posts with acanthus-leaf-carved details, the paneled headboard with down-scrolled crest rail and acanthus-carved ends, h. 92”, inside, w. 59”, l. 75”, outside, w. 65”, l. 82”. [1500/2500] Illustrated

719

718

717 American Late Classical Revival Mahogany Settee, fourth quarter 19th century, with cornucopia-carved arm fronts, the legs with winged returns and carved paw feet, h. 36”, w. 66”, d. 24”. [600/900] 718 American Four-Piece Assembled Sterling Silver Coffee and Tea Set, first quarter 20th century, including a Gorham “Plymouth” Coffeepot, h. 8‑3/4”, and teapot, h. 6”, with wooden crested handles and turned finials, and a Hartford Sterling cream jug, h. 4‑3/4”, and sugar basket, h. 5‑1/2” (with handle) in a similar Colonial Revival pattern, the Hartford pieces monogrammed “MPM”, 40.34 total t. oz. (including wooden handles). [600/900] Illustrated

716

719 Set of Four Towle “Chased Lady Diana” Sterling Silver Candlesticks, the pattern designed in 1929 by George Francis Parker (1872‑1931) and his daughter Mary Genvieve Parker (later Fleming) (1900‑1986), Newburyport, Massachusetts, monogrammed “D”, h. 10”, dia. 4‑1/2”, weighted. [500/700] Illustrated 720 One Hundred and Forty-Five-Piece Set of International “New Whitehall” Sterling Silver Flatware, the pattern designed in 1938 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, including a dozen eleven-piece place settings, with an additional demitasse spoon and twelve serving pieces, no monograms, 132.8 total t. oz. (weighable silver). Detailed listing of pieces available on request. [1800/2500] Illustrated

721

721 Twenty-Three-Piece International “Riviera” Sterling Silver Gilt Dessert Set, the pattern designed in 1936 by Alfred Grover Kintz (1885‑1963), Wallingford, Connecticut, including twelve dessert forks, l. 7‑1/4”, and eleven dessert spoons, l. 6‑3/4”, no monograms, 43.84 total t. oz. [600/900] Illustrated

192

720

725 One Hundred-Piece Set of Wallace “Grand Baroque” Sterling Silver Flatware, the pattern designed in 1941 by William S. Warren (1888‑1965), Wallingford, Connecticut, including twelve seven-piece place settings, with an additional dozen teaspoons and four serving pieces, no monograms, 105.97 total t. oz., presented in a fitted, red velvet-lined, wooden case, 4‑3/4” x 21‑1/8” x 11‑1/2”. [3000/5000] Illustrated

723 725 722 Impressive One Hundred and Twenty-Piece Set of Reed & Barton “Spanish Baroque” Sterling Silver Gilt Flatware, the pattern introduced in 1965, Taunton, Massachusetts, comprising twelve each dinner forks, luncheon forks, salad forks, seafood/cocktail forks, fish forks, place/dessert spoons, cream soup spoons, dinner knives, luncheon knives and fish knives, the latter three with stainless steel blades, no monograms, l. 5‑1/2” to 9”, 131.59 total t. oz. (excluding knives), presented in a fitted, Pacific cloth-lined, faux alligator zipper-top storage case, 3‑1/4” x 21‑1/2” x 13”. [2000/4000] 723 Set of Twelve Sterling Silver Water Goblets, mid-20th century, by International Silver, Meriden, Connecticut, with inverted bell-shaped bowl and trumpeting foot, no monograms, h. 6‑3/8”, dia. 3‑1/2”, 51.09 total t. oz.

[700/1000] Illustrated 724 One Hundred and Eleven-Piece Set of Gorham “English Gadroon” Sterling Silver Flatware, the pattern designed in 1939 by Frederick Russell Woodward (1888‑1988) and Axel Herman Staf (1869‑1941), Providence, Rhode Island, including a dozen six-piece place settings, with nineteen additional place pieces and twenty serving pieces, no monograms, 112.78 total t. oz. (weighable silver). Detailed listing of pieces available on request. [1200/1800]

726 One Hundred and Fourteen Pieces of Wallace “Grand Baroque” Sterling Silver Flatware, the pattern designed in 1941 by William S. Warren (1888‑1965), comprising eight twelve-piece place settings (one iced tea spoon lacking), with an additional dozen teaspoons and seven serving pieces, no monograms, 135.27 total t. oz. (weighable silver), presented in a fitted, Pacific cloth-lined drawer insert, 23‑1/4” x 13‑1/2”. Detailed list of pieces available on request. [2500/4000]

193

727 Pair of Reed & Barton “Francis I” Sterling Silver Sandwich Plates, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 11‑1/2”, 32.40 total t. oz. [1200/1800] Illustrated

729 Reed & Barton “Francis I” Sterling Silver Oval Footed Vegetable Bowl, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 12‑1/2”, w. 10”, 21.92 t. oz. [800/1200] Illustrated

727

730 Pair of Reed & Barton “Francis I” Sterling Silver Medium Bowls, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 8”, 20.05 total t. oz.

[700/1000]

729

728 Impressive Two Hundred and Twenty-One-Piece Cased Set of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, comprising a dozen sixteen-piece place settings (three pieces lacking) with an additional dozen teaspoons and twenty serving pieces, no monograms, 243.68 total t. oz. (weighable silver), presented in the original Reed & Barton beige velvet-lined, fitted mahogany canteen with lift top and one drawer, 11‑1/4” x 21‑1/2” x 18‑3/8”. Detailed list of pieces available on request. [8000/12000] Illustrated

731 Eighty-Nine Pieces of Reed & Barton “Burgundy” Sterling Silver Flatware, the pattern introduced in 1949,Taunton, Massachusetts, including sixty-eight place pieces and twenty-one serving pieces, no monograms, 96.24 total t. oz. (weighable silver), presented in a fitted baize-lined wooden case, 5‑1/2” x 15‑1/2” x 13”. Detailed list of pieces available on request. [1400/1800] Illustrated

728 731

194

732 Fifty-Five Pieces of Towle “French Provincial” Sterling Silver Flatware, the pattern designed in 1948

by Harold Edward Nock (1875‑1952), Newburyport, Massachusetts, comprising eight-piece place settings for eight persons (two iced tea spoons lacking) with an additional four teaspoons and five serving pieces, no monograms, 54.13 total t. oz. (weighable silver). Detailed list of pieces available on request. [800/1200] Illustrated

734

732

734 Tiffany & Co. Sterling Silver Covered “Revere” Bowl, second half 20th century, New York, New York, of traditional form, with a fitted and footed lid in the Colonial taste, overall, h. 7‑1/2”, dia. 9”, 47.64 t. oz. [1800/2500] Illustrated

733 Contemporary Tiffany & Co. “1837 Collection” Sterling Silver Ice Bucket, New York, of slightly tapering cylindrical form, with flat lid and concave stirrup handles, h. 7‑1/2”, dia. 6‑7/8”, w. 7‑3/4”, 39.10 t. oz. [1400/1800] Illustrated

735

733

735 Tiffany & Co. Modernist Sterling Silver Ice Bucket, third quarter 20th century, New York, New York, of cube form, the sides with concave circles, the fitted lid with short cylindrical handle, 6‑1/8” x 6‑1/8” x 6‑1/8”, 54.23 t. oz.

[800/1200] Illustrated

195

736 After Henri de Toulouse-Lautrec (French, 1864‑1901), “Aristide Bruant, dans son cabaret”, offset lithographic reproductive poster, authorized by the Musee d’Albi in association with the “Societe des Amis du Musee d’Albi”, verso with “Musee Toulouse-Lautrec, Albi” label, sight 38” x 26‑1/2”. Glazed, matted and framed.

[2500/4000] Illustrated

737

736 737 Louis van der Pol (Dutch, 1896‑1982), “The Dance”, oil on canvas, signed, 39‑1/2” x 31‑3/4”. Framed.

[2000/4000] Illustrated 738 Louis van der Pol (Dutch, 1896‑1982), “The Morning Post”, oil on canvas, signed lower right, 31‑1/2” x 24”.

Framed. [1500/2500] Illustrated 739 Patinated Metal and Stained Glass Lamp Depicting “The Peacock Complaining to Juno”, first or second quarter 20th century, with a lighted stained glass tail, h. 26‑1/2”, w. 8”, d. 7‑1/2”. [1500/2500] Illustrated 740 Pair of Art Nouveau Armchairs in the Neoclassical Style, each with a padded backswept crest above a padded tapering rectangular back, joined by downswept shell-carved arms to the padded seat, raised on molded sabre legs, h. 42”. [700/1000]

738

196

741 Thomas Mostyn (British/American, 1864‑1930), “Palace Gardens with Figures”, oil on canvas, signed lower left, 30” x 40”. In a rococo-style giltwood frame. [3000/5000] Illustrated 742 Andre Vignoles (French, b. 1920), “Fleurs des Champs et Mufliers”, oil on canvas, signed lower right, titled en verso, 20” x 24”. Handsomely framed.

[1500/2500] Illustrated 743 Lucien Neuquelman (French, 1909‑1988), “St. Tropez”, 1935, watercolor on paper, signed, dated and titled lower left, 10” x 14‑1/2”.

Glazed, matted and framed. [700/1000] Illustrated

741

741 detail 741

742

739 743

197

744 Bernard Taurelle (French, b. 1931), “La Passerelle”, oil on canvas, signed lower right, 38” x 53”. Presented in an attractive polychrome frame affixed with artist plaque.

[1800/2500] Illustrated

744 745 Lalique “Perruches” Lamp, ca. 1919‑1945, French, the mold-blown and acid-etched vase-form base decorated with pairs of parakeets on branches, the amber vase previously fitted with an interior base light, marked “R. Lalique” in engraved script, h. 22‑3/4”, dia. 8‑1/4”.

[2000/4000] Illustrated

746

747 Terracotta Sculpture of a Female Torso, by Bretislav Benda (Czech, 1897‑1983), second quarter 20th century, the Art Deco-style sculpture inscribed “b.b.” in the base, h. 23‑1/2”, w. 9‑1/2”, d. 6”. [600/900] Illustrated

747 745

746 Continental Patinated Bronze of a Horse, 20th century, on a rectangular self-base, h. 29‑1/2”, w. 33”, d. 9”. [2000/4000] Illustrated

198

748 Vintage Rene Lalique, Paris, Opalescent and Frosted Glass “Coquilles” Vase, 1920‑1945, the foot engraved underneath “R. Lalique France No. 932”, h. 7‑1/4”.

[500/800] Illustrated

750

748

750 Continental Small Bronze Fountain, first quarter 20th century, depicting the nude Venus holding a shell and overlooking a circular pool molded with shells and coral, inspired by the Venus Anadyomene, by Jean-Auguste Dominique Ingres (French, 1780‑1867), h. 17‑1/4”, dia. 21‑1/4”. [2000/4000] Illustrated 749 French Art Deco Chrome and Pressed Glass Chandelier, second quarter 20th century, with four extended arms with saucer-form bobeches, the inner frame with two additional lights, h. 43”, w. 33”, d. 28”.

[600/900] Illustrated

751

749

751 French Art Deco Alabaster Bust of a “Jeune Fille”, second quarter 20th century, on a black marble pedestal, h. 11”, w. 8‑1/4”, d. 5‑1/2”. [500/800] Illustrated

199

754 Pair of Art Deco-Style Rock Crystal and Gilt-Metal Table Lamps, on molded metal bases, the standards composed of graduated rock crystal spheres, h. 30‑1/2”, dia. 6‑1/2”. [2500/4000] Illustrated

753

752 Pair of Art Deco Polychromed and Mirrored Glass Nightstands, second quarter 19th century, each labeled by the West End Furniture Company, Rockford, Illinois, with a mirrored top, drawer face and display shelves, with octagonal columns flanking the shelves, the sides modeled as fluted columns, one with interior drawer label, each with a back sticker stating the design is registered by the company, h. 27”, w. 19”, d. 13”. [800/1200]

755

755 Pair of Baccarat Crystal Decanters, mid-20th century, each of tapered and paneled form, and with an acid-etched “decanter and glasses” mark, h. 8‑3/4”, dia. 4‑1/2”.

[500/800] Illustrated 756 George Bauer Dunbar (American/New Orleans, b. 1927), “Counterfeit One”, oil on canvas, unsigned, an “Orleans Gallery” label en verso, 44” x 51”. In a thin gallery frame. [3000/5000] Illustrated

754

753 French Art Deco Chrome-Plated Five-Light Chandelier, mid 20th century, the frame with a central ball shade, the arms of bird form and each fitted with a matching shade, h. 30”, w. 22”, d. 22”. [700/1000] Illustrated

200

757

757 David Oliver (American/ Contemporary), “Untitled”, mixed media on canvas, signed lower right, 36” x 52”. In a thin gallery frame. [800/1200] Illustrated 758 Alex Katz (American, b. 1927), “Alex”, 1970, lithograph in colors, edition “3/100”, signed and numbered lower left, sheet size 30” x 21”. Glazed, float mounted and framed.

[2500/4000] Illustrated 759 Tom Wesselmann (American, 1931‑2004), “Bedroom Face with Orange Wallpaper”, 1987, screenprint in colors, signed, dated and numbered “14/100” in pencil lower right, blind stamped lower right corner, sheet size 58” x 64”. Glazed and framed.

[10000/15000] Illustrated

759

756

758

201

761

760 Ilya Bolotowsky (Russian/American, 1907‑1981), “IV”, from Series 3, silkscreen, pencil-signed lower right and numbered “97/125” lower left, sight 20‑1/2” x 29”.

