Estates Auction: July 26-27, 2025 by New Orleans Auction Galleries

New Orleans Auction

July 26-27, 2025

living in the liminal

CREATIVE DIRECTOR

Amelia Schussler

PHOTOGRAPHER

Jacqueline Marque

PRODUCER / John-Robert Horville

DIRECTOR OF PHOTOGRAPHY / Sam Aguirre-Kelly

GAFFER / Brett Felty

GRIP / Josh Walker

PHOTO RETOUCHING / Kyle Iskra

CREATIVE ASSOCIATES

Erica Westenberger, Jo Gremillion

OPERATIONS

Sean Ranson, Cedric Roberts, Theadrow Mark, Te'Saun Walker

LOCATION COURTESY OF:

Elizabeth B. McNulty & New Orleans Luxury Real Estate

Exhibition ESTATES AUCTION Evening Preview

BIDDING

Bidding is available in-person, by telephone, absentee and live online at NewOrleansAuction.com, LiveAuctioneers.com and Invaluable.com.

Please note that times are approximate. Monday - Friday 9:00 a.m. - 5:00 p.m. JULY 14-25

Welcome to

JULY from the President

Throughout my years working in the auction world, I’ve encountered homes in many different states, from newly decorated and full of life to spaces suspended between past and future. These transitional spaces can often feel mysterious, as though the soul of the home is exhaling one final breath before turning the page to usher in a new chapter.

Similarly, an auction house acts as a liminal space. Items pass through our gallery–each rich with history and stories–before they journey into a new space and take on a second life. Once the flurry of activity settles at the end of every auction, a peacefulness descends upon the building, momentarily closing the portal between what once was and what now will be.

In our July 26-27 Estates Auction, we are honored to offer the Estate of Charles Whited, an accomplished attorney and a champion of the New Orleans arts scene. His ardent focus on supporting local artists and organizations left a long-lasting impact on our community.

While I did not know Charles well, he was a welcomed sight whenever he visited our gallery. Brilliant and kind, you didn’t need to be close to him to feel his presence. All of us at New Orleans Auction were saddened to hear of his death earlier this year. We are grateful for the opportunity to share his story, and offer fine art, furniture and decorative objects from his lifetime collection, which you can read about in the pages that follow.

This sale also offers a wide-ranging selection of items spanning centuries and representing many different styles, including a dazzling selection of fine jewelry, a

selection of sculptures by beloved Birmingham artist Frank Fleming and an impressive collection of fine carpets from a Palm Beach villa designed by Juan Pablo Molyneux.

Our two-week exhibition begins Monday, July 14. Our gallery is open from 9 a.m. to 5 p.m., Monday through Friday. Be sure to join us for an Evening Preview during the first week of exhibition on Thursday, July 17, from 5 to 7 p.m. The auction begins at 10 a.m. CST on Saturday and Sunday, July 26-27.

As always, we are happy to assist with any questions or additional photos. Whether it’s online or in person, we hope you enjoy exploring this auction.

See you at the auction,

Taylor Eichenwald President

FRANK FLEMING'SStep into

Frank Fleming (1940-2018)

WORLD Fantastical

Written by / Valeria L. Palmertree

Photography / Andrew Lee

The Man

Frank Fleming was born in Bear Creek, Alabama in 1940. The fourth son of modest farmers, he grew up plowing with mules, growing his own vegetables and picking cotton by hand with his brothers and sister, a task that he would, many years later, credit with developing the dexterity that made him a skilled sculptor.

Fleming not only loved being in nature, he thrived in it. When a severe, debilitating speech impediment caused him to stop talking in the first grade, the outdoors became his escape. Isolated from his peers, Fleming connected with the natural world. On hikes with his family’s dog and driving the cows to the barn for the night, Fleming sang. With no one around to laugh at him, the words seemingly flowed effortlessly and without embarrassment. Fleming often said he felt more comfortable around animals than humans, a poignant sentiment in his works.

“I was more at ease with nature and animals than people; I lived within myself. I didn’t use words to describe the things I saw, and I’m sure because I didn’t use words, I tended to think in visual images.”

– Frank Fleming

Encouraged by a teacher who recognized Fleming’s intelligence and drive, Fleming became the first in his family to pursue a college degree. As a lover of animals, he originally considered majoring in biology, but an elective art class changed his course. Much like nature, art allowed Fleming to express himself without a need for words. Words did eventually come, however, thanks to intensive speech therapy, some sessions lasting upwards of eight hours. After 11 years of being practically mute, Fleming found his voice and his calling in the arts.

Fleming graduated from Florence State College (now the University of North Alabama) in 1962 and went on to earn his Master of Arts (1969) and Master of Fine Arts (1973) from the University of Alabama. After college, he worked as a draftsman at Boeing/NASA, where he lettered for flip charts. While the work paid well and afforded him to splurge on a beloved 1965 Porsche 912, Fleming craved more creative freedom of expression.

The Myth

In 1973, Fleming had an awakening during a road trip to San Francisco’s Palace of Fine Arts. Marveling at sculptures by Funk artists Ron Nagle, David Gilhooly and Marilyn Levine, he discovered that fine art could be funny, realistic and unabashedly bold. Crediting that experience with a profound shift in his artistic direction, he set up his Birmingham studio shortly thereafter.

Fleming found his passion in pottery, particularly in Tennessee porcelain, painstakingly building finely detailed, surreal and often irreverent ceramic sculptures. In the early 1980s, he adopted bronze, a material that afforded him greater financial stability.

Preferring to watch his compositions evolve as he worked, Fleming rarely created conceptual sketches of his work. While he used color and glazes in his early work, he eventually chose to do without them altogether, allowing his pieces to capture nature’s textured realism. Patient and dexterous, Fleming skillfully leveraged natural elements in his works –using a feather to impress exact detail on hundreds of tiny clay pieces, then overlapping them to create a bird’s winged surface, for example.

In this manner, Fleming completed numerous sculptures over his 40-year career. Ranging from the political and absurd to the mythical and witty, Fleming’s sculptures blend human and animal forms in a veracity of detail only he could’ve masterfully achieved.

“This guy in this book [on ceramics] called me a Southern freak. That’s the biggest compliment I’ve had.”

– Frank Fleming

As told to Garden & Gun, 2014

The Legend

Fleming eschewed conventions throughout the course of his career, unapologetically bringing to life the wild, weird and wonderful. Most of Fleming’s works involve anthropomorphized animals, human-animal hybrids and other such organic cross-combinations. Sometimes ironic, whimsical or pointedly political or cultural, each shares humor as a common undercurrent. In his own words, “It doesn’t have to have a reason. Many, many things, we have to have a reason behind it. Why? I don’t think you always have to ask, ‘Why turkey legs on an egg?’ you know?”

Fleming’s reputation as a distinctly talented and serious fine artist rose in the late 1970s and throughout the 1980s. In 1988, he created “The Magic Hoop,” his first outdoor sculpture, for the Montgomery Museum of Fine Arts. The piece depicts an anthropomorphized pig seated on a turtle and playing with a hoop and pole, now one of several pieces by the artist near the museum’s outdoor “Till Fountain.”

His second and most prominent outdoor commission, “The Storyteller” (1992), resides in Birmingham’s Five Points community. The fantastical sculpture, conceptualized as a memorial to local art dealer Malcolm McRae, features realistically depicted fairytale figures gathered around a central “storyteller,” a man with a ram’s head. The popular landmark remains a poignant example of Fleming’s brilliant use of animals and magical themes.

For more than four decades, Fleming exhibited his works in more than 40 solo exhibitions and more than 100 group exhibitions. Generous with his time and free of ego, he consistently supported Alabama museums and organizations, lectured and conducted numerous workshops around the country and abroad, inspiring a new generation of artists along the way.

When he wasn’t creating or ardently cheering on the Alabama Crimson Tide football team, Fleming could be found in his garden, which included an intensively productive vegetable garden on his property surrounding his studio. In fact, his watermelon rind pickle once won first prize at the Alabama State Fair.

“Frank said he wanted us to see the honesty in his work, that it was very personal, and meant many things, and there is not just one way to interpret it. Frank found himself in his art, and I think he is asking each of us to take the time to look, to listen and do the same.”

– Gail Andrews Birmingham Museum of Art

Fleming died in March 2018 in Birmingham after a brief illness. Having lived alone for most of his life, his thoughts will always remain as enigmatic as his art –and perhaps, that’s the point.

New Orleans Auction Galleries is pleased to present seven distinct works by Fleming (Lots 621-627), including two commissioned pieces, from several different collectors. Each represents the artist’s prowess in both bronze and Tennessee porcelain across diverse subject matter, from rabbits and trees to rams and fruits.

collections

Renaissance MAN

Written

/ Valeria L.

Palmertree Still Life Photography / Christa Ougel

ESTATE The CHARLES LEWIS WHITED, of Jr.

Charles Lewis Whited, Jr. grew up between two hemispheres, paving the way for a lifetime of cultural exploration, immersion and appreciation.

Born in New Orleans, Charles spent several years of his childhood in Caracas, Venezuela, where his father once worked as a geologist. His early immersion into the South American country’s culture, the Spanish language and his mother’s Basque heritage sparked his inherent curiosity for the world.

Charles participated fully in the colorful culture of his native city. He was a champion of the New Orleans art community, a respected attorney, and, most notably, a faithful friend to a wide circle of individuals and an integral part of many families.

An Inquisitive Intellectual

After attending De La Salle High School in New Orleans, Charles pursued his Bachelor of Arts degree at the University of Virginia, where he was a highly accomplished student and a devoted Delta Kappa Epsilon fraternity member.

Charles received three post-graduate degrees from Tulane University: a Juris Doctor, a Master's in Business Administration and a Master's in Admiralty Law. He began his professional career working at a Protection & Indemnity (P&I) association in London, where he established life-long friends and colleagues in the maritime field.

For nearly three decades, Charles adeptly counseled his local, national and international clients in matters of admiralty law; he retired from the New Orleans firm of Murphy Rogers in 2020. His clients and colleagues respected, admired and celebrated Charles’s unique perspective, trusted guidance, cultural appreciation and invaluable mentorship.

Clients, family and friends alike remember Charles as a brilliant intellectual with a boundless range of interests, which he was willing to share unabashedly. Those lucky enough to be on his contact list would regularly receive emails on every imaginable topic, from the week’s weather forecast and the latest in international affairs to rap and New Orleans bounce music culture.

Despite his encyclopedic knowledge, Charles lived without pretense. His disarming humility, authenticity, kindness and characteristic humor allowed him to connect with everyone.

“Dinner table conversations with Charles opened my eyes to an array of enriching ideas and challenged me to think bigger and wider. He could speak to Japanese pottery, life and Spain under [Francisco] Franco, the nuances of the Basque language and African tribal art. I would leave time with him having been exposed to new concepts and with a greater sense of our place within the larger tapestry of global culture.”

– Will Duncan

A World Traveler

Charles traveled avidly, always seeking immersive cultural experiences and learning opportunities. Having begun his career in London, he developed a lifelong connection to the city. Proud of his Basque heritage, Charles notably enjoyed visits to San Sebastián and his annual pilgrimage to Madrid, where he never tired of revisiting beloved works of art at the Museo del Prado.

On trips with friends and their children, Charles humbly imparted knowledge of art and culture. During a visit to the Sistine Chapel, a young friend recalled that Charles, with apologies, corrected a tour guide on a nuance of 16th-century art history.

Just weeks before his death, he had returned from London and Madrid with stories of special times with relatives and friends and enthusiastic reports of rounds of museum visits.

“He instilled

in us a love and appreciation for art and its makers. He taught us that art was more than still lives and portraits, and he showed us that art can be cool, giving us edgy and provocative works. As we got older, he helped guide our own art purchases. He helped us discern art that had depth, substance and beauty…”

– Katherine Duncan

A Champion of the Arts

Of all of Charles’s wide-ranging interests, art remained his most consuming passion – one that began when he was a young child, browsing the art books within his reach on his grandmother’s bookshelf. He had an exceptional eye for beauty, and in his later years, he opted for the unique and alluring power of the new. Over the years, he amassed an impressive personal collection that reflects his impassioned belief in art and its potential to inspire.

Charles’ expertise in art spanned centuries and included a profound command of history, artists and global collections. After New Orleans was devastated by Hurricane Katrina and

as he explored ways to uplift and give back to his cherished community, Charles had a transformative epiphany: to date, most of his time had been devoted to the study of deceased artists and a traditional palette, rather than living artists. Resultingly, he immersed himself in the movement of the art collectives on Saint Claude Avenue and the works of these emerging local artists.

Charles advocated for the New Orleans art community and was an avid supporter of The Front, Good Children Gallery, the New Orleans Museum of Art, Generic Art Solutions, Prospect New Orleans, the New Orleans Center for Creative Arts and the inmate artists at Angola (the Louisiana State Penitentiary), among others.

“Charles’s love for the local art community ran deep. He didn’t miss an exhibition. He pushed me in the studio and was a guiding force to many other local artists, including emerging artists and incarcerated artists. Artists felt seen in his company.”

– Dan Charbonnet

When Charles was exposed to an artist whose work or talent moved him, he followed him or her with a steadfast commitment to their growth. New Orleans artists Adam Farrington, Dan Charbonnet, Scott Andresen, Skylar Fein, and Susan Bowers are just a few among those whom Charles not only revered but also wholeheartedly befriended. They remember him as a supportive friend whose constant and reliable presence inspired their artistic evolution.

A Friend to All

Much like his approach to art, Charles didn’t collect relationships for show. He deeply valued and nurtured his relationships. His loved ones echo this sentiment, consistently referring to Charles as fiercely loyal, boundlessly generous and uniquely effervescent. In turn, his friends were devoted to him. The depth and range of his friendships reflect his spirit.

To those who knew him as their friend, Charles exemplified the truest sense of the word. He was an in-demand guest at many families’ tables and never missed participating in friends’ celebratory milestones and more somber moments alike. To his friends’ children and grandchildren, he was “Tío Carlos,” an ever-present source of wisdom, affection, trustworthiness and humor.

It has been said that Charles was an aesthete, a polymath. Notably, this life of the mind included placing a great value on and showing compassion for people; his greatest treasure was time spent with his loved ones – especially if it happened to be at Tartine, one of his favorite restaurants in town.

“Charles didn’t brandish a paintbrush or spin a potter’s wheel, but he brought color and form to all of our lives through the way that he lived his.”

– Will Duncan

Charles passed away earlier this year, leaving behind an indelible legacy.

New Orleans Auction is honored to present the Estate of Charles Lewis Whited, Jr., including fine art, antique furniture and decorative objects from around the world. An inveterate art collector and staunch supporter of young, struggling artists, Charles’s impressive collection includes works by well-exhibited contemporary painters, sculptors and photographers, as well as items by students, inmates and the self-taught. His presence will be sorely missed in the local art community.

SESSION1

SATURDAY, JULY 26

Asian Hardwood Side Table

the banded, rectangular top above a conforming frieze fitted with two drawers over a cloud- and cherry-blossom-carved frieze, raised on square legs ending in carved feet. h. 35”, w. 36”, d. 19-1/2”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Thai Patinated Bronze Figure of a Seated Buddha

ca. 1920, the Buddha on a navette-form throne, set on a conforming black-lacquered hardwood base. h. 17”, w. 9”, d. 6-1/4”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

George III Mahogany Games Table

19th century, the rectangular, hinged top with projecting corners and floral-carved edges, opening to a baize-lined gaming surface and corner wells, raised on cabriole legs headed by shield carving and ending in pad feet. h. 28”, w. 35”, closed d. 17-1/2”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Pair of English Porcelain Trays

ca. 1830-1860, elaborately painted with birds in the 18th-century Chelsea “Gold Anchor” style, bearing gold anchor marks.

w. 8-3/4”, d. 8-3/4”

$600-$900

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

English Regency Tole Tray on Stand

first quarter 19th century and later, the tray decorated with raised mandarin figures, gilt pagodas and prunus branches on a red ground, on a contemporary, custom bamboo turned stand trimmed in gilt.

h. 21-1/4”, w. 30”, d. 25-1/4”

$800-$1,200

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

6 George III Mahogany Secretary Bookcase

fourth quarter 18th century, the broken swan’s-neck pediment above a fluted and dentillated frieze, above two astragal-glazed doors, the lower section fitted with a dropfront drawer, opening to an inset leather writing surface and a variety of drawers and cubbyholes surrounding a central banded cupboard, over two paneled cupboard doors, raised on bracket feet.

h. 98”, w. 45-1/2”, d. 24-1/2”

$1,200-$1,800

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Pair of Italian Renaissance-Style Walnut Figural Torcheres

19th century, each circular dish-shaped top raised above a cherub’s head, the scrolled and foliate-carved standard resting upon a stepped plinth. h. 53-1/2”, w. 8-1/2”, d. 11”, top dia. 10-3/4”

$1,000-$1,500

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

George III-Style Carved Mahogany Side Table

third quarter 19th century, the rectangular Egyptian black marble top over a conforming apron with a gadrooned edge, centered with a winged putto masque, the whole supported on tall, well-carved cabriole legs. h. 33”, w. 59-1/2”, d. 22-1/4”

$2,000-$4,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Rare Dutch Life-Sized Delft Violin

18th century, the pottery violin decorated with figures of troubadours playing instruments and singing, trimmed in flowers and diapering, on a contemporary, custom wooden stand. h. 8-3/4”, w. 18-1/2”, d. 9”

$1,000-$1,500

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Three Pieces of Dutch Delft Pottery

18th/19th century, the collection including a rare Delft letter holder decorated with troubadours in a landscape, h. 6”, w. 10-1/2”, d. 5-3/4”, a tea caddy decorated with a figure in a marketplace, marked by De Grieksche A, h. 5-1/2”, w. 3”, d. 3”, and a garniture vase with peacock fan decoration, framed in raised scrollwork, with an unidentified mark, h. 11-1/4”, w. 6-1/4”, d. 5-1/2”.

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Three Tin-Glazed Dishes

18th century, the collection including a “peacock” dish signed by de Lampetkan (1609-1811), dia. 12”, a Spanish dish decorated with bold flowers, dia. 13-3/4”, and a dish decorated with a flowering tree, possibly Liverpool, dia. 13”.

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

12 Twelve Hepplewhite-Style Mahogany Dining Chairs

fourth quarter 19th century, comprised of two armchairs and ten side chairs, each with a shield back centered by a carved wheat sheaf in an urn over a pierced splat, each with a conforming serpentine claret damask-covered slip seat, raised on molded legs. h. 38-1/2”, w. 20”, d. 18-1/2”

$2,000-$4,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

13 George

I Painted Pine Dummy Board

ca. 1700, English or Dutch, the board decorated with a little girl in rich court-level dress, with an easel-form back support. h. 39-1/2”, w. 11-1/2”, d. 9-1/2”

$700-$1,000

Provenance: Estate of Charles L. Whited,Jr., New Orleans, Louisiana.

Brass-Bound Oak Peat Bucket

19th century, the peat bucket with heavy brass fittings with clover-form terminals, and a red interior.

h. 18-1/2”, dia. 13”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

15 George III Inlaid Oak Linen Press

late 18th century, the dentillated cornice above two doors, each inset with panels, the larger panel centered by an inlaid shell, the lower section consisting of two short drawers over three long, graduated drawers, raised on bracket feet.

h. 87-1/2”, w. 47”, d. 22-1/2”

$1,400-$1,800

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

16 George III Mahogany Cellarette

fourth quarter 18th century, the brass-bound hexagonal cellarette with brass handles, and set into a fluted tripodal stand raised on molded Marlborough legs with pierced corner brackets, raised on brass casters, the interior with remnants of the original lead liner, with the original spigot underneath.

h. 27-3/4”, dia. 18-1/4”

$1,000-$1,500

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

George III Mahogany Sideboard

19th century, the shaped, bowed and banded top above a conforming case fitted with a central felt-lined flatware drawer fitted with a removable wooden divider, above a small, oval cutlery drawer, over a shaped apron, flanked to one side by two graduated drawers and to the other by a deep bottle drawer retaining the original stopper, raised on banded, tapered square legs ending in spade feet. h. 37”, w. 67”, d. 28-1/2”

$1,000-$1,500

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

George III-Style Mahogany Armchair

first half 20th century, in the Chinese Chippendale taste, the padded and domed back joined by out-scrolled arms to the padded seat, raised on square, blind fret-carved legs ending in block feet, with stylized chinoiserie upholstery. h. 40”, w. 29”, d. 29”

$800-$1,200

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

19 George III Mahogany Chest

late 18th century, the banded, serpentine top above a conforming case fitted with three long, graduated and banded drawers, raised on splayed bracket feet.

h. 37”, w. 46”, d. 22”

$1,200-$1,800

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

21 Franco-Bohemian Opaline Glass Vase

mid-19th century, the vase decorated with raised gilt mandarin figures and pagodas in a polychrome landscape, the base with pink and gilt trim, a ground pontil on the bottom.

h. 9-3/4”, w. 6”, d. 4-1/4”

$600-$900

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Rare Queen Anne Japanned Trunk on Stand

18th century, the lift top opening to a void interior, with a pair of side-by-side drawers below, mounted to a base raised on short cabriole legs, the brasses with chased backplates.

h. 33”, w. 43”, d. 24”

$800-$1,200

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Cristina Molina (American/Louisiana, b. 1985)

Slatted Chaise Longue

2014, the slats fully laminated in a “pinstripe” design with birch veneers along the sides, the vertical lengthwise slats throughout with horizontal copper pipes having internal, threaded steel rods ending in copper caps.

h. 34”, w. 22”, l. 70”

$1,000-$1,500

Provenance: The Front, New Orleans, Louisiana; Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Exhibited: The Front, New Orleans, Louisiana, “Anna Freud and her Father,” December 13, 2014- January 4, 2015.

Cristina Molina created and constructed the chaise offered here for her installation exhibition “Anna Freud and her Father,” held at The Front, an artist-run gallery in New Orleans, Louisiana. A clever exploration of the merging of body and landscape, the form was based on a design combining the contours of the artist's body with that of the Dolomites, the mountain range in Italy where Anna and Sigmund Freud summered.

Pair of Parsons-Style Side Tables

fully laminated in a “pinstripe” design, the sides with birch veneers.

h. 18”, w. 18”, d. 17”

$800-$1,200

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Dawn Black (American/Louisiana, Contemporary)

“Blue Present”

oil on wood panel signed and titled en verso. Unframed. 24” x 24”

$600-$900

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Jonathan Traviesa (American/Louisiana, b. 1976)

Cristina Molina (American/Louisiana, b. 1985)

“Watermelon (Sad Tropics)”, 2015 pigment print unsigned, dated lower right, from the “Sad Tropics” series and exhibition.

Glazed and framed.

sight 23-1/2” x 34-1/2”, framed 24-1/4” x 35-1/2”

$600-$900

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Exhibited: Melvin and Burkes Galleries of Florida Southern College, Lakeland, Florida, “Sad Tropics”, September 21-November 2, 2018.

Polished Aluminum and Glass Square Coffee Table

mid-20th century, in the X-form Mies van der Rohe style. h. 14-3/4”, w. 38”, d. 38”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

David Sullivan (Brazilian/Louisiana, Contemporary)

“Super Mega Rampage” inkjet on die-cut aluminum signed and titled on wooden support. 48-1/2” x 53”

$400-$700

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

28 Susan Bowers (American/Louisiana, Contemporary)

“Red Murder Hidden Love”

pottery and cast glass unsigned, titled and inscribed along side. h. 24”, dia. 5-1/2”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Lala Rascic (Bosnian/Louisiana, b. 1977)

“Untitled”

silkscreen on glass unsigned, with two wooden supports for display. Unframed.

22” x 30”

$1,000-$1,500

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Until recently, Rascic resided in New Orleans where she was an active member of the arts community. She presently splits her time between Sarajevo and Zagreb. 28

Erica Lambertson (American/Louisiana, Contemporary)

“The Drum Major”

mixed media on paper unsigned.

Float-mounted, glazed and framed. sheet 9-3/4” x 9-1/4”, framed 17-3/4” x 16-1/2”

$800-$1,200

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

31 Bill Iles (American/Louisiana, Contemporary)

“Cattle Guard”, 1992 oil on canvas titled and dated on label en verso. Framed.

24” x 48”, framed 25-1/2” x 49-1/2”

$1,500-$2,500

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

“I don’t paint what you see in nature because nature is too confusing.”

- Bill Iles

Milo Baughman-Style Steel and Burlwood Expandable Dining Table

mid-20th century, the patchwork burlwood top seated on a steel frame with a bronze/brass finish, with one drop-in leaf present, the expansion mechanism labeled “B. Walter & Co. Wabash, IN”. h. 29-1/2”, w. 42-1/4”, l. 42-1/4”, ext. l. 62-1/4”

$1,000-$1,500

Provenance: Sterling Provisions, New Orleans, Louisiana; Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Four French Art Deco-Style Burlwood Side Chairs

20th century, with sculptural high backs, the in-set seats covered with ecru faux leather and raised on square legs. h. 44”, w. 18”, d. 22”, seat d. 16-1/2”

$1,500-$2,500

Provenance: Sterling Provisions, New Orleans, Louisiana; Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Ron Bennett (American, 1941-2017)

“Marsyas Flayed”, 2017 oil on canvas signed, dated and titled en verso. Framed.

60” x 50”, framed 61” x 51-1/2”

$1,000-$1,500

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Carl Joe Williams (American/Louisiana, b. 1970)

“Zena Moses”, 2012

carved and painted wood assemblage signed, dated and titled en verso. Unframed.

h. 18”, w. 20-1/2”, d. 5”

$1,500-$2,300

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

A native of New Orleans, Williams attended the New Orleans Center for Creative Art (NOCCA) and the Atlanta College of Art. His assemblages incorporate found or discarded objects and frequently reference music or local culture, as evidenced by the work offered here. He is a recipient of a Joan Mitchell NOLA Studio Artist Residence Program.

Zena Moses is a popular New Orleans musician and lead singer for the Rue Fiya Allstars band.

Adam Farrington (American, Contemporary)

“Bad Fung Shway [sic] in the East Next to a Fire”

oil on board signed and titled en verso. Unframed.

37” x 37”

$1,000-$1,500

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana

Angel Perdomo (Honduran/Louisiana, b. 1989)

“Dub$”, 2014 acrylic on canvas signed, titled and dated en verso. Unframed.