Matted, glazed and framed. [800/1200] Illustrated 761 Saul Steinberg (American/New York, 1914‑1999) “Untitled Still Life”, 1974, graphite and watercolor on Fabriano paper, sheet size 22” x 30”, signed and dated lower left “Steinberg 1974”. Glazed and presented in a contemporary silver metal frame. Provenance: Private collection, New Orleans, Louisiana; Purchased from these galleries September 30, 2006, Lot 1456; Private collection, Palm Beach, Florida; Estate of Ian Hornak, East Hampton, New York; acquired directly from the artist.

[12000/18000] Illustrated

760

202

764 Pablo Picasso (Spanish, 1881‑1973), “Owl (A.R. 542)”, 1968, terre de faience pottery, stamped, marked and numbered underneath “Madoura Plein Feu / Edition Picasso / R.146 / Edition Picasso 179 / 500 Madoura”, h. 11‑5/8”, w. 9”. [9000/12000] Illustrated

764

762

763

763 verso

762 Ernest Tino Trova (American, 1927‑2009), “Falling Man”, 1971, shadow box sculpture of nickel-plated bronze and plexiglass, artist’s mark, dated, and numbered “84/150” at bottom, h. 7”, w. 11‑1/2”, d. 7‑1/2”.

[5000/8000] Illustrated 763 Jean Cocteau (French, 1889‑1963), “Seine, Entre tes Bras Amoureux”, double-sided fan, lithograph on paper and wood, artist stamp, numbered “6/150”, and signed “jean” lower right, signed and extensively inscribed en verso, set within a glazed shadowbox frame, overall dimensions 16‑1/2” x 27‑1/2”. [800/1200] Illustrated

764 detail

203

765

765

765 Pablo Picasso (Spanish, 1881‑1973), “Still Life with Spoon (A.R. 165)”, dated “22.12.52.” lower right, terre de faience plate, stamped, marked and numbered underneath “Madoura Plein Feu / Empreinte Originale de Picasso / E101 / 179/200,” dia. 13‑1/8”, presented in an acrylic case. [2000/4000] Illustrated 766 Philip LaVerne (American, 1908‑1988) and Kelvin LaVerne (American, b. 1936), Patinated Bronze and Pewter “Festival Console”, 1960s, mounted on wood, the upper surfaces enameled and acid-etched, signed, retains the original paper label, h. 26”, w. 56”, d. 20”.

[8000/10000] Illustrated

767 detail

767 Philip LaVerne (American, 1908‑1988) and Kelvin LaVerne (American, b. 1936), Engraved Bronze “Muses Boucher” Cocktail Table, third quarter 19th century, the shaped metal-clad top with the engraved signature “Philip & Kelvin LaVerne” in script, and depicting Gabriel sounding his trumpet, raised on bronze cluster-column legs joined by ribbons, h. 17”, w. 60‑1/8”, d. 31‑1/2”. [2000/4000] Illustrated

767

204

766

766 detail

205

768 Bronze, Glass and Bamboo Table in the Chinese Taste, composed of a pair of patinated bronze mandarin figures holding bamboo stalks supporting the glass top, h. 35”, w. 68‑1/2”, d. 13‑3/4”.

[1500/2500] 769 Pair of Fortuny ParasolForm Painted Glass Fixtures, 20th century, both ceiling mounted, the perimeter with silk threads and glass beads, the interior fitted with two sockets, h. 12”, without tassel, dia. 16”. [700/1000] Illustrated

772

771

769

206

770 Hollywood Regency-Style Brass, Enamel and Glass Floor Lamp, mid-20th century, the square brass standard trimmed with green enamel and mounted with a matching square milk glass shade, decorated with green and yellow mandarin figures, h. 68”, w. 19”, d. 19”.

[500/800]

773

774 Rare Cameo Glass “Blue Dog” Vase, designed by George Rodrigue (American/Louisiana, 1944‑2013), produced by Pilgrim Glass Company, the underside etched with the artist proof mark “A/P” and the Pilgrim Glass mark, h. 11‑1/4”. [5000/8000] Illustrated

774 detail

771 Mario Villa, New Orleans, Neoclassical-Style Iron and Brass Canopy Bed, with a stylized leaf-form headboard and footboard, a central panel with brass swags, and fitted with a raised and downswept canopy, h. 103”, w. 40”, l. 82”. [2000/4000] Illustrated 772 Mario Villa (Nicaraguan/New Orleans, b. 1953), “Male Nude”, 1991, bronze, signed and dated at back, h. 17‑1/4”, w. 4‑1/2”, d. 4‑1/4”.

[500/800] Illustrated 773 Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Gyroscope”, 1983, mixed media on wood, now mounted on a base and set within a lucite box, overall, h. 14‑3/4”, w. 8”, d. 7”.

[3000/5000] Illustrated

774 detail

774

207

778 William Tolliver (American/Mississippi/Louisiana, 1951‑2000), “Jazz Band”, oil on linen, signed lower right, 48” x 60”. Unframed. Provenance: Galerie Royale, New Orleans, Louisiana. [15000/35000] Illustrated

775 775 Sister Gertrude Morgan (American/New Orleans, 1900‑1980), “In That Morning When I Rise”, acrylic, crayon and ink on paper, signed upper edge, verso with a museum exhibition plaque, accompanied by Tools of Her Ministry: The Art of Sister Gertrude Morgan, William Fagaly, Rizzoli, published in association with the American Folk Art Museum and as a companion to the national travelling exhibition of the same name, sheet size 6‑1/2” x 9‑1/8”. Glazed, float mounted and framed.

Exhibited: New Orleans Museum of Art, “Sister Gertrude Morgan”, curated by William A. Fagaly, 1988. [2000/4000] Illustrated

This stunning jazz scene, purchased in the 1990s when Bob Crutchfield was the director at Galerie Royale, is among Tolliver’s finest “Blues Scenes”. Crutchfield, who first discovered and represented Tolliver’s works at his gallery Live Oaks, in LaFayette, was instrumental in launching both Tolliver’s career and the Galerie Royale, while he was the director of the latter gallery. Highly coveted by collectors, this painting remained in the personal collection of the gallery for decades before being offered for sale.

“Jazz Band”, the work offered here, is an extraordinary piece that rivals two of Tolliver’s most iconic paintings: “Transcendence of the Blues”, which was featured at the New Orleans Festival and exhibited across the country, and “Luther”- a tribute to the legendary bluesman.

Tolliver’s “Blues Scenes” are a symphony of harmony and color that celebrate the landscape and people of the deep South. “Nothing in my paintings”, Tolliver asserted in an interview, “are for decoration: everything serves a purpose in creating the mood or atmosphere of a painting”.

Tolliver, an African-American artists from Vicksburg, Mississippi, is an autodidactic. His mother, who worked in the cotton fields, encouraged the young Tolliver to draw at night. By adolescence, Tolliver mowed lawns in order to pay for art supplies and coloring paint manuals. He was an avid reader and copiously studied the late 19th/early 20th century masters, such as Picasso, van Gogh, Cezanne and Chagall. Tolliver particularly identified with van Gogh’s sensitive treatment of working class laborers from poverty stricken mining and farming towns. Similarly, Tolliver’s cotton pickers and back-alley jazz men, who often work the land by day, as noted by their rugged, enormous hands, are monuments unto themselves that fill the picture plane with an imposing elegiac presence.

Their solid compositional forms recall the Cubist style of Picasso and Cezanne, while the vivid colors and black tracery evoke the religious lyricism of Chagall’s stain glass windows. References: “William Tolliver Biography”, Galerie Royale; Mathis, Renita. “William Tolliver”. Upscale Magazine, Jan. 1991.

776 776 Clementine Hunter (American/Louisiana, 1887‑1988), “Picking Cotton”, oil on canvasboard, monogrammed mid-right, 12” x 16”. Framed.

[2500/4000] Illustrated 777 Karen Stastny (American/New Orleans, Contemporary), “Summer Color”, mixed media on canvas, 48” x 54”. Provenance: Cole Pratt Gallery, Ltd., New Orleans, Louisiana. [1000/1500] Illustrated 777

208

778 778 detail

779 Robert Gordy (American/Louisiana, 1933‑1986), “Study For The Scylla-Charybdis Factor”, 1970, acrylic on canvas, monogrammed and dated lower left, verso with a “Galerie Simone Stern, New Orleans, Louisiana” label, 29” x 33‑3/4”.

Presented in a thin gallery frame. [2000/4000] Illustrated

779 detail

779

209

780 Lee McCarty (American/Mississippi, Contemporary), “Highways 61 and 8”, mixed media on board, signed lower right, further inscription en verso label, 48” x 36”. Presented in a thin gallery frame.

[2000/4000] Illustrated

781

780 781 Louise Guidry (American/Louisiana, b. 1930), “Red Rage”, oil on gallery-wrapped canvas, signed lower right, 36‑1/2” x 33‑1/2”. [3000/5000] Illustrated 782 Louise Guidry (American/Louisiana, b. 1930), “Blue Squares”, oil on gallery-wrapped canvas, signed lower right, 30” x 24”. [1500/2500] Illustrated 783 Richard Johnson (American/New Orleans, b. 1940), “Untitled”, 1979, oil on canvas, initialed and dated lower right, 71‑1/2” x 59‑1/2”. In a thin gallery frame.

[2000/4000] Illustrated 784 Bernard Mattox (American, b. 1954), “Untitled”, 1984, pastel on paper, signed and dated “9/84” lower right, sheet size 29‑1/2” x 21”. Glazed and framed. Provenance: Ex-collection Arthur Silverman, New Orleans, Louisiana; purchased directly from the artist ca. 1984. [700/1000] Illustrated

210

782 785 Mario Villa (Nicaraguan/New Orleans, b. 1953), three watercolors on paper, including “Visage”, signed and dated “2000” lower right, “Blue Eyes”, and “Nude”, sight 6‑1/2” x 4‑1/2” to 11‑1/2” x 8‑1/2”. Two matted, all glazed and framed. [500/800] Illustrated

783 786 Mario Villa (Nicaraguan/New Orleans, b. 1953), “Visage”, 2008, watercolor on paper, signed and dated lower right, 30” x 22”. Float mounted, glazed and framed.

[1000/1500] Illustrated

784

785 one of three

786

211

789 789 detail

787 Mario Villa (Nicaraguan/New Orleans, b. 1953), “Portraits”, 2003 and 2004, two watercolors on paper, each signed and dated, 11‑1/2” x 11‑1/2” and 6” x 4”. Both glazed and attractively framed. [600/900] 788 George Valentine Dureau (American/Louisiana, 1930‑2014), “Centaur with a Drum”, watercolor, crayon and graphite on paper, signed lower left, sight 18‑1/2” x 15”. Glazed, matted and framed. [600/900] Illustrated 789 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Mythic Series 20”, 1984, mixed media on canvas, signed and dated lower left, verso with a handinscribed label, 27‑3/4” x 38‑3/8”. Presented in a thin gallery frame. [10000/15000] Illustrated 788

212

790

790 American Renaissance Revival Rosewood Five-Piece Parlor Suite, third quarter 19th century, Jelliff/Schrenkeisen school, New Jersey/New York, comprised of a sofa, h. 45”, w. 75‑1/2”, d. 32”, a pair of armchairs, h. 43”, and a pair of sidechairs, h. 40”, each with a carved crest centered by a Columbia head, the sofa and armchairs with closed arms terminating in Columbia-carved supports with bowed seat rails and trumpet legs, gilt line incising throughout, now upholstered after the period fashion in tufted yellow brocade with pleated fronts. [2500/4000] Illustrated

790

213

791 791 August Norieri (American/New Orleans, 1860‑1898), “Steamboat #2 on the Mississippi River”, oil on canvas, signed lower right, 18” x 26”. In a cove-molded giltwood frame. Provenance: Descended in a Louisiana family. [20000/40000] Illustrated A native of New Orleans, Norieri specialized in maritime scenes documenting the vibrant culture centering around the great waterways of Louisiana: the Mississippi River, Lake Pontchartrain and Bayou St. John. His technically accomplished paintings depict a way of life slowly being lost by the advent of the railroad and the resulting changing attitudes towards travel. Norieri studied for several years with prominent local artist Andres Molinary (1847‑1915) before opening his own studio which he maintained until his untimely death in 1884. An active member of the Art Association of New Orleans, Norieri also exhibited nationally at the American Exhibition of 1885‑86 and the National Academy of Design in New York City.

214

791 detail

792 Classical Brass and Copper Six-Arm Prism-Hung Chandelier, second quarter 19th century, with ten circular graduated prism-hung rings, now electrified, h. 56”, dia. 24”. [2000/4000] Illustrated

793 American Walnut-Stained Drop-Front Secretary Bookcase in the Modern Gothic Taste, fourth quarter 19th century, the upper section with a pair of paned doors above the fall-front desk with a fitted interior, the lower portion with a pair of drawers above paneled doors, h. 94”, w. 39”, d. 23”. [1200/1800] Illustrated

792

795

795 detail

794 Pair of American Colonial Revival Bronze, Marble and Glass Sinumbra-Style Lamps, ca. 1900, on stepped marble and bronze bases with fluted, tapered standards terminating in lotus-molded capitals, fitted with blown, cut and frosted glass shades decorated with tulips and hung with prisms, h. 30”, dia. 10‑1/4”. [800/1200] 795 Longworth Nicholas Powers (American/Italian, 1835‑1904), “Portrait Bust of a Woman”, marble, fourth quarter 19th century, raised on a square socle and signed “Longworth Powers, Sculp.”, h. 28”, w. 18”, d. 10‑1/4”.

[3000/5000] Illustrated Powers, a sculptor and photographer, was the son of famed American sculptor Hiram Powers (1805‑1873). He was named for his father’s patron, prominent Cincinnati lawyer Nicholas Longworth. Powers moved with his family to Italy at the age of two and spent most of his life in Florence where his home, Villino Powers, became the site of numerous cultural and artistic gatherings.

793

215

797 American Mixed Media Collage of a Ship, ca. 1900, oil on canvas with embroidery and cardboard, incised signature “Torch” lower right, sight 19” x 32‑1/2”. Glazed and framed. [2000/4000] Illustrated

797 798 Tiffany Studios “Ninth Century” Five-Piece Desk Set, first quarter 20th century, New York, with a bronze dore finish and inspired by Middle Eastern antiquities, set with blue and gold “jewels”, the set comprised of a letter rack, marked “Tiffany Studios, New York 1625”, h. 6”, w. 9‑3/4”, a letter holder, marked “Tiffany Studios, New York 1620”, h. 4‑1/2”, w. 6”, a rocker blotter, marked “Tiffany Studios, 1628”, h. 2”, w. 5‑3/4”, and a pair of blotter ends, unmarked, w. 2”, d. 12”. [1500/2500] Illustrated 796

796 detail

796 Cesare Lapini (Italian, 1848‑1893), “Ruth, the Moabite”, 1884, marble, signed, dated, and inscribed “Firenze” at back truncation, the Old Testament figure wearing an amphora necklace and an embroidered and fringed shawl intricately carved in floral and ribbon motifs, a bound cluster of wheat stalks below the delicately draped bosom, on a molded socle, overall, h. 27”, w. 17”, d. 13”. [2500/4000] Illustrated Lapini was one of the most accomplished and popular sculptors working in Florence in the mid-19th century. Through his profitable Galleria Lapini he produced allegorical, religious and historical busts and sculptures, specializing in the female form.

His considerable technical skill is evident in the delicate carving of the various details of the bust offered here, especially in the folds of the fabric and the floral motifs of the shawl.

800

216

801

799 Tiffany-Retailed Bronze and Marble Clock in the Persian Taste, fourth quarter 19th century, French, the architectural clock resembling a portion of a mosque with a marble base set with slender columns supporting the clockworks, below a bronze parapet around an Islamic dome decorated with flowers and scrollwork and roundels of figures, the enamel dial marked “Tiffany & Co., New York”, h. 20”, w. 7‑1/2”, d. 6‑1/4”. [2000/4000] Illustrated

799

800 Spanish School (Fourth Quarter 19th Century), “Portrait of a Girl in a Pink Dress, Holding Roses”, oil on canvas, unsigned, 35” x 25‑1/2”. Presented in a giltwood and gesso frame. [1800/2500] Illustrated 801 Finely Carved Oak Overdoor Panel in the BeauxArts Taste, ca. 1887, probably designed by Carrere and Hastings in conjunction with execution by Herter Brothers, New York, the verso marked in script “Rockwood Hall...

Music Room”, the panel with a broken-arched pediment utilizing egg-and-dart carving, over a central cartouche adorned with shells beneath a leonine masque, and flanked by carved doves, fruit, foliage and scrolls, crisply carved in the manner of a premier cabinet firm such as Herter Brothers, h. 23”, w. 73”, d. 3‑1/4”. [2000/4000] Illustrated Reputedly removed from William Avery Vanderbilt’s Tarrytown, New York, manse, ca. 1887. In 1886, William Rockefeller, brother to John D. and a co-founder of Standard Oil, purchased land along the Hudson to erect his family home. He engaged the firm of Carrere and Hastings to decorate the 204‑room house, interior elements of which are documented as having been crafted by the Herter Firm. During the 1880s, the Herter firm and their principal competitor Pottier and Stymus, shifted their focus from the production of art furniture to crafting interior elements for the homes of America’s robber barons. Period accounts of the house indicate the hallway was executed in oak, and the music room in satinwood, suggesting this was mounted on the hall side of the door frame. In 1941‑42, the house was razed. The grounds now form part of New York’s Rockefeller Park Preserve.

798

217

802 American Nine-Tube Tall Case Clock in a Georgian Revival Mahogany Case, first quarter 20th century, set on scrolled feet, with Egyptian columns framing the front, decorated with fret carving, the silvered dial with gilt spandrels and marked by the retailer, Smith Patterson Co. of Boston, the clock fitted with Westminster Whittington chimes and German works, h. 99”, w. 23‑1/2”, d. 17”.

[3000/5000] Illustrated 803 Exceptional Haviland Art Pottery Impressionist Jardiniere, fourth quarter 19th century, Limoges, France, possibly decorated by either Ernest Chaplet or Edouard Dammouse, the cobalt-ground pot decorated with luminous flowers and supported on an aesthetic gilt-brass base resting on feet in the form of mythological Japanese monsters, with prunus and peonies supporting the pot, the bottom with a mustard-yellow glazed and impressed “Haviland” and “Limoges”, h. 21‑1/2”, dia. 25”.

[10000/15000] Illustrated

805

804 Suite of Ten Victorian Oak Dining Chairs, fourth quarter 19th century, comprised of a pair of armchairs and eight sidechairs, each with an arched crest rail over a foliate- and scroll-carved panel on a stippled ground, with turned stiles and a molded apron, the turned and reeded legs joined by a low H-form stretcher, armchair, h. 50‑1/4”, sidechair, h. 44‑1/2”. [800/1200] 805 American Five-Tube Tall Case Clock, first quarter 20th century, in an Empire Revival mahogany case, the case set with beveled glass and resting on bun feet, with columns framing the front, under the arched hood, the silvered dial with gilt spandrels and a moonphase movement, h. 92”, w. 29‑1/2”, d. 17‑1/2”. [1000/1500] Illustrated 802

218

803

803 detail

803 detail

219

806 Japanese Export Ebonized Cabinet, 19th century, of square form, the two doors with a gilt and polychrome figural scene and elaborately modeled escutcheon, and opening to a void interior, raised on a stand of square legs with incised Greek-key patterns and ending in bulbous foliate feet, h. 59”, w. 40‑1/2”, d. 20”. [1000/1500] Illustrated

808

810 Sixty-One-Piece Partial Service of Glastonbury/ Lotus Gilt-Trimmed Crystal Stemware, mid-20th century, American, in the “Colonial” pattern, the set including fourteen water goblets, h. 6‑3/4”, twelve iced tea glasses, h. 6”, eight wine glasses, h. 6”, fifteen champagne/sherbet coupes, h. 5‑1/2”, and twelve luncheon plates, dia. 8‑1/2”. [600/900] Illustrated

810 806

807 Continental Belle Epoque Pottery and Gilt-Metal Jardiniere, fourth quarter 19th century, possibly Royal Bonn Tapestry, the paw-footed gilt-metal base supporting the pottery bowl, decorated with hand-painted roses framing birds nesting in a wall, on a sanded ivory ground, h. 21”, dia. 12”. [600/900] 808 Stained and Leaded Glass and Bronze “Peacock Pattern” Table Lamp in the Manner of Louis Comfort Tiffany, second quarter 19th century, the finely rendered blue shade on a ribbed and patinated bronze base, both the shade and base with spurious applied metal plaques “Tiffany Studios New York”, h. 22”, dia. 18‑1/2”.

[3000/5000] Illustrated 809 Tiffany-Style Patinated Bronze Three-Light LilyForm Piano Lamp, with a lotus-molded base and gold iridescent shades, h. 10”, w. 7‑3/4”, d. 10”. [500/800]

220

811 Newcomb College Art Pottery Matte Glaze Vase, ca. 1918, potted by Joseph Fortune Meyer (1848‑1931), the shallow relief carving in “Moon and Pine Tree” decor, inscribed on the underside with registration mark “JH 75” and shape number “250”, the indistinct decorator’s cipher possibly that of Frances Devereaux Jones (1870‑1941), h. 8‑1/2”. [4000/7000] Illustrated 812 Newcomb College Art Pottery Matte Glaze Vase, potted by Kenneth Eugene Smith, at Newcomb from 1829‑1945, in “Moon and Moss” decor, the base with shape number “40”, “NC” impressed mark and the potter mark, h. 3‑1/2”. [700/1000] Illustrated

815 Elbert Green Hubbard (1856‑1915), Little Journeys, the Roycrofter’s “Memorial” edition, New York: William H. Wise, 1928, eleven volumes (of fourteen; lacking volumes 1, 5 and 6), octavo, the flexible boards in full brown leather with stamped decoration of a sunset within an oak branch vignette, tinted in green and shades of orange, the spine with raised gilt lettering, decoration and Roycrofter’s colophon, the top edges cut and gilt, with brown register ribbon, 8‑1/2” x 6‑1/4”. [500/800] Illustrated

815

811

813 Newcomb College Art Pottery Matte Glaze Vase in “Moon and Moss” Decor, ca. 1932, the base with an impressed “NC” and date marks, h. 5”. [1000/1500] Illustrated

816 Collection of Fifty-Nine Fine Leather Bindings, 19th and early 20th centuries, comprising thirteen sets in full or half leather with gilt lettering and decoration, including the works of Masefield, Longfellow, Johnson, Byron, Ruskin, Schiller, Smollett & Hume, and the Earl of Chesterfield, with de Amicis’ Holland and Hooke’s Rome, various 8vo sizes. Detailed list of books available on request.

[900/1200] Illustrated

813 812

816

814 Newcomb College Art Pottery Matte Glaze Circular Trivet, ca. 1927, decorated by Sadie Irvine (1887‑1970), potted by Joseph Fortune Meyer (1848‑1931), in shallow relief with floral and branch carving, the base marked with the date, decorator’s pattern and “NC” marks, dia. 5‑1/2”.

[1000/1500]

221

817 Nineteenth Century Antique Silk Qum Prayer Rug, 4’ 2” x 5’ 7”. [1500/2500] Illustrated 818 Nineteenth Century Antique Qum Prayer Rug, 4’ x 5’ 4”. [1500/2500] Illustrated

817

819

818

222

822

825 824 Antique Pictorial Tabriz Carpet, 13’ x 20’.

[3000/5000] Illustrated 825 Angora Oushak Carpet, 9’ x 11’ 8”. [5000/8000] Illustrated 821 819 Antique Persian Sultanabad Carpet, 8’ 3” x 10’. [6000/9000] Illustrated 820 Semi-Antique Shiraz Carpet, 8’ x 10’ 3”.

[700/1000] 821 Laristan Sultanabad Runner, 4’ 9” x 17’ 3”.

[900/1200] Illustrated 822 Antique Oushak Carpet, 10’ x 12’. [2000/4000] Illustrated 823 Semi-Antique Kerman Carpet, 4’ 2” x 6’ 5”.

[800/1200]

824

223

828 Turkish Angora Oushak Carpet, 5’ 9” x 9’. [800/1200] 829 Angora Oushak Carpet, 10’ x 14’. [6000/9000] 830 Oushak Carpet, 12’ x 16’. [4000/7000] Illustrated 831 American Expansionist-Era Coin (.900) Silver Sugar Urn, second quarter 19th century, by Hugh Wishart (1765‑1840), New York, New York, of rounded rectangular section, the lower half broadly gadrooned, the upper edge with broad milled thistle banding, with squared handles, domed collar, cavetto-domed lid with conforming finial and narrow ovolo banding, the whole raised on a conforming foot with spherical supports, h. 8‑1/4”, w. 4‑1/4”, l. 8‑1/2”, 20.17 t. oz. [700/1000] Illustrated

827

831

832 American Expansionist Era Three-Piece Coin (.900) Silver Tea Set, second quarter 19th century, by Colin Van Gelder Forbes, Sr. (1776‑1858) & Jr. (1807‑1865), New York, New York, including a teapot, h. 9‑3/4”, l. 11‑1/2”, an open sugar bowl, h. 7‑1/2”, w. 8”, and a cream jug, h. 6‑1/2”, each of rounded rectangular section, the lobed body below a bulbous band of milled strawberries, raised on a conforming domed foot with milled rose banding, with crested addorsed scroll handle(s), the teapot with hinged, domed lid decorated with repousse wheat sheaves around a flower basket finial, with “gooseneck” spout and insulated handle, each piece monogrammed on the body “DM LM”, 52.09 total t. oz. [2000/4000] Illustrated

832 830 826 Turkish Angora Oushak Carpet, 8’ 1” x 10’. [900/1200] 827 Isfahan Silk Carpet, 8’ 7” x 14’ 1”. [3000/5000] Illustrated

224

Provenance: "Ward Hall"

835

Georgetown, Kentucky Lots 833-835 833 Five Pieces of Antebellum Tiffany & Co. Coin (.900) Silver and a Silverplate Waiter, mid-19th century, New York, including coin silver pieces: four water goblets by Grosjean & Woodward, h. 6‑1/2”, dia. 3‑1/4”, and a John C. Moore & Son covered sugar bowl with squared handles and figural swan finial, h. 4‑1/2”, w. 8”, d. 4‑1/8”, decorated with repousse floral swags and narrow beaded edging, 39.69 total t. oz., together with an unmarked silverplate waiter, with beaded edge and scroll feet, dia, 11‑7/8”, all pieces monogrammed “JRW”. Provenance: Junius Richard Ward (1802‑1883), of “Ward Hall”, Georgetown, Kentucky and “Fair Oaks” (also known as the “Erwin House”) on Lake Washington, Erwin, Mississippi, by descent through the family. [1000/1500] Illustrated

835 detail

833

834

834 Thirty-Four Pieces of Antebellum Tiffany & Co. “Oriental” Coin (.900) Silver Flatware, the pattern designed in 1855 by Henry Hebbard (1819‑1906), New York, New York, including five four-piece place settings, with seven additional place pieces and seven serving pieces, each piece monogrammed “JRW”, 53.83 total t. oz. Provenance: Junius Richard Ward (1802‑1883), of “Ward Hall”, Georgetown, Kentucky and “Fair Oaks” (also known as the “Erwin House”) on Lake Washington, Erwin, Mississippi, by descent through the family. Detailed list of pieces available on request [900/1200] Illustrated 835 Set of Seven Honore, Paris, Hand-Painted Porcelain Cabinet Plates, second quarter 19th century, each with hand-painted centers of fruit or flowers, and a parcel-gilt bleu royale border decorated with hand-painted floral panels and the initials “JRW”, the undersides marked “Ed. Honore a Paris” in stenciled green, dia. 9‑1/2”.