24” x 24” x 2”

$600-$900

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana. 36

38 Alan Gerson (American/Louisiana, b. 1952)

“Geography Lesson”, 1997 oil on wood panel signed, dated and titled en verso. Set within an integral frame. 28-1/2” x 24-1/2”

$1,000-$1,500

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Raised in a Jewish family that owned a dry goods and clothing store on a once bustling corner of Dryades Street, Alan Gerson did not join the family businesses. Instead, he pursued an artistic career, receiving an MFA from the University of New Orleans. From 1980 to 1985, he was the visual arts director of the Contemporary Arts Center, New Orleans, before drastically changing direction and earning a law degree from Tulane University. Self-described as living through “three long, horrible years” as an attorney, Gerson abandoned the law and returned to art.

Gerson’s colorful, surreal paintings often feature a recurring, semi-autobiographical character he calls his “goofy guy.” In Geography Lesson, his “goofy guy” is placed in a classroom containing a wall map, globe, and illustrations of nonsensical views of the world.

Paul Evans “Cityscape” Pedestal

1970s, for Directional, chrome-plated steel, engraved “AN ORIGINAL/Paul Evans”. h. 48”, w. 15”, d. 15-1/2”

$1,000-$1,500

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

40 Adam Farrington (American, Contemporary)

“Mayfly” Hanging Sculpture/Light, 2018 welded and galvanized steel sculpture now electrified and lighted. without chain: h. 24-1/2”, w. 33-1/2”, d. 36-1/2”

$1,200-$1,800

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Exhibited: Barristers Gallery, New Orleans, Louisiana, 2018.

Sir Norman Foster “Nomos” Rectangular Dining Table

1987, for Tecno, S. p. A., architecturally-engineered, the base comprised of chromed steel, plastic and rubber topped with tempered glass.

h. 28-1/2î, w. 110î, d. 39-1/2î

$1,000-$1,500

Provenance: Forms + Surfaces, Carpinteria, California; Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

There is a circular “Nomos” table in the Modern and Contemporary Art Collection of the Metropolitan Museum, New York, New York.

42 James L. Hayes (Irish, Contemporary)

cast-bronze pencils by Hayes set into a carved wooden box by Dan Charbonnet (American/Louisiana, Contemporary). h. 10-1/2”, w. 12”, d. 12”

$600-$900

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Jeffrey Forsythe (American/Louisiana, Contemporary)

“Reflections of the Way Cake Used to Be”, 2004 oil on canvas board backed with masonite signed lower right and signed, dated and titled en verso.

Framed.

36” x 48”, framed 38-1/4” x 50”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

French Bronze and Glass Coffee Table

the patinated bronze frame with a plate-glass top and an X-form stretcher.

h. 18”, w. 43-1/2”, d. 23-1/2”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

45 Stephen Rooney (American/Louisiana, Contemporary)

“Yellow Cabin in the Bayou”

oil on board signed lower right. In a thin gallery frame.

72” x 80”, framed 73” x 82”

$1,500-$2,500

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

The bayous and marshes of Louisiana continually inspire Stephen Rooney. Born and raised in New Orleans, he received a BFA from the Maryland Institute College of Art and attended the University of Minnesota’s Fine Arts Program and The Art Students League of New York. In the painting, Yellow Cabin in the Bayou, Rooney captures a quiet moment in a Louisiana bayou with an owl peering out from a tree branch.

Louis XVI-Style Bureau Cylindre

late 19th century, the rectangular charcoal marble top above three short drawers, over a roll top opening to a pull-out leather-inset surface and a variety of drawers and cubbyholes, over a central long drawer and two smaller drawers to each side, raised on fluted, tapered circular legs ending in caps. h. 48”, w. 56-1/2”, d. 27”

$1,400-$1,800

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Louis XVI-Style Mahogany Writing Table

late 19th century, the triple-banded rectangular top with a threequarter brass banding, above a conforming paneled frieze fitted with two end drawers, raised on tapered square legs ending in brass caps and casters, the whole accented with ormolu millwork. h. 29”, w. 32”, d. 20-1/4”

$800-$1,200

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Louis XVI-Style Marble-Top Center Table

late 19th century, the mahogany table with a circular marble top within a full pierced brass gallery, above a conforming frieze fitted with two small drawers, raised on banded, tapered square legs ending in brass caps. h. 35-1/2”, dia. 25-1/2”

$1,000-$1,500

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Bronze Figure of Yab-Yum

Tibet or Nepal, the fertility shrine depicting the union of wisdom and compassion, on a pierced and stepped platform, raised on a wooden base.

h. 24”, w. 23”, d. 11-3/4”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Chinese Bronze Bodhisattva on a Dragon Fish

19th century, the carefully modeled goddess serenely standing atop a “dragon” headed for the sea.

h. 12-3/4”, w. 6”, d. 3-1/4”

$800-$1,200

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Chinese Bronze Figure of Lao-Tzu

late 18th/early 19th century, the sage seated in a meditative pose with a fly whisk in one hand and a kernel in the other, on a wooden base.

h. 12-1/4”, w. 10”, d. 6”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Verdigris-Patinated Bronze Jain Altar

Gujarat, India, set with a figure of Jina Vimalanatha beneath a beaded, molded and pierced cover, on a matching pierced base.

h. 20-3/4”, w. 14”, d. 9”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

The concrete reality of those I photograph consists of the burden of maintaining mental health without healthcare, of being a person whose role is to make other’s spaces beautiful which by necessity means repurposing objects for their own, of having traumatic experiences with no recourse, cycles of depression in the service of the hospitality industry, expressing gender and sexuality despite judgment, and persisting in generative work through loss. My story is intertwined with those I photograph - we cohabit spaces and experiences within a community of artists, activists, and healers.

- Kristina Knipe

Interview with Kelly Eisworth, January 30, 2021

Kristina Knipe (American/Louisiana, b. 1990)

“Nike in Ostara Costume at Dawn”

inkjet print mounted on foamboard unsigned, from the “Talisman” series. Glazed and framed.

sheet 28-1/4” x 34-1/2”, framed 29” x 35-1/2”

$800-$1,200

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Kristina Knipe (American/Louisiana, b. 1990)

“Soleil with Doll Cake”, 2016

inkjet print mounted to foamboard unsigned, from the “Talisman” series. Glazed and framed.

sheet 28-1/4” x 34-1/2”, framed 29” x 35-1/2”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

55 Scott Guion

(American/Louisiana, b. 1971)

“Amber”

oil on canvas signed lower right. Unframed.

30” x 40”

$1,000-$1,500

Provenance: Estate of Charles L. Whited, Jr. New Orleans, Louisiana.

56 Kyle Bravo (American/Louisiana, Contemporary)

“Traffic Cone”

carved and painted wood unsigned. h. 14-3/4”, w. 15”, d. 2”

$600-$900

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

An artist, author, gallery owner and New Yorker magazine cartoonist, Bravo lives and works in New Orleans, Louisiana. 55

57 Patrick O’Brien (American/Louisiana, 1957-2018)

“Witness”

oil on canvas backed by wood panel signed and titled en verso. Framed.

48-1/2” x 36-1/2”, framed 49-3/4” x 37-3/4”

$1,000-$1,500

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

58 MOMO (American/Louisiana, b. 1974)

“Untitled”

mixed media on canvas signed en verso. Unframed.

43-1/2” x 28-1/2”

$3,000-$5,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Street art has captivated the public for decades, with its roots in figurativism and typography, and continues to gain momentum in the contemporary art world. But MOMO, the mysterious and highly skilled street artist, has risen to prominence by moving away from the roots of street art and towards something entirely different: abstraction. This pivot is described by the artist as “post-graffiti.” MOMOís abstractions are often characterized by fluidity and movement, with lines and shapes that overlap and intertwine. Combining this fluidity with a bright and dynamic color palette, the artist creates murals and studio art that coalesce into an emotive experience for viewers.

Given his distinctive style, MOMO has garnered international attention and high praise from collectors and critics alike, making the artist a driving force in the legitimization of graffiti and street art as fine art. Both visually stunning and socially relevant, his work has challenged the traditional views of fine art, destabilizing the hierarchies of high and low art. Today, MOMO continues to innovate his techniques from his studio in New Orleans, as his influence paves the way for a new generation of street artists to push the boundaries of the medium.

59 Kyle Bravo (American/Louisiana, Contemporary)

“Bananas”

carved and painted wood unsigned. h. 21-1/4”, w. 18-3/4”, d. 1/2”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

An artist, author, gallery owner and New Yorker magazine cartoonist, Bravo lives and works in New Orleans, Louisiana.

Kyle Bravo (American/Louisiana, Contemporary)

“Pounce”

carved and painted wood with an innate presentation stand with title. h. 86-1/2”, w. 24”, d. 22”

$800-$1,200

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

An artist, author, gallery owner and New Yorker magazine cartoonist, Bravo lives and works in New Orleans, Louisiana.

Jayme Kalal (American/Louisiana, Contemporary)

“Skyrock (Blue)”, 2013

oil on wood panel signed, titled, and dated en verso. In a glazed shadowbox. h. 20”, w. 23”, d. 3-3/4”

$500-$800

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Odili Donald Odita (Nigerian/New York, b. 1966)

“Untitled”

painted wood unsigned, artist information on a Contemporary Art Center label en verso.

Float-mounted, glazed and framed. 5" x 7", framed 14-1/4" x 13-1/4"

$1,500-$2,500

Provenance: Contemporary Arts Center, New Orleans, Louisiana; Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Exhibited: Contemporary Arts Center, New Orleans, Louisiana.

Portuguese Faience de Ratinho Dish

early 19th century, decorated with a man wearing a stovepipe hat, playing the guitar, with a border of painted and sponged leaves and flowers. dia. 11-3/4”

$600-$900

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Louis XV-Style Fruitwood Fauteuil

19th century, the domed and padded back surmounted by a floral crest, joined by padded arms to the like seat, raised on molded cabriole legs ending in scrolled toes, now upholstered in lemon yellow silk damask. h. 34-1/2”, w. 24”, d. 20”

$800-$1,200

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

French Faience Figure of a Monk

18th century, possibly Rouen or Nevers, the seated monk holding a wine bottle in one hand and a cup in the other, an inscription on the base. h. 13”, w. 8”, d. 9”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Regence Fruitwood Fauteuil

early 18th century, the shaped and padded square back surmounted by a foliate shell crest, joined to the padded seat by like arms, raised above a foliate-carved apron on cabriole legs ending in scrolled toes, upholstered in antique verdure tapestry accented with brass nailheads. h. 41-1/2”, w. 28”, d. 22-1/2”

$1,000-$1,500

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Sicilian Majolica Albarello

second half 17th century, the waisted albarello decorated with a portrait cartouche on a yellow ground, the reverse decorated with blue scrollwork. h. 10-1/2”, dia. 5”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

68 Pair of Continental Mahogany Side Chairs

late 18th century, each with a domed crest above a vasiform splat with masque and bellflower carving, the slip-in padded seat above a shaped, shield-carved frieze, raised on acanthine-carved cabriole legs ending in paw feet. h. 40”, w. 21”, d. 17”

$1,000-$1,500

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

George III Mahogany Side Table

19th century, the rectangular top above a molded frieze, raised on ring-turned, tapered square legs. h. 31-1/2”, w. 44”, d. 22-1/2”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Carved and Painted Wooden Corpus Christi

17th century, the carved body of Christ gessoed and painted, on a contemporary metal stand. h. 10-1/2”, w. 3”, d. 3”

$600-$900

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Latin American Carved and Painted Wooden Santo Figure

18th century, the standing figure dressed in flowing robes. h. 12-1/2”, w. 6-3/4”, d. 4”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Italian Carved and Painted Wooden “Christ of Pity”

18th century, the figure mounted with a wire halo, his wrists bound with rope, on a cove-carved platform base. h. 18-3/4”, w. 11”, d. 7”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Rare Anglo-Indian Collector’s Cabinet

second quarter 19th century, with engraved brass corner mounts, the case veneered with figured tropical hardwood and inlaid with brass stringing, the cover opening to reveal a compartment, the facade fitted with a pair of drawers concealing fitted mahogany trays, set with brass ring pulls, the sides mounted with brass carrying handles.

h. 10-1/2”, w. 15”, d. 10-1/2”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

73 detail

Persian Bronze Oil Lamp in the Seljuk Style

the five-nozzle lamp with a cover over the oil receptacle, above a turned standard, on a saucer base, the handle decorated with a bird. h. 9-1/4”, dia. 7-1/4”

$600-$900

Provenance: Estate of Charles L. Whited,Jr., New Orleans, Louisiana.

75 Dutch School (19th Century)

“Portrait of a Wise Man” oil on copper initialed center right. Matted and framed. disc dia. 3-1/4”, overall 7-1/2” x 7-1/2” x 1-1/4”

$700-$1,000

Provenance: Carol Robinson Gallery, New Orleans, Louisiana; Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

French Provincial Marble-Top Occasional Table

19th century, the fruitwood table with a narrow marble top above a roll-top, opening to a storage space, above a single drawer, joined by bulbous legs to a lower shelf, raised on toupie feet.

h. 30”, w. 16-1/2”, d. 15”

$600-$900

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

George Febres (Ecuadorian/Louisiana, 1943-1996)

“Birth of Alligators: Gator Plates”, 1982

three glazed ceramic bas-relief plates each with incised signature and dated at bottom. each h. 2-1/2” to 4”, dia. 10-1/2”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

The Louisiana alligator was a favorite subject of Ecuadorianborn artist George Febres. Febres had a craftsman in Mexico attach baby alligator heads to the tips of a pair of women’s shoes for Alligator Shoes (Thom McCann Eat Your Heart Out), which became one of his most acclaimed pieces and is currently in the permanent collection of the New Orleans Museum of Art. The three-piece ceramic Gator Plates revolve around the birth of a clutch of alligator eggs. In one plate, there are three eggs in a nest, and the other two plates depict the dynamic emergence of the baby alligators bursting from their shells.

George Febres (Ecuadorian/Louisiana, 1943-1996)

“Double-Breasted Hen”

pencil on paper signed lower right and illegibly inscribed lower left. Matted, glazed and framed. 19-1/2” x 17”, framed 34-1/2” x 31”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

The charismatic artist, curator, and gallery owner George Febres was a member of Visionary Imagists, a group of artists that were part of the resurgence of New Orleans as a regional art center in the 1970s. Immigrating to New Orleans from Ecuador, Febres' immersed himself into the local art community and graduated from the fine arts programs at the University of New Orleans (UNO) and Louisiana State University (LSU).

In his artwork, Febres created surreal visual puns often embedded with humor and sexual innuendoes. Initially, his use of puns derived from learning English with pictorial images for words. Although he worked in a variety of mediums, Febres said, “The basis of everything I do is a good drawing, I do a drawing a day.” Febresí drawings were precisely drafted and delightfully filled with his unique surrealist wit. In this image of the Double-Breasted Hen, Febres evoked an element of human sexuality by adding breasts to the hen and littering the landscape with feathers.

Cathy Rose (American/Louisiana, Contemporary)

“The New Couple”, 2011

painted pottery in two parts, signed, dated and titled along back edge. h. 35”, w. 15”, d. 5-1/4”

$600-$900

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Aaron McNamee (American/Louisiana, b. 1977)

“Times Picayune - Funny Pages”, ca. 2010

newspaper print on board unsigned.

21-1/2” x 14”

$500-$800

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

McNamees’s various Times Picayune newsprint series are painstakingly created by applying numerous sheets of comics, want ads, or news to board and aggressively sanding the surface. This results in blurred images that are only suggestive of their original form.

Five African Objets d’Art

the collection including a Manilla curved currency bracelet on a contemporary stand, West Africa, h. 11-1/2”, w. 10-1/4”, d. 4”, a Manilla spiraled currency bracelet on a contemporary stand, West Africa, h. 7”, w. 9”, d. 4”, a carved wooden half-moonshaped Kuba Tukula powder or cosmetics box carved with a face, the eyebrows terminating in hands, h. 2-1/2”, w. 12-1/4”, d. 5-1/4”, a cermonial bronze and iron axe with a pierced blade, the handle molded with a figure, possibly Fang people of Gabon, w. 2-3/4”, d. 7-1/4”, l. 19-1/2”, and a pair of Ogboni Society bronze markers connected by chains, on a contemporary stand, Nigeria, h. 7-3/4”, w. 3”.

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Ethiopian Cut-Metal Coptic Processional Cross

now mounted on an ebonized standard and base. h. 76-1/4”, w. 16-3/4”, d. 8-1/2”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Kuba Cloth Wall Hanging

Democratic Republic of Congo, composed of assembled panels, some checked and others with geometric patterns, accented with pink and mauve. h. 61”, w. 24-1/2”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Four Sculptural Iron African Currency

the collection including two snakes, Burkina Faso Lobi, h. 12-1/2” to 20”, w. 3”, d. 3”, a leaf-shaped object, Mabila, Cameroon, h. 28-1/2”, w. 5”, d. 5”, and the other, possibly a throwing knife, Democratic Republic of Congo, h. 24-3/4”, w. 5”, d. 3”, all mounted on stands.

$600-$900

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Two Kuba Cloth Textiles

Democratic Republic of the Congo, including a long table runner decorated with brown geometric patterns on a tan ground, composed of various squares, w. 25-1/2”, l. 73”, and a small mat decorated with brown checks on a tan ground, w. 19-1/2”, d. 16-1/2”.

$600-$900

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Anita Cooke (American/Louisiana, Contemporary)

“Untitled”, 1991 glazed pottery signed and dated at bottom. h. 16”, w. 4-1/4”, d. 4”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

New Orleans-based artist Anita Cooke received her BFA in ceramics from Kent State University and her MFA in ceramics and sculpture from Newcomb College, Tulane University. Cooke saw her work in ceramics as not a craft but aligned with the fine art of sculpture. As artist, teacher, and mentor, she was a recipient of a Louisiana Fellowship Award in 2005.

Anita Cooke (American/Louisiana, Contemporary)

“Untitled”, 1991

glazed pottery signed and dated at bottom. h. 17”, w. 4-1/4”, d. 4-1/2”

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Beatrice Hill (American/Louisiana, 1923-1998)

“Harp”

carved marble unsigned, on a black square base. h. 11”, w. 12”, d. 5”, base h. 2”

$800-$1,200

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana; sold in these rooms, October 15, 2023, lot 157; Estate of Charles L. Whited Jr., New Orleans, Louisiana.

“I think I was born a stone carver, but I didn’t realize it until I reached my 60s.”

- Beatrice Hill

New Jersey native and long-time Metairie, Louisiana resident, Beatrice Hill did not come to sculpting until later in life when she attended Xavier University, studying under the sculptor John T. Scott (American, 1940-2007). Hill’s preferred medium was stone, specifically marble, and she created carefully composed geometric and abstract carved sculptures.

Pat Phillips (British/American, b. 1987)

“Jingle”

mixed media on canvas affixed to wood panel signed en verso and inscribed along the lower edge. Unframed. 13” x 9-1/4” x 1-3/4”

$800-$1,200

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Brad Wreyford (American, Contemporary)

“Destruction”, 2010

acrylic and mixed media on hollow core door signed, dated and titled and with a “Cole Pratt Gallery/New Orleans” label en verso.

In a thin gallery frame. 35-1/2” x 35-1/2”, framed 37” x 37”

$700-$1,000

Provenance: Cole Pratt Gallery, New Orleans, Louisiana; Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

91 Matthew Cox (American, b. 1961)

“Portrait of a Bearded Man” oil on masonite unsigned. Framed.

10” x 8”, framed 11-1/4” x 9-1/4”

$500-$800

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

92 Regency Giltwood Settee

early 19th century, the padded rectangular back surmounted by a guilloche-carved frame and joined to the cushioned seat by padded arms, supported by winged female sphinx uprights, raised on turned circular legs ending in paw feet, includes a pair of zippered champagne dupioni pillows. h. 37”, w. 61”, d. 25”

$1,400-$1,800

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

French Satinwood Bookcase/Cabinet

19th century, in the Biedermeier taste, the rectangular, molded cornice above two glazed doors, the lower section fitted with two short drawers over two cabinet doors, all banded and with quarter veneers, raised on tapered square feet.

h. 80”, w. 39”, d. 19”

$1,400-$1,800

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Gilt-Bronze and Velvet Letter Box and Album

ca. 1920, attributed to E. F. Caldwell & Co., New York, New York, decorated with Bacchanalian figures drinking from a wine cup, framed in scrollwork and grapevines, the damask-lined letter box fitted with interior compartments, h. 12”, w. 13-1/4”, d. 9-1/2”; together with an unused, matching album, h. 16-1/4”, w. 12-1/4”.

$700-$1,000

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

Good Early Victorian Sterling Silver Hot Water Urn

hallmarked London, 1838-1839, by Charles Reily and George Storer, the inverted pear-shaped body richly decorated with repousse floral rococo scrolls on an imbricate ground, with robust acanthus handles and tap with stirrup key, with leaf-and-dart calyx above a rounded cavetto square base decorated en suite on four acanthus feet, the steeply domed lid with lily finial, fitted with the original sterling silver detachable billet chamber, engraved on the body with the arms and the lid with the crest of Brauwere. h. 18”, w. 11-3/4”, d. 11-1/4”; 132.47 total t. oz.

$4,000-$7,000

In 1836, King William I of the Netherlands permitted the Brauwere arms to be borne by the Nolet de Brauwere van Steeland family after the petition of Pierre de Brauwere van Steeland (1771-1855) of Nieuwpoort and his wife, ElisabethJosina Blankenheym (1791-1877), widow of Hubert-Sigismond Nolet (1788-1818). Pierre de Brauwere van Steeland was thus very likely the original owner of this handsome urn.

George V Sterling Silver Tea Tray

hallmarked London, 1939-1940, by William Bruford & Son Ltd, of oval form, with shaped “Chippendale”-style rim and stirrup handles, engraved with a presentation inscription “To Mr. & Mrs. R.W. Cotton / on their Silver Wedding Sept. 13, 1941 / by the Directors and Employees of / British Rola Ltd.”

24” x 15”; 73.62 t. oz.

$1,500-$2,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

Richards Wentworth Cotton (1895-1955) married Ernestine Hunt on September 13, 1916, in Rockingham, Vermont. Richards worked for Philco and in that capacity was Executive Director for the American branch of British Rola, an audio electronics manufacturer. During WWII, Rola, with American co-operation, was responsible for the production of the type “W” loudspeakers and ANB-H-1 receivers, which were part of the U.S. Army’s HB-7 headset.

Pair of Regency Old Sheffield Plate Wine Coolers

first quarter 19th century, of campana form, with gadrooned rim, banded foot, and acanthus-mounted reeded handles, with detachable collar and liner. h. 11”, dia. 9-1/4”

$1,000-$1,500

first quarter 20th century, by A. Collet & Cie., Geneva, .800 silver, of lobed and heavily molded navette form, fitted with a mirrored plate and oak base, raised on four gadrooned feet, the underside with retailer’s label of Del Bono, Gioielliere, Florence.

h. 3”, l. 29-1/4” w. 18”

$800-$1,200

third quarter 20th century, by Castaudi & Gautero, Vercelli, .800 silver, of serpentine-lobed oval form with molded and scrolling rim, with flat shell handles, fitted with a mirrored plate and wood base.

l. 24-1/2”, w. 16”

$500-$800

Swiss Silver Plateau

Italian Silver Plateau

100

International “Royal Danish” Sterling Silver Flatware Set

the pattern designed in 1939 by Alfred Grover Kintz (18851963), Meriden, Connecticut, including eight eight-piece place settings with an additional five place pieces and six serving pieces, no monograms, presented in a fitted, Pacific cloth-lined wooden case with lift top, 3” x 14-3/4” x 10-3/4”. (75 pieces plus case)

77.48 total t. oz. (weighable silver)

$1,000-$1,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

Detailed list of pieces available on request.

101

German Novelty “Eagle” Sterling Silver Cocktail Shaker

contemporary, in the form of a realistically detailed eagle, the mouth a faux spout fitted with a chained mouse “stopper”, the head fitted with glass eyes and removing to reveal the detachable strainer. h. 8-1/2”, l. 3-1/4”; 18.18 t. oz.

$3,500-$5,000

102

German Novelty “Elephant” Sterling Silver Cocktail Shaker

contemporary, in the form of a realistically detailed elephant, seated and trumpeting, the mouth a faux spout fitted with a chained banana “stopper”, the head fitted with glass eyes and removing to reveal the detachable strainer. h. 13-1/2”, l. 7”, w. 3-1/2”; 46.08 t. oz.

$4,000-$7,000

103

Extensive English Flow Blue Partial Dinner Service

mid-19th century, the “Candia” pattern service produced by Ridgway, the design registered in 1847, the service including twenty-two dinner plates, dia. 10”, ten soup plates, dia. 10”, ten luncheon plates, dia. 9”, eleven salad/dessert plates, dia. 7-3/4”, a well-and-tree platter, w. 16”, l. 19-1/4”, a platter with strainer, w. 16”, l. 19”, a pair of platters, w. 10-1/4”, l. 10-3/4”, a covered sauce tureen and stand, h. 7”, dia. 8-3/4”, a round covered vegetable dish, h. 7-3/4”, dia. 12”, three vegetable dishes, h. 3-1/2”, dia. 12”, and a sauce tureen, h. 4-1/2”, dia. 7-1/4”, most pieces signed with transfer-printed marks, fractional pattern numbers and impressed diamond registration number.

$1,200-$1,800

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

104

Exceptional George III Inlaid Mahogany and Mixed Woods Secretary Bookcase

late 18th century, having a dentillated overhanging molding above a pair of astragal-glazed doors with carved swags and Prince-of-Wales plumes, the base with an inlaid urn on the slant lid, opening to a fitted interior and pull-out document box with secret compartments, above four long, graduated drawers, raised on a bracket-foot base. h. 91”, w. 45”, d. 22”

$2,000-$4,000

Provenance: Michael Dale Interiors, Houston, Texas.