Provenance: Junius Richard Ward (1802‑1883), of “Ward Hall”, Georgetown, Kentucky and “Fair Oaks” (also known as the “Erwin House”) on Lake Washington, Erwin, Mississippi, by descent through the family. [500/800] Illustrated

225

836

837 American Silverplate Hot Water Kettle, third quarter 19th century, by Roswell Gleason & Sons, Dorchester, Massachusetts, the pear-shaped body decorated with repousse rococo scrolls and flowers, with hinged, domed lid with acorn finial, foliate stirrup handle, baluster tap with stirrup key, and raised on four oak branch legs with pierced apron en suite concealing a spirit burner, h. 15”, l. 11‑1/2”, w. 7‑1/2”. [600/900] Illustrated

838

836 Antebellum Tiffany & Co. Sterling Silver Cake Basket, mid-19th century, New York, New York, of oval form with shaped and lobed rim, decorated with repousse floral bouquets and cartouches, with applied rocaille rim and openwork floral scroll swing handle, the whole raised on a domed foot en suite, monogrammed, on one cartouche, “JRW”, h. 4‑3/4” (10‑1/2” with handle), l. 12‑3/4”, w. 10‑5/8”, 33.79 t. oz. Provenance: Junius Richard Ward (1802‑1883), of “Ward Hall”, Georgetown, Kentucky and “Fair Oaks” (also known as the “Erwin House”) on Lake Washington, Erwin, Mississippi, by descent through the family. [500/800] Illustrated

837

838 Pair of American Coin (.900) Silver Goblets, mid19th century, by Norman A. Freeman (1810‑1873), New York, New York, each of paneled bucket form with slightly everted rim, decorated with engraved and wrigglework foliage centering a cartouche, raised on a domed foot paneled en suite, engraved on the cartouche “The Bequest of Ann Gill to Mary Gill” and “to Robert Gill”, h. 6‑3/4”, dia. 3‑3/4”, 11.03 total t. oz. [700/1000] Illustrated 839 American Coin (.900) Silver Waiter, mid-19th century,

by Bigelow Brothers & Kennard, Boston, Massachusetts (fl. 1848‑1860), of circular form, engraved with a wide foliate rococo scroll band, with beaded rim and raised on three flat acanthus-mantled lion’s paw feet, dia. 9”, 18.74 t. oz. [500/800] 840 American Coin (.900) Silver Tea Caddy, second quarter 19th century, by William Forbes (1798‑1888) for Ball,Tompkins & Black (fl. 1839‑1851), New York, New York, of octagonal section, with molded rim and base, with broad chased scrolling foliate banding, the hinged, domed lid en suite with toupie finial, monogrammed “AA”, h. 5‑3/4”, w. 5”, d. 4”, 17.76 t. oz. [1400/1800] Illustrated

226

840

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

[600/900]

842

841 Cased Pair of Gorham Sterling Silver Medallion Napkin Rings, third quarter 19th century, Providence, Rhode Island, with applied neoclassical masque medallions and variant neo-Grec engraving, inscribed on the reverse “LEP from HTG” and “JP from HTG”, h. 1‑3/4”, w. 2‑1/4”, 3.02 total t. oz., presented in a fitted, blue satin- and velvet-lined leather case with retailer’s stamp of Sharman D. Neill, Belfast, 2‑1/8” x 6‑7/8” x 3‑1/8”.

[500/800] Illustrated

844 American Coin (.900) Silver Sugar Basket, fourth quarter 19th century, by Peter L. Krider for J. E. Caldwell & Co., Philadelphia, of navette form with upswept ends, with reeded rim and swing handle, the whole raised on a waisted oval foot, engraved on the body “Rev. Dr. L. Zinzler / Newark, N.J. / Aug.t 19th, 1883”, h. 4‑1/2”, (6‑3/4” with handle), l. 6”, w. 4‑3/4”, 8.12 t. oz. [500/800] Illustrated

841 844

842 Pair of American Coin (.900) Silver Salt Cellars, third quarter 19th century, by Ball, Black & Co., New York, New York, each of oval section, with applied laurel-and-ribbon swags, the narrow ends with figures of putti, with molded rim, shaped plinth base and gilt interior, monogrammed “R”, h. 2‑3/8”, l. 3‑7/8”, w. 2‑3/8”, 11.58 total t. oz.

[700/1000] Illustrated

227

845 American Art Nouveau Sterling Silver Ladle, the pattern designed in 1902 by Whiting Mfg. Co., Providence, Rhode Island, in their multi-motif decorative pattern number 26, with spiral-twist stem and peony decoration, l. 13”, 7.09 t. oz.

[500/800] Illustrated

848 Good American Sterling Silver “Vintage” Center Bowl, ca. 1900, by Frank W. Smith, Gardner, Massachusetts, retailed by W. W. Wattles & Sons, Pittsburgh, Pennsylvania, of oval form, with shaped rim, decorated with embossed and applied bands of grape clusters on the vine, the rim and domed base en suite, raised on four shell-crested paw feet, monogrammed “EDT”, h. 7‑3/4”, w. 11”, l. 17‑1/4”, 85.21 t. oz.

[5000/8000] Illustrated

845

847

846 Assembled ThreePiece Sterling Silver Baltimore Tea Set, first half 20th century, including a teapot

by Welsh & Brother, 1887‑1910, h. 6”, l. 9‑1/2”, and a covered sugar bowl, h. 4‑1/4”, w. 7‑1/4”, and creamer, h. 4”, l. 6‑1/4”, both by Samuel Kirk & Son Inc., 1925‑1932, each of bulbous circular form and decorated allover with repousse flowers in the traditional Baltimore manner, the teapot with crested and ivory-insulated handle, “gooseneck” spout and hinged lid with floriform finial, the sugar bowl with opposing handles and fitted lid en suite, the creamer with beaked spout and crested handle, each piece monogrammed on the underside, “B” (the teapot) or “D” (the sugar bowl and creamer), 52.28 total t. oz. [2000/4000] Illustrated

846 849 Rare 19th-Century Whiting Sterling Silver “Oval Twist” Three-Piece Presentation Salad Set, the pattern introduced in 1880, Providence, Rhode Island, including a rectangular dish with gilt interior and shaped edge, l. 10‑1/4”, w. 7‑1/4”, and a salad serving fork and spoon, l. 9‑1/4”, the bowl engraved with a 25th anniversary inscription and monogram “IN / 1867‑1892 / Carlisle, Pa.”, the dates repeated on the bowls of the serving pieces, 18.06 total t. oz. [600/900]

847 Gorham Sterling Silver-Mounted Engraved Glass Claret Jug, 1894, Providence, Rhode Island, the pearshaped body molded with fine ribbing and engraved with flowers and latticed rococo-scroll cartouches, with a flaring sterling silver collar with integral spout, hinged lid and scroll handle, with embossed floral decoration and “vintage” finial, with a waisted and domed silver foot-ring, h. 12‑3/4”, dia. 5”, l. 6‑3/4”. [2500/4000] Illustrated

228

850 Rare Gorham “Chantilly” Sterling Silver Tureen, designed in 1895 by William Christmas Codman (1839‑1927), Providence, Rhode Island, this example 1899, no monograms, h. 11‑1/4”, l. 14‑3/8”, w. 7‑1/2”, 57.95 t. oz. [800/1200] Illustrated 851 Good Dominick & Haff Sterling Silver Compote, 1898, New York, New York, the circular bowl with elaborate applied openwork rim of chrysanthemums and lotus, above a knop and broad trumpeting foot en suite, engraved with an elaborate monogram “EBL” beribboned with 25th anniversary date “1874 - May 5 1899”, h. 6‑3/4”, dia. 13‑3/4”, 47.54 t. oz. [1000/1500] Illustrated

848

852 Watson “Bridal Flower” Sterling Silver Ladle, the pattern designed in 1910 by Joseph Edward Straker, Jr. (1865‑1955), Attleboro, Massachusetts, with coquilleshaped bowl, monogrammed “MDC”, l. 12‑1/2”, 8.17 t. oz. [500/800] 853 Gorham Martele .958 Silver Coffeepot, 1905, Providence, Rhode Island, order code H/WW, the pear-shaped body with broadly lobed cartouches meeting at the top and continuing up the body to the bulbous collar, with a shaped, hinged and domed lid with openwork toupie finial, with slender “gooseneck” spout and crested, insulated handle, the whole decorated with realistically detailed repousse daisies and raised on a domed foot with integral serpentine in-turned feet, monogrammed and dated “GSH / 1906” on the underside”, h. 9‑3/4”, w. 6”, l. 9‑1/2”, 41.33 t. oz. [3500/5000] Illustrated

850

Pristo notes that this coffeepot was finished on December 14, 1905 as part of a six-piece service made by Alexander MacBeth (1865‑1943); this coffeepot was chased and decorated by Henry Brooks (1867‑1940).

853

851

851 detail

229

854 American Sterling Silver Art Nouveau Crumb Set, first quarter 20th century, by International Silver, Meriden, Connecticut, including a crumber, l. 11‑3/4”, and crumb pan, l. 6‑1/2”, w. 8‑1/4”, the shaped rim with serrated edge, decorated with realistically detailed irises on a hammered ground, 10.33 total t. oz. [700/1000]

858

856 American Art Nouveau Sterling Silver Center Bowl, ca. 1900, by the Mauser Mfg. Co., New York, New York, of shallow lobed rectangular form, the rim embossed with elaborate sinuous floral scrolls, raised on four bouquetcrested feet, h. 2‑1/2”, l. 14‑1/2”, w. 10‑3/4”, 30.98 t. oz.

[1000/1500] Illustrated

855

855 Gorham Sterling Silver Three-Handled Presentation Cup, first quarter 20th century, Providence, Rhode Island, of baluster form, with three rocaille-mounted crested and threaded handles, the shaped rim with applied rocaille banding, the interior gilt, raised on a domed foot en suite, engraved with a later presentation inscription dated 1966, h. 8‑3/8”, dia. 4‑5/8”, w. 5‑1/2”, 22.24 t. oz. [1200/1800] Illustrated

859

857 Tiffany & Co. Sterling Silver “Clover” Pattern Fruit Bowl, the pattern introduced in 1903, New York, New York, of octagonal form with realistically detailed applied openwork “clover” rim, h. 2‑1/4”, dia. 11‑1/4”, 25.77 t. oz.

[1000/1500]

856

230

858 Tiffany & Co. Sterling Silver Child’s Bowl, the pattern introduced in 1879, this example 1892‑1902 and dated 1905, of squat cylindrical form, decorated with an applied band of a children’s parade, with molded rim and footring, the underside engraved “Joseph Parker Hotchkiss / April 7th 1905”, h. 3”, dia. 5”, 10.62 t. oz. En suite with the following lot. [900/1200] Illustrated

861

859 Tiffany & Co. Sterling Silver Child’s Mug, the pattern introduced in 1879, this dated 1910, of cylindrical form, decorated with an applied band of a children’s parade, with molded rim and foot-ring, with “caterpillar” handle, the basal edge engraved “Frederick Drake Markley”, the underside engraved “From / Fred R. Drake / Xmas 1910”, h. 3”, dia. 5”, 10.62 t. oz. En suite with the preceding lot. [800/1200] Illustrated 860 Pair of American Sterling Silver Wine Coasters, first quarter 20th century, by the Mauser Mfg. Co., New York, New York, each of squat, bulbous cylindrical form, decorated with a wide band of embossed floral garlands, with a turned wood base, monogrammed, on the rim, “FML”, h. 2‑1/2”, dia. 5‑1/2”. [600/900]

863

861 Good Gorham Arts and Crafts Four-Piece Mixed Metal Smoking Set, first quarter 20th century, Providence, Rhode Island, including a beaker-form cigarette jar, h. 3‑3/8”, an ashtray, l. 4‑7/8”, a Roman lamp-form lighter, l. 4‑1/2”, and a tray, l. 12‑1/2”, each with a copper body with handhammered finish, decorated with sinuous silver edging and banding. [800/1200] Illustrated 862 American Arts and Crafts Sterling Silver Sauceboat and Stand, second quarter 20th century, by the Ellmore Silver Co., Meriden, Connecticut, the sauceboat of traditional Georgian form with scalloped rim, h. 4‑5/8”, l. 7”, w. 4”, the rounded rectangular stand en suite, l. 8‑5/8”, w. 6‑1/2”, both with hand-hammered finish, 16.72 total t. oz. [500/800] 863 Gaston Orellana (Chilean, b. 1933), “Self-Portrait at the Tren(sic) Platform”, 1969, oil on canvas, signed, titled and dated en verso, 62‑1/2” x 47‑1/2”. Presented in a thin gallery frame. [1000/1500] Illustrated 864 Joan Duran (Belize, Contemporary), “Alti Spazi in Blue and White”, 1986, acrylic on gallery-wrapped canvas, verso with an artist label, 48‑1/2” x 55‑1/2”. Unframed.

Provenance: Private collection, New Orleans, Louisiana; purchased from Heriard-Cimino Gallery, New Orleans, Louisiana, ca. 2005. [2000/4000] Illustrated 864

231

865 Robert Gordy (American/Louisiana, 1933‑1986), “Portrait”, black and white trial proof, signed in pencil lower right, sight 33” x 24‑3/4”. Glazed, matted and framed.

[700/1000] Illustrated

867 George Bauer Dunbar (American/Louisiana, b. 1927), “Borgne”, platinum leaf over red clay, signed lower right, 42” x 48”. Presented in a thin ebonized gallery frame. [18000/25000] Illustrated

867 868 George Bauer Dunbar (American/Louisiana, b. 1927), “Coin du Lestin”, gold leaf over red clay, signed lower center, 48” x 42”. Presented in a thin ebonized gallery frame. [18000/25000] Illustrated

865 866 Robert Kipniss (American, b. 1931), “Shed and Trees”, oil on canvas, signed lower left, a “Dain/Schiff, New York” framer’s label en verso, 35” x 34‑3/4”. Framed.

[6000/9000] Illustrated

868 869 Mildred Wohl (American/Louisiana, 20th Century), “Untitled Abstract”, oil on masonite, signed en verso, 25” x 20”. Framed. [800/1200] Illustrated 866

232

872

869 870 George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, platinum leaf over black and red clay, signed lower center, 8‑3/4” x 7‑1/4”. Unframed.

[1000/1500] Illustrated

870

872 American School (Second Quarter 19th Century), “Portrait of a Husband and Wife”, pair of oils on canvas, unsigned, 30” x 25”. Presented in matching giltwood frames. Provenance: Descended in the family of the sitters.

[1000/2000] Illustrated

871

871 George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, platinum leaf over beige and red clay, signed lower center, 10‑3/4” x 8”. Unframed. [1000/1500] Illustrated

872

233

873

873 Thirty-Nine-Piece Meissen Porcelain Tea Set, ca. 1947‑1973, German, in the rococo taste, each piece with a cerise ground and marked with crossed swords in underglaze blue, most with two discharge marks, the set comprised of a teapot, h. 10‑1/2”, w. 9‑1/2”, a cream jug, h. 5”, w. 4‑3/4”, a sugar basin, h. 4‑1/2”, dia. 4”, twelve dessert plates, dia. 7‑3/4”, twelve cups, h. 3”, and twelve saucers, dia. 6‑1/2”. [1000/1500] Illustrated 874 Antebellum New Orleans Market Rosewood Double-Door Armoire, third quarter 19th century, probably from the New Orleans warerooms of Prudent Mallard, the crest centered by a cartouche flanked by open foliate and scroll carving, the beaded projecting cornice over a pair of paneled doors, the base with a pair of drawers, raised on distinctive bracket feet, h. 113”, w. 69‑1/8”, d. 27”. [2000/4000] Illustrated 875 American Rococo Revival Rosewood Center Table, mid-19th century, probably Baltimore, Maryland, the oval portoro marble top over a conforming scalloped frieze with applied scroll carving, raised on a tapering square base with like carving, on scroll feet, h. 29‑1/2”, w. 45”, d. 31‑1/2”. [1500/2500] Illustrated 876 American Rococo Revival Walnut Cabinet-Base Etagere, third quarter 19th century, the upper section with three graduated serpentine shelves with scroll-sawn backs and turned supports, the base with a serpentine top over a pair of conforming drawers, the upper shallow drawer fitted with a writing board, and a pair of doors below, each with scroll-cut panels, h. 71”, w. 36‑1/4”, d. 18‑1/2”.

[800/1200] Illustrated

234

874

877 American Rococo Revival Giltwood Pier Mirror, third quarter 19th century, with a scrolled and shell-carved crest with foliate details, h. 118”, w. 42”. Provenance: A French Quarter, New Orleans, Louisiana estate.

[1200/1800] Illustrated

877

878 American Rococo Revival Walnut HalfTester Bed, third quarter 19th century, the serpentine tester raised on segmented turned posts, the headboard with a crest carved in the form of a cabochon flanked by foliate-carved scrolls, over a pair of shaped panels, the wrap footboard centered by an applied roundel, h. 97‑1/2”, inside, w. 59”, l. 80”, outside, w. 63‑1/2”, l. 83‑1/2”. [1500/2500] Illustrated

876

875

878

235

880 Pair of Gothic Revival Cast Iron Garden Benches, the backs molded with quatrefoils, trefoils and crockets, the seats molded with joined hexagons, joined by H-form stretchers on the base, h. 34”, w. 53‑3/4”, d. 17”.

[2000/4000] Illustrated

880 879 881 Pair of Molded Concrete Garden Urns with Fruit and Flowers, mid-20th century, the Louis XV-style fluted campana-form urns resting on lotus-molded plinths and supporting molded arrangements, h. 46‑1/2”, w. 16”, d. 16”. [500/800] Illustrated

882

881

879 Antique Metal Bell by James P. Allaire, New York, 1816‑1869, marked “James P Allair New York, 1835”, h. 24‑3/4”, dia. 16‑1/2”. [1500/2500] Illustrated The bell with an oral history at Darby Plantation, Baldwin, Louisiana.

236

882 Pair of American Cast Iron Seated Garden Dogs, ca. 1860‑1880, probably Mid-Atlantic, on square plinths, cast with one head cocked to one side, h. 42‑1/2”, w. 15”, d. 21‑3/4”. [1500/2500] Illustrated 883 Impressive Cast Iron Plantation Bell by Charles Singleton Bell, Hillsboro, Ohio, 1875‑1882, marked “CS Bell, Hillsboro” on the support, h. 49‑1/2”, w. 49‑1/2”, d. 37‑3/4”. [3000/5000] Illustrated The bell with an oral tradition at Darby Plantation, Baldwin, Louisiana.

883

884 American Patinated and Cold-Painted Bronze of a Native American Warrior, first or second quarter 20th century, variant of the sculptural group “How-Kola” by Carl Kauba (Austrian/American, 1865‑1922), cast signature along edge of self-base, on a naturalistic base, h. 19‑1/2”, w. 12‑3/4”, d. 9”. [600/900] Illustrated

885

886 Robert Alexander Graham (American, 1873‑1946), “Still Life of Red and White Flowers in a Teal Pitcher”, oil on canvas, signed lower left, 30” x 24”. Framed. [800/1200] Illustrated

884

885 Continental Patinated Bronze of a Native American Archer, 20th century, cast signature “Chiparus” at base, on a rectangular black base, h. 32‑1/2”, w. 22‑1/2”, d. 7‑1/2”. [700/1000] Illustrated 886

237

887

889

887 Harry Wilson Watrous (American/New York, 1857‑1940), “Japanese Still Life”, oil on canvas, signed lower right, 32” x 30”. Presented in a carved, polychrome frame. [1000/1500] Illustrated

889 detail

888 Harry Wilson Watrous (American/New York, 1857‑1940), “Woman at Prayer”, oil on canvas, signed lower right “Watrous, copyright 1912”, 36” x 24”.

Attractively framed. [1500/2500] Illustrated

888

238

889 Spanish Walnut and Oak Vargueno, 17th/18th century, of rectangular form, the front paneled and with two heraldic carvings flanking a shield-form escutcheon, opening to an interior fitted with nine drawers of various sizes, all with tortoiseshell paneling, and with three deep drawers, all with a portico-modeled front with ivory columns and paneling, raised on a conforming stand of turned and block legs joined by a like box stretcher and ending in bun feet, h. 55”, w. 43‑1/2”, d. 17‑1/2”.

[3000/5000] Illustrated

890

891 Spanish Colonial Mahogany Armchair, 18th century, the embossed leather back with avian and foliate patterns, joined by ribbed arms to the like-embossed seat, raised above a carved front apron on acanthine-carved block legs, h. 41”. [1500/2500] Illustrated 892 Three Pieces of South American Spanish Colonial Silver, first half 19th century, probably Peru, including an olla of ovoid form with strap handles, h. 5‑1/4”, dia. 4‑1/2”, a large jarro, fluted on the lower half and floral chased on the upper half with cast and applied foliate scroll handle, h. 6‑3/8”, dia. 5‑1/4”, and a lobed bowl of squat oval form with applied foliate scroll handles, h. 4‑3/8”, dia. 7”, 48.04 total t. oz. [700/1000] Illustrated

892

890 Spanish Colonial Leather-Encased Trunk, 18th century, of domed form, the top lifting to an interior fitted with a single lidded compartment, the leather richly incised in various geometric, scrolling and animal patterns, the front with elaborately figured hardware, h. 21”, w. 42‑1/2”, d. 23‑1/2”. [700/1000] Illustrated

893

891

893 Pair of Mexican Sterling Silver Candlesticks, second quarter 20th century, in the Spanish Colonial taste, each with a tapering columnar standard with chased fluting and floral banding, above a domed foot banded en suite and raised on four acanthus feet, surmounted by a lobed vasiform nozzle, h. 10‑1/2”, dia. 4‑1/4”, 23.32 total t. oz.

[600/900] Illustrated

239

894 Six-Piece Camusso Sterling Silver Coffee and Tea Set, third quarter 20th century, Lima, Peru, in the Spanish Colonial taste, comprising a coffeepot, h. 10‑3/4”, a teapot, h. 9‑1/4”, a covered sugar bowl, h. 6‑3/4”, a cream jug, h. 5‑3/4”, a waste bowl, h. 3‑1/8”, and a tray, 25‑1/2” x 16‑1/4”, the hollowware with pear-shaped bodies and elaborated rocaille-mounted “C”-scroll handles, the pots with lattice-embossed “gooseneck” spouts, the rectangular tray with applied rocaille edge, 150.67 total t. oz. [2000/4000] Illustrated

894

896

895 Pair of Camusso Sterling Silver Candelabra, third quarter 20th century, Lima, Peru, in the Spanish Colonial taste, each with a central baluster standard above a domed base, surmounted by a circular petaled drip-pan and urnform nozzle, and flanked with scrolling arms terminating en suite, h. 10‑1/4”, w. 13‑1/4”, dia. 6‑3/4”, weighted.

[500/800] Illustrated

898 Large Pair of Italian Wrought Iron and Stamped Metal Scrolled Wall Brackets, late 19th century, each with applied foliate decor and gold-painted highlights, h. 60”, d. 34”. [1500/2500] Illustrated

895

897

896 Group of Three Italian Painted and Silver-Gilt Lamps, including a pair of candlesticks and a wooden urn, all in the Italian style, trimmed in midnight blue and mounted as lamps, the altar-style candlesticks, base, h. 27”, overall, h. 31”, dia. 7‑1/4”, and the urn, h. 14”, overall, h. 26”, dia. 6‑1/2”. [800/1200] Illustrated 897 Italian Specimen Marble Top, of rectangular form, centered by an oval panel surrounded by floral patterns, within a deep band of rounded geometric forms, w. 56‑1/2”, d. 35‑1/2”. [2000/4000] Illustrated

240

899 Spanish Walnut and Leather Armchair, late 18th century, the leather back with earred finials and brass tack accents, joined by flat arms to the padded leather seat, above a patera-patterned front stretcher, raised on square legs to runner feet with foliate toes, h. 49”. [500/800] Illustrated 900 Continental Oak and Metal Dome-Top Trunk, mid-18th century, decorated with incised and pierced strapwork, stars and bosses, of pegged construction, the side handles attached with cotter pins, h. 31”, w. 57‑1/2”, d. 28”. [500/800] Illustrated

898 900 901 Spanish Iron-Bound Walnut Box, 18th century, of rectangular form, the box with strapwork and decorative corner and escutcheon mounts, raised on a later metal stand, h. 24”, w. 15”, d. 10”. [700/1000] Illustrated 902 Medieval-Style Wrought Iron Nine-Light Chandelier, early 20th century, with a crown-form top with a circular frame suspended from chains and fitted with six candle lights and three dragons holding downward-facing lanterns, h. 50”, dia. 33”. [1000/1500]

901

899

903 Italian Renaissance-Style Wrought Iron and Brass Faldistorio Stool, 19th century, of cross-over folding construction, the four corners each with a large molded brass finial, the cushion above a slung seat, the rounded legs ending in flattened feet, the seat and cushion now covered in printed cowhide, h. 35”, w. 29”, d. 22”.

Illustrated: Phillips, Betty Lou. Villa Decor. Layton, UT: Gibbs Smith, 2002, p. 106. [800/1200] Illustrated

903

241

904 Continental Carved Wooden Figure of Saint Christopher Carrying the Christ Child, 18th century, with a name meaning “Christ bearer”, the figure illustrating the legend that he carried the Christ Child across a river before learning his identity, h. 30”, w. 11”, d. 13‑1/4”.

[600/900] Illustrated

904

905 Continental Painted Leather Four-Panel Screen, fourth quarter 19th century, embossed with rocaille work and phoenix birds, gilt-decorated on a jade, celadon and ivory ground, h. 79‑1/2”, w. 96”. [1000/1500] Illustrated

906

908 After Sir Joshua Reynolds (British, 1723‑1792), “Cupid”, first quarter 19th century, unsigned, 50” x 25”. Presented in an antique giltwood and gesso frame.