105

Pair of English Derby Porcelain Urns

ca. 1806-1825, in the Imari palette, set with leaf-molded, giltaccented handles, and square cobalt and gilt bases, with Derby’s red crown and crossed batons mark. h. 9”, w. 7”, d. 3-3/4”

$800-$1,200

Provenance: Earle Vandekar, Knightsbridge, London, England and New York, New York; Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

106

English Copeland & Garrett Feldspathic Porcelain ThreePiece Garniture Set

ca. 1833-1847, the feather-form gilt knops atop the inverted pear-form vases, decorated with fruits on one side and flowers on the other, on a pale ochre ground, each marked “Copeland & Garrett Late Spode, Feldspar Porcelain”. h. 10-1/2” to 13-3/4”, w. 6-1/4” to 8-3/4”, d. 3-3/4” to 5-3/4”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

107

Regency-Style Mahogany Table

early 20th century, the tilting oval top with a rosewoodbanded edge, raised on a turned and bulbous standard to four splayed and ribbed legs ending in brass paws and casters. h. 29”, w. 56”, d. 46”

$900-$1,200

Provenance: Private collection, New Orleans, Louisiana.

108

Pair of Dutch Coffee Tin Lamps

first quarter 20th century, the large tins intended for commercial use with gilt letters spelling “Koffie” on a red ground, now on black wooden bases and fitted with lampshades.

h. 34”, w. 16”, d. 16”

$1,000-$1,500

109

George III Mahogany Chest of Drawers

18th century, the rectangular top with a molded leading edge over a pair of side-by-side drawers and three graduated, long drawers, raised on bracket feet.

h. 44”, w. 43”, d. 20”

$1,000-$1,500

Provenance: Collection of Arlene Philipson, New Orleans, Louisiana.

110

French Palissy Ware Jardiniere

late 19th century, decorated with a bird attending her nest, a serpent, mushrooms and leaves on a wooden trough, with a pink interior and yellow base.

h. 8”, w. 11-3/4”, d. 9”

$800-$1,200

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111

George III Mahogany Highboy

19th century, the molded cornice above a case fitted with two short drawers over three long, graduated drawers, the lower section fitted with a central, shallow drawer flanked to either side by a deeper drawer, raised on cabriole legs ending in ball-and-claw feet. h. 63-1/2”, w. 42”, d. 20-1/2”

$1,000-$1,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

112

Continental School (ca. 1800)

“Courtiers on Horseback”

“Landscape with Courtiers and Musicians”

pair of oval oils on beveled wood panel each unsigned. In matching giltwood oval frames. each 29” x 23-1/2”, framed 35” x 30-1/2”

$2,000-$4,000

113

Victorian Polychrome Canterbury 19th century, the segmented storage slats separated by turned spindles, with a lower scalloped shelf below, the top mounted with a brass handle, raised on turned legs. h. 20”, w. 18”, d. 14-1/2”

$800-$1,200

Chesterfield “Even-Arm” Leather Sofa with a tufted back and arms and a pair of padded seat cushions, raised on Asian inspired legs. h. 28”, w. 92”, d. 35”

$1,000-$1,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

Custom Walnut and Suede Cue Holder

contemporary, the scroll-carved crest decorated with a cabochon above swags of fruit, over a figured walnut panel, the back with holders for cues, upholstered in suede and trimmed with brass tacks forming lozenges, on bun feet.

h. 89-3/4”, w. 43-3/4”, d. 10-1/4”

$1,500-$2,500

115

Monumental Wrought-Iron Floor Lamp

of Mediterranean inspiration, set with a square lantern decorated with scrollwork, supported by an arching scrolled arm, the standard decorated with a unicorn and a hanging heraldic shield, on a tripod base, resting on scrolled feet. h. 98”, w. 84”, d. 30-1/2”

$1,400-$1,800

117

After Carlo Marochetti (Italian, 1805-1867)

“Emmanuel-Philibert, Duc de Savoie”

patinated bronze cast signature along edge of self-base, after the 1838 largescale sculpture now conserved at the Piazza San Carlo, Turin, Italy.

h. 18”, w. 16”, d. 5-3/4”

$1,800-$2,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

119

William-and-Mary Oak Side Table

18th century, the plank top with mitered breadboard ends, the front fitted with a drawer, raised on block-and-turned legs joined by like stretchers, centered by a tall, turned finial.

h. 30”, w. 34-1/2”, d. 27”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

19th century, decorated with a Phrygian or liberty cap above a palm tree, with flags, cannons, battle axes and spears below, accented with gilt. dia. 26-1/4”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

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118

Carved Wooden Roundel with the Arms of Haiti

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120

Italian Polychromed Wood Royal Warrant Sign

19th century, with the arms of the King of Italy above a warrant banner. h. 20”, w. 40-1/2”

$1,200-$1,800

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

121

George III Mahogany Chest-on-Chest

19th century, the molded rectangular cornice with Greek-key inlay, above a shell- and patera-inlaid frieze, over two short drawers and three long graduated drawers, the lower section fitted with three long, graduated drawers, raised on bracket feet. h. 77”, w. 42-1/2”, d. 21”

$1,200-$1,800

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

122

Pair of Bronze Lion Garden Figures

in the manner of Antonio Canova’s “Sleeping Lion”, the recumbent lions with crossed paws, and having a green patina.

h. 10-1/2”, w. 12-1/2”, l. 45”

$1,000-$1,500

123

Pair of Cast-Metal Garden Urns on Stands

in the neoclassical taste, the campana-form urns molded with scrollwork and the reeded bases set with handles, on pylon-form stands molded with panels of scrollwork and flowers.

h. 41-1/2”, dia. 19-1/2”

$1,000-$1,500

Chinese Cloisonne Jardiniere on Stand

19th century, the jardiniere decorated with characters, shaded lotus blossoms and scrolls on a turquoise ground, the sides mounted with carefully molded gilt-bronze foo dog ring pulls, raised on a hardwood stand. h. 19-1/4”, dia. 17”

$1,000-$1,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

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125

after a design by Los Angeles designer Richard Frinier, the set including four lounge chairs and matching ottomans, composed of green metal with scrolled terminals on the crest rails, the chairs with “woven” metal backs and seats and scrolled arms, all with curule stretchers and fitted with cushions.

chair h. 32-3/4”, w. 24”, d. 30”, ottoman h. 13-1/4”, w. 24-1/4”, d. 25-1/2”

$1,000-$1,500

126

Set of Brown Jordan “Florentine” Garden Furniture

the green metal set including a sofa, h. 32-3/4”, w. 70-1/2”, d. 28-1/2”, and a settee, h. 32-3/4”, w. 47-1/2”, d. 28-1/2”, each with scrolled corners and arms and “woven” seats and backs, mounted with cushions, and a pair of glass-top cocktail tables with crossed stretcher bases, h. 18-1/2”, w. 25-1/2”, d. 25”.

$1,000-$1,500

Brown Jordan “Florentine” Garden Furniture

127

Pair of Contemporary Tree Tubs in the Neoclassical Taste

the metal tree tubs with cone-form finials on each corner, the sides with wreath mounts, raised on bun feet, the bottoms with drainage holes.

h. 23”, w. 16-1/2”, d. 16-1/2”

$1,000-$1,500

128

Pair of Copper-Washed Aluminum Garden Stags

one standing and one recumbent. h. 33-1/2” to 55-1/2”, w. 43” to 49”, d. 10” to 11-1/2”

$2,000-$4,000

129

Victorian Papier-Mache and Lacquered Game Table

mid-19th century, the tilting, shaped square top with a chess board under glass, surrounded by elaborate gilt and polychrome scrolling accents, raised on a baluster-form standard to a stepped and shaped base with like designs, to scrolled toes.

h. 29-1/2”, w. 19-1/2”, d. 19-1/2”

$1,000-$1,500

130

Pair of French Eglomise Landscapes

second quarter 19th century, the convex pictures, reverse painted with landscapes in the Claude Lorrain manner, in oval giltwood frames.

h. 20”, w. 22-1/2”

$1,400-$1,800

131

George III-Style Mahogany Gaming Table

late 19th century, the tilting circular top with a leather-inset gaming surface and six recessed wells, raised on a vasiform standard to four reeded cabriole legs ending in foliatepatterned brass caps on casters. h. 31”, dia. 53”

$1,500-$2,500

132

Pair of Bretby Pottery Floor Vases

ca. 1890, English, with anthemion-molded necks and an amber-shaded glaze, one decorated with hollyhocks and the other with irises, each artist initialed “JW” in incised script and with the impressed Bretby mark. h. 38”, dia. 9-1/2”

$1,400-$1,800

133

Pair of Maitland Smith Mahogany and Leather Library Chairs

20th century, the William IV-style chairs with diamond-tufted backs, reeded arm fronts and aprons, raised on turned and reeded legs.

h. 38”, w. 30”, d. 21”

$1,000-$1,500

Bronze and Glass Hall Lantern

20th century, in the rococo taste, the cylindrical lantern supported on curved arms decorated with pierced finials, the lantern with a pierced upper border over glass panels engraved with flowers and leaves, a cone-form pendant finial at the base.

h. 38”, dia. 15”

$1,200-$1,800

135

French Provincial Walnut Baker’s Table

late 18th century, the plank top with canted corners, one side and one end fitted with a drawer, raised on square legs with chamfered edges, joined by an H-form stretcher.

h. 31”, w. 35”, l. 70-1/2”

$1,000-$1,500

136 Regency Mahogany Cellarette

19th century, of bombe form, the faceted lid opening to a zinc-lined interior, the base with a reeded frieze concealing a hidden drawer, raised on carved paw feet with eagle wing returns.

h. 21”, w. 15”, d. 15”

$1,200-$1,800

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

137

Pair of Unusual Continental Porcelain Cachepots

19th century, decorated with panels of strawberries and pansies, with a Chinese red border, with saucers decorated to match.

h. 6-3/4”, dia. 6-1/2”

$800-$1,200

138

Pair of Gilt-Bronze Sconces of Baroque Inspiration

20th century, the backplates molded with acanthus leaves and rocaille work, each set with a bold, scrolling candle arm decorated with acanthus leaves, supporting a reeded drip pan and matching candle cup, electrified and fitted with lampshades.

h. 22-1/4”, w. 8”, d. 11-1/2”

$1,000-$1,500

139

Pierre Franc-Lamy (French, 1855-1919)

“Jeune Femme a Cheval avec son Chien”

oil on canvas signed and illegibly dated lower left; French canvas stamp en verso. Framed.

24” x 19-3/4”, 32” x 26-1/4”

$1,500-$2,500

Provenance: Galerie des Beaux-Arts “Alte Kunst”, Austria.

Traditionally, the image of a young woman riding a horse accompanied by her dog conveys a sense of freedom, adventure and companionship. In this painting, her devoted dog has picked up her dropped riding crop.

140

Edmond Tschaggeny (Belgian, 1818-1873)

“Young Farmgirl with Animals” oil on canvas signed lower right. Framed.

sight 20” x 29-1/2”, framed 28” x 37”

$4,000-$7,000

141

Brass and Ebonized Wood Cushion Mirror

fourth quarter 19th century, Dutch or Flemish, the pedimented top decorated with brass scrollwork, oak leaves and flower heads on a black ground, the outer edge composed of a wavy-edged, ebonized wood molding and molded brass, and the “cushion” composed of beveled mirror plates and brass mounts. h. 52”, w. 29-1/2”

$1,000-$1,500

142

French Gilt-Bronze and Tortoiseshell Boullework

Encrier

fourth quarter 19th century, the corners with sphinxhead-molded feet, the sides with a masque, the top with a pair of covered inkpots, one with a cut-glass insert, and small and large pen trays. h. 4-1/4”, w. 13-1/2”, d. 9-1/2”

$800-$1,200

143

Austrian Giltwood and Brass Picture Frame Clock

second quarter 19th century, the outside edge of the dial with a gilt egg-and-dart surround, the dial with a silvered chapter ring and an engine-turned center, the pendulum aperture decorated with dolphins, flanked by bas-relief figures of “Hope”, set with a silk-string suspension movement. h. 20-3/4”, w. 17”, d. 7”

$1,400-$1,800

145

French Patinated Bronze of Michelangelo

fourth quarter 19th century, after Albert-Ernest CarrierBelleuse (French, 1824-1887), cast signature at back, self-socle on a marble plinth. h. 23-1/4”, w. 14-1/4”, d. 9”

$800-$1,200

144

French Bronze and Verde Antique Marble Urn

first quarter 20th century, in the Louis XV style, mounted with bronze flower swags and a pierced border, with ram’s head handles and a marble cover with a bronze floriform finial. h. 26-1/2”, dia. 7”

$800-$1,200

146

Bronze and Marble-Top Pedestal Stand

first quarter 20th century, the neoclassical-style stand with an inset circular Egyptian marble top, mounted to a bronze frame with four square, reeded standards with a circular Egyptian marble top shelf below, raised on out-curved legs with acanthine details. h. 42”, dia. 13”

$800-$1,200

147

British Bronze of a Battle of the Anglo-Zulu War

ca. 1900, patinated and with silvered accents, cast signature “Gill Powell” at proper left front of self-base. h. 21-1/2”, w. 23-1/2”, d. 12”

$2,500-$4,000

The Anglo-Zulu War was a conflict between the British Empire and the Zulu Kingdom (present day South Africa) in 1879. While there were several significant victories for the Zulu warriors, the war was eventually won by the British, ultimately resulting in the annexation of the region in 1887.

first quarter 20th century, the six-light chandelier with a pierced canopy, set with three scrolled arms, decorated with mounts of roses and scrollwork, the arms mounted with sockets set with frosted glass tulip-form shades, supporting the body with a pierced rococo upper body set with a basketform base lined with crystal beading. h. 28”, dia. 27-1/2”

$1,000-$1,500

148

French Bronze and Crystal Chandelier

149

Two French Neo-Grec Bas-Relief Plaques of Perseus and Minerva

fourth quarter 19th century, gilt-metal on oak backplates.

h. 23-1/2”, w. 15-1/2”, d. 3-1/2”

$1,400-$1,800

150

Pair of English Rococo Revival Porcelain Jugs

third quarter 9th century, the vasiform jugs decorated with well-modeled grape leaves, with rocaille trim picked out in gilt.

h. 11-1/4”, w. 5-1/4”, d. 4-3/4”

$800-$1,200

151

Twelve “Flora Danica” Porcelain Bread-and-Butter Plates

ca. 1966, each decorated with a different plant, the borders accented with roots, blossoms and leaves, the plants identified en verso, along with the artist’s initials, each marked model “3552”, and with the Royal Copenhagen date stamp and three wavy blue lines. dia. 5-3/4”

$1,400-$1,800

152

Italian Painted and Embossed Panel

18th century, in the Baroque taste, the central vasiform cartouche on a brown field scattered with flowers, bordered with scrollwork on a blue ground, now backed with finely woven fabric, in a giltwood frame. h. 34-1/2”, w. 79-1/2”

$1,200-$1,800

153

Pair of Cast-Iron Garden Urns

fourth quarter 19th century, the large, blue-painted vasiform urns with flaring rims and set with handles, on square plinths. h. 40-1/2”, w. 20-1/2”, d. 17-1/2”

$1,500-$2,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

154

Monumental Victorian Cast-Iron Campana-Form Garden Urn

first quarter 19th century, the urn decorated with a scrollframed masque, the sides with lion’s-head ring pulls, the plinths with unusual scroll-framed masques on two sides and wreaths on the others.

h. 61”, dia. 26”

$1,000-$1,500

Provenance: The Estate of Donald J. Hurst, Waterloo, Iowa.

155

20th century, of Japanese inspiration, one crane looking up and the other with its head turned.

h. 58-3/4” to 70”, w. 16”, d. 18” to 22”

$2,000-$4,000

Provenance: Private collection, Laguna Beach, California.

Pair of Bronze Garden Cranes

156

Handwoven Verdure Tapestry of a Bird of Prey

19th century, set within a lush park setting, a grist mill in the background, with an all-over acanthine border. 82” x 82”

$1,200-$1,800

157

French Bronze Dore Figural Mantel Clock

second quarter 19th century, mounted with a figure of the goddess Diana, her elbow resting on a boar’s-head rhyton, with an enameled chapter ring and silk-string suspension movement, the lower body with a bas-relief classical scene, raised on molded block feet. h. 14”, w. 11”, d. 4”

$1,000-$1,500

157

158

Giltwood and Marble-Top Center Table

the Louis XVI-style table with a circular marble top above a conforming frieze with imbricate fluting, raised on fluted, tapered circular legs ending in bulbous feet. h. 32-1/2”, dia. 48”

$1,500-$2,500

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156

159

Monumental Gilt-Bronze Chandelier

20th century, the thirty-six-light chandelier with a corona decorated with sprays of roses alternating with sprays of acanthus leaves, set with grape-molded chains, supporting two tiers, each with pierced rings decorated with neoclassical mounts alternating with masques supporting reeded and leaf-molded candle branches mounted with candle sockets and drip pans, the dish-form base set with pierced mounts. h. 76-1/2”, dia. 46”

$3,000-$5,000

A nearly identical example was included in the collection of Hubert Givenchy, Christie’s, Paris.

160

Pair of French Bronze Sconces in the Empire Taste

20th century, the tapered backplates with cone-form finials and a female classical masque in the center, the scrolled arms set with ram’s heads and acanthus leaves, with trumpet-form candle holders, electrified and fitted with lampshades. h. 24-1/2”, w. 11”, d. 5-1/2”

$1,200-$1,800

161

Pair of Louis XV-Style Giltwood Bergeres

20th century, the padded backs and arm panels over carved frames, raised on cabriole legs ending in scrolled toes. h. 33-1/2”, w. 34”, d. 26”

$1,200-$1,800

162

Pair of Bronze Regency-Style Candelabra Lamps

20th century, each patinated and gilt-bronze lamp with five faux candles, on scrolled candles arms emanating from a column-form standard with an Egyptian capital, raised on paw feet and mounted on a tripartite platform, fitted with custom lampshades. h. 41-1/2”, dia. 20”

$1,000-$1,500

163

Empire-Style Giltwood and Ebonized Mirror

the pierced crest with a wreath of flowers and wheat, bound with a torch and quiver, the surround with crossetted corners, decorated with medallions on an ebony ground, and the edges molded with a ribbon-bound reed. h. 60”, w. 41”

$1,000-$1,500

$1,000-$1,500 162 163

164

Polychrome, Parcel-Gilt and Marble-Top Console Table

in the Louis XV-style, the conforming Portor de SaintMaximin marble top over a carved frame, raised on cabriole legs joined by a stretcher. h. 35”, w. 59”, d. 19”

Louis XIV Giltwood Mirror

ca. 1700, the arched crest trimmed in anthemia, gadrooning and rocaille work, with a basket of fruit supported on basrelief scrollwork, the ogee mirror surround decorated with Baroque scrollwork on a textured ground, with rocaillemolded corners and side cartouches, foliate carvings lining the mirror plate.

h. 65-1/2”, w. 36”

$1,200-$1,800

166

Louis XV-Style Kingwood Bureau Plat

second quarter 20th century, the ormolu-mounted bureau with an inset leather blotter top, the outer edge trimmed with cast-bronze moldings, the front side fitted with drawers, the back side of like form with faux drawers, raised on cabriole legs.

h. 31-1/2”, w. 72”, d. 31”

$1,200-$1,800

167

French Bronze and Crystal Lantern

first quarter 20th century, of Louis XV inspiration, the bronze frame molded with ribbon-bound acanthus leaves and the side panels lined with glass beading. h. 23-1/2”, dia. 9-1/2”

$1,000-$1,500

168

Manner of Thomas Gainsborough (British, 1727-1788)

“Portrait of a Lady in a Feathered Hat”, ca. 1780 oil on canvas unsigned. Framed.

51” x 41”, framed 62” x 52”

$2,500-$4,000

169

French Ebonized Portico Clock

second quarter 19th century, the Louis Philippe clock with handsome gilt-bronze mounts on the upper and lower case, the columns with engine-turned capitals and bases, the silvered clock dial with a shell-molded bezel, hung with a gilt-bronze medallion-molded pendulum. h. 18-1/2”, w. 9-1/4”, d. 5-1/4”

$400-$700

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

170

Pair of French Patinated Bronze Putti on Stands

fourth quarter 19th century, the putti retaining a rich bronze patina, draped and seated on cove-molded giltwood bases. h. 20-3/4”, w. 9-3/4”, d. 9-1/2”

$1,200-$1,800

171

French Empire-Style Bronze and Tole Chandelier

mid-20th century, the eight-light chandelier with a pierced corona, molded with acanthus leaves, mounted with rodform molded chains supporting the black tole body, set with wreath-form bronze mounts alternating with lotus-molded and scrolled candle branches, set with reeded drip pans and matching sockets, with a cone-form finial. h. 30”, dia. 25”

$1,000-$1,500

172

Pair of Regency-Style Bronze Figural Candelabra

third quarter 19th century, inspired by Thomas Hope, each herm-form standard with a female torso supporting a candle socket on her head, and scrolled candle branches decorated with pierced scrollwork on each side, the tapered base molded with anthemia, on a Rosso Antico marble base with bronze swag mounts, resting on paw feet on the front and ball feet on the back. h. 18-1/2”, w. 6-3/4”, d. 4-1/2”

$1,000-$1,500

173

French Crystal and Bronze Jewel Casket

ca. 1900, the oblong, molded crystal casket engraved with sprays of flowers and scrollwork, with molded and fluted trim, set with bronze fittings and ball feet.

h. 6”, w. 12-1/2”, d. 6-3/4”

$1,000-$1,500

174

Pair of Malachite and Gilt-Bronze Bowls

20th century, possibly Russian, the kylix-form bowls mounted on rectangular plinths with circular pierced and scrolled giltbronze trim.

h. 7-1/2”, dia. 15”

$2,000-$4,000

175

French Gilt-Bronze, Brass and Crystal Chandelier

first quarter 20th century, possibly Baccarat, the eighteenlight chandelier standard with neoclassical gilt-bronze fittings, clad with ribbed brass, supporting gilt-bronze candle branches fitted with two lights each, on two levels, the turned brass candle sockets set with Baccarat-style molded crystal drip pans, hung with strands of cut prisms from the top to the arms, and swags of cut prisms from each arm, accented with cut glass drops.

h. 35-1/2”, dia. 35-1/2”

$2,000-$4,000

Provenance: Private collection, Little Rock, Arkansas.

third quarter 19th century, the Napolean III tapestries are decorated with musical trophies suspended on bow knots surrounded with botanicals within a brown border

4’ 1” x 11’ 8”

$2,000-$4,000

first quarter 20th century, the shell-form-carved revolving seat mounted to a frame with three animal-form legs ending in paw feet, on a shaped triangular base. h. 22” to 25”, w. 18”, d. 18-1/2”

$1,000-$1,500

177

Venetian Carved Walnut Grotto Stool

176

Pair of Monumental Aubusson Tapestry Panels

176

178

Rare Austrian Carved Giltwood Grand Sonnerie Mantel Clock

ca. 1800, with a lotus-carved giltwood urn finial set with wiremounted giltwood flowers, the dial trimmed with carved beading, supported by a pierced giltwood urn decorated with a ram’s head, mounted on a conforming giltwood base supporting neoclassical goddesses framing the clock, the ogeecarved base decorated with carved lotus leaves. h. 23-1/2”, w. 18-3/4”, d. 9-3/4”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

179

Italian Carved and Silver-Gilt Wooden Corona

early 19th century, the pierced crown-form corona with a spherical finial, the “ribs” set with cabochons and the lower portion with carved “fringe”. h. 19-3/4”, w. 21-1/4”, d. 12-1/4”

$1,000-$1,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

180

Silver-Gilt Wooden Reliquary Bust of St. Nicholas

18th century, depicted wearing his mitre, his robes with a trim of Greek crosses. h. 26-1/2”, w. 15”, d. 6-1/4”

$1,400-$1,800

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

181 Pair of Large Giltwood Altar Sticks

fourth quarter 19th century, the altar sticks carved with laurel leaves, the turned and carved sockets supported on vasiform standards, over tripartite bases and raised on carved bun feet. h. 47-1/2”, dia. 11-3/4”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

182 Impressive Pair of Louis XV Fruitwood and Marble-Top Consoles

18th century, the console tables with conforming Breche Sienna marble tops with Vert Antique de Grece fonce beaded marble edges, over bases with boldly carved scrollwork and cabriole legs wrapped with bellflower vines, joined by carved stretchers, with a central shell-and-foliate cartouche. h. 38-1/2”, w. 54”, d. 36”

$3,000-$5,000

183

Italian Polychrome and Gilt Wooden Plaque

19th century, possibly Florentine, depicting “The Risen Christ” with open arms, clothed in embroidered blue and pink robes, supported by winged angel heads, the carved gilt sun rays framing him as “the light of the world”. h. 33-3/4”, w. 27”

$2,000-$4,000

Provenance: Private collection, New York, New York.

184

Italian Giltwood Coffee Table

20th century, the rectangular shadowbox-framed top set with a mirror, and mounted to a base with heavily carved, out-curved legs joined by an X-form stretcher centered with a turned and carved finial. h. 22-1/2”, w. 29”, d. 21-1/2”

$1,000-$1,500

185

French Aubusson Tapestry Panel

18th century, of figures in a classical balustrade overlooking a garden, with a guilloche border, in a reeded giltwood frame accented with acanthus leaves. h. 42”, w. 64-1/4”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

183

184

186

William Morrison Wyllie (British, 1820-1895)

“The Harvest Gatherer” oil on canvas initialed “WMW” lower right, and a “J. Davey & Sons, Everything in Pictures, Liverpool, England” label en verso. Framed with artist plaque. 18" x 13", framed 26" x 21"

$1,500-$2,500

Provenance: J. Davey & Sons, Liverpool, England; the Estate of Kenneth Abshire, Gulfport, Mississippi.

19th century, the painted and gilt-trimmed Baroque-style sconces with shield-form backplates and bold, scrolled arms accented with carved leaves, supporting reeded candle holders, set with electrified candles, fitted with custom lampshades. h. 36-1/2”, w. 21”, d. 25”

$1,500-$2,500

187

Pair of Monumental Italian Parcel-Gilt Wooden Sconces

188

Suite of Eight Portuguese Walnut Dining Chairs

18th century, each having a padded back with a gilt and shellcarved crest, slip seat and raised on cabriole legs.

h. 40”, w. 18”, d. 18”

$1,000-$1,500

189 Continental Mixed-Woods-Inlaid Table

second quarter 19th century, the circular top with a banded and line-inlaid border, mounted to a large turned and fluted pedestal, to a platform base with three large, outstretched and scrolled legs.

h. 34”, dia. 63”

$1,800-$2,500

190

Provincial Louis XV-Style Fruitwood Canape 19th century, the carved frame with scrolled arm fronts and serpentine apron, fitted with a loose cushion and raised on short cabriole legs. h. 32-1/2”, w. 77”, d. 30”

$1,200-$1,800

191

Chinese Export Vase in the Famille Rose Palette 19th century, the begonia-shaped vase decorated with well-executed depictions of the Eight Immortals, with pink dragon-form handles, on a rosewood base. h. 19”, w. 8-3/4”, d. 8-3/4”

$1,200-$1,800

Provenance: Sotheby’s, Parke Bernet, Hong Kong, May 26-27, 1980, lot 789; Private collection, New Orleans, Louisiana.