[1400/1800] Illustrated

905 906 Italian Rococo Polychrome Commode, 18th century and later, the serpentine top centered by a polychrome floral garland within a scrolling gilt border, above a conforming case fitted with two drawers, each with raised gesso scrolling and avian patterns surrounding floral scenes, the sides with scenes of various classicallyclad figures, raised on cabriole legs ending in hoof feet, h. 37‑1/2”, w. 55”, d. 24‑1/2”. [3000/5000] Illustrated 907 Pair of Italian Baroque Giltwood Altar Sticks, fourth quarter 18th century, on tripartite bases with scrolled feet, the scroll-carved graduated standards terminating in fluted tin drip pans, h. 43‑1/4”, dia. 9‑1/2”. [500/800]

242

908 909 After Parmigianino (Italian, 1503‑1540), “The Mystic Marriage of St. Catherine”, oil on canvas, 28” x 23”.

Framed. [2000/4000] Illustrated

909 910 Russian Icon Depicting Saint Nicholas, the image on painted wood with a metal oklad, h. 12‑1/4”, w. 10‑1/4”.

[500/800] Illustrated

910

911

911 Russian “Mother of God” Icon, ca. 1900, in a repousse and colorless and garnet-colored paste jewel-mounted riza, verso with an inscription in Cyrillic and a red seal, 13” x 10‑1/2”. Presented on a custom lucite stand.

[1200/1800] Illustrated

243

914 Pair of Italian Carved Oak Stands, early 19th century, each of canted rectangular form, the fronts with carved fruit and floral garlands, the canted projecting sides ending in floral scrolled toes, h. 16‑1/2”, w. 28”, d. 14”.

[700/1000] Illustrated

912

912 Bone-Ended Jewish Scroll, the vellum hand-printed with Hebrew calligraphy, dia. 1‑1/2”, l. 11‑1/4”.

[1800/2500] Illustrated

915

913

913 Fine Chinese Export Antique Ivory Torah Yad, 19th century, the pointer carved with peonies, ruyi clouds, butterflies, birds and dragons, a hand with extended index finger topping one side, and a closed fist adorning the other, l. 14‑1/4”. [600/900] Illustrated

914

244

915 Italian Carved and Painted Wooden Putto, mid-18th century, poised looking down from heaven, mounted on a contemporary metal stand, h. 15”, w. 5‑1/2”, d. 8‑1/2”.

Illustrated: Phillips, Betty Lou. Villa Decor. Layton, UT: Gibbs Smith, 2002, p. 107. [500/800] Illustrated

916

916 Italian Rosso Antico Marble Fountainhead of a Putto, 19th century, on a contemporary metal stand decorated with a braided rope and fringed tassel, h. 12”, w. 5‑3/4”, d. 7‑1/2”. [500/800] Illustrated

918

917 Two Latin American Religious Carvings, fourth quarter 19th century, including a Santos figure of Saint David carrying a bible, a dove at his feet, h. 23”, w. 8‑1/4”, and a Baroque-style carved frame decorated with motherof-pearl roundels and set with an engraved image of the Madonna, h. 14”, w. 7‑1/2”. [600/900]

918 Collection of Four Latin American Santos Figures, fourth quarter 19th century, including carvings of Saint Anthony of Padua, h. 10‑1/4”, w. 4”, Saint Joseph, h. 8‑1/4”, w. 3”, Santa Lucia, h. 12‑1/2”, w. 5‑3/4”, and Saint Dominic, h. 14”, w. 5‑1/2”. [800/1200] Illustrated 919 Filipino Carved Wooden Santos Figure of an Angelica, fourth quarter 19th century, depicted holding a scroll, formerly fitted with wings, h. 24”, w. 8‑1/2”, d. 6‑1/2”. [800/1200] Illustrated

920

920 Pair of Italian Belle Epoque Carved, Painted and Gilded Winged Putti, fourth quarter 19th century, in the Baroque taste, each giltwood wing-form backplate mounted with a painted and gilded flying putto, h. 11‑1/4”, w. 18‑3/4”, d. 6”. [500/800] Illustrated

921

921 Italian Carved, Painted and Parcel-Gilt Architectural Element, 18th century, in the form of a lobed basket carved with garlands of flowers and scrolls, h. 10‑1/2”, w. 18‑3/4”, d. 5”. [600/900] Illustrated 919

245

924

922

922 Italian Carved and Polychromed Figure of Saint Michael, 18th century, now mounted as a lamp and set with a shade, base, h. 15”, overall, h. 21‑1/2”, w. 7”.

[500/800] Illustrated 923 Italian Carved Figure of Saint Barbara, ca. 1700, the martyr carved holding a replica of the tower in which she was imprisoned due to her faith, the figure retaining traces of gilding and paint, h. 27‑1/4”, w. 6‑3/4”, d. 4‑1/2”.

[600/900] Illustrated 924 Continental FauxMarbre Pedestal, early 20th century, of possible ecclesiastical origin, the square top above a conforming standard with four corner Corinthian columns, raised on a molded square base, h. 42”, w. 24”, d. 24”.

[1000/1500] Illustrated

246

923

925

925 detail

926

928 one of a pair

925 Antonio Giovanni Lanzirotti (Italian, 1839‑1921), “Bust of Madonna - Pieta”, carved marble, depicting a tearful, draped Mary at the time of Christ’s death, signed “G. A.” (Giovanni Antonio) and “Lanzirotti 1870”, h. 26”, w. 13‑3/4”, d. 9‑1/2”. [3000/5000] Illustrated 926 Italian Carved and Parcel-Gilt Corner Altar, second quarter 20th century, the fluted and leaf-carved bracket base supporting the niche-form altar, framed with fauxmarbre cluster columns and painted sky-blue with angels, with a shell-carved gilt “ceiling” and a leaf-carved gilt outer edge, h. 61‑1/2”, w. 37”, d. 26”. [3000/5000] Illustrated 927 Unusual Set of Four Renaissance Revival Gilt-Tole Sconces, fourth quarter 19th century, the leaf-molded backplates with scrolled arms decorated with molded leaves and a molded flower, possibly originally fitted for gas, now electrified, h. 17‑1/2”, w. 5‑3/4”, d. 12‑1/2”.

[1000/1500] Illustrated

927

928 Pair of Monumental Belle Epoque-Style Gilt-Bronze Three-Light Sconces, 20th century, the backplates in the form of branches of wheat tied with tasseled ropes, the vine-form candle branches hung with grapes and leaves, and set with lilies concealing light sockets set with faux candles, h. 38‑1/2”, w. 29‑1/2”, d. 12‑1/4”. [5000/8000] Illustrated

247

929 Italian Rococo Fruitwood Fauteuil a la Reine, late 18th century, the padded and domed tall back joined by padded and scrolling arms to the like seat, raised above a shaped shell-carved apron on molded cabriole legs ending in trefoil toes, h. 42”. [500/800] Illustrated 930 Louis XV Giltwood Mirror, fourth quarter 18th century, the ogeeform frame carved with scrollwork and flowers in a ground of incised latticework, now mounted with a pierced scrollworkdecorated crest mounted with a putto, h. 29‑1/4”, w. 18‑1/2”. [600/900] Illustrated

933 Gothic-Style Parcel-Gilt Frame, ca. 1900, probably English, with faceted Gothic-style side columns inset with blue, the crest carved with trefoils and a central leaf finial, now mounted with a print of the Arnolfini Portrait by Jan van Eyck (Dutch, 1390‑1441), h. 36‑1/4”, w. 21‑1/2”.

[500/800] Illustrated

930

931 Set of Four Continental Painted Ivory Figures Depicting Saints, fourth quarter 19th century, on later inlaid mahogany stands, the two males representing Saints Peter and Paul and the female Saints Barbara and Clare, h. 7‑1/4”, w. 2‑3/4”, d. 2‑1/4”. [500/800] Illustrated

931

934 Enamel Plaque Depicting Saint Scholastica, fourth quarter 17th century, probably Limoges, and likely the work of Nicolas I Laudin, Nicolas II Laudin or another member of the Laudin family, the saint depicted in an oval with raised white scrollwork on the corners, in a contemporary velvet-lined frame marked with the retailer name, plaque, h. 6”, w. 4”, overall, h. 7‑1/2”, w. 5‑1/2”.

Provenance: A la Vieille Russie, New York, New York.

[500/800] Illustrated

929

932 French Beaux-Arts Gilt-Bronze and Ivory Figure of a Maiden, first quarter 20th century, in the Medieval taste, the plaster-filled bronze figure with ivory hands and feet, and depicted in a flowing gown, sitting on a seat with a stool, h. 13”, w. 6‑3/4”, d. 5”. [700/1000] Illustrated

248

932

935

933

934

935 Semi-Antique Needlepoint Carpet, 8’ 6” x 11’ 3”.

[600/900] Illustrated 936 Agra Serapi Carpet, 8’ x 10’. [800/1200] Illustrated 937 Laristan Sultanabad Carpet, 8’ 2” x 10’. [1000/1500]

936 938 Oushak Carpet, 11’ 9” x 16’. [4000/7000]

249

939 Kashan Carpet, 9’ x 12’ 11”. [4000/7000] Illustrated 940 Tabriz Carpet, 8’ 10” x 12’ 2”. [4000/7000] Illustrated 941 Turkish Angora Oushak Carpet, 8’ 10” x 12’ 2”.

[1800/2500] Illustrated

939 942 Turkish Angora Oushak Carpet, 8’ x 10’ 1”. [800/1200]

941

943 Turkish Angora Oushak Carpet, 10’ 3” x 14’ 1”.

[1500/2500] Illustrated 944 Agra Serapi Runner, 2’ 7” x 25’ 7”. [800/1200]

940

250

943

946

947 Pair of Japanese Porcelain Satsuma Vases, Meiji period (1868‑1912), the finely decorated and gilded vases depicting birds perched on a rock amidst wisteria and peonies, the undersides each with a two-character maker’s inscription, on carved and pierced wooden stands, vase, h. 6‑1/2”, dia. 3”, overall, h. 7‑1/2”. [500/800] Illustrated 948 Japanese Porcelain Garden Seat, Showa period (1926‑1989), the blue and white hexagonal-bodied seat decorated with flowers and birds, and monster masks adorning two of the sides, h. 19‑1/4”, dia. 10‑3/4”.

[500/800]

945 945 Japanese School (Meiji Period, 1868‑1912), “Hawk Attacking a Duck”, ink and watercolor on paper, mounted on silk, unsigned, framed, image, h. 44‑1/2”, w. 20”, overall, h. 57”, w. 26‑1/2”. [500/800] Illustrated 946 Japanese Porcelain Satsuma Bowl, late 19th/ early 20th century, the lavishly and vibrantly enameled porcelain bowl with petaled edges and a finely articulated rendering of a peacock and peaches in a lush garden replete with chrysanthemums, peonies and an array of other flowers, the underside with a two-character manufacturer’s mark, h. 4”, dia. 9‑7/8”.

[500/800] Illustrated

947

251

949 Japanese Pottery Water Jug, 19th century, the green and white glazed jug, used in a tea ceremony, with two lingzhi mushroom-form handles, the underside with a stamped maker’s mark, h. 14”, dia. 13”. [500/800]

953

951

951 Japanese Jungin Silver Bowl, late Meiji period (1895‑1912), of circular form with bulbous body and waisted rim, decorated in the round with an embossed dragon on a matte ground, above a short foot-ring, h. 5‑5/8”, dia. 9‑1/2”, 25.75 t. oz. [500/800] Illustrated

950 Japanese Export Wooden Desk and Chair, Meiji period (1868‑1912), the two-part desk with an elaborately carved upper section depicting a dragon wrapped around Mount Fuji over a series of small compartments, some of which are fronted with doors carved with dragon motifs, the desk top and seat both bordered with a key-fret band, the chair back decorated with a reticulated dragon decoration, and both with zoomorphic cabriole legs, desk, h. 55”, w. 47”, d. 28”, chair, h. 38‑1/2”. [700/1000]

955

952

252

952 Japanese Jungin Silver Vase, late Meiji period (1895‑1912), signed Yoshun Itsuki, of ovoid form with waisted neck, decorated with inlaid and applied mixed metal birds of paradise and wisteria, the mon lacking, h. 12‑1/4”, dia. 6”, 53.00 t. oz. [800/1200] Illustrated

953 Japanese Mixed Metal Box, Meiji period (1868‑1912), the lidded rectangular box with a painted arch panel on the lid depicting a cockfight on the steps of an elegant pavilion, the sides of the lid cut into pointed arches to fit panels on the sides of the box, inlaid with maki-e interiors, h. 3‑1/8”, w. 4‑1/4”, d. 5‑1/2”. [2500/4000] Illustrated 954 Japanese Bronze Censer, Meiji period (1868‑1912), the tripodal cylindrical-bodied vessel with moving dragon handles, decorated with a rock formation finial with ruyi mushrooms, h. 18‑3/4”, w. 13”. [600/900] 955 Japanese Bronze Censer, Meiji period (1868‑1912), the fine, ornately decorated round-bodied koro with four legs, affixed to the marble base, each marked with a dragon head, the body of the vessel decorated with roundels depicting a mythical monster, the handles ornamented with ruyi clouds and the lid with a finial of a sage seated beside a lion, the interior with a copper liner, the underside bearing a stamped mark, overall, h. 21”, w. 10”.

[800/1200] Illustrated

956

958

958 Japanese Carved Antique Ivory Figure of Kannon, 19th century, the Goddess of Mercy depicted standing on a lotus base, dressed in flowing robes, carrying a basket with a fish inside, carved fully in the round, the underside marked with an artist’s inscription in a rectangular mother-of-pearl-inlaid cartouche, h. 8‑1/4”, w. 2‑1/2”.