192

Chinese Famille Rose Vase

Republic Period (1912-1949), the vases with beautifully rendered decoration of a pair of figures drinking tea at a low table, with a four-character furen Tiang zhi seal mark. h. 8”, dia. 4-3/4”

$500-$800

Provenance: Sotheby’s, Parke Bernet, Hong Kong, May 26-27, 1980, lot 772; Private collection, New Orleans, Louisiana. 191

192

193

Chinese Famille Rose Porcelain Plate

ca. 1722-1735, decorated with a pair of “Long Eliza’s”, with a yellow deer under a pine tree, the border with raised peonies. dia. 9”

$600-$900

Provenance: Sotheby’s, London, July 3, 1984, lot 237; Private collection, New Orleans, Louisiana.

An identical plate is in the permanent collection of The Metropolitan Museum of Art, New York, New York.

194

Chinese Famille Rose Saucer Dish

Qianlong Dynasty (1736-1795), decorated with raised peonies and pheasants, with ducks and flowers in the ground, the border decorated with panels of diapering, alternating with panels of flowers. dia. 8-1/4”

$500-$800

Provenance: Sotheby’s, London, July 3, 1984, lot 251; Private collection, New Orleans, Louisiana.

195

ca. 1780, decorated with panels of mandarin scenes and panels of grisaille landscapes, and raised flowers and leaves on a turquoise ground, the cover with a Chinese red foo dog knop. h. 11-3/4”, w. 4-1/2”, d. 2-1/4”

$600-$900

Provenance: Sotheby’s, London, July 3, 1984, lot 202; Private collection, New Orleans, Louisiana.

Chinese Export Porcelain Garniture Vase

196

Pair of Chinese Export Covered Bowls

ca. 1875-1908, the blue-and-white bowls decorated with pine trees and bamboo, the sides with molded foo dog head handles, and the interiors with liners, each with a sixcharacter Guangxu seal mark on the bottom, mounted on wooden stands.

h. 7”, w. 6”, d. 6”

$1,200-$1,800

Provenance: Sotheby’s, Parke Bernet, Hong Kong, May 26-27, 1980, lot 807; Private collection, New Orleans, Louisiana.

197 Chinese Rose Medallion Porcelain Wash Basin

fourth quarter 19th century, decorated with panels of mandarin figures alternating with panels of pink peonies and birds, on a pierced hardwood base.

h. 7”, dia. 16”

$1,000-$1,500

Provenance: Sotheby’s, London, July 3, 1984, lot 214; Private collection, New Orleans, Louisiana.

Guangxu Dynasty (1871-1908), the bowl decorated with Wanshou Wujiang character decoration on a yellow ground, the bottom with Guangxu Dynasty marks, on a wooden stand.

h. 5-3/4”, dia. 10”

$600-$900

Provenance: Sotheby’s, Parke Bernet, Hong Kong, May 26-27, 1980, lot 740; Private collection, New Orleans, Louisiana.

198

Chinese Famille Rose Covered Bowl

199

Pair of Chinese Famille Rose Bowls

ca. 1821-1850, the serpentine bowls decorated with scattered peonies, lotus blossoms and prunus branches, the bottoms with Tao Kuang seal marks. h. 2-3/4”, w. 8”, d. 5-1/2”

$800-$1,200

Provenance: Sotheby’s, Parke Bernet, Hong Kong, May 26-27, 1980, lot 734; Private collection, New Orleans, Louisiana.

200

Pair of Chinese Export Jardinieres

20th century, each ribbed jardiniere decorated with a flock of enameled cranes resting beneath a pine tree, on wooden stands.

h. 7-1/4”, w. 8-1/4”, d. 8-1/4”

$1,800-$2,500

Provenance: Sotheby’s Parke Bernet, Hong Kong, May 26-27, 1980, lot 755; Private collection, New Orleans, Louisiana.

201

Contemporary Italian Chandelier

the six-light chandelier with a corona decorated with a spray of giltwood tassels, the leaf-carved wooden standard set with six scrolled candle arms mounted with parcel-gilt wooden candle sockets, the base with a molded glass finial. h. 38-1/4”, dia. 36”

$1,200-$1,800

202

Six Italian Polychrome Wood and Leather Dining Chairs

early 20th century, with tall, carved backs and pierced splats, and brown leather seats trimmed with brass tacking, raised on cabriole legs. h. 45”, w. 20”, d. 20”

$1,500-$2,500 201

203

Iron and Travertine Console Table

20th century, the balcony-form table with a thick conforming travertine top over a three-quarter iron frame with scrollwork and leaf motifs.

h. 40”, w. 90”, d. 20”

$1,500-$2,500

204

Unusual Cast-Limestone Wine Casket

ca. 1999, commissioned by director and wine afficionado Francis Ford Coppola (American, b. 1939), from the stone mason, Made Maudawa, the dome-top casket carved with portraits of Coppola, and a lozenge inscribed “NiebaumCoppola, Rutherford, California”, trimmed with bas-relief grapes; together with a framed document pertaining to the casket, signed by Coppola. h. 13-1/4”, w. 21-3/4”, d. 22”

$1,000-$1,500

205

French Oak-Stave Wine Tasting Table

customized with an oval plate-glass top, the barrel with metal straps and brass handles.

h. 34”, w. 36”, d. 26”

$1,200-$1,800

206

French Provincial Pine and Oak Wine-Tasting Table

18th century, the circular tilt top mounted to a trestle-form base ending in sleigh feet.

h. 27”, dia. 33-1/2”

$1,000-$1,500

207

Carved and Painted Wooden Ship’s Figurehead

19th century, possibly a merman.

h. 48”, w. 12-1/4”, d. 8”

$2,000-$4,000

208 Pair of Silver-Plate Altar Stick Lamps

second quarter 20th century, the reeded candle holders over rope-twist standards decorated with acanthus leaves, the tripartite bases raised on paw feet, decorated with winged angel’s heads, fitted with black lampshades. h. 77”, dia. 23”

$2,000-$4,000

209

Iron and Glass-Top Coffee Table in the Aesthetic Taste

the oval, beveled glass top supported by metal scrolls, the pulvinated surround with pierced panels of sunflowers, raised on scrolled feet.

h. 21-3/4”, w. 50”, d. 43-1/2”

$1,000-$1,500

210

Iron and Glass-Top Coffee Table in the Aesthetic Taste

the oval, beveled glass top supported by metal scrolls, the pulvinated surround with pierced panels of sunflowers, raised on scrolled feet.

h. 21-3/4”, w. 50”, d. 43-1/2”

$1,000-$1,500

211

Pair of Iron and Glass Exterior Wall Lanterns

contemporary, in the Mediterranean taste, the scrolled crowns over the hexagonal lanterns, trimmed with rope-twist standards, on scrolled arms and rectangular backplates. h. 35-1/2”, dia. 12-1/2”

$1,200-$1,800

212 Salvador Dali (Spanish, 1904-1989)

“Venise”

color lithograph on paper

pencil-signed and signed in plate lower right, numbered “10/250” lower left. Float-mounted, matted, glazed and framed. sheet 22-3/4” x 31”, framed 33” x 41-1/2”

$1,000-$1,500

213

Marc Chagall (Russian/French, 1887-1985)

“La Baie des Anges (Mourlot 286)”

lithograph in colors on Arches paper

pencil-signed lower right and numbered “30/40” lower left. Together with a Certificate of Authenticity from Galerie Dobkine, Paris, France. Unframed.

sheet 18-3/4” x 12-7/8”

$5,000-$8,000

Provenance: Galerie Dobkine, Paris, France.

214

Marc Chagall (Russian/French, 1887-1985)

213

“Le Song Peintre (Mourlot 489)”

lithograph in colors on Arches paper pencil-signed lower right and numbered “50/50” lower left. Together with a Certificate of Authenticity from Galerie Dobkine, Paris, France. Unframed.

sheet 34-3/4” x 26”

$7,000-$10,000

Provenance: Galerie Dobkine, Paris, France.

215 Pablo Picasso (Spanish/French, 1881-1973)

“L’Homme au Mouton” lithograph on paper signed lower right. Float-mounted, glazed and framed. sheet 38” x 16”, framed 48” x 25-1/2”

$1,500-$2,500

216

Sol LeWitt (American, 1928-2007)

“All Double Combinations of Six...”, 1977 etching with aquatint on paper printed by Patrick Foy at Crown Point Press and published by Parasol Press, New York, New York, from an edition of 25. Glazed and framed.

sight 37” x 37”, framed 39” x 39”

$1,500-$2,500

217 Sol LeWitt (American, 1928-2007)

“Colors with Lines in Four Directions (Blue)”, 1990

silkscreen

pencil-signed and numbered “67/100” lower right, printed by Goro Fujii and Hidemi Nomura, Watanabe Studio Ltd., Brooklyn, New York, published by Parasol Press, New York, New York.

Glazed and framed.

48” x 48”, framed 52-3/4” x 52-3/4”

$3,000-$5,000

218

Custom Metal and Bronze Gate in the Mediterranean Taste

20th century, the two-part gate lined with black metal spiral trim, and decorated with scrollwork accented with gilt-bronze fleurs-de-lis.

h. 59-3/4”, w. 40-1/2”

$1,500-$2,500

219

Pair of Cast-Iron Gargoyles

the mythological winged garden ornaments after the architectural elements on the facade of the Cathedral of Notre-Dame de Paris.

h. 32-1/2”, w. 16”, d. 14-1/2”

$1,000-$1,500

220

Pair of Cast-Iron Gate Post Lamps

19th century and later, each with a pierced post with a Gothicstyle “roof” over delicate cast-iron panels on each side, fitted with lampshades.

h. 57”, w. 14”, d. 14”

$1,400-$1,800

221

Large Patinated Bronze Figural Fountain in the Form of a Naiad

20th century, after Mathurin Moreau (French, 1822-1912), cast signature on base, the figure drawing water from an upper spigot with a bird perched on top, the central standard with two additional spigots from the mouth of two dolphins, centered in a large bowl, the whole mounted to a plinth base.

h. 74”, w. 32”, d. 30”

$3,000-$5,000

Provenance: Private collection, Baton Rouge, Louisiana.

Seven-Piece Metal Dining Set, Attributed to Molla

20th century, including six chairs, each with a pierced back crest decorated with a border of swagging, over a star-form medallion and pierced lozenge, the arms supported on molded dolphins, raised on tapered legs, h. 28-1/2”, w. 20-3/4”, d. 18”, together with a matching dining table, h. 28-1/2”, w. 34-1/4”, l. 69-1/4”.

$1,000-$1,500

223

Pair of Cast-Metal Garden Urns on Stands

the campana-form urns molded with scrollwork and the reeded bases set with handles, on pylon-form stands molded with panels of scrollwork and flowers. h. 41-1/2”, dia. 19-1/2”

$1,000-$1,500 224

Pair of Gothic Revival-Style Cast-Iron Garden Benches

20th century, elaborately pierced, the backs with quatrefoils and Gothic arches, the seats in a hexagonal grid, and the sides and seat rail with Gothic patterns. h. 33-1/2”, w. 54-1/4”, d. 21”

$1,200-$1,800

20th century, after a design by J.W. Fiske, the graduated basins decorated with egg-and-dart rims, raised on fluted standards, the base with swans standing in foliage. h. 95-1/2”, dia. 33”

$1,000-$1,500

Aluminum Four-Tier Garden Fountain

226

English Papier-Mache Barometer

second quarter 19th century, the banjo-form barometer with a papier-mache case inlaid with mother-of-pearl scrollwork and flowers, the silvered dial signed “D Cattaneo & Co, Leeds”, a thermometer with a brass gauge set into the neck. h. 39-3/4”, w. 13”

$1,000-$1,500

227

Pair of Baroque-Style Giltwood Floor Lamps

contemporary, the altar stick-form lamps with trumpetform light supports over rope-twist standards, mounted on tripartite bases and fitted with custom lampshades. h. 81-1/2”, dia. 22”

$2,000-$4,000

228

Italian Baroque Parcel-Giltwood Candelabrum

17th century, the triangular-form candelabrum with edges carved with parcel-gilt scroll and rocaille work, supporting tole candle sockets with fluted drip pans, the top socket mounted on a winged angel’s head, the carved body with an inset glass panel above a lattice-carved blue field, with a monogram, the lower pierced area on a painted base, the back now mounted with hardware for wall hanging. h. 34-1/4”, w. 32-1/2”, d. 3-3/4”

$1,400-$1,800

229

Suite of Four Matching Directoire

Giltwood Altar Sticks

fourth quarter 18th century, the pricket candle supports on leaf-carved holders, over turned, leaf-carved vasiform standards, on tripartite bases decorated with inset foliate panels, raised on paw feet, retaining early gold-leaf surfaces.

h. 37-3/4”, dia. 8-3/4”

$1,200-$1,800

230

Silver-and-Gold-Gilt Metal Baroque-Style Lantern

20th century, of Italian Baroque inspiration, the hexagonal lantern with scrolled upper supports decorated with molded leaves, the silver-gilt-metal frame ornamented with gilt-metal mounts, set with a six-light interior fixture.

h. 35-1/2”, dia. 22-1/2”

$1,000-$1,500

231

Venetian Polychrome and Parcel-Gilt Sofa

18th century, the carved and molded back frame joined by wings on each side, with scroll-carved arm fronts and raised on cabriole legs, covered in a foliate Aubusson fabric, accompanied by four matching pillows. h. 43”, w. 84”, d. 32”

$1,500-$2,500

232

ca. 1900, in the Baroque taste, with a molded and carved protruding cornice over a four-square glazed front, one end with an access door, raised on carved legs ending in flared Spanish feet.

h. 67-1/2”, w. 37”, d. 20”

$1,000-$1,500

ca. 1900, in the Baroque taste, with a molded and carved protruding cornice over a four-square glazed front, one end with an access door, raised on carved legs ending in flared Spanish feet. h. 67-1/2”, w. 37”, d. 20”

$1,000-$1,500

Italian Creme-Peinte Vitrine

233

Italian Creme-Peinte Vitrine

234

French Marble Portico Clock

second quarter 19th century, the dentillated cornice ornamented with carved flowers and leaves, supported by Doric columns flanking a gilt-bronze molded dial with silvered chapter ring, hung with a molded brass pendulum, the works stamped “J.B. Wilbor, Paris”, on a matching carved marble base. h. 17-1/2”, w. 8-3/4”, d. 5”

$1,000-$1,500

235

Pair of French Bronze and Marble Lamps

third quarter 19th century and later, each lamp composed of a Napoleon III five-light candelabrum with gilt-bronze ivymolded candle sockets and drip pans, on matching scrolled cornucopia-form candle arms supported by patinated bronze putti, on fluted marble bases with pierced bronze fittings, fitted with lampshades. h. 37”, dia. 10-1/2”

$1,400-$1,800

236

Italian Parcel-Gilt Wood and Marble-Top Coffee Table

second quarter 20th century, the shaped Breche du Benou verte marble top supported by a pair of putti mounted to a trestle-form base, joined by a turned and carved stretcher. h. 23”, w. 47”, d. 36”

$1,000-$1,500

237

Pair of Bronze-Mounted Cut-Glass Bowls

ca. 1900, the oval bowls raised on pierced bronze bases hung with swags of flowers and set with dolphin feet, stamped “Austria”.

h. 4-3/4”, w. 5-3/4”, d. 4-1/4”

$900-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

238 Continental School (19th Century)

“Maternal Love”

oil on canvas unsigned.

In a circular aperture giltwood frame. 37-1/8” x 37-1/8”, framed 44” x 44”

$2,500-$4,000

239

Pair of Large Bronze and Crystal Candelabra

first quarter 20th century, of Louis XIV inspiration, each with a cut-glass spear-point finial above a corona with sprays of large crystal drops, supporting a cascade of beading, leading to eight bronze arms terminating in inverted bell-form candle cups and beaded drip pans, on a domed and molded bronze base, electrified. h. 39-1/2”, dia. 23-1/4”

$1,500-$2,500

240

Napoleon III Inlaid Wood and Glass Cave a Liqueur

third quarter 19th century, the ebonized case with a serpentine front, the edges trimmed in burr walnut, the top and facade with an inlaid rosewood cartouche, outlined in brass stringing, with a leafy medallion in the center, the front opening to a lift-out gilt-bronze-trimmed rosewood tray with openings for four decanters and fourteen liqueur glasses, now with four engraved decanters and thirteen assembled, similarly engraved liqueur glasses.

h. 10-3/4”, w. 12-3/4”, d. 9-3/2”

$1,000-$1,500

241

Pair of French Empire-Style Bronze Figural Sconces

second quarter 20th century, each backplate with a bronze patine Pan figure playing bronze dore pipes, the lower backplate with pierced grapevines and set with two leafmolded and scrolled candle arms terminating in beaded drip pans and leaf-molded candle sockets, fitted with antique silklined lampshades set with glass tubes and trimmed in glass beading.

h. 19-1/4”, w. 10”, d. 4-3/4”

$1,200-$1,800

242

Louis XV-Style Ebonized and Parcel-Gilt Commode

20th century, the serpentine front fitted with three conforming long drawers, the bombe sides with two framed panels and applied gilt ornaments. h. 35”, w. 51”, d. 26”

$1,400-$1,800

243

French Bronze and Marble Figural Mantel Clock

second quarter 19th century, the Louis Philippe clock mounted with a patinated bronze figure of a mother and child picking flowers, the gilt-bronze clock trimmed with molded grape leaves, flanked by scroll-framed panels of marble, on scrolled feet flanking a center mount decorated with garden trophies. h. 15-3/4”, w. 16-3/4”, d. 6-1/4”

$1,000-$1,500

244

George Valentine Dureau (American/Louisiana, 1930-2014)

“Acrobats”

graphite on paper signed lower center. Matted, glazed and framed. sight 29” x 18-1/2”, framed 39-1/2” x 28-1/2”

$700-$1,000

245

Enrique G. Alferez

(Mexican/Louisiana, 1901-1999)

“Mujer Sentada”

terracotta unsigned.

h. 15-3/4”, w. 10-1/2”, d. 10-1/2”

$5,000-$8,000

Provenance: Private collection, New Orleans, Louisiana.

A native of Mexico who was to become one of New Orleans’ most beloved artists, Alferez received his earliest art instruction in the studio of his father, a European trained sculptor of religious figures. He studied under Laredo Taft at the School of the Art Institute of Chicago, being schooled in the rudiments of the waning Beaux-Arts style. It wasn’t until the emergence of Art Deco that Alferez developed his distinctive style which adeptly reduced the human form to its most essential elements. His works, whether sculpture or drawing, are redolent of the influence of his Mexican childhood, an inspiring combination of pre-Colombian relics, Catholic symbolism, and the vestiges of colonialism.

246

David Harouni (Iranian/Louisiana, b. 1962)

“Untitled”, ca. 1995 oil on canvas signed lower right. Framed.

60” x 60”, framed 65” x 65”

$5,000-$8,000

David Harouni is a gifted and well-loved artist based in New Orleans, known primarily for a painting practice characterized by physicality. The duality of stillness and movement draws the viewer into the mesmerizing interior world of a Harouni painting, accentuated by his signature, expressive brushwork. In the exceptional lot offered here, Untitled, Harouni's modernist prowess is at its finest; two figures, male and female, dancing together in rapture. The faces, although blurred, both look upward and away from each other as if experiencing ecstasy. The female figure opens her body as the male figure lifts his leg behind him. Muscles flared and tensed, the figures mirror each other's movements as gauzy fabric floats between them. The backdrop, a wash of yellow and red hues, is textured but still. The expressionistic work, bolstered by Harouni's dynamic brushstrokes and warm toned color palette, is a singular example of the artistís modernist mastery. 246

247

American Sterling Silver Tea Tray

first half 20th century, no maker’s mark, of oval form, the rim flat-chased with floral scrolls, with rolled edge and integral handles. l. 19-1/2”, w. 14-1/4”; 47.98 t. oz.

$1,200-$1,800

Provenance: Private collection, New Orleans, Louisiana.

248

Gorham “Plymouth” Sterling Silver Coffee Set

ca. 1925, Providence, Rhode Island, after a 1911 flatware pattern designed by William Christmas Codman (1839-1923), including: a coffee pot, h. 9-1/4”, l. 10-1/2”; a covered sugar bowl, h. 5-3/4”, w. 7-1/4”; a cream jug, h. 6-1/4”, l. 5”; and a tray, 20” x 13-5/8”; all monogrammed “C”.

90.57 total t. oz.

$2,500-$5,000

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

249

Towle “Debussy” Sterling Silver Flatware Set

the pattern introduced in 1959, Newburyport, Connecticut, including a dozen six-piece place settings, with an additional dozen teaspoons and twelve serving pieces, no monograms, presented in a fitted, Kenzied red baize- and cream satin-lined wooden case with lift top, 4-1/4” x 17-1/2” x 11-3/4”.

(96 pieces plus case) 113.87 total t. oz. (weighable silver)

$1,400-$1,800

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

Detailed list of pieces available on request.

250

American Sterling Silver Tea Tray

mid-20th century, of rounded rectangular form, with gadrooned rim and handles. 26-3/8” x 15-3/8”; 86.67 t. oz.

$2,000-$4,000

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

251

Whiting Sterling Silver Tea Set

1915, Providence, Rhode Island, model 8765A, including: a coffeepot, h. 9”, l. 9-1/2”; a teapot, h. 6-1/4”, l. 10”; a covered sugar bowl, h. 5-1/2”, l. 7-1/2”; a cream jug, h. 4”, l. 6-1/2”; and a waste bowl, h. 4-1/4”, l. 5”; each of elongated and inverted sugar loaf form, with cavetto-canted corners and rim, with squared handles, “gooseneck” spouts and conforming plinth bases, decorated with engraved neoclassical threaded panels and scrolls, monogrammed “APG”.

74.11 total t. oz.

$1,500-$2,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

252

Gorham “King Edward” Sterling Silver Flatware Set

the pattern designed in 1936 by James Russell Price (19071974), Providence, Rhode Island, including a dozen six-piece place settings, with an additional sixteen place pieces and one serving piece, monogrammed “D”, presented in a fitted, tarnish-resistant plum baize-lined wooden case with lift top, 3” x 16” x 11-1/2”.

(89 pieces total plus case)

93.90 total t. oz.

$2,500-$5,000

253

Reed & Barton “Burgundy” Sterling Silver Flatware Set

the pattern introduced in 1949, Taunton, Massachusetts, including sixteen five-piece place settings (twelve pieces lacking) with an additional four place pieces and ten serving pieces, no monograms, presented in a fitted, baize-lined wooden case with lift top, 14-3/4” x 10-3/4” x 3”.

(82 pieces plus case)

102.3 total t. oz. (weighable silver)

$1,200-$1,800

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

Detailed list of pieces available on request.

254

Towle “Old Master” Sterling Silver Flatware Set

the pattern designed in 1942 by Harold E. Nock (1875-1952), Newburyport, Massachusetts, including eight eight-piece place settings with an additional seven place pieces and fourteen serving pieces, no monograms, presented in a fitted, Pacific cloth-lined wooden case with lift top and single drawer, 8-1/4” x 17-1/2” x 11-3/4”.

(85 pieces plus case)

74.98 total t. oz. (weighable silver)

$2,000-$4,000

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

Detailed list of pieces available on request.

255

Dale Chihuly (American, b. 1941) Glass Four-Piece “Persian” Set

Imperial iris with yellow lip wrap, with engraved signature and number “20”.

largest piece: h. 7”, w. 11-1/4”, d. 7-3/4”

$3,000-$5,000

Provenance: Private collection, Memphis, Tennessee.

256

Dale Chihuly (American, b. 1941) Glass Three-Piece “Seaforms” Set

early 1980s, dappled rose with carmine lip wrap. Unsigned. largest piece: dia. 10-3/4”

$3,000-$5,000

Provenance: Private collection, Memphis, Tennessee.

257

Possibly Dale Chihuly (American, b. 1941)

Three Floral Glass Elements

including a large lime green bulbous twist, l. 41-1/2”, a clear twist with gilt inclusions, l. 24-1/2”, and a mottled heart-shaped flower on a curling dark green stem, l. 17-1/2”. All unsigned.

$1,800-$2,500

Provenance: Private collection, Memphis, Tennessee.

258

Dale Chihuly (American, b. 1941) Glass Vase

an early “Venetian” design of clear glass, the neck decorated with multi-colored “pinched” ribs and raised on a flared base with gilt inclusions throughout. Unsigned. h. 16”, dia. 9”

$2,500-$4,000

Provenance: Private collection, Memphis, Tennessee

257

259

Louis XV-Style LaBarge Giltwood Mirror

20th century, the outer edge with pierced scrollwork, the surround with carved leaves trimmed in rocaille work and the mirror plate trimmed in scrollwork, labeled on the reverse. h. 57”, w. 35”

$1,000-$1,500

260 Napoleon III Kingwood-Inlaid Writing Desk

19th century, the rectangular top with a large, central inlaid floral reserve within a parquetry-inlaid field, one side fitted with a pair of drawers, each end with a pull-out writing slide with leather blotter, raised on tapered square legs. h. 29”, w. 43”, d. 22-1/2”, ext. w. 72”

$1,000-$1,500

261

Bronze and Glass Figural Newel Post Lamp

20th century, in the Belle Epoque taste, the standard with a putto wearing a wreath of wheat, an allegorical depiction of “autumn”, holding aloft a lighted sphere, on a cove-molded and fluted base, accented with oval plaques and acanthus leaves. h. 41-3/4”, w. 12”, d. 11”

$1,200-$1,800

262

Ebonized Cocktail Table

the rectangular top with an inset 19th-century chinoiserie panel depicting an avian-filled gilt and polychrome landscape, raised on square legs joined by an H-form stretcher.

h. 20”, w. 39-1/2”, d. 26-1/4”

$700-$1,000

Provenance: Collection of Sue Trammell Whitfield, Houston, Texas.