[1000/1500] Illustrated

959

956 Japanese School (Meiji Period, 1868‑1912), “Figure of a Samurai”, patinated bronze with cold-painted leaves, signature at base of proper left foot, the high-ranking warrior holding a yari with three blades, h. 14”, w. 6‑1/2”, d. 13”. [600/900] Illustrated 957 Japanese School (Meiji Period, 1868‑1912), “Figure of an Elderly Man”, bronze, stamped mark on reverse, the figure leaning on a hoe, h. 18‑5/8”, w. 7”. [700/1000]

959 Japanese Carved Antique Ivory Group, Meiji period (1868‑1912), depicting the seven lucky gods, left to right, Bishamon, Benzaiten, Hotei, Jurojin, Ebisu, Fukurokuju, and Daikoku, the tallest, h. 10‑7/8”, gilded with black and red ink accents, the underside of each is marked, with a tiered wooden stand, h. 5‑1/2”, l. 36”. [4000/7000] Illustrated

253

960 Japanese Carved Antique Ivory Figure of a Cormorant Fisherman, Meiji period (1868‑1912), the tinted and patinated naturalistic rendering of a fisherman with two birds, finely articulated in the round, with a red and black artist’s mark on the underside, h. 8‑1/8”, w. 3‑1/8”. [1000/1500] Illustrated

964 Middle Eastern Brass-Bound Rosewood Coffer, with the front laid out in a brass grid decorated with peacocks, brass bosses and pierced strapwork, the lower section fitted with three drawers, the top decorated with brass bosses, h. 11‑1/2”, w. 18”, d. 14‑1/4”. [700/1000] Illustrated

963

965 A Chechaouen Embroidery, Morocco, fourth quarter 19th century, of traditional rectangular form, central geometric motif in navy rendered in dense plait stitch, flanked by colorful squares of abstracted floral designs worked in cross stitch, on a cream linen backing fabric, 17” x 84”. [1500/2500] Illustrated

960

961 Pair of Anglo-Colonial Argente Metal-Clad Armchairs, early 20th century, of Regency form, each with a curved crest rail terminating in ram’s heads, joined by downswept arms to the padded seat, raised on sabre legs, the whole with intricate incised floral and foliate patterns, h. 36”. [1000/1500] 962 Anglo-Indian Rosewood Secretary Cabinet, mid-19th century, the molded cornice above a scrolling foliatecarved frieze over two cupboard doors, each inset with a shaped glazed panel, above a paneled fall front opening to a baize-lined writing surface and a variety of drawers and cubbyholes, with two paneled cupboard doors below, the whole flanked to either side by foliate-carved reeded pilasters and raised on stylized paw feet, h. 89‑1/2”, w. 60”, d. 25”. [2000/4000] Illustrated 963 Pair of Indian Carved Blackwood Armchairs, fourth quarter 19th century, Bombay, the cove-shaped back and arms with everted edge, carved and pierced with scrolling foliage, the robust cabriole legs between a shaped apron carved and pierced en suite, the cushions lacking, h. 39”, w. 31”, d. 35”. [1000/1500] Illustrated

254

962

964

967

966

966 Middle Eastern Brass-Decorated Wooden Coffer, with a brass-bound hinged cover, the top, sides and front decorated with a brass grid, set with peacocks, brass bosses and a tree on the facade, h. 14‑1/2”, w. 19‑1/2”, d. 11‑1/2”. [600/900] Illustrated 967 Austrian Cold-Painted Metal Orientalist Lamp, first quarter 20th century, depicting a Moor seated on a carpet in a fringed tent, hanging from a pierced Islamic dome set with skylights, a light socket concealed in the dome, h. 13”, w. 7‑3/4”, d. 8‑1/4”. [1000/1500] Illustrated 968 Orientalist Cold-Painted Bronze Lamp, first quarter 20th century, probably Vienna, Austria, with a palm tree standard concealing a light socket over a scantily clad dancer with polychrome decoration, h. 12”, w. 6‑1/2”, d. 5‑1/2”. [1500/2500] Illustrated

968

965

255

969 Middle Eastern Tent Hanging, probably 19th century, appliqued cotton on linen, with Islamic stars, scrollwork and border of script, h, 108”, w. 181‑1/4”. [700/1000] Illustrated

972 Two Chinese Export Graduated Hand-Painted BrassBound Trunks, first quarter 19th century, composed of leather-covered camphor wood, each hand-painted with Chinese scrollwork and flowers, with campaign-style brass carrying handles, one with a shield-form escutcheon and Chinese characters painted on the interior, and the other with a Chinese brass butterfly-form escutcheon with incised decoration, the largest, h. 9‑1/2”, w. 25‑1/4”, d. 12‑1/2”. [700/1000] Illustrated

971

969 970 Walter Stephens Lethbridge (British, 1771‑1831), “Portrait of Two Gentlemen and a Boy”, 1808, watercolor and gouache on ivory, signed, dated and inscribed “no.96 / Strand / London” on backing, 3‑3/4” x 3‑1/4”, presented in a William IV carved giltwood frame, overall, 10” x 9‑1/4”.

Provenance: Private collection, Covington, Louisiana.

Illustrated: Phillips, Betty Lou. Villa Decor. Layton, UT: Gibbs Smith, 2000, p. 106. [800/1200] Illustrated

972

970

971 Handsome Pair of English Marble, Bronze and Metal Candlesticks, ca. 1800, the marble cylindrical bases supporting patinated metal cupids holding gilt-bronze engine-turned candle cups set with sprays of drops, h. 13‑1/4”, dia. 3‑1/4”. [600/900] Illustrated

256

973 Regency Calamander Work Table, first quarter 19th century, the highly figured canted rectangular top with inlaid brass banding, hinged and opening to a compartmented interior, over a fabric pendant work bag, raised on molded splayed legs joined by an X-form stretcher and ending in tall peg feet, h. 30”, w. 19‑1/2”, d. 14”. [1200/1800] Illustrated

974

973

974 Pair of Regency Tole-Peinte Chestnut Urns, first quarter 19th century, now mounted as lamps, the oval urns hand-painted in gilt and red on a chocolate ground, a meander of leaves on the bases, the obverse decorated with figures in classical ruins, and the reverse decorated with thatched cottages, the upper sides mounted with gilt lion’s heads grasping ring pulls, base, h. 12”, overall, h. 22‑1/2”, dia. 6‑3/4”. [600/900] Illustrated 975 Pair of Regency-Style Mahogany Jardinieres, each of circular form with a slatted body, fitted with a conforming copper drip plate, raised on three legs joined by a concave tripartite stretcher and ending in splayed feet, h. 36”, dia. 14‑1/2”. [1000/1500] Illustrated

975

976 Suite of Six Late Regency Mahogany Sidechairs, second quarter 19th century, each with a curved foliate-carved crest with bobbin-turned ends, held by spiralribbed stiles, the padded seat above a ribbed apron, raised on fluted tapering circular legs headed by a foliate capital and ending in toupie feet, h. 33‑1/4”.

[800/1200] Illustrated 976

257

977 Unusual Pair of English Pottery Ginger Jars in the Imari Palette, ca. 1825, possibly Davenport, the tapered, hexagonal jars set with dolphin-form handles and dogform knops, richly decorated with one of the “Japan” variations incorporating a fence and a stand of bamboo, h. 17‑1/2”, dia. 8”, including stands. Provenance: Blackamoor Antiques, New Orleans, Louisiana.

[700/1000] Illustrated A Davenport fruit cooler with these dolphin handles is illustrated in Godden’s Guide to Ironstone, Stone and Granite Wares, by Geoffrey A. Godden, p. 228.

980 980 British Embroidery of a Family, 19th century, wool thread on painted silk, now backed in finely woven linen, sight 20” x 25‑3/4”. Glazed and framed. [700/1000] Illustrated

977

978 Five-Piece Chinese Imari Porcelain Garniture Set, comprised of three covered ginger jars, h. 12”, dia. 4‑1/2”, and a pair of matching beaker-form vases, h. 10‑1/4”, dia. 5‑1/4”, each piece gilt-trimmed and decorated with red peonies and cobalt branches. [700/1000] 979 Late Regency Rosewood Tilt-Top Center Table, second quarter 19th century, the circular tilt top with a conforming apron, on a segmented, tapering triangular pedestal joined to a concave base on reeded bun feet, h. 28”, dia. 50”. [1400/1800] Illustrated

979

258

981

981 Suite of Six Regency Faux-Bois Sidechairs, first quarter 19th century, each with a spiral-reeded crest rail above a pierced splat centered by an applied sunflower, the removable padded seat above a caned seat, raised on sabre legs, h. 33”. [600/900] Illustrated

983

982 John Lawson Bradford English Regency Mahogany Tall Case Clock, early 19th century, the case with inlaid details, the face with engraved motifs and painted moon dial, h. 88”, w. 21”, d. 9”. [2000/4000] Illustrated

984 985 Franco-Japanese Metal and Porcelain Floor Lamp, fourth quarter 19th century, the scrolled metal feet supporting the Japanese vase decorated in the Imari palette with a willow tree and peonies, fitted with a scrolldecorated metal cap and an adjustable lamp standard set with two sockets, h. 54”, dia. 15‑1/2”. [700/1000] 986 Chinese Porcelain Garden Seat, 20th century, decorated with dragons and waves, the underside with a six-character inscription of Kangxi, h. 18‑1/2”, dia. 12‑1/4”. [500/800]

982

983 Suite of Six Late Regency-Style Mahogany Sidechairs, late 19th century, each with a curved and paneled crest with side spiral finials, above a horizontal splat with ball accents, the deep padded seat raised on sabre legs, h. 33‑1/2”. [600/900] Illustrated 984 Large Japanese Imari Charger, fourth quarter 19th century, the central panel of bamboo and plum branches set in a blue, orange and gilt border, richly decorated with peonies, phoenix birds, branches and various patterns, signed on the rear, dia. 25”. [600/900] Illustrated

987

987 Two Gentleman’s Dressing Boxes, including a Victorian brass-inlaid coromandel dressing box, mid-19th century,

by J. J. Mech, London, with a pull-out tray fully fitted with straight blades and various glass and sterling boxes, with engraved crests and hallmarked “London, 1856‑1857 by William Neal”, the tray removing to a lidded compartment and storage spaces, h. 5”, w. 12‑3/4”, d. 8‑3/4”, and a rosewood dressing box with brass banding, h. 6‑1/2”, w. 13‑1/4”, d. 9‑3/4”. [1000/1500] Illustrated

259

988 Regency Mahogany Sofa, ca. 1825, with a tripartite paneled crest rail, reeded scroll arms and seat rail, and saber legs with like carving ending in finely modeled brass cup casters, now upholstered in muslin, h. 36‑3/4”, w. 77‑1/2”, d. 24‑1/2”. [700/1000] Illustrated

991 990 Pair of Emerald Green and Colorless Glass Hurricane Lamps, in the Regency style, the stepped colorless bases supporting emerald green cylindrical shades cut with Greek-key borders, h. 15‑3/4”, dia. 5‑3/4”. [800/1200]

989

989 Pair of Hollywood Regency Decoupage Lamps, mid-20th century, in the Regency style with chinoiserie decoration on a field of sprigs of flowers and mandarin figures, mounted with shades, base, h. 17”, overall, h. 31”, dia. 16”. [700/1000] Illustrated

991 British School (Fourth Quarter 19th Century), “The Hunt”, 1894, oil on canvas, illegibly signed lower right, 16” x 24”. Framed. [800/1200] Illustrated 992 Bold William IV Mahogany Oversized Casket-Form Tea Caddy, second quarter 19th century, on bun feet with a tapered body and a gadrooned cover, the interior fitted with a pair of tea compartments with hinged covers flanking a round compartment for a mixing bowl, h. 11‑1/2”, w. 19”, d. 10”. [500/800] Illustrated

988

260

995

992

993 Pair of Anglo-Irish Cut Glass Hurricane Lamps, fourth quarter 19th century, on heavy bases with faceted baluster standards, hung with cut “Georgian” prisms on cut prism rings, the flaring vasiform shades cut in the Russian pattern and with scalloped borders, h. 27‑3/4”, dia. 6‑3/4”.

[2000/4000] Illustrated

993

996

994 William IV Mahogany Sideboard, mid19th century, the mirrored backpiece surmounted by a molded cornice, the rectangular top with a heavily molded edge and raised on two pedestals, each with a paneled cupboard door, one opening to a drawer and two pull-out shelves, the other to shelves and a metal-lined cellarette drawer, raised on a plinth base, h. 62”, w. 81”, d. 25”.

[1500/2500] Illustrated 995 Pair of Marked Mason’s Ironstone Wine Bottle Coolers, ca. 1813‑1820, English, molded with faceted sides and set with twigform handles, the coolers decorated with a Japan pattern, the bottoms impressed with a two-line mark reading “Mason’s Patent Ironstone China”, h. 9‑3/4”, dia. 9”.

[800/1200] Illustrated

994

996 Rare Pair of Pottery Garden Seats in the Imari Palette, second quarter 19th century, attributed to Mason’s, of traditional form, in the “Prunus Bush” pattern, h. 21”, dia. 13”.

[800/1200] Illustrated

261

997 Pair of Brass-Bound Mahogany Peat Buckets in the Irish Taste, 20th century, decorated with gadrooning, with brass liners and brass trim on the bases, and twisted brass swing handles, h. 17”, dia. 13‑1/4”. [1000/1500] Illustrated

999 997

998 William IV Giltwood Sofa, second quarter 19th century, the padded rectangular back joined by downswept acanthine-carved sides and padded outscrolled arms to the padded seat, the arms fronted by acanthine-carved scrolling uprights, the whole raised on large feet headed by acanthine capitals and ending in casters, h. 36‑1/2”, w. 90”, d. 29‑1/2”. [1500/2500] Illustrated

998

262

999 Pair of Chinese Peking Glass Vases, Qing Dynasty (1644‑1911), the blue and white vessels each with floral decoration, h. 8‑1/2”, dia. 4‑1/2”. [700/1000] Illustrated 1000 Chinese Peking Glass Jar, late 19th/early 20th century, the dainty vessel with a red and white floral decoration and a lid topped with a flower finial, h. 3‑1/2”, dia. 3”.