263

Pair of Caldwell Giltwood and Gilt-Bronze Sconces

first quarter 20th century, in the Regency taste, each backplate in the form of a carved sash with a tasseled end, decorated with an ebonized eagle and set with a pair of rope-twist candle arms with gilt-bronze candle sockets and matching drip pans, branded “C” in a lozenge on the backs. h. 24-3/4”, w. 12-1/4”, d. 4-3/4”

$900-$1,200

Provenance: Empire Antiques, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

264

Directoire-Style Mahogany and Marble-Top Commode

ca. 1900, the rectangular gray Lyonnaise marble top with beveled edges and turreted corners, over a conforming case fitted with four long drawers, each with stamped brass trim, raised on turned and fluted legs. h. 33”, w. 33”, d. 15”

$1,200-$1,800

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

265

Pair of French Napoleon III Gilt-Bronze and Marble Candelabra

third quarter 19th century, in the Renaissance Revival taste, the candle cups decorated with beading and swagging, on reeded arms accented with gilt-bronze leaves, hung with bronze chains and balls, the base with three out-curved, reeded gilt-bronze legs terminating in leaf-molded feet on carved rouge griotte marble plinths. h. 15-1/2”, w. 9-1/4”, d. 5-3/4”

$800-$1,200

Provenance: Private collection, Little Rock, Arkansas.

266

Louis XVI-Style Kingwood and Ormolu-Mounted Bureau Plat

20th century, the top with an inset black leather blotter, edged with a stamped brass molding, the front side fitted with three drawers, the back side with matching faux drawers, raised on tapered square legs, with gilt-bronze mounts throughout.

h. 30”, w. 61”, d. 32”

$1,400-$1,800

267

Manner of Melchior d’Hondecoeter (Dutch, 1636-1695)

“The Peacock” oil on canvas unsigned. Framed.

26-1/2” x 23-1/4”, framed 31” x 28”

$3,000-$5,000

Provenance: Gallery Alte Kunst, Austria.

268

Folding Rosewood Music Stand

19th century, the backplate with a lyre finial and a raised, scrolled edge, carved with musical trophies suspended from a bowknot, on a textured ground, the lower portion with a monogram in a carved oval, flanked by paw feet. h. 16-1/2”, w. 15-1/4”, d. 9-1/4”

$600-$900

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

269

Pair of Regency-Style Bronze and Cut-Glass Lamps

each in the form of a candelabrum with three cornucopia-form candle arms emanating from a cut-glass standard, set with giltbronze capitals and lotus-molded bronze fittings, the tapered bronze bases set with gilt-bronze mounts and patinated bronze sphinxes. h. 33-1/2”, dia. 11-1/2”

$800-$1,200

270

Napoleon III Ebonized and Marble-Top Cabinet

19th century, the inset white marble top over a case fitted with a single door, trimmed with brass stringing, and a central brass-inlaid panel of an urn with flowers. h. 44”, w. 33”, d. 16”

$1,000-$1,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

271

Attributed to Pieter van Boucle (Flemish, ca. 1610-1673)

“Nature Morte aux Poissons” oil on canvas unsigned. Framed.

21-1/2” x 25-3/4”, framed 26-3/4” x 31”

$5,000-$8,000

Provenance: Private collection, France.

Literature: Michel Fare, Le Grande Siecle de la Nature Morte en France, le XVIIe Siecle, Paris: Office du Livre, 1974, illus. p. 98.

272 Swedish Gustavian Giltwood Mirror

ca. 1800, the crest with a molded “widow” roundel, set into a carved and pierced laurel wreath frame with acanthus leaves, the surround with medallion-carved corners, and the base with scrolled and pierced acanthus leaves, the mirror in two parts.

h. 54-3/4”, w. 21-1/2”

$1,000-$1,500

270

273

French Gilt-Bronze Chandelier

first quarter 20th century, the four-light chandelier with a fluted canopy set with bellflower-molded bronze chains, supporting the leaf-molded body, with an upper pierced basket concealing a light socket, set with curved branches molded with bellflowers, mounted with beaded drip pans and matching candle sockets, fitted with lampshades. h. 30-1/2”, dia. 20-1/2”

$1,000-$1,500

274

Louis XVI-Style Mahogany and Marble-Top Cabinet

20th century, the rounded rectangular top with a projecting front, above a conforming case fitted with two drawers over two cupboard doors, all double banded, the sides banded en suite, raised on tapered square feet ending in caps. h. 39”, w. 68”, d. 25”

$1,500-$2,500

275

Pair of French Bronze Figural Lamps

third quarter 19th century and later, the bases composed of a pair of gilt-bronze chenets in the Louis XV style, decorated with putti atop scrolled bases, each set with an oval neoclassical molded profile, fitted with lampshades. h. 27-1/2”, w. 14”, d. 12”

$1,000-$1,500

276

Suite of Six Louis XV-Style Side Chairs

19th century, peint a la creme and parcel-gilt, the crest and skirt carved with a small cabochon-centered leaf, upholstered in gold ribbon-striped celadon silk. h. 37”, w. 20”, d. 18”

$1,000-$1,500

277

Louis XVI-Style Mahogany Dining Table

early 20th century, the circular top with a gilt and molded edge, bisected and opening to accommodate a central leaf, raised above a plain frieze on tapered circular legs ending in brass caps.

h. 29-1/2”, dia. 54”

$1,500-$2,500

278

Paul Desire Trouillebert (French, 1831-1900)

“Bouquet”

oil on canvas signed lower right. Framed.

21-1/2” x 29”, framed 24” x 32”

$1,500-$2,500

Provenance: Hotel Drouot, Paris, June 17, 2019, lot 219.

277

277 detail

279 French School (19th Century)

“La Femme et l’Arlequin” oil on canvas unsigned. Framed.

35-3/4” x 27”, framed 38-1/2” x 29-3/4”

$3,000-$5,000

280

Charles Joshua Chaplin (French, 1825-1891)

“The Little Pet” oil on canvas signed lower right.

Together with a Certificate of Authenticity from Gallery Alte Kunst, Austria. Framed.

21-1/2” x 15”, framed 31-3/4” x 25-1/4”

$2,500-$4,000

Provenance: Gallery Alte Kunst, Austria.

281 Louis Kronberg (American, 1872-1965)

“Dancer in Pink with Fan”, 1938 pastel on paper affixed to panel signed lower left, and signed, titled, dated and inscribed en verso.

Glazed and framed.

22” x 17-1/4”, framed 29” x 22-1/2”

$1,500-$2,500

282

French Belle Epoque Parcel-Gilt Overmantel Mirror

fourth quarter 19th century, the white-painted back with a giltwood egg-and-dart trim, the mirror plate with a central giltwood cartouche flanking flowers, the surround decorated with carved shells on a stippled ground, and the mirror plate lined with beading. h. 60”, w. 46-3/4”

$1,000-$1,500

Provenance: Private collection, Little Rock, Arkansas. 281

283

Tufted Rolled Arm Single-Cushion Settee

custom upholstered in olive green silk mohair, the skirt trimmed with an elaborate gimp band issuing deep silk fringe.

h. 29-3/4”, w. 66”, d. 33-1/2”

$1,200-$1,800

284

Unusual Gilt-Metal and Glass Coffee Table

20th century, the rectangular top with canted corners and an inset beveled plate-glass top, supported by bird-form legs joined by a lower shelf, also with an inset beveled plate glass. h. 24”, w. 57”, d. 37”

$1,000-$1,500

285

Palatial Napoleon III Sarrancolin d’Auch Marble and Bronze Jardiniere

ca. 1800, the oval carved marble jardiniere mounted with pierced leaf-molded bronze handles, the tapered base with monopodia on each side, molded with leopard’s heads, swags of fruit and laurel leaves, on paw feet with gadrooned bronze base trim. h. 42-1/2”, w. 49”, d. 28-3/4”

$7,000-$10,000

Provenance: Christie’s, London, England, March 22, 2001, lot 281; A Villa, Palm Beach, Florida; interior designed by Juan Pablo Molyneux.

Literature: Thurman, Judith, “Juan Pablo Molyneux Outfits a Refined Palm Beach Villa”, Architectural Digest, July 2008, illustrated

detail

286

20th century, in the rococo taste, the crests with carved baskets of flowers, the frames ornamented with carved shells, the asymmetrical sides lined with carved leaves, scrollwork and rocaille work and interspersed flower heads.

h. 64-1/2”, w. 27-1/2”

$800-$1,200

287

20th century, in the neoclassical taste, inlaid with various specimen hardstones, including lapis lazuli, malachite and rosso antico, on black marble bases.

h. 24-1/2”, w. 6-1/4”, d. 6-1/4”

$1,500-$2,500

Pair of Italian Carved Mahogany, GrayPickled Mirrors

Pair of Pietra Dura Obelisks

$1,800-$2,500

288

$1,800-$2,500

288

Peshawar Sultanabad Carpet

9’ 2” x 12’ 4”

289 Turkish Angora Oushak Carpet

10’ 1” x 14’ 1”

$2,000-$4,000

290

Turkish Angora Oushak Carpet

12’ x 15’

291

Antique Angora Oushak Carpet

12’ 10” x 15’ 1”

$8,000-$12,000

290

292

Pair of Barrel-Back Wing Chairs

20th century, each covered in silk striped fabric and trimmed with brass tacking, raised on tapered square legs. h. 43”, w. 30-1/2”, d. 34”

$1,200-$1,800

293

Italian Polychrome and Faux Marbre Console Table

18th century, the conforming faux rouge royal marble top above scalloped aprons, raised on cabriole legs joined by shaped stretchers. h. 31-1/2”, w. 40”, d. 19”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

294

French Louis XV-Style Giltwood Mirror

19th century, the crest lined with carved scrollwork forming a panel carved with roses, the serpentine sides and base carved with scroll and rocaille work, accented with flower heads, the lower center with a carved shell.

h. 65”, w. 41”

$1,400-$1,800

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

295

Dutch School (19th Century)

“Vanitas”

oil on canvas unsigned. Framed.

45-1/2” x 58-1/2”, framed 53” x 69”

$4,000-$7,000

296

Pair of French Gilt-Bronze Candelabra

third quarter 19th century, the leaf-molded and scrolled candle branches terminating in laurel-decorated candle sockets and drip pans, emanating from quiver-form fluted standards, decorated with classical profiles framed in wreaths and swags of flowers, with scrolled supports on rectangular bases with raised panels, formerly electrified. h. 25-1/2”, w. 11”, d. 6-3/4”

$1,000-$1,500

297

Pair of Custom Club Chairs

20th century, each with a rolled back crest, tufted floral fabric and trimmed with long fringe and tassels. h. 38”, w. 33”, d. 37”

$1,400-$1,800

298

Handsome Biedermeier-Style Inlaid Commode

20th century, the walnut and palisander wood commode with geometric inlaid designs, with a curved top above three drawers, raised on bracket feet. h. 33-1/2”, w. 43-1/4”, d. 19-3/4”

$1,500-$2,500

299

second quarter 19th century, each set with two engine-turned candle sockets flanking a flower and pierced anthemia finial, held aloft by figures of Psyche and Cupid, respectively, on tapered, reeded and leaf-molded standards above square bases. h. 17-1/4”, w. 7”, d. 3”

$700-$1,000

Pair of French Gilt-Bronze Candelabra

300

Edouard Rosset-Granger (French, 1853-1934)

“Portrait of a Lady of Means” oil on canvas signed and localized “Paris” upper left. Framed.

43-1/2” x 37-1/2”, framed 54-1/2” x 45-1/2”

$1,000-$1,500

Note: Rosset-Granger was a popular portraitist of the Belle Epoque, working in the French academic tradition.

301

French Louis Philippe Giltwood Mirror

second quarter 19th century, the pulvinated surround with rounded corners and molded with panels of flowers trimmed with scrollwork.

h. 57”, w. 37-1/2”

$1,500-$2,500

302

Pair of French Bronze and Marble Putti

third quarter 19th century, in the manner of Clodion, one putto holding a drape full of fruit and the other holding a bird’s nest and flowers, each on a gray marble base. h. 7-1/2”, w. 2-3/4”, d. 2-3/4”

$700-$1,000

303

Three French Silvered Brass Altar Sticks

ca. 1800, the inverted bell-form candle holders set with prickets and molded with shells, the standards decorated with draped Ionic columns and molded panels of leaves, the tripartite bases with panels of the Lamb of God, grapes and wheat, symbolizing the Eucharist, raised on paw feet. h. 29-1/2”, dia. 7-1/2”

$1,400-$1,800

304

English Cut-Glass Gasolier

second quarter 19th century, the eight-light gasolier in the manner of F. & C. Osler, the molded and cut-glass-clad standard set with three cut-glass graduated tiers of glass prism rings hung with prisms and swags of cut-glass prisms, set with glass arms in two tiers, the base with an acorn cutglass finial. h. 50”, dia. 32-3/4”

$2,000-$4,000

305

Petite French Crystal Chandelier

first quarter 20th century, the two-light chandelier set with a standard clad in spiral-reeded crystal, the basket-form base hung with strands of crystal prisms and spear-point prisms, the upper edge decorated with cut-glass feathers and prisms. h. 30-1/2”, dia. 18”

$1,500-$2,500

306

Pair of Polychrome and Parcel-Gilt

19th century, in the Louis XIV-style, each fauteuil with a shaped and padded back surmounted by a floral foliate crest, joined by padded and molded arms to the padded seat, raised above a shaped apron on cabriole legs ending in foliate toes.

h. 38”, w. 26”, d. 24”

$1,200-$1,800

307

Mahogany and Polychrome Breakfront

20th century, of classical inspiration, in two parts, the upper case with a pair of protruding glazed doors in the center, flanked by an additional door to each side, the interior lighted, the base with a central pull-out writing slide with a tooled leather blotter, and a drawer to each side, all with hand-painted Greekkey designs, above four cabinets, each with hand-painted classical motifs. h. 78-1/2”, w. 69”, d. 18”

$1,000-$1,500

Wooden Fauteuils

308

Louis XVI-Style Polychrome Chaise Longue

early 20th century, the carved and molded frame with scrolled hand grips, fitted with a reversible seat cushion and raised on turned legs with acanthine carving and fluted details.

h. 35”, w. 26”, l. 72”

$1,200-$1,800

309

Turkish Angora Oushak Carpet

12’ 2” x 14’ 10”

$2,000-$4,000

310 Khotan Carpet

5’ 8” x 9’

$3,000-$5,000

311 Afghan Oushak Carpet

9’ 2” x 12’

$1,400-$1,800

312 Turkish Angora Oushak Carpet

9’ 1” x 11’ 8”

$1,400-$1,800

313

Semi-Antique Shivas Carpet

7’ x 10’ 2”

$2,000-$4,000

314

Pair of Silk-Upholstered Boudoir Club Chairs

20th century, each with a curved back and downswept arms, with diamond tufting and reversible seat cushions. h. 34”, w. 29”, d. 31”

$1,000-$1,500

315

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”

$800-$1,200

316

Pair of French Paris Porcelain Lamps

second quarter 19th century, the bases comprised of a pair of campana-form urns, decorated with rose bouquets in gilt wreaths, the handles with bisque ram’s-head terminals, on cove-molded giltwood bases, fitted with lampshades. h. 30-3/4”, dia. 15-3/4”

$1,000-$1,500

317

Louis XV-Style Giltwood Settee

first quarter 20th century, the carved frame with shell and rocaille details, with a reversible seat cushion and raised on cabriole legs ending in scrolled toes. h. 34”, w. 55”, d. 30”

$900-$1,200

318

Pair of Carved Giltwood Appliques

third quarter 19th century, carved with “waves” of pierced leaves, scrollwork and rocaille trim. h. 13-3/4”, w. 38”

$1,400-$1,800

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

319 Italian Giltwood Mirror in the Baroque Taste

fourth quarter 20th century, the boldly and brightly gilded ogee-molded surround carved with shells, framed with scrollwork and piercing, set with a beveled mirror plate. h. 63”, w. 53-1/2”

$1,400-$1,800

320 Pair of Italian Tole Wall Torcheres

second quarter 20th century, attributed to Palladio, painted to resemble bronze dore et patine, the top flaring shades decorated with acanthus leaves, over reeded standards decorated with laurel leaves, the lower border embellished with stars.

h. 86”, w. 18”, d. 11”

$1,500-$2,500

321

Two Louis XV-Style Giltwood Chairs

first quarter 20th century, each with a domed, ribbon-carved crest above a padded back, one joined to the padded seat by shaped sides and arms, the other with shaped sides, both raised on cabriole legs headed by shield carving and ending in scrolled toes on pegs.

h. 43-1/2”, w. 28”, d. 27”

$1,400-$1,800

322

French Polychrome Display Table

first quarter 20th century, in the Louis XVI taste, the hinged top fitted with a beveled glass pane, opening to a shallow, fabriclined interior, raised on turned and fluted circular legs joined by a stretcher.

h. 28-1/2”, w. 22”, d. 16-1/2”

$1,000-$1,500

323

Pair of Franco-Chinese Bronze and Porcelain Candelabra

third quarter 18th century and later, the gilt-bronze molded sockets, bobeches and drip pans set into scrolled arms, mounted on Chienlung garniture vases decorated with mandarin court views, on turquoise-accented panels, with raised trim in the famille rose palette, on pierced gilt-bronze bases.

h. 16-1/4”, dia. 4-3/4”

$800-$1,200

Provenance: Private collection, Little Rock, Arkansas.

324

French Pickled Beechwood Sofa

19th century, in the classical taste, the scroll-carved crest rail over a padded back, the out-curved arms with carved swans, fitted with a reversible padded seat cushion, raised on scrolled legs with carved rosettes. h. 36”, w. 76”, d. 26”

$1,500-$2,500

325

Maison Bagues-Style “Wisteria” Chandelier

third quarter 20th century, the gilt-brass and cut-glass chandelier with a colorless cut-glass-clad standard, set with branch-form brass arms decorated with mauve cutcrystal blossoms and green cut-glass leaves, each socket fitted with cut-glass hurricane shades and bobeches. h. 40”, dia. 27”

$1,400-$1,800

326

Coalport “Pageant” Partial Dinner Service

ca. 1972-1983, the service comprised of twelve dinner plates, dia. 10-1/2”, eleven salad/dessert plates, dia. 8”, twelve bread-and-butter plates, dia. 6”, twelve cups and saucers, h. 2”, dia. 5-3/4”, twelve coupe/cereal bowls, h. 1-1/2”, dia. 6”, a footed centerpiece bowl, h. 5-1/2”, w. 11-3/4”, d. 7”, a covered vegetable dish, h. 5-1/4”, dia. 9-3/4”, three graduated serving dishes, w. 6-1/2” to 8-1/4”, l. 7-1/2”, to 9-1/2”, a comport, h. 5”, dia. 9-1/2”, a candlestick, h. 8-1/2”, w. 3-1/2”, a sandwich tray, w. 5-3/4”, l. 11-1/4”, six butter pats, w. 3”, l. 3”, a gravy boat and stand, h. 5”, w. 7-3/4”, d. 6”, a cachepot, h. 5-3/4”, dia. 7”, a covered jar, h. 9”, dia. 4-3/4”, a covered urn with handles, h. 7-1/2”, w. 6-1/4”, d. 5”, a covered sugar bowl, h. 5-3/4”, w. 6”, and a cream jug, h. 4”, w. 5-1/4”.

$1,200-$1,800

Provenance: Private collection, New Orleans, Louisiana.

327

Giltwood and Marble-Top Dressing Table

first quarter 20th century, in the Louis XVI-style, the upper section with three hinged, oval beveled mirrors, mounted to a kidneyform base with an inset Vert d’Estours marble top and single drawer below, raised on turned and fluted circular legs joined by a stretcher.

h. 55”, w. 38”, d. 16”

$1,000-$1,500

328

Custom Silk-Upholstered Settee

20th century, with a tufted back and seat, upholstered in green silk damask and trimmed with long braided fringe. h. 42”, w. 66”, d. 24”

$1,200-$1,800

329

Pair of Chinese Porcelain Tree Tubs on Stands

20th century, in the famille verte palette, each decorated with a mandarin horseback procession through the forest, raised on wooden stands. h. 22-1/4”, dia. 17-1/2”

$1,000-$1,500

330 Italian Neoclassical Giltwood Applique

ca. 1800, decorated with trophies of war, with a plumed helmet forming the crest, over an oval shield decorated with laurel wreaths, framed with a flag or banner and a battle axe. h. 15”, w. 11-1/2”, d. 2-1/2”

$1,200-$1,800

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

331 French Giltwood Mirror in the Rococo Revival Taste

second quarter 19th century, the ogee surround decorated with cabochons set into scrollwork, the corners decorated with rocaille work and trailing roses, the mirror plate lined with giltwood lotus leaves. h. 46-3/4”, w. 37-1/2”

$900-$1,200

332

Six Pairs of Curtains with Giltwood Rods

the reeded giltwood rods set with vasiform finials, draped with dramatic swags and jabots, the gold and green silk lampas curtains trimmed with gold bobbin-form fringe.

cornice w. 80”, l. 40”, cornice with panels w. 80”, l. 112”

$2,500-$4,000

333

French Painted and Giltwood Supraporte

ca. 1800, the panel with an overhanging cornice ornamented with egg-and-dart carving, the primary tablet painted white with an oval gilt floriform ornament framed with giltwood arabesque scrollwork and sprays of flowers, flanked by giltwood pilasters carved with lozenge-form foliate medallions.

h. 26-1/2”, w. 48-1/2”

$1,000-$1,500

334

Pair of English Decalcomania Vases

fourth quarter 19th century, the blown-glass vases decorated with chinoiserie figures of butterflies and lotus blossoms, on a white ground. h. 12-1/2”, dia. 6-1/2”

$700-$1,000

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

335

Pair of Italian Creme-Peinte, Parcel-Gilt and Marble-Top Console Tables

18th century, each with a thick, rectangular marble top over a specimen marble frieze trimmed with carved and gilded moldings, raised on block and turned, fluted circular legs. h. 36”, w. 43-1/2”, d. 26”

$3,000-$5,000

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

336

Pair of Italian Faux Lapis Lazuli and Silver-Giltwood Torchere Stands

19th century, in the Baroque taste, the leaf-carved tops supported on tapered, leaf-carved standards, ornamented with pierced, leaf-carved scrolls, the tripartite bases with laurel-carved edges, raised on paw feet. h. 50”, dia. 15-3/4”

$1,000-$1,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

337

Italian Polychrome and Parcel-Gilt Wooden Figural Group

19th century, of “The Gift of the Magi”, the figures of Joseph, Mary and God with gilt-brass halos and Jesus with a gilt-brass crown.

h. 16-3/4”, w. 12-3/4”, d. 4”

$1,500-$2,500

Provenance: Private collection, New York, New York.

338

Swedish Brass and Crystal Hall Lantern

19th century, the corona hung with sprays of glass drops, over a cobalt glass smoke bell, the molded brass lantern frame set with swags and strands of glass drops, now electrified.

h. 35”, dia. 15”

$1,400-$1,800

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

18th century, the padded and arched back joined to the splayed and out-curved arms, raised on six cabriole legs ending in scrolled toes.

h. 43”, w. 84”, d. 29”

$1,500-$2,500

340

Pair of Charles X Bronze, Tin and Patinated Metal Sconces

ca. 1824-1830, on leaf-molded backplates, the tank holders set with gilt-bronze leaf-molded handles, set on standards terminating in cone-form finials with lotus-molded trim, the cornucopia-form leaf-molded arms terminating in lotusmolded gilt-bronze rings, electrified. h. 13-1/2”, w. 8-1/2”, d. 11-1/2”

$1,000-$1,500

341

Niek van der Plas (Dutch, b. 1954)

“Honfleur Harbor, France” oil on wood panel signed lower left, incised signature en verso. Framed.

14” x 22”, framed 18-1/2” x 27”

$2,000-$3,000

339

Italian Rococo Walnut Sofa

342

George Gabin (American, 1931-2012)

“Villa on the Coast”

acrylic and oil on canvas signed lower right.

Framed.

24” x 48”, framed 28-1/2” x 52-1/2”

$1,000-$1,500

343

Charles Lambert (Continental, 19th Century)

“Venice”

oil on canvas signed lower right.

Framed.

18” x 26”, framed 23-1/2” x 31-3/4”

$1,000-$1,500

Provenance: Veerhoff Galleries, Washington, D.C.

344

Otto Friedrich Geleng (German, 1843-1939)

“Isola Bella, Taormina”

oil on canvas signed lower left. Framed.

19” x 40”, framed 27” x 46”

$1,500-$2,500

A favorite subject of Otto Geleng, the lush Isola Bella was originally gifted to the town of Taormina in 1806 by the King of Sicily. In 1890, it was acquired by Lady Frances Trevelyan, a British gardener and early conservationist, who filled the small island with flora both indigenous and non-native to the Mediterranean. Upon her death in 1907, the island spent several decades in decay and disarray until it was named an official Nature Reserve under the auspices of the Sicilian government.

345

Continental Provincial Oak Cabinet on Stand

18th century, the molded, rectangular cornice above a conforming case fitted with two paneled doors, with fielded panels over a single long drawer, raised on a tall stand with a paneled back and turned supports, raised on bun feet. h. 71”, w. 37-1/2”, d. 18-1/2”

$1,200-$1,800

346

Suite of Eight Stained Maple Dining Chairs

20th century, comprised of two armchairs, h. 38-1/2”, w. 22-1/2”, d. 24”, and six side chairs, h. 38-1/2”, w. 22-1/2”, d. 22”, each with an oval padded back and raised on tapered square legs, labeled “Hickory White”.

$1,400-$1,800

347

16th century, the carved and dentillated ogee-form cornice over a pair of pilasters flanking the opening, carved with gouge work and scrolled brackets on each side, the lower portion with a skirt carved with winged angels’ heads framed with scrollwork.

h. 23-1/2”, w. 20”

$1,200-$1,800

$1,000-$1,500

Italian Renaissance Carved Walnut Mirror

348 Semi-Antique Mahal Runner

5’ 10” x 16’ 3”

349

Kerman Carpet

$8,000-$12,000

Antique Persian Lavar

21’ 1” x 10’ 10”

350

Semi-Antique Heriz Carpet

$1,500-$2,500

7’ 3” x 9’ 10”

351 Antique Kazak Carpet

4’ 6” x 9’ 11”

$4,000-$7,000

352

Pair of Italian Carved and Parcel-Gilt Wooden Sconces

19th century, the circular, pierced backplates decorated with giltwood garden trophies framed in carved red “clouds”, the silver giltwood outer surround carved with scrollwork and bellflowers, set with fluted, leaf-carved candle branches terminating in matching candle holders, electrified. h. 26-1/2”, w. 20-3/4”, d. 17-1/2”

$900-$1,200

353

Northern Italian Walnut Burl Secretary

third quarter 19th century, the molded broken swan’s-neck pediment centered by a gilt pineapple finial over a frieze with an inset shaped mirrored panel, with two shaped mirrored doors below, the lower section fitted with a slant front opening to a variety of drawers and cubbyholes, over three long drawers, all banded and double-bowed, flanked by canted corners and concave sides, raised on block feet. h. 92”, w. 46”, d. 23”

$2,000-$4,000

354

Louis XV-Style Fruitwood Bergere

19th century, the domed back and downswept sides within a molded frame, surmounted by a floral crest, the cushioned seat raised above a floral apron, on cabriole legs ending in scrolled toes, upholstered in ribbon-striped celadon silk. h. 37”, w. 28”, d. 22”

$1,000-$1,500

Provenance: French Antiques, New Orleans, Louisiana.

355

Large Parcel-Gilt Sanctuary Figure of St. Paul

ca. 1900, with a naturalistically carved and painted face and neck, dressed in gilt robes and carrying a copy of his epistles in the Bible, on a giltwood base, signed indistinctly. h. 35-1/4”, w. 13”, d. 7-3/4”

$1,500-$2,500

356

French Empire-Style Fruitwood Side Table/Cabinet

19th century, the square top above a conforming case fitted with a frieze drawer over a recessed tambour cupboard, flanked to either side by ormolu-mounted columnar uprights, raised on torpedo feet. h. 31-1/2”, w. 14”, d. 14-1/4”

$1,200-$1,800

Provenance: Wirthmore Antiques, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

357

Pair of Rose Medallion Porcelain Vases

fourth quarter 19th century, decorated with polychrome panels of mandarin figures alternating with panels of peonies, on a gilt ground with green scrollwork, accented with butterflies, the shoulders with molded foo dog ring handles. h. 17-1/2”, dia. 7-1/4”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

358

Pair of Italian Carved Giltwood Sconces

20th century, in the Baroque taste, each example with three foliate-carved candle cups supported on carved and scrolled candle branches, trimmed in rocaille work, electrified. h. 16”, w. 10”, d. 5-1/2”

$1,200-$1,800

359

Exceptional Pair of Malachite and Gilt-Bronze Covered Urns

19th century, possibly Russian, the campana-form urns with ogee covers set with cone-form knops, over malachite bodies with “Dancing Hours” mounts and grapevine trim, the reeded lower bodies molded with acanthus leaves and set with handles, over malachite bases with alternating lyre and wreath mounts.

h. 22-1/2”, dia. 9-1/2”

$6,000-$9,000 360

Kingwood and Marquetry-Inlaid Games Table

first quarter 20th century, the Louis XV-style table branded “JEANSELME”, the fold-open top with gilt-bronze corner mounts, opening to a leathercovered playing surface, one end with a drawer, lined with a backgammon playing surface, raised on cabriole legs ending in bronze sabots.

h. 29-1/2”, w. 31-1/2”, d. 24”, ext. w. 48”

$1,500-$2,500

361

Large Italian Giltwood Console Bracket

19th century, in the Baroque taste, the shelf with a bowed center, on a scroll-carved cartouche backplate, trimmed with carved acanthus leaves.

h. 16-3/4”, w. 41”, d. 13”

$1,500-$2,500

362

Pair of Louis XVI Giltwood Fauteuils

18th century, with oval backs and a central carved swag, raised on stop-fluted legs, covered in period Aubusson tapestry.

h. 38-1/2”, w. 26”, d. 20”

$1,000-$1,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

363

French Belle Epoque Gilt-Bronze Figural Encrier

fourth quarter 19th century, in the Louis XV taste, decorated with a cherub embracing a putto, each holding flowers, flanked by molded candle holders on scrolled supports, the shell-form pen tray crowned with a masque of Poseidon, flanked by a cut-glass ink pot and sander, retaining flower-molded bronze covers, the scroll-molded front skirt concealing a drawer, the whole supported on scrolled feet.

h. 9-1/2”, w. 14-1/4”, d. 6-1/4”

$1,000-$1,500

361

362

364

Pair of Gilt-Bronze Five-Light Candelabra

20th century, in the rococo taste, the leaf-molded candle sockets on pierced, matching branches, set into inverted pear-form bases molded with scrollwork, the center sockets with removable flame finials. h. 20”, dia. 10-1/2”

$800-$1,200

365 French Belle Epoque Parcel-Gilt Wooden Pier Mirror

fourth quarter 19th century, the arched crest trimmed with giltwood roses, the oval-shaped center medallion decorated with putti riding a dolphin, flanked by giltwood panels of ribbon-bound leaves, set with a beveled mirror plate. h. 80”, w. 48”

$1,400-$1,800

366 Italian White Marble Bust of Hebe

third quarter 19th century, the goddess of youth with downcast eyes, her hair pulled back, presented on a turned socle. h. 20”, w. 12-1/2”, d. 10-1/4”

$1,500-$2,500

367

Pair of French Restauration Gilt-Bronze Candlesticks

second quarter 19th century, the engine-turned bobeches set into bulbous, leaf-molded nozzles, on column-form standards with wreath-of-fruit capitals, terminating in anthemia, the bases richly molded with flowers and engine turning. h. 10-3/4”, dia. 4-1/2”

$600-$900

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

368

Italian Polychrome Console Table

18th century and later, the serpentine faux marbre top over a conforming case fitted with a single drawer, with a central painted reserve signed “C.C.V. Pient.”, the sides with floral sprays, raised on tall cabriole legs.

h. 33”, w. 41”, d. 19”

$1,000-$1,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

369

Louis Philippe Gilt-Bronze Chandelier

second quarter 20th century, the ten-light chandelier carefully cast and retaining a rich, original bronze dore surface, the vasiform standard molded with scrollwork, supporting leaf-molded scrolled branches terminating in leaf-molded drip pans and shell-molded candle sockets, with bronze bobeches, electrified. h. 20”, dia. 20-1/2”

$1,200-$1,800

370

Handsome Framed Aubusson Tapestry

19th century, the tapestry with a rich floral still life in a low urn, on a marble plinth, in a Louis XV-style giltwood frame decorated with scrollwork and anthemia, on a textured ground. h. 42”, w. 35-1/4”

$1,500-$2,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

371

Pair

English Regency Revival Giltwood Brackets

ca. 1900, the hemispherical shelves with ogee edges, on carved and pierced supports decorated with lotus blossoms, with putty-colored painted accents. h. 13”, w. 13”, d. 7-1/2”

$1,000-$1,500

Provenance: Kevin Stone Antiques, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

372

Pair of Louis XV-Style Giltwood Fauteuils

19th century, the padded backs joined by carved arms with padded elbow rests, the seat frames with foliate- and shellcarved details, raised on cabriole legs ending in scrolled toes. h. 42-1/2”, w. 31”, d. 25”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

373

Napoleon III Parquetry, Gilt-Bronze and Porcelain Jardiniere

third quarter 19th century, the lobed Napoleon III jardiniere veneered with parquetry work, decorated with a floral porcelain plaque in a gilt-bronze bezel, mounted with bronze handles and trim, the interior with a tole insert. h. 7-3/4”, w. 16-1/2”, d. 14”

$600-$900

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

374 German Mahogany and Fruitwood Chest

18th century, the banded and shaped rectangular top above a conforming case fitted with five banded drawers, all with decorative hardware, raised on cabriole legs ending in sabots. h. 37”, w. 20”, d. 12”

$900-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

375

French Double-Door Mahogany Bibliotheque

first quarter 20th century, in the Directoire taste, the pair of glazed and paneled doors with figured mahogany veneers, flanked by fluted pilasters to each side, raised on turned, fluted and tapered legs. h. 67”, w. 48”, d. 16”

$1,000-$1,500

Monumental Italian Neoclassical Altar Stick

fourth quarter 19th century, the giltwood altar stick with a pricket candle support, on a vasiform, fluted standard carved with acanthus leaves, raised on a tripartite base with griffin heads terminating in paw feet, the panels decorated with cabochons framed in scrollwork. h. 68-1/2”, dia. 22-1/2”

$1,000-$1,500

377

Gilt-Bronze Warwick Vase

19th century, English or Continental, after the 2nd century CE Roman marble excavated at Hadrian’s Villa, Tivoli, ca. 1770 (with reconstruction by Giovanni Piranesi [Italian, 1720-1778)] and now conserved at the Burrell Collection, Glasgow, the beaded rim over the body decorated with figures, set with twisted grapevine handles, on a concave fluted base. h. 11-1/4”, w. 15-1/2”, d. 12-1/2”

$1,200-$1,800

378

Pair of French Giltwood Brackets

18th century, the serpentine shelves over leaf-carved and scrolled backplates, accented with pierced rocaille carving. h. 13-1/4”, w. 12-1/4”, d. 8-1/4”

$900-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

379

Louis XVI-Style Mahogany and Marble-Top Side Table

20th century, in the manner of Paul Sormani, the marble top with a three-quarter pierced brass gallery, over three long drawers, raised on turned and fluted legs. h. 27-1/2”, w. 26”, d. 16”

$1,000-$1,500

380 Louis XV Fruitwood Duchesse Brisee

18th century, in two parts, each section with a curved and carved back centered by a floral spray, each with a reversible loose cushion, raised on short cabriole legs. h. 35-1/2”, w. 33”, d. 85”

$1,000-$1,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

381

Pair of Italian Carved and Painted Wooden Putti

18th century, the polychromed “floating” putti clad in drapery. h. 22-1/2”, w. 10-1/2”, d. 8” and h. 23-1/2”, w. 14-1/2”, d. 9-1/2”

$1,000-$1,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

382

Unusual Italian Wooden and Marble-Top Side Table

19th century, the polychrome and parcel-gilt wooden table having a hexagonal top with inset rouge marble, supported by three turned standards mounted to a triangular base and raised on turned feet.

h. 33”, w. 18”, d. 15”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

383

Pair of Painted Panels in the Baroque Taste

19th century, the shield-form plaques with bas-relief-carved giltwood surrounds, decorated with scrollwork, leaves and flowers, framing Arcadian landscapes with figures in classical dress.

h. 48-1/2”, w. 35-1/2”

$1,400-$1,800

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

382

384

Louis XVI Giltwood and Marble-Top Console Table

18th century, of demilune form, the white-and-gray-veined marble top over a pierced frieze with beaded trim, raised on turned and fluted circular legs. h. 35”, w. 50”, d. 24”

$2,000-$4,000

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

385

Pair of Louis XV-Style Polychrome Bergeres

19th century, the parcel-gilt bergeres with carved and molded frames, with floral back crests, covered in floral Aubussonstyle fabric, raised on cabriole legs. h. 40-1/2”, w. 29-1/2”, d. 29”

$1,200-$1,800

386

French Belle Epoque Giltwood Mirror

fourth quarter 19th century, the outer surround with a scrolled and pierced crest decorated with an anthemion and flower heads, the beveled mirror with a gadrooned lining and inner beaded surround.

h. 57”, w. 41”

$1,000-$1,500

387

Pair of Italian Carved and Painted Wooden Angels

fourth quarter 19th century, the kneeling polychrome angels with parcel- and silver-gilt wings, one draped in white and the other in blue, on contemporary ebonized wooden stands. h. 22”, w. 22-1/2”, d. 14-1/2”

$1,200-$1,800

388

Italian Rococo Painted and Parcel-Gilt Wooden Thermometer

18th century, the cone-form finial accented with bellflower swags over the gilt-lined thermometer, on a pale blue-green ground, the lower portion mounted with a barometer, signed “Plover Quai de la Rapee, Paris”. h. 41-1/2”, w. 12”

$1,000-$1,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

389

Kingwood, Exotic Woods and Marble-Top Commode

first quarter 20th century, the Louis XVI-style commode with a bowed, variegated white marble top above a conforming case fitted with a frieze drawer over two drawers, banded and centered by a foliate musical design, flanked to either side by a rounded, quarter-veneered cupboard door, raised on tapered circular legs ending in caps. h. 33”, w. 33”, d. 17”

$1,000-$1,500

390

Pair of French Gilt-Bronze Sconces

ca. 1900, in the Louis XVI taste, the quiver-form backplates set with urn-form flame finials, and scrolled candle branches accented with molded acanthus leaves, terminating in beaded drip pans and leaf-molded candle sockets. h. 18”, w. 14”, d. 11”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

391

Pair of French Gilt-Brass Altar Sticks

ca. 1800, the carefully molded altar sticks with seamed construction, retaining an original gilt surface, the inverted bellform candle holders mounted on molded vasiform standards decorated with Ionic capitals, scrollwork and flower heads, with cabochons near the base molded with crosses and images personifying the Father, Son and Holy Ghost, raised on leaf-molded feet.

h. 33”, dia. 7”

$800-$1,200

392

Pair of French Gilt-Brass Altar Sticks

ca. 1800, the sticks with seamed construction, retaining an original gilt surface, the inverted bell-form candle holders mounted on molded vasiform standards decorated with Ionic capitals, scrollwork and flower heads, with cabochons near the base molded with crosses and images personifying the Father, Son, and Holy Ghost, raised on leaf-molded feet.

h. 33”, dia. 7”

$800-$1,200

393

French Gilt-Metal “Victory” Gas Wall Sconce

mid-19th century, the molded gas arm decorated with Winged Victory as a sea goddess, with a dolphin tail, supporting a torchform socket holder, mounted with a 19th-century engraved glass shade, electrified.

h. 10”, w. 7”, d. 10-1/2”

$700-$1,000

391

394

Italian Parcel-Gilt Wooden Supraporte

ca. 1800, the panel with carved giltwood war trophies on a fluted stand, framed with carved ribbon-wrapped reeding, and carved corner medallions on a green ground, the pierced base panel decorated with square medallions. h. 22-1/2”, w. 37-3/4”

$1,500-$2,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

395 Pair of Large Italian Giltwood Altar Stick Lamps

early 19th century, the reeded drip pans resting on vasiform standards, decorated with carved leaves, on flower-carved supports, the tripartite bases carved with scrollwork and acanthus leaves, raised on carved ball feet and fitted with lampshades. h. 34-3/4”, dia. 9-3/4”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

19th century, the serpentine faux marbre top above a conforming case fitted with three drawers, each decorated with hand-painted floral sprays, raised on cabriole legs. h. 32”, w. 29”, d. 13”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

396

Venetian Polychrome and Faux Marbre Commode

394

395

397

Pair of French Gilt-Bronze and Crystal Candelabra

20th century, of Louis XIV inspiration, with cut crystal spear-point finials and three graduated sprays of cut glass swags and drops, above scrolled candle arms terminating in inverted bell-form candle sockets and beaded drip pans, hung with swags of cut glass drops, now with removable glass votive holders. h. 28”, dia. 13-1/2”

$1,000-$1,500

Provenance: Private collection, Little Rock, Arkansas.

398

Franco-Chinese Porcelain and Bronze Centerpiece

third quarter 19th century, the bowl decorated in the famille rose palette with panels of mandarin figures alternating with panels of peonies and butterflies, with a pierced bronze rim and Greek fret-form bronze handles decorated with swags of fruit, the pierced bronze base with medallion-molded feet. h. 10”, w. 17-3/4”, d. 14”

$1,000-$1,500

399

Pair of American Empire-Style Gilt-Bronze Sconces

20th century, the backplates in the form of lion’s heads mounted with anthemia grasping engine-turned rings, set with candle sockets, cast by Gorham, Providence, Rhode Island, and stamped “Gorham Co Founders, OFES”. h. 8-3/4”, w. 9”, d. 8-1/4”

$1,000-$1,500

400

fourth quarter 19th century, the outer surround with a scrolled and pierced crest decorated with an anthemion and flower heads, with a gadrooned lining, the inner beaded surround lining with beveled mirror inserts separated by cartouches. h. 57”, w. 41”

$1,500-$2,500

400

401

second quarter 20th century, in the Louis XVI taste, the tapered backplates with flaming urn finials, with leafmolded handles, the leaf-molded and scrolled candle branches supporting acanthus-molded drip pans and matching inverted bell-form candle sockets, fitted with lampshades. h. 22-1/4”, w. 11-1/4”, d. 8”

$1,200-$1,800

French Belle Epoque Giltwood Mirror

Pair of French Gilt-Bronze Sconces

Monumental French Provincial Armoire

second quarter 19th century, the domed and molded cornice above a case fitted with a paneled frieze over two long, bi-paneled doors, raised above a shaped apron on shaped toes, the whole accented with patterned parquetry veneers throughout.

h. 108”, w. 69”, d. 30”

$2,000-$4,000

403

Pair of Louis XVI-Style Creme-Peinte Fauteuils

19th century, each with a padded oval back within a molded frame, joined by padded arms to the like seat, raised on fluted, tapered circular legs ending in toupie feet.

h. 35”, w. 23”, d. 19”

$1,000-$1,500

404 Frederick George Richard Roth (American, 1872-1944)

“Pig Tied to a Stake”, 1903 patinated bronze with cast signature, date and copyright mark along one side, and “Roman Bronze Works” foundry mark along the other. h. 3”, w. 7”, d. 2-3/4”

$1,000-$1,500

The academically trained American animalier F.G.R. Roth attended the Akademie der bildenden Kunste Wien (Academy of Fine Arts, Vienna) and the Konigliche Kunstschule zu Berlin (Royal Academy of Art, Berlin) where he explored numerous sculptural techniques and styles. Upon his return to the United States, he concentrated on life studies of animals. His bronzes of horses, dogs, and - as represented here - even pigs, were acclaimed for their attention to detail and the accuracy of their anatomy and musculature. He was elected to the National Academy in 1906, the National Institute of Arts and Letters in 1910, and served as an instructor at the New York National Academy of Design from 1915-1918 where he was a beloved and influential teacher. In the 1930s, he was the chief sculptor for the New York Park Department under the Public Works Administration (WPA).

A copy of the bronze offered here is in the permanent collection of the Metropolitan Museum of Art, New York, New York.

405

Exceptional Brass-Inlaid Calamander Writing Box

third quarter 19th century, the cover decorated with brass stringing and a central engraved monogram cartouche, set with signed “Bramah, London” cylinder locks, the interior with a lift-out kingwood frame, with a plum-colored crushed velvet panel concealing black calf letter holders, the top compartments lined with plum-colored moire, hidden releases activate to reveal hidden drawers on each side and the bottom, all lined, the drawers with solid kingwood sides. h. 9”, w. 14”, d. 10-1/4”

$700-$1,000

406

Pair of Chinese Kangxi-Style Dishes

the blue-and-white dishes with central panels of grapes and grape leaves, the borders separated into panels decorated with various flowers, the bottoms with seal marks. dia. 14”

$700-$1,000

Provenance: Collection of Arlene Philipson, New Orleans, Louisiana.

407

Large French Mahogany Library/Center Table

ca. 1900, in the Louis XV-style, the serpentine rectangular top with a gadrooned edge over a frame with shell-carved aprons and floral sprays, raised on cabriole legs joined by a carved stretcher. h. 29-1/2”, w. 56”, d. 35”

$1,200-$1,800

408

Pair of Belle Epoque Bronze and Marble Lamps

fourth quarter 19th century, composed of giltbronze and rouge griotte marble five-light candelabra, the leaf-molded drip pans and candle cups set on scrolling branches emanating from vasiform, leaf-molded standards, on fluted, covecarved marble bases, raised on scrolled bronze feet, fitted with lampshades. h. 34-1/2”, dia. 17-1/4”

$1,200-$1,800

409

Ray Donley (American, b. 1950)

“World Gone Wrong”, 2006 oil on gallery-wrapped canvas signed and dated lower right, and signed and dated en verso. 78” x 58”

$3,000-$5,000

“With their suggestions of silence, solitude, reverie and even madness, these paintings are meant to evoke aspects of our more reflective (and sometimes) darker states. By tapping into these introspective states, I seek above all to create an art that, while seemingly possessing a Renaissance or Baroque pedigree, is itself rich with its own mythic and symbolic potential.”

- Ray Donley

SESSION SUNDAY, JULY 27

2

yellow gold, the necklace mounted with round brilliant-cut diamonds weighing approximately 0.45 carats in total.

l. 16” to 18”, total weight 5.2 grams

$1,200-$1,800

410

Diamond Necklace

14k

411

Diamond Snake Ring

14k yellow gold, the ring mounted with baguette-cut and pear-cut diamonds weighing approximately 0.60 carats in total.

size 7, total weight 2.3 grams

$1,000-$1,500

412

Pair of Diamond Huggie Earrings

14k yellow gold, the earrings mounted with round brilliant-cut diamonds weighing approximately 1.55 carats in total. l. 5/8”, total weight 4.5 grams

$2,000-$4,000

413

Diamond Bangle Bracelet

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 1.50 carats in total. inside circumference 6-1/2”, total weight 4.8 grams

$1,500-$2,500

$3,000-$5,000

Diamond Tennis Necklace

14k yellow gold, the necklace mounted with round brilliant-cut diamonds weighing approximately 3.50 carats in total.

l. 16”, total weight 11.6 grams

415

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 0.70 carats in total. inside circumference 6-3/4”, total weight 5.3 grams

$1,400-$1,800

416

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 0.50 carats in total. inside circumference 6-3/4”, total weight 6.2 grams

$1,400-$1,800

417

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 0.49 carats in total. inside circumference 6-3/4”, total weight 5.9 grams

$1,400-$1,800

Diamond Bangle Bracelet

14k yellow gold, the necklace composed of long and short interlocking polished gold links.

l. 18”, total weight 14.2 grams

$1,500-$2,500

418 Gold Chain-Link Necklace

419

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 0.60 carats in total. inside circumference 6-3/4”, total weight 7.6 grams

$1,800-$2,500

420 Pair of Diamond Ear Clips

14k yellow gold, the ear clips mounted with round brilliant-cut and baguette-cut diamonds weighing approximately 1.96 carats in total.

l. 7/8”, total weight 10.3 grams

$3,500-$5,000

421

18k yellow gold, the brooch mounted with round brilliant-cut diamonds weighing approximately 1.65 carats in total.

l. 1-3/4”, total weight 9.2 grams

$3,000-$5,000

Diamond Bracelet

Diamond Leaf Brooch

14k yellow gold, the necklace mounted with square-cut emeralds weighing approximately 5.15 carats in total, accented by round brilliant-cut diamonds weighing approximately 2.25 carats in total, on a paper-clip-link chain.

l. 16”, total weight 17.3 grams

$4,500-$7,000

422 Emerald and Diamond Necklace

423 Emerald and Diamond Ring

14k yellow gold, the ring mounted with an emerald-cut emerald weighing approximately 1.25 carats, accented by round brilliant-cut diamonds weighing approximately 0.60 carats in total.

size 7-1/2, total weight 3.8 grams

$1,200-$1,800

424

Pair of Emerald and Diamond Earrings

14k yellow gold, the earrings mounted with square-cut emeralds weighing approximately 1.00 carat in total, accented by round brilliant-cut diamonds weighing approximately 0.50 carats in total.

l. 3/4”, total weight 3.3 grams

$1,000-$1,500

425 Emerald, Diamond and Enamel Ring

18k yellow gold, the ring mounted with a central squarecut emerald weighing approximately 1.72 carats, accented by a border of round brilliant-cut diamonds weighing approximately 0.20 carats in total, surrounded by an enamel border.

size 7-1/4”, total weight 3.4 grams

$1,500-$2,500

Turquoise and Diamond Lizard Brooch

14k yellow gold/sterling silver, the brooch mounted with turquoise cabochons weighing approximately 2.19 carats in total and round-cut diamonds weighing approximately 0.65 carats in total, the eyes accented with round-cut rubies weighing approximately 0.03 carats in total.

size 2” x 5/8”, total weight 5.5 grams

$1,200-$1,800

427

Gem-Set Dragon Brooch/Pendant

14k yellow gold/sterling silver, the brooch/pendant mounted with an oval blue topaz weighing approximately 2.95 carats, accented by round-cut diamonds weighing approximately 2.14 carats in total, an emerald cabochon weighing approximately 0.52 carats and a round-cut ruby weighing approximately 0.04 carats.

size 1-1/2” x 1-5/8”, total weight 17.7 grams

$1,800-$2,500

428

Diamond Crescent Brooch

14k yellow gold/sterling silver, the brooch mounted with single-cut and rose-cut yellow and white diamonds weighing approximately 4.96 carats in total.

size 1-3/8” x 1-1/2”, total weight 7.6 grams

$1,400-$1,800

429

Pearl, Diamond and Ruby Crab Brooch/Pendant

14k yellow gold/sterling silver, the brooch/pendant mounted with a baroque pearl, accented by round-cut diamonds weighing approximately 2.34 carats in total and round-cut rubies weighing approximately 0.13 carats in total, accented by enamel.

size 1-3/4” x 1-3/4”, total weight 18.0 grams

$1,800-$2,500

430

Pink Opal, Diamond and Ruby Bug Brooch/Pendant

14k yellow gold/sterling silver, the brooch/pendant mounted with pink opal “wings”, accented by round-cut diamonds weighing approximately 2.40 carats in total, round-cut rubies weighing approximately 0.15 carats in total and black enamel.

size 2” x 1-3/4”, total weight 16.7 grams

$1,800-$2,500

431

Unusual Ruby, Opal and Diamond Brooch

14k yellow gold/sterling silver, the brooch mounted with a pear-cut and round-cut rubies weighing approximately 42.20 carats in total, accented by an opal cabochon weighing approximately 2.32 carats and round-cut diamonds weighing approximately 1.77 carats in total.

size 2-1/8” x 2-1/2”, total weight 20.1 grams

$2,000-$4,000

432

Opal, Diamond and Emerald Beetle Brooch

14k yellow gold/sterling silver, the brooch mounted with an opal cabochon weighing approximately 11.95 carats, accented by round-cut diamonds weighing approximately 1.28 carats in total, a pear-cut emerald weighing approximately 0.70 carats and round-cut rubies weighing approximately 0.02 carats in total.