[500/800]

1001 Chinese Peking Glass Vase, Qing Dynasty (1644‑1911), the white and pink overlay carved through to opaque white, depicting three dragons in pursuit of a flaming pearl over cresting waves, h. 7‑1/8”, dia. 3”. [700/1000] Illustrated

1003 Sino-Tibetan GiltBronze Figure of Bhaisajyaguru, 18th/19th century, seated in dhyanasana, the figure’s hands arranged in bhumisparsha mudra, a small round salve jar in its left hand, with elongated earlobes and a serene facial expression, the sanghati-clad figure sitting in a state of tranquil meditation, the leaf inscribed in copper plate on the underside of the sculpture, h. 7‑3/4”, w. 5‑3/4”. [700/1000]

1004

1004 Chinese Export Silver Miniature Bixi Stele, late 19th/ early 20th century, signed Yu Wu Zeng?, the bixi-borne stele crested with a pair of dragons in pursuit of a flaming pearl, with a four-character inscription on each side of the stele, h. 6”, l. 3‑3/4”, w. 2”, 10.41 t. oz. [500/800] Illustrated

1001

1002 Chinese Peking Glass Vase, Qing Dynasty (1644‑1911), the small yellow baluster-form glass vessel decorated with a motif of squirrels and grapes, h. 7‑3/4”, dia. 3‑7/8”.

[600/900]

1005 Chinese Silk Embroidery, Qing Dynasty (1644‑1911), depicting immortals and their attendants in a garden setting replete with peonies, chrysanthemums, prunus trees and bamboo, on a gold ground, h. 43”, l. 97”.

[800/1200] Illustrated 1006 Chinese School (Qing Dynasty, 1644‑1911), a pair of ancestor portraits, watercolor on silk, unsigned, framed, image, h. 35”, w. 18”, overall, h. 40”, w. 22”. [600/900]

1005

263

1007

1008

1007 Chinese School (Late 19th/Early 20th Century), “A Scholarly Beauty”, ink and watercolor on paper, hanging scroll format, exterior mark with surname Zhi, unsigned, 5‑1/2” x 12‑1/8”. [800/1200] Illustrated 1008 After Jiao Bingzhen (Chinese, 1689‑1726), “A Sage and His Pupil”, ink and color on silk, mounted as a hanging scroll, inscribed outside of the scroll and with a verse and seal on the interior, 22” x 11‑3/4”. [700/1000] Illustrated 1009 Chinese School (Late 19th/Early 20th Century), “Sages in a Landscape”, ink on paper, seal lower right, unsigned, 65‑1/4” x 21”. Unframed. [700/1000] Illustrated

264

1009 1010 After Zhang Xiong (1803‑1886), “Boating Along a Mountain River”, ink and color on silk, inscription upper right including artist’s name and a red seal, 31‑1/2” x 12”.

Matted and unframed. [600/900] 1011 Four Korean Buncheong Ware Bowls, Joseon Dynasty (1392‑1910), the four round footed bowls with sgraffito decoration and iron oxide glaze, three with leaf motifs and one with fish and aquatic plant decoration, the largest, h. 2‑3/4”, dia. 5‑1/2”. Provenance: Private Collection, San Antonio, Texas. [1200/1800] Illustrated By family repute aided by a former adjunct curator of the National Museum of Korea, Seoul, South Korea, a similar bowl is currently on loan to the San Antonio Museum of Art, San Antonio, Texas. A comparable piece is in the Japan Osaka Municipal Oriental Ceramics Gallery, Osaka, Japan.

1011

1012 Korean Black/Brown Glazed Bottle, Goryeo Dynasty (918‑1392), the iron-glazed stoneware bottle with a tapered form, splayed lip and long neck, h. 7‑1/4”, dia. 5”.

Provenance: Private collection, San Antonio, Texas.

[600/900] By family repute aided by a former adjunct curator of the National Museum of Korea, Seoul, South Korea, similar examples can be found in the collection of the Ewha Womans University, Seoul, South Korea.

1014

1014 Three Pieces of Korean Porcelain, Joseon Dynasty (1392‑1910), including two white porcelain bottles and a white porcelain footed shallow dish, h. 3” to 9‑1/4”, dia. 4” to 5”. Provenance: Private Collection, San Antonio, Texas.

[600/900] Illustrated White porcelain became the most desirable and widely produced ceramics in Korea during the Joseon Dynasty, particularly after the 16th century. Certificates of Old Arts Cultural Property on the dish and the larger vase from the Korea Old Arts Cultural Association Central Committee. By family repute aided by a former adjunct curator of the National Museum of Korea, similar footed dishes can be found in the permanent collection of the Los Angeles County Museum, Los Angeles, California, and a similar jar can be found in the Philadelphia Museum of Art, Philadelphia, Pennsylvania.

1015 Four Pieces of Korean Porcelain, Joseon Dynasty (1392‑1910), including a rectangular white water dropper with pink floral and raised scrolling decoration, and a slightly rounded top, h. 1‑1/8”, w. 2‑3/8”, d. 3‑1/8”, a white porcelain brush washer, h. 1‑1/2”, dia. 3‑1/2”, and two small jars, one with a lid, h. 3”, dia. 3‑1/4” and h. 3‑1/2”, dia. 3‑1/8”. Provenance: Private Collection, San Antonio, Texas. [600/900] Illustrated By family repute aided by a former adjunct curator of the National Museum of Korea, Seoul, South Korea, a larger version of the lidded jar is in the permanent collection of the Philadelphia Museum of Art, Philadelphia, Pennsylvania.

1016

1013 Three Pieces of Korean Celadon Stoneware, Goryeo Dynasty (918‑1392), including two long-necked bottles and a vase, h. 11” to 12‑1/2”, dia. 5‑1/4” to 7”.

Provenance: Private Collection, San Antonio, Texas.

[600/900] By family repute aided by a former adjunct curator of the National Museum of Korea, Seoul, South Korea, comparable examples to the pieces in this lot are in the Philadelphia Museum of Art, Philadelphia, Pennsylvania, and the National Museum of Korea, Seoul, South Korea.

1015

1016 Two Korean Porcelain Jars, Joseon Dynasty (1392‑1910), the two bulbous-form white jars with underglaze blue decoration of floral sprays in a free and vigorous hand, one jar with two handles and green accents, each vessel with a Certificate of Old Arts Cultural Property from the Korea Old Arts Cultural Association Central Committee, h. 9‑3/4”, w. 11” and h. 14‑1/4”, w. 15‑3/4”. Provenance: Private collection, San Antonio, Texas. [700/1000] Illustrated By family repute aided by a former adjunct curator of the National Museum of Korea, Seoul, South Korea.

265

1017 Sang Chang-cho (Korean, 20th Century), “Four EightPanel Screens of Royal Seals”, 1970, ink on paper mounted on silk and laquered teak, each panel 69‑1/2” x 17‑3/4”.

Provenance: Private collection, San Antonio, Texas; by family repute aided by a former adjunct curator of the National Museum of Korea, Seoul, South Korea.

[1200/1800] Illustrated This lot includes four of the total of eight screens produced that incorporate all but three of the royal seals of the twenty-seven kings of the Joseon Dynasty (1392‑1910). Sang wrote the remarks beside each seal and the longer historical text.

1017

1017

266

1017

1017

267

I nd e x of A rt i s t s J U LY 2 5 - 2 6 , 2 0 1 5

American School 344, 388, 714, 872

Galien-Laloue, Eugene 171

Arntzenius, Floris 172

Gentilini, Armando 175

Audubon, John James (after) 681

Golden, Rolland Harve 688, 689

Austrian School 188, 492

Goodridge, Eliza (attributed) 709

Bakhuyzen, Gerardina Jacoba Sande 207

Gordy, Robert 779, 865

Benda, Bretislav 747

Graham, Robert Alexander 886

Berchem, Nicolaes Pietersz (circle) 208

Guidry, Louise 781, 782

Bolotowsky, Ilya 760

Hardie, Charles Martin 378

Bone, Charles Richard 337

Heldner, Colette Pope 686

Bonifazi, Adriano 538

Herring, John Frederick Jr. (after) 28

Boodle, Walter 346

Heyden, Jan C. Van der 387

Boyer, Emile (after) 169

Holt, Edwin Frederick 30

British School 991

Horn, Julius 535

Canova, Antonio (after) 271

Hovener, J. J. 336

Carabba, G. 537

Italian School 468, 481, 529, 532

Cecioni, Adriano 448

Japanese School 956, 957

Chapman, John Watkins (attributed) 180

Jiao, Bingzhen (after) 1008

Chinese School 1007, 1009

Johnson, Richard 783

Cocteau, Jean 763

Katz, Alex 758

Continental School 173, 307, 411, 435, 512

Kauba, Carl (after) 884

Coustou, Guillaume (after) 332

Kip, Johannes 250

De Andreis, Alex 71

Kipniss, Robert 866

De la Pena, Narcisse-Virgil D. (manner) 197

Kirkpatrick, Frank LeBrun 412

De Lattre, Pierre Adolphe 493

Kloss, Gene 690

Drysdale, Alexander John 683, 685

Kohlmeyer, Ida Rittenberg 773, 789

Dumaige, Henry Etienne 278, 279

Lanzirotti, Antonio Giovanni 925

Dunbar, George Bauer 756, 867, 868, 870, 871

Lapini, Cesare 796

Duran, Joan 864

LaVerne, Kelvin 766, 767

Dureau, George Valentine 788

LaVerne, Philip 766, 767

Dutch School 203

Lavilledieu, Jean 190

Evans, Frank McNamara 181

Lethbridge, Walter Stephens 970

Firmin-Girard, Marie-Francois (after) 82

Mattox, Bernard 784

French School 406

McCarty, Lee 780

I nd e x of A rt i s t s J U LY 2 5 - 2 6 , 2 0 1 5

Meadows, Arthur 261 Menabuoni, Giuseppe (after) 465 Mignon, Abraham (circle) 202 Morgan, Sister Gertrude 775 Mostyn, Thomas 741 Neuquelman, Lucien 743 Norieri, August 791 Oliver, David 757

Van der Pol, Louis 737, 738 Vignoles, Andre 742 Villa, Mario 772, 785, 786, 787 Watrous, Harry Wilson 887, 888 Wesselmann, Tom 759 Wingfield, James Digman 328 Wohl, Mildred 869 Zhang, Xiong (after) 1010

Orellana, Gaston 863 Parmigianino (after) 909 Picasso, Pablo 764, 765 Pieterszen, Abraham van der 217 Pla, Fernando S. 189 Plassan, Antoine-Emile 83 Powers, Longworth Nicholas 795 Pritchard, George Thompson 198 Reggio, Don 684 Renard, Paul 174 Reynolds, Sir Joshua (after) 908 Rodrigue, George 774 Rubens, Peter Paul (after) 228 Saibas, A. D. (after) 276 Sang, Chang-cho 1017 Scheerboom, Andries 178 Schouten, Henry 446

Glossary New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere.

The Artist’s Name: In our qualified opinion, a work by the artist.

Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist.

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

Schreyer, Adolf 199

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

Steinberg, Saul 761

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

Taurelle, Bernard 744 Titian (after) 536 Tolliver, William 778 Toulouse-Lautrec, Henri (after) 736 Trova, Ernest Tino 762 Van der Plas, Niek 466, 467

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

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

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

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

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

Conditions of Sale: ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below).

These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows: • An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG; • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot; • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction; • “Buyer’s Premium” is defined in Section 4 below; • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction; • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction; • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges; • A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below; • The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot; • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot; • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art.

No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed

by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.)

All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith.

(d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors.

NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive.

Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer.

Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j).

NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 23% of the Hammer Price (discounted to 20% if the method of payment is by check, cash, or wire transfer by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction.

Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly.

All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved. (i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. Severability If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. Data Collection In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. Law and Jurisdiction The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

New Orleans Auction Galleries 333 St. Joseph Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: Info@NewOrleansAuction.com

Absentee / Telephone Bid Form Name (Please Print): ______________________________________________

Date: ____________________

Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _________________________ Address: ____________________________________________________________________________________ City: _____________________________________________

State: ____________ ZIP: _________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_____________ E-mail Address: ______________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________

Expiration Date: __________

CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 23% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): __________________________________________________________________________

Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com

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

Lot #

______________________________________

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

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

New Orleans Auction Galleries 333 St. Joseph Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: Info@NewOrleansAuction.com

Authorized Release Form / Waiver Name: _______________________________________________________________________ Business Name: _______________________________________________________________ Telephone(s): _________________________________________________________________ Email Address: ________________________________________________________________ I authorize: _____________________________________________________to pick up items New Orleans Auction No.:___________________________ Sale Date:__________________ Lot #(s): _____________________________________________________________________ _____________________________________________________________________________ Signature_____________________________________________Date____________________ Print name: ___________________________________________________________________

Please fax this form to 504-566-1851 or Email to Info@NewOrleansAuction.com Note: Items will not be released without a signed authorization.

New Orleans Auction Galleries is not responsible for damage to property during pickups 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 unloading within or outside our premises.

I have read and understand the above statement: Signature: _____________________________________________

Date:_______________