size 1” x 1-1/2”, total weight 7.2 grams

$1,500-$2,500

433

Opal, Diamond, Emerald and Onyx Ring

14k yellow gold/sterling silver, the ring mounted with a central opal cabochon weighing approximately 4.10 carats, accented by square-cut emeralds weighing approximately 2.15 carats in total, round-cut diamonds weighing approximately 0.95 carats in total, and sections of black onyx.

size 7-1/2, total weight 8.7 grams

$1,500-$2,500

434

Opal, Diamond and Tsavorite Garnet Ring

14k yellow gold/sterling silver, the ring mounted with a central opal cabochon weighing approximately 10.77 carats, accented by round-cut diamonds weighing approximately 1.02 carats in total and round-cut tsavorite garnets weighing approximately 0.14 carats in total.

size 7-1/2, total weight 7.6 grams

$1,400-$1,800

$6,000-$9,000

Art Deco Diamond and Onyx Pendant Necklace

18k white gold, the necklace mounted with round brilliantcut diamonds weighing approximately 3.20 carats in total, accented by carved onyx.

l. 17”, pendant drop 2-1/4”, total weight 31.1 grams

436

Diamond, Emerald and Onyx Ring

platinum, the ring center mounted with four emeraldcut diamonds weighing approximately 1.00 carat in total, accented by round brilliant-cut diamonds throughout weighing approximately 0.68 carats in total, sugarloaf emerald cabochons weighing approximately 0.12 carats in total and a black onyx border.

size 7-1/2, total weight 10.3 grams

$6,000-$9,000

437

Pair of Diamond and Emerald Earrings

platinum, the earrings mounted with central Asscher-cut diamonds weighing approximately 2.10 carats in total, accented by a border of calibrated-cut emeralds weighing approximately 0.96 carats in total, suspended from a mounting set with a round brilliant-cut diamond weighing approximately 0.14 carats in total.

l. 5/8”, total weight 6.9 grams

$12,000-$18,000

438

Art Deco-Style Diamond, Emerald and Onyx Ring

platinum, the ring mounted with a central Asscher-cut diamond weighing approximately 0.70 carats, accented by round brilliant-cut diamonds weighing approximately 0.52 carats in total, baguette-cut emeralds weighing approximately 0.30 carats in total, flanked on the top and bottom by onyx inserts.

size 7-1/2, total weight 6.0 grams

$7,000-$10,000

437

438

440

Pair of Diamond Earrings

14k yellow gold, the earrings mounted with central rosecut diamonds weighing approximately 3.00 carats in total, surrounded by a halo of European-cut diamonds weighing approximately 1.12 carats in total.

l. 1” (from top of wire), total weight 5.7 grams

$6,000-$9,000

439

Stunning Natural Jade and Diamond Brooch

18k white/yellow gold, ca. 1910-1930, the “bow” brooch mounted with European-cut and round-cut diamonds weighing approximately 2.80 carats in total, with articulated “ribbon” ends mounted with tear-drop-shaped natural jade pendants. size 2-3/4” x 3”, total weight 21.6 grams

$14,000-$18,000

441

Diamond Brooch

platinum, ca. 1915-1930, the brooch mounted with a central European-cut diamond weighing approximately 0.65 carats, accented by European- and mine-cut diamonds weighing approximately 1.52 carats in total.

l. 2-3/4”, total weight 9.5 grams

$1,500-$2,500

439 440

441

442

Diamond and Emerald Bracelet

platinum, the bracelet mounted with a central square-cut diamond weighing approximately 1.00 carat, accented by oval-cut and calibrated-cut emeralds weighing approximately 0.70 carats in total and round brilliant-cut diamonds weighing approximately 4.14 carats in total. l. 6-1/4”, total weight 22.7 grams

$12,000-$18,000

443

Diamond and Emerald Ring

platinum, the ring mounted with a central European cushioncut diamond weighing approximately 0.60 carats, accented by round brilliant-cut diamonds weighing approximately 0.36 carats in total and calibrated-cut emeralds weighing approximately 0.16 carats in total. size 7-1/4, total weight 5.0 grams

$3,500-$5,000

Diamond Necklace

14k white gold, the necklace mounted with round brilliant-cut diamonds weighing approximately 13.50 carats in total.

l. 18”, total weight 20.8 grams

$9,000-$12,000

445

Pair of Diamond Studs

14k white gold, the stud earrings mounted with round brilliant-cut diamonds weighing approximately 2.59 carats in total, approximate color G-H-I and clarity I1-I2. total weight 1.5 grams

$5,000-$8,000

446

Diamond Bangle Bracelet

14k white gold, the oval bracelet mounted with a round brilliant-cut diamond weighing approximately 0.60 carats. inside circumference 6-3/4”, total weight 4.2 grams

$1,500-$2,500

447

Diamond Ring

18k white gold, the ring mounted with round brilliant-cut and baguette-cut diamonds weighing approximately 1.10 carats in total. size 7-1/4, total weight 3.2 grams

$1,800-$2,500 446

448

Diamond and Ruby Ring

platinum, the ring mounted with a central European cushion-cut diamond weighing approximately 0.50 carats, accented with round brilliant-cut diamonds weighing approximately 1.08 carats in total, calibrated-cut rubies weighing approximately 0.60 carats in total and black enamel.

size 7-1/4, total weight 6.7 grams

$4,500-$7,000

449

Diamond and Ruby Bracelet

18k yellow gold, the bracelet mounted with rows of round brilliant-cut diamonds weighing approximately 3.50 carats in total, alternating with rows of round-cut rubies weighing approximately 3.50 carats in total.

l. 7-1/4”, total weight 44.9 grams

$7,000-$10,000

450

Ruby and Diamond Ring

platinum, the ring mounted with an oval-cut ruby weighing approximately 1.00 carat, accented with a halo of European-cut diamonds and rose-cut diamonds on the sides, weighing approximately 0.86 carats in total.

size 6-3/4, total weight 3.4 grams

$8,000-$12,000

Amethyst and Pearl Ring

14k yellow gold, the ring mounted with a large emerald-cut amethyst weighing approximately 34.57 carats, surrounded by a border of seed pearls.

size 6-1/2, total weight 17.0 grams

$1,200-$1,800

452

Cultured Pearl and Diamond Necklace

18k yellow gold, the necklace mounted with graduated cultured white pearls measuring approximately 14.00mm to 15.00mm, finished with a gold clasp mounted with round brilliant-cut diamonds weighing approximately 0.08 carats in total.

l. 17-1/2”, total weight 117.0 grams

$2,500-$4,000

453

14k yellow gold, the necklace mounted with bezel-set round brilliant-cut diamonds weighing approximately 4.25 carats in total.

l. 16”, total weight 11.5 grams

$4,000-$7,000

454

14k yellow gold, the bracelet mounted with bezel-set round brilliant-cut diamonds weighing approximately 1.00 carat in total.

l. 7”, total weight 5.1 grams

$1,400-$1,800

Diamond Necklace

Diamond Tennis Bracelet

455

Diamond Eternity Band

14k yellow gold, the band mounted with round brilliant-cut diamonds weighing approximately 2.00 carats in total.

size 8, total weight 2.5 grams

$2,500-$4,000

456

Diamond Necklace

14k yellow gold, the necklace mounted with round brilliant-cut diamonds weighing approximately 0.80 carats in total, on a paper-clip-link chain. l. 16”, total weight 3.6 grams

$1,500-$2,500

457

Pair of Diamond Studs

14k yellow gold, the earrings mounted with round brilliant-cut diamonds weighing approximately 0.80 carats in total. dia. 5/16”, total weight 1.7 grams

$1,200-$1,800

458

14k yellow gold, the two-strand coral necklace, accented with emerald and gold roundels, mounted with three gold plates, each accented with coral cabochons, the center plate with a round brilliant-cut diamond weighing approximately 0.02 carats.

l. 18”, total weight 24.1 grams

$1,000-$1,500 458

Coral, Emerald and Diamond Necklace

460

Diamond and Onyx Bangle Bracelet

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 0.40 carats in total, accented by black onyx bands. inside circumference 6-3/8”, total weight 16.6 grams

$2,500-$4,000

459

Pair of Diamond Hoop Earrings

14k yellow gold, the inside/outside round earrings mounted with round brilliant-cut diamonds weighing approximately 1.55 carats in total.

l. 1-1/4”, total weight 7.0 grams

$1,500-$2,500

461

Gold Lady’s Longines Watch

14k yellow gold, the 22.00mm watch face marked “Longines” and the gold Longines watch band stamped “LONGINES 14K FRANCE”.

l. 6-1/2”, total weight 33.1 grams

$1,500-$2,500

462

18k yellow gold, the necklace mounted with pear-, emerald- and marquise-cut diamonds weighing approximately 7.60 carats in total.

l. 16”, total weight 21.1 grams

$12,000-$18,000

463

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 2.00 carats in total.

l. 7”, total weight 9.2 grams

$2,500-$4,000

Diamond Necklace

Diamond Bracelet

464

Pair of Diamond Studs

14k yellow gold, the stud earrings bezel-set with round brilliant-cut diamonds weighing approximately 3.03 carats in total, approximate color I-J-K and clarity SI3-I1. dia. 3/8”, total weight 3.1 grams

$7,000-$10,000

465

Diamond Bangle Bracelet

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 0.40 carats in total.

inside circumference 6-3/4”, total weight 6.6 grams

$1,500-$2,500

466

14k yellow gold, the necklace mounted with fixed stations of round brilliant-cut diamonds weighing approximately 0.50 carats in total.

l. 16” to 18”, total weight 2.5 grams

$1,000-$1,500

466

Diamond Necklace

467

Diamond Pendant Necklace

14k yellow gold, the fixed pendant mounted with baguette-cut diamonds weighing approximately 0.50 carats in total.

l. 16” to 18”, total weight 1.8 grams

$1,200-$1,800

468

Emerald-Cut Diamond Eternity Band

18k yellow gold, the band mounted with emerald-cut diamonds weighing approximately 2.65 carats in total. size 6-1/2, total weight 3.6 grams

$3,500-$5,000

14k white gold, the necklace mounted with graduated round brilliant-cut diamonds weighing approximately 5.00 carats in total. l. 17”, total weight 10.1 grams

$5,000-$8,000

469

Diamond Necklace

469

470

14k white gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 4.50 carats in total. l. 7”, total weight 9.4 grams

$3,500-$5,000

471

Emerald and Diamond Band

18k white gold, the band mounted with oval cabochoncut emeralds weighing approximately 2.25 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.50 carats in total. size 6-3/4, total weight 4.4 grams

$1,800-$2,500

472

Pair of Diamond Earrings

18k white gold, the earrings mounted with round brilliant-cut diamonds weighing approximately 0.40 carats in total. dia. 5-1/6”, total weight 2.4 grams

$1,200-$1,800

Diamond Bracelet

471 472

473

Diamond Necklace

18k white gold, the necklace mounted with graduated round brilliant-cut diamonds weighing approximately 1.40 carats in total.

l. 16” to 18”, total weight 6.5 grams

$1,800-$2,500

474

Pair of Emerald and Diamond Earrings

18k white gold, the earrings mounted with emerald-cut emeralds weighing approximately 1.20 carats in total, accented by round brilliant-cut diamonds weighing approixmately 0.40 carats in total.

l. 1/2”, total weight 3.1 grams

$3,000-$5,000

473 474

475

Pair of Diamond Earrings

14k white gold, the earrings mounted with round brilliant-cut diamonds weighing approximately 1.50 carats in total.

l. 2”, total weight 4.3 grams

$1,800-$2,500

476

Emerald and Diamond Ring

18k white gold, the ring mounted with an emerald-cut emerald weighing approximately 0.90 carats, accented by emerald-cut and round brilliant-cut diamonds weighing approximately 0.73 carats in total. size 7, total weight 2.8 grams

$1,800-$2,500

477

Pair of Emerald and Diamond Earrings

18k white gold, the earrings mounted with emerald-cut emeralds weighing approximately 2.20 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.00 carat in total.

l. 1”, total weight 7.3 grams

$2,000-$4,000

platinum, the necklace mounted with swags of baguettecut diamonds weighing approximately 6.50 carats in total, separated by oval-cut sapphires weighing approximately 12.10 carats in total.

l. 16-1/2”, total weight 68.5 grams

$25,000-$40,000

478

Beautiful Diamond and Sapphire Necklace

478

479

Art Deco Diamond and Sapphire Bracelet

platinum, the bracelet mounted with oval-cut sapphires weighing approximately 10.00 carats in total, accented by round brilliant-cut diamonds weighing approximately 7.62 carats in total.

w. 5/8”, l. 6-7/8”, total weight 59.6 grams

$18,000-$25,000

480

Diamond and Sapphire Ring

platinum, the ring mounted with three European cushioncut diamonds weighing approximately 1.50 carats in total, surrounded by a border of calibrated-cut sapphires weighing approximately 0.24 carats in total, and an outer border of round brilliant-cut diamonds weighing approximately 0.28 carats in total.

size 7-1/2, total weight 5.9 grams

$4,500-$7,000

481

Diamond and Sapphire Brooch

platinum, the brooch mounted with a central round brilliant-cut diamond weighing approximately 1.00 carat, accented by round brilliant-cut diamonds weighing approximately 5.40 carats in total and calibrated-cut sapphires weighing approximately 0.40 carats in total.

size 2-1/2” x 1”, total weight 15.6 grams

$7,000-$10,000

482

Diamond and Sapphire Bracelet

platinum, the bracelet mounted with European-cut diamonds weighing approximately 6.26 carats in total and square-cut sapphires weighing approximately 3.60 carats in total.

l. 7”, total weight 17.6 grams

$6,000-$9,000

481

482

483

Pair of Art Deco Diamond and Sapphire Earrings

platinum, the earrings mounted with central Asscher-cut diamonds weighing approximately 1.20 carats in total, accented by European-cut diamonds weighing approximately 0.60 carats in total and calibrated-cut sapphires weighing approximately 1.08 carats in total. l. 1-3/4”, total weight 10.7 grams

$1,200-$1,800

484

Diamond and Sapphire Bangle Bracelet

14k white gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 0.55 carats in total and round-cut sapphires weighing approximately 1.00 carat in total.

inside circumference 6-1/2”, total weight 7.3 grams

$1,800-$2,500

483

484

485

Gentleman’s Diamond Ring

14k yellow/white gold, the ring mounted with a central European-cut diamond weighing 6.12 carats, color N and clarity I3, GIA report number 6234314698, accented by round brilliant-cut diamonds weighing approximately 0.30 carats in total.

size 12-1/4, total weight 15.1 grams

$9,000-$12,000

486

Audemars Freres, Geneve, Minute Repeater Simple Chronograph Pocket Watch

14k rose gold, the pocket watch measuring 55.50mm in diameter, the dial marked “Audemars Freres Brassus.Geneve”, with a simple chronograph hunting case, case number 178,346, monogrammed “EN”. h. 3-1/8”, w. 2-1/4”, total weight 119.9 grams

$2,000-$4,000

487

Angela Cummings Enamel Cufflink Set

18k yellow gold, the cufflink set decorated with black and gray enamel stripes, stamped “ANGELA CUMMINGS”. dia. 5/16” to 5/8”, total weight 24.2 grams

$4,000-$7,000

488

Pair of Bulgari Cufflinks

18k yellow gold and steel, stamped “BVLGARI” on the front and back.

dia. 1/2”, total weight 10.6 grams

$2,000-$4,000

489

Angela Cummings Gold Cufflinks

18k yellow gold, the cufflinks decorated with black enamel and sections of gold in a checkered pattern, stamped “ANGELA CUMMINGS”.

size 5/8” x 3/4”, total weight 15.7 grams

$3,000-$5,000

490

Tiffany & Co. Mother-of-Pearl Cufflink Set

18k yellow gold, the cufflinks mounted with motherof-pearl centers, with gold and black enamel borders, stamped “TIFFANY & CO.”. dia. 1/4” to 5/8”, total weight 25.9 grams

$4,000-$7,000

488

489

491

Pair of Tony Duquette Cufflinks

18k yellow gold, the cufflinks in the form of a frog, stamped “TONY DUQUETTE 18K”. size 7/8” x 3/4”, total weight 34.3 grams

$4,500-$7,000

492

Diamond and Onyx Cufflink Set

14k white/yellow gold, the cufflink set mounted with onyx accented with round brilliant-cut diamonds weighing approximately 0.58 carats in total. dia. 3/8” to 1/2”, total weight 12.5 grams

$2,500-$4,000

18k yellow gold, the cufflinks with an onyx center, bordered by mother-of-pearl, stamped “TIFFANY & CO.”. dia. 5/8”

$2,500-$4,000

493 Tiffany & Co. Mother-of-Pearl and Onyx Cufflinks

491

492

493

494

Two Pairs of Cufflinks

including a pair of 14k yellow gold cufflinks in the form of owls, the eyes mounted with cabochon-cut chrysoberyl weighing approximately 0.30 carats in total, l. 3/4”, and a pair of 18k yellow gold cufflinks mounted on the ends with square-cut sapphires weighing approximately 0.60 carats in total, l. 7/8”.

$1,000-$1,500

495

David Webb Enamel Cufflinks

18k yellow gold, the cufflinks with alternating black and gold enamel sections, stamped “WEBB 18K”. size 5/8” x 3/4”, total weight 19.9 grams

$3,000-$5,000

494

496

After John James Audubon (American, 1785-1851)

“Little Tyrant Flycatcher. Small Headed Flycatcher. Blue Mountain Warbler. Bartram’s Vireo. Short-legged Pewee. Rocky Mountain Flycatcher. No.87, Plate CCCCXXXIV”, 1838

hand-colored aquatint engraving engraved, printed and coloured by Robert Havell (British, 1793-1878).

Matted, glazed and framed. sight 27” x 18-3/4”, framed 45” x 32”

$2,000-$4,000

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

497

After John James Audubon (American, 1785-1851)

“Golden-Winged Warbler, Male 1, Female 2, and Cape May Warbler, Male 3, Female 4, No. 83, Plate CCCCXIV (414)”, 1838

hand-colored engraving engraved, printed and coloured by Robert Havell (British, 1793-1878).

Matted, glazed and framed. sight 22” x 14-1/2”, framed 42” x 30-3/4”

$1,500-$2,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

498

After Charles Bird King (American, 1785-1862)

“Tuko-See-Mathla. A Seminole Chief”, ca. 1843

lithograph in colors from History of the Indian Tribes of North America; and published by Daniel Rice and James G. Clark, Philadelphia, Pennsylvania.

Matted, glazed and framed. sight 17-1/2” x 12”, framed 26” x 20”

$1,000-$1,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

499

Pair of Italian Biedermeier-Style Rock Maple Armchairs

each chair with a curved crest rail joined to the downswept arms, with padded back and seat, raised on tapered square legs, labeled “Made in Italy, Galimberti Lino”. h. 35”, w. 23”, d. 26”

$800-$1,200

500 Oak and Wrought-Iron Guard Room Table

20th century, the provincial table with a plank top, with breadboard ends, supported by a scrolled iron base. h. 29-1/2”, w. 33-1/2”, l. 80”

$1,200-$1,800

501

18th century, the top with a removable cornice over a scrolland foliate-carved frieze and a pair of glazed doors, the base with a pair of framed and paneled doors, raised on short cabriole legs with scrolled toes. h. 76”, w. 68”, d. 24”

$1,000-$1,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

French Provincial Oak Buffet a Deux Corps

502

After Waclaw Bernard Szczublewski (Polish, 1888-1965)

“Mousse Siffleur - the Whistler” patinated bronze cast signature and titled at back. h. 17-1/2”, w. 5-1/4”, d. 6”

$800-$1,200

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

503

Hans Muller (Austrian, 1873-1937)

“The Farm Workers”

two patinated bronzes each with cast signature and one inscribed “Austria” along self-base. largest h. 15-1/2”, w. 5-3/4”, d. 4-3/4”

$1,000-$1,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

504

Semi-Antique Silk and Wool Persian Nain Carpet signed.

10’ 1” x 14’ 2”

$4,000-$7,000

505 Antique Persian Khamseh Carpet

11’ 2” x 17’ 5”

$6,000-$9,000

506

Semi-Antique Silk and Wool Isfahan Carpet signed.

10’ 1” x 13’ 7”

$4,000-$7,000

507 French Gilt-Bronze Chandelier

fourth quarter 19th century, the six-light chandelier with a fluted vasiform standard, decorated with masques on scrollwork, the bold, scrolled arms molded with bellflowers and set with beaded, leaf-molded drip pans and turned candle sockets.

h. 31”, dia. 34-1/2”

$1,800-$2,500

506

508

Royal Crown Derby Partial Dinner Service

ca. 1944-1977, the service in the “Vine Cobalt” pattern, including sixteen dinner plates, dia. 10-1/4”, sixteen salad/ dessert plates, dia. 8-1/2”, sixteen bread-and-butter plates, dia. 6-1/4”, four dessert/sauce dishes, dia. 5”, sixteen cream soup bowls and stands, h. 2”, dia. 6-1/4”, sixteen teacups and saucers, h. 2-3/4”, dia. 5-1/2”, and sixteen demitasse cups and saucers, h. 2-1/4”, dia. 4-3/4”.

$1,000-$1,500

Provenance: Private collection, New Orleans, Louisiana.

509 Regency-Style Rosewood and Mahogany Breakfront

19th century, the molded cornice above a lower center section fitted with two glazed doors, flanked by arched grilled doors, the lower section fitted with three paneled drawers over four cupboards doors, all paneled and flanked by engaged pilasters headed by ormolu pharaonic mounts and ending in ormolu feet on a plinth base. h. 83”, w. 84-1/2”, d. 15-1/2”

$1,200-$1,800

508

509

510 Custom Mahogany Double Pedestal Dining Table

20th century, in the Regency style, the top with rounded corners and a reeded leading edge, mounted to a pair of pedestals with turned standards, each with three downcurved reeded legs, ending in brass caps with casters. h. 30”, d. 52”, l. 98”

$3,000-$5,000

Provenance: Private collection, Laguna Beach, California.

511

Austrian School (19th Century)

“Portrait of a Gentleman” oil on canvas unsigned. Framed.

26” x 21”, framed 39” x 34-1/2”

$2,000-$4,000

This is a companion piece to the portrait in lot 512.

512 Austrian School (19th Century)

“Portrait of a Lady” oil on canvas unsigned. Framed.

26” x 21”, framed 39” x 34-1/2”

$2,000-$4,000

This is a companion piece to the portrait in lot 511.

513

Louis XIV Giltwood and Marble-Top Table

18th century, the rectangular white marble top over a heavily carved frame, the legs joined by a swirling X-form stretcher. h. 32”, w. 53”, d. 30”

$1,200-$1,800

Provenance: Acquired from the Roosevelt Hotel, New Orleans, Louisiana; Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

514

Fourteen Chinese Export Canton Dinner and Soup Plates

second half 19th century, including twelve dinner plates and two soup plates, with blue-and-white decoration and cloud borders, one with lancet borders. dia. 8-1/2” to 8-3/4”

$1,000-$1,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

515

French Provincial Oak Vasselier

19th century, the molded cornice surmounted by a foliate crest, above three open shelves, the lower section fitted with two drawers over two cupboards, each fitted with a shaped panel, raised above a shaped apron on Flemish toes.

h. 83”, w. 55-1/2”, d. 17-1/4”

$1,000-$1,500

513

514

516

Pair of Faience and Wood Jardinieres

the 19th-century carved wood faux wicker backplates with upper and side handles, and set with 18th-century rose-decorated faience tulipieres, retrofitted with tole inserts.

h. 17-1/2”, w. 9-1/4”, d. 5-1/2”

$700-$1,000

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

18th century, each with a semi-circular top raised on blockand-turned legs joined by curved stretchers, fitted with locking hooks to form a round center table.

h. 31-1/2”, w. 31”, d. 16”

$1,000-$1,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

517

Pair of English Majolica Vases

fourth quarter 19th century, the facades decorated with setters and rabbits, the sides with bas-relief clutches of game, the bottom painted “44” in cobalt. h. 9-1/2”, w. 4-1/2”, d. 4”

$600-$900

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

518

Pair of Italian Walnut Demilune Console Tables

516

517

518

519

Pair of Chinese Export Bronze-Mounted Porcelain Moderator Lamps

mid-19th century, the green and gold clobbered vasiform bodies in the Imari palette, with Rococo Revival gilt-bronze mounts, now electrified and fitted with lampshades. h. 26”, dia. 4-1/2” without shade

$700-$1,000

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

520

Provincial Cherrywood Expandable “Jupe” Table

20th century, the circular top with six wedge-shaped, pull-out sections, each tipped with a brass mount forming a central brass medallion when closed, and six additional fold-under leaves, supported by four turned standards mounted to an X-form base with carved and scrolled ends. h. 30-1/2”, dia. 60”, ext. dia. 78”

$2,500-$4,000

521 French Carved Fruitwood Bergere

19th century, the broad, curved back with a central floral and shell cartouche, with a reversible loose seat cushion, raised on short cabriole legs ending in scrolled toes, upholstered in designer fabric. h. 42-1/2”, w. 29”, d. 24”

$800-$1,200

Provenance: Private collection, Little Rock, Arkansas.

522

Pair of Italian Giltwood Neoclassical Urns

early 19th century, the fluted, leaf-carved urns set with bold, scrolled handles decorated with acanthus leaves and carved floriform medallions, on square bases with leaf-carved ogee base trim.

h. 24”, w. 16”, d. 9-1/2”

$1,000-$1,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

523

Pair of Restauration Marble-Top Console Tables

19th century, each mahogany table with a rectangular marble top above a plain frieze, raised on finely figured swan-form supports to a concave lower shelf, to anthemion-carved square feet.

h. 35-1/2”, w. 44-1/2”, d. 18”

$2,000-$4,000

522

523

524

French Polychrome Morbier Tall Clock

19th century, the pine case with floral-painted decor, and set with an embossed brass and porcelain movement signed “Devilliers au Temple”, with a time-and-strike movement. h. 90”, w. 18-1/2”, d. 9”

$1,000-$1,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

525 Italian Carved Wooden Figural Pedestal in the Baroque Taste

fourth quarter 19th century, the circular top decorated with carved fluting, over a standard with three putti climbing a tree, the base with a molded edge, raised on bun feet. h. 43”, dia. 15-1/2”

$600-$900

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

526

William IV Figured Mahogany Wine Cellarette

second quarter 19th century, the hinged cover opening to reveal fittings for seven bottles, and the base carved with lotus leaves, over scroll-trimmed feet.

h. 21-1/2”, w. 30”, d. 19”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

527

Pair of French Bronze and Marble Candelabra

second quarter 19th century, the leaf-molded arms set with leaf-molded candle sockets, the center sockets with removable flame finial inserts, the standards with bronze Egyptian capitals and Siena marble inserts, on scroll-molded bases, resting on Siena marble double-step bases with bronze lotus leaf trim.

h. 28-1/2”, dia. 11-3/4”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

528

Italian Rococo Silvered and Parcel-Giltwood Console Table

18th century, the faux marbre top over a carved frame with a shield-form cartouche in the front apron, raised on cabriole legs ending in scrolled toes.

h. 34-1/2”, w. 47”, d. 22-1/2”

$1,000-$1,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

527

526

529

Pair of Italian Giltwood Solomonic Columns

18th century, the lushly decorated, rope-twist columns (or pedestals) carved with grapes, vines and leaves. h. 49”, w. 8-1/2”, d. 8”

$1,500-$2,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

$800-$1,200

530

Peshawar Shirvan Runner

2’ 6” x 9’ 8”

531

Turkish Angora Oushak Carpet

10’ x 13’ 10”

$1,500-$2,500

532

Semi-Antique Kashan Carpet

11’ 6” x 15’ 4”

$2,000-$4,000

533

$10,000-$15,000

Antique Persian Lavar Kerman Carpet signed.

13’ 3” x 22’ 6”

534

Semi-Antique Turkoman Carpet

7’ 6” x 10’ 2”

$2,000-$4,000

535

Dutch Mahogany Linen Press

18th century, the angled pediment with egg-and-dartcarved moldings, over a pair of paneled doors with applied swag carvings, the base with three long drawers and raised on fluted block feet. h. 93-1/2”, w. 72”, d. 25”

$1,000-$1,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

534

536

English Hepplewhite Ebonized Sofa

19th century, the curved back with padded elbow rests, the frame with bellflower stenciling, raised on tapered square legs ending in spade feet. h. 37”, w. 78”, d. 30”

$2,000-$4,000

537

Pair of Chinese Porcelain Tree Tubs on Stands

20th century, in the famille noir palette, decorated with polychrome phoenix birds, peonies and sprays of prunus on a black ground, raised on wooden stands. tub h. 12-1/2”, overall h. 22-1/4”, dia. 17-1/2”

$1,000-$1,500

538

Pair of Chinese Ginger Jar Lamps

20th century, the porcelain ginger jars decorated with polychrome mandarin figures and peonies, with wooden caps and bases, fitted with lampshades. h. 32”, dia. 20”

$1,000-$1,500

Provenance: Private collection, New Orleans, Louisiana.

536

537

538

539

Set of Twelve “Pinecrest” Garden Chairs

attributed to Russell Woodard, the black metal chairs in the mid-century modern taste with curved crests set with vertical rails, the pierced seats on curved legs. h. 31-1/2”, w. 17-3/4”, d. 18-3/4”

$1,000-$1,500

540

Black Metal Entry Light

in the Mediterranean taste, the tapered, hexagonal lantern with spiral-turned corners, the glass sides with decorative grills, hanging from large scrolls and large arched scrolled side supports decorated with scrollwork and spiral turning. h. 49”, w. 60-1/2”, d. 34”

$2,000-$4,000

541

Pair of Large Black Metal Exterior Wall Lanterns

20th century, in the Mediterranean taste, the pierced and scrolled backplates supporting the carriage lamps, beneath scrolled ornaments accented with flowers. h. 66”, w. 17-1/2”, d. 27”

$1,800-$2,500

543

Iron and Glass Garden Table

the elongated beveled glass top supported by scrolled tulips, the sides divided into panels of flowers and leaves, with scrollwork below.

h. 28-1/2”, w. 45”, d. 35”

$1,000-$1,500

542

Pair of Nautical-Themed Metal Lamps

each molded with a pierced clipper ship atop an anchor, now with a metal lamp standard and a rectangular base.

h. 23”, w. 7-3/4”, d. 5”

$700-$1,000

544

Pair of Cast-Iron Seated Griffins

the garden ornaments with heads and bodies of a lion and wings of an eagle, in the Gothic style.

h. 34-1/2”, w. 22”, d. 20”

$1,000-$1,500

542

543

544

545

Pair of Iron and Stained Glass Exterior Lights

the scrolled iron crowns over hexagonal lanterns set with amber and red stained glass, the corners set with rope-twist decoration, the matching standards with scrolled wall mounts. h. 52-1/2”, w. 16”, d. 16”

$1,400-$1,800

546

Set of Four Garden Tables

the inset marble tops over black-painted metal bases with pierced and scroll-molded skirts, and sabre legs. h. 21-1/4”, w. 27”, d. 18-1/2”

$700-$1,000

545

546

547

Set of Twelve Brown Jordan “Florentine” Dining Chairs

after a design by Los Angeles designer Richard Frinier, the black metal chairs with scrolled terminals at the ends of each crest, scrolled arms and “woven” metal seats and backs, the bases with curule stretchers. h. 35”, w. 19-1/2”, d. 20-1/2”

$1,000-$1,500

548

Figural Bronze and Glass Coffee Table

the thick, oval plate-glass top supported by a pair of castbronze melusines. h. 19”, w. 68”, d. 39”

$1,000-$1,500

549

Dumitru Gorzo (Romanian, b. 1975)

“Moasa (Midwife)”

oil on gallery-wrapped canvas signed lower center, and signed and titled en verso. Unframed.

47-1/2” x 47-1/2”

$1,200-$1,800

550 Rufino Tamayo (Mexican, 1899-1991)

“Galaxia”

mixografia in colors on Arches paper mounted to backing board at corners signed in white crayon lower right and numbered “22/100” lower left, printed and published by Taller de Grafica, Mexicana, Mexico City. Float-mounted, glazed and framed. sheet 20” x 47-1/2”, framed 27” x 54”

$10,000-$15,000

549

551

Rufino Tamayo (Mexican, 1899-1991)

“Sandias”

mixografia in colors on Arches paper mounted to backing board at corners signed in white crayon lower right and numbered “16/100” lower left, printed and published by Taller de Grafica, Mexicana, Mexico City.

Float-mounted, glazed and framed. sheet 29-1/4” x 21”, framed 34-1/4” x 26”

$5,000-$8,000

551

552

Mario Schifano (Italian, 1934-1998)

“Untitled”

hand-retouched chromogenic print signed en verso, with a Certificazione di Autenticita label en verso, Mario Schifano Foundation Archive registration No. “F90-97/4329”.

Together with a Certificate of Authentication from Daliano Ribani Arte.

Float-mounted, glazed and framed. 4-3/4” x 6-1/2”, framed 14-1/2” x 16-1/2”

$5,000-$8,000

Provenance: Daliano Ribani Arte, Carrara, Italy.

Often dubbed “Italy’s Andy Warhol”, Mario Schifano was a consummate postmodernist - a painter, musician, and filmmaker whose multifaceted career defies categorization. He embraced the closely intertwined relationship between Pop art and postmodernism. Schifano led a colorful life from an early age: his social circle included Cy Twombly, Frank O’Hara, and Jean-Luc Godard, and he had many romantic dalliances, including famously stealing Marianne Faithfull away from Mick Jagger. His debaucherous lifestyle earned him six separate prison sentences. In recent years, Schifano’s vivacious oeuvre and way of life have earned him several retrospectives, including those at the National Gallery of Modern Art in Rome and at the Gallerie d’Italia in Naples.

Born in Libya at the time of Italian colonization, Schifano moved with his family to Rome at a young age. He never attended art school, opting for a self-taught approach, and worked as a ceramics restorer as he began to paint. He rose to fame with his Monocromi series - canvases that consisted of a single color, humming with energy - that he debuted at his first solo exhibition in 1959. In 1963, he declared he was done with monochromes, upsetting gallerists and art dealers throughout Italy, and pivoted sharply towards Pop art.

By this time, Rome had become a glitzy city of conspicuous consumption, and Schifano’s work reflected the wealth of imagery entering Italian culture through ubiquitous advertising. At the height of his fame, Schifano was known to throw lavish parties in his Roman apartment and whip around the ancient city in his Rolls Royce, often with members of the Rolling Stones in tow. Seeking reinvention, he again pivoted in the late 1960s, this time towards abstraction; using unorthodox materials like parcel paper and enamel paint, Schifano anticipated the Arte Povera movement.

Schifano worked intermittently until his death in 1998, embracing elements of gestural abstraction, geometric abstraction, Pop art, Conceptualism, and Arte Povera. His oeuvre defies narrow definitions, but his dedications to play, diversity, destruction of hierarchies, and the individual experience places him squarely as a father of postmodernism. Today, his influence - from his prolific creative output to his indulgent lifestyle - still reverberates throughout the contemporary art world.

553

Matt Messinger (American/Texas, b. 1974)

“Untitled”, 2008

mixed media on gallery-wrapped canvas signed lower right, and signed, dated and inscribed en verso. Unframed.

48” x 36”

$800-$1,200

554

Dietrich Klinge (German, b. 1954)

“Polyante”, 2000

patinated bronze incised signature, dated and numbered “2/6” along proper left side. h. 79”, w. 60”, d. 42”

$6,000-$9,000

Provenance: Private collection, Houston, Texas.

Klinge's large-scale sculptures are explorations of the human form, often referencing the archaic, classical or historical. His figures are abstracted and gestural, often verging on the brutalist, and reduced to the most essential - yet identifiable - elements. He utilizes an unusual and painstaking technique, first roughly carving (sometimes with a chain saw) the figures from wood before employing the lost-wax method for bronze casting, using partially wooden molds to create the resulting distinctive roughhewn surface. Each sculpture is patinated by the artist himself, to ensure the proper tone and surface and maintain the integrity of his vision.

553

555 Lazarus Takawira (Zimbabwian, 1952-2021)

“Madonna”

carved stone on a thin stone rectangular base. h. 13-1/2”, w. 36”, d. 12”

$2,000-$4,000

Provenance: Private collection, Baton Rouge, Louisiana.

556

Pauline Ziegen (American, Contemporary)

“Here Summer Ends” oil on panel artist cypher upper left, titled and with artist stamp en verso. Unframed. 35-3/4” x 48-3/4”

$2,000-$4,000

557

Christy Lee Rogers (American, Contemporary)

“Argentina”

photographic print unsigned, from the “Siren” series. Glazed and framed.

48” x 35”, framed 50” x 37-1/4”

$800-$1,200

“The ethereal payoff is indeed redolent of a mix of Mastersthe vivid hues of Titian, the straining bodies of Rubens, the sun-dappling chiaroscuro of Caravaggio, but also the loose brushstrokes and fluid movement of Delacroix; hints, too, of the Tiepolo-esque heavenly ascents adorning many an 18th century Venetian chapel.”

- Adam Jacques for The Independent, London, January 6, 2013

Rogers refers to her style of photography as underwater contemporary Baroque and has stated: “What I want more than ever is to express and inspire hope and freedom, a sense of wonder and tranquility, to create a safe place to dream wildly, and most importantly to inspire the idea that there are still mysterious, impossibly beautiful things on earth - not solely in our imaginations.” A native of Hawaii, Rogers received her first camera at the age of sixteen but did not publicly reveal her work until she was in her 30s. Enthralled by the natural beauty of her home state, she initially concentrated on landscape photography before eventually exploring more experimental subjects and techniques. Her series Siren was her first completely underwater shoot, and she used her friends as her models. Rogers works at night, utilizing light refraction to achieve her distinctive ethereal images. The nature of the process requires Rogers to relinquish control; she is, to some extent, at the mercy of the water. The resulting photographs, as evidenced by the one offered here, are atmospheric explorations of light, shadow, and movement.

558

Lalique Crystal “Mossi” Vase

decorated with kaleidoscopic-molded cabochons on a frosted ground, signed on the bottom. h. 8-1/2”, dia. 6”

$1,000-$1,500

559

Three Pieces of Lalique Crystal

20th century, including a “Bulbes No. 2” opalescent bowl, ca. 1935, with a stenciled mark, h. 2”, dia. 9-3/4”, a “Deux Danseurs” figure with the original label, h. 10”, w. 5”, d. 5”, and a “cactus” perfume bottle signed “Lalique France” on the base, h. 4-1/4”, dia. 3”.

$800-$1,200

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

560

11’ 8” x 14’ 10”

$1,800-$2,500

561

9’ 2” x 12’

$1,400-$1,800

Turkish Angora Oushak Carpet

Laristan Serapi Carpet

562

French Bagues-Style Sconce

mid-20th century, the faux rock crystal backplate in the form of a parrot on a vase, set with a pair of gilt-metal scrolling candle branches, with molded glass sockets, accented with flowers and leaves, electrified.

h. 20-1/2”, w. 10-3/4”, d. 4”

$900-$1,200

Provenance: Private collection, New Orleans, Louisiana.

563

Large Brass and Onyx-Top Gueridon

the circular brass frame set with a conforming onyx top, supported by four down-curved legs ending in paw feet and joined by a circular stretcher. h. 30”, dia. 50”

$1,400-$1,800

564

Italian Chippendale-Style Giltwood Mirror

the oval mirror with a pagoda finial with a temple bell, over a pierced chinoiserie surround framing the oval mirror plate, edged with rocaille work and ho-ho birds on each side.

h. 54-3/4”, w. 34-1/2”

$1,000-$1,500

562

564

563

565

Louis XV-Style Chinoiserie Marble-Top Commode

early 20th century, the conforming white marble top with a complex stepped and molded edge, over a case with two long drawers, each decorated with traditional Chinese scenes, raised on cabriole legs ending in bronze sabots. h. 34-1/2”, w. 39”, d. 17-1/2”

$1,500-$2,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

566

American Carved Marble Bust

second quarter 20th century, mounted on a maple base. h. 15-3/4”, w. 5”, d. 4-1/2”

$600-$900

Provenance: Estate of Charles L. Whited, Jr., New Orleans, Louisiana.

566

567

Paolo Masi (Italian, b. 1933)

“Senza Titolo”, 1990

mixed media on cardboard signed and dated en verso.

Together with a Certificate of Authentication from Daliano Ribani Arte.

Framed in a plexiglass shadowbox.

framed 28” x 20”

$2,500-$4,000

Provenance: Daliano Ribani Arte, Carrara, Italy.

568

David Pryor Adickes (American/Texas, b. 1927)

“Untitled”

oil on canvas affixed to board signed lower right. Framed.

30” x 40”, framed 35” x 45”

$1,500-$2,500

Provenance: The Estate of Martha Turner & Glenn Bauguss, Houston, Texas.

569

Steven Hofberger (American, Contemporary)

“Vase Rosso”

mixed media on wood panel incised signature lower right. Unframed.

h. 48”, w. 32”, d. 2”

$700-$1,000

Based in Arizona, Steven Hofberger is a contemporary artist whose creative practice is populated by images of amphorae, women, and cityscapes. This imagery, in conjunction with his signature use of repurposed materials, evokes the cyclical nature of human civilization, stirring a dialogue between the past and the present. Hofberger paints each work as a lens through which he and the viewer can reframe the cycles of history collaboratively.

570

Steven Hofberger (American, Contemporary)

“Murano”

mixed media on wood panel incised signature lower right. Unframed.

h. 48”, w. 32”, d. 2”

$700-$1,000

570

571

Mario Schifano (Italian, 1934-1998)

“Thylacine”, ca. 1990s

acrylic on computer-prepared PVC signed en verso; “Fondazione Mario Schifano” label en verso, Multistudio Foundation Archive registration No. 90-97/456. Unframed.

27-3/4” x 39-1/2” x 1”

$4,000-$7,000

Provenance: Daliano Ribani Arte, Carrara, Italy.

572

Ernst Neizvestny

(Russian/New York, 1925-2016)

“Exploding Head”, 1978-1984 oil on canvas signed lower left, and signed, titled, dated and inscribed in Russian and “Griffith-Menard Gallery, Bocage Village, Baton Rouge” label en verso. Framed.

48” x 36”, framed 52-1/2” x 41”

$6,000-$9,000

Provenance: Griffith-Menard Gallery, Baton Rouge, Louisiana; Private collection, Baton Rouge, Louisiana.

“You're an interesting man - I enjoy people like you - but inside you there are an angel and a devil. If the devil wins, we'll crush you. If the angel wins, we'll do all we can to help you.”

- Nikita Khrushchev 1962

The expressionist sculptor and painter Ernst Neizvestny attended a school for artistically gifted children in Leningrad

(now St. Petersberg) before spending several years in the Russian army during World War II. Upon his military release, he studied at the art academies in Riga (present day Latvia) and Moscow and enrolled in the Moscow State University.

It was a confrontation with Nikita Khrushchev in 1962 that cemented Ernst Neizvestnyís reputation as an unapologetic and outspoken supporter of contemporary Russian art. At a function of the Moscow Union of Artists, the Russian Communist leader was incensed by what he perceived as the degeneracy of the art before him. He singled out Neizvestny as the leader and the two had a heated exchange - in front of hundreds of people and a film crew. Refusing to back down, Neizvestny eventually earned Khrushchev's begrudging respect, though the disagreement continued several months later at a select government gathering. For the next several years, Neizvestny was unable to work in any official capacity. Ironically, after Khrushchev's death in 1971, his family commissioned the artist to create his official memorial at Novodevichy Cemetery.

Neizvestny fled Russia in 1976, eventually settling in New York. His work was greatly admired in the West, and the art critic John Berger stated that, "Neizvestny is principally the first visual artist of genius to have emerged in the Soviet Union since the twenties."

572

573

Art Deco-Style Granite-Top Sideboard

labeled “Designed and Produced by Weitzman Furniture, Chicago, 1997”, of demilune form, with an inset black granite top over a pair of conforming doors in the center, flanked by an additional carved door on each side, with ebonized and silverleaf highlights.

h. 40”, w. 73”, d. 18”

$1,200-$1,800

574

Peter Lik (Australian, b. 1959)

“Painted Forest”

chromogenic print on acrylic mount from an edition of 950, this numbered 137 on accompanying Certificate of Authenticity from the artist. Matted, glazed and framed. sight 19” x 58”, framed 35” x 74”

$4,000-$7,000

Provenance: Private collection, New Orleans, Louisiana.

574

573

575

Pair of Malachite Obelisks

of classical form, the tapered obelisks on rectangular bases, with raised panels and stepped bases. h. 24-1/4”, w. 6-1/4”, d. 6-1/4”

$1,500-$2,500

576

Large Regency-Style Mahogany Dining Table

20th century, labeled “Premier Furniture Crafters, EJ Victor”, the circular top with a rosewood- and satinwood-banded border and a carved, beaded edge, the fluted apron with a reeded lower molding, mounted to a base with four reeded columns and downswept, acanthus-carved legs joined by a circular stretcher and ending in brass casters.

h. 30-1/2”, dia. 81”

$2,500-$4,000

577

Set of Four Northampton Cast-Iron Garden Chairs

the “four seasons” chairs inspired by Coalbrookdale, the circular backs decorated with seasonal roundels framed in pierced fruit and flowers, the scrolled arms and seats decorated with pierced scrollwork, on cabriole legs. h. 38-1/2”, w. 23-1/2”, d. 24”

$1,200-$1,800ç

578

Set of Four Northampton Cast-Iron Garden Chairs

$1,200-$1,800

579

Cast-Iron and Granite-Top Garden Table

of Louis XIV inspiration, the rectangular granite top over bolection-form skirts molded with putti, raised on tapered legs molded with lion’s heads and ending in toupie feet, with scrolled cross stretchers. h. 28”, w. 35-3/4”, d. 23-1/4”

$1,000-$1,500

580

Cast-Iron and Marble-Top Garden Table

of Louis XIV inspiration, the rectangular portoro marble top over bolection-form skirts molded with putti, raised on tapered legs molded with lion’s heads and ending in toupie feet, with scrolled cross stretchers. h. 28-1/2”, w. 40-1/2”, d. 23-3/4”

$1,000-$1,500

579

581

Maurizio Savini (Italian, b. 1962)

“Karuna”, 2012

six mixed medias on paper each signed, dated and titled en verso on backing. Each float-mounted, glazed and framed alike. each sight 12” x 9-1/4”, framed 17” x 13”

$2,000-$4,000

582

Pair of French Glazed Terracotta Tree Tubs

20th century, the tapered tree tubs with incised decoration and ogee-molded feet, with a green glaze, the bottoms with drainage holes.

h. 18”, dia. 15-1/4”

$1,500-$2,500

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

581

582

583

Cast-Iron Garden Floor Elements

19th/20th century, in four sections, forming an oval grid in a fan pattern, with openings for two trees or sculptures. each w. 50”, l. 100”

$1,000-$1,500

584

Four Neoclassical Marble Garden Figures including a figure of Venus clutching drapery, a dancing girl with her finger on her chin, an allegorical depiction of “spring”, wearing a wreath of flowers in her hair, and a pensive figure clutching drapery. h. 46” to 47-1/2”, w. 10-3/4” to 11-3/4”, d. 13-1/2”

$1,000-$1,500

585

Pair of Chinese Cloisonne Ginger Jars

20th century, decorated with polychrome scrollwork and lotus blossoms on a white ground, the bottom stamped “Made in China”.

h. 12”, dia. 5-1/2”

$600-$900

586

Pair of Chinese Cloisonne Vases

20th century, the cylindrical vases decorated with butterflies and trailing flowers on a Chinese red ground, the cloisonne in a “cracked ice” pattern, the interior decorated with turquoise enamel.

h. 12-1/4”, dia. 5”

$600-$900

587

Pair of Chinese Cloisonne Double Gourd Vases

20th century, the base decorated with a white fret border against a Chinese red ground, the remainder decorated with scattered polychrome flowers on a blue ground.

h. 12-1/2”, dia. 5-1/2”

$600-$900

585

586

587

588

Pair of Chinese Cloisonne Lamps

20th century, the vasiform lamps decorated with peonies and cranes on a ground of pale blue scrollwork, on ebonized and pierced bases, fitted with lampshades. h. 33”, dia. 17”

$1,000-$1,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

589

Poltrona Frau Lounge Chairs and Ottomans

20th century, the Italian leather wing chairs with tufted backs and a metal and wood drinks rest mounted on one side, labeled, after a design by Renzo Frau (Italian, 1881-1926), h. 37-1/2”, w. 34-1/2”, d. 26”; together with a pair of matching ottomans, h. 14-1/2”, w. 26”, d. 17”.

$1,000-$1,500

590

Roberta Baskin-Shefrin (American/Nevada, 1929-2021)

“Seated Figure”, 1986

bronze signed, dated, numbered “1/10” and copyright-marked along back. h. 11”, w. 13”, d. 7-1/4”

$1,200-$1,800

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

591

Pair of Chinoiserie Tole Table Lamps

20th century, in the style of French empire Sinumbra lamps, with column-form standards, the shade rings painted with bronze “mounts”, the standards and bases decorated with chinoiserie landscapes, fitted with lampshades. h. 30-1/2”, dia. 10-3/4”

$1,000-$1,500

592

Queen Anne-Style “Japanned” Mirror

20th century, the carved giltwood egg-and-dart edge with raised polychrome decoration of a chinoiserie landscape, plants and birds, set with a beveled mirror plate. h. 52”, w. 31”

$700-$1,000

590

591

592

593

Pair of Contemporary Leather Ottomans

each with a padded seat opening to a void interior, incurved sides, trimmed with brass tacking and raised on bun feet. h. 17”, w. 24”, d. 24”

$1,000-$1,500

594

Pair of Contemporary Leather Ottomans

each with a padded seat opening to a void interior, incurved sides, trimmed with brass tacking and raised on bun feet.

h. 17”, w. 24”, d. 24”

$1,000-$1,500

595

Burmese Teakwood Desk and Chair

late 19th century, the desk with a profusely carved top, one side fitted with two drawers, raised on elephant-form legs joined by a shelf stretcher, h. 32”, w. 49”, d. 26”; together with a matching desk chair of similar form, h. 47”, w. 22”, d. 18”.

$1,200-$1,800

593

594

595

596

Suite of Four Contemporary Biedermeier-Style Fruitwood Side Chairs

each with a domed crest over an open, scrolling back, centered by a turned finial, the padded seat raised on sabre legs. h. 38-1/2”, w. 18”, d. 16-1/2”

$1,000-$1,500

597

Pair of Contemporary Rock Crystal Table Lamps

with molded gilt-metal fittings, the standards composed of rock crystal graduated spheres, on a cylindrical rock crystal base, fitted with lampshades.

h. 30”, w. 16”, d. 10”

$900-$1,200

598

Pair of Custom Silk-Covered Club Chairs

each with a reversible back seat cushion, out-rolled arms and skirt trimmed with French lace.

h. 37”, w. 34”, d. 37”

$1,200-$1,800

596

597

599

Unusual Brass and Eglomise Glass Coffee Table

the oval glass top with a gilt reverse-painted tree and birds, mounted to four faux bamboo brass legs joined by like stretchers.

h. 17-1/2”, w. 39”, d. 22-1/2”

$1,000-$1,500

601

Pair of Gilt- and Patinated Brass Andirons

late 19th century, in the Renaissance Revival taste, the flame finials atop graduated pierced spheres, the bases with central cabochons flanked by spear-point finials, over scrolls supported on blocked feet.

h. 21”, w. 10-1/4”, d. 7-3/4”

$1,200-$1,800

600

Seven Pairs of Custom Silk Curtains

the cornice boards supporting swags and jabots, the celadon green silk curtains trimmed with champagne, mauve and green tassels and matching braided trim.

cornice w. 74”, l. 50”, cornice with panels w. 74”, l. 138”

$2,500-$4,000

602

Pair of Large Italian Parcel-Giltwood Candelabra Lamps

fourth quarter 19th century, the turned and lobed standards decorated with giltwood fluting and traces of brown and blue paint, the scrolled candle branches set with turned candle cups and matching drip pans, electrified.

h. 35-1/2”, w. 35-3/4”, d. 11”

$1,800-$2,500

603

Large Napoleon III Ebonized and Bronze-Mounted Bibliotheque

late 19th century, bibliotheque with an overhanging cornice and pineapple finials, fitted with three glazed and paneled doors, the base with three drawers, raised on turned legs.

h. 100”, w. 76”, d. 20”

$2,500-$4,000

602

604

Suite of Twelve Italian Chiavari-Style “Compass Rose” Dining Chairs

20th century, composed of gold-leaf finished metal, each chair having a circular back centered by an eight-point compass star, a padded seat and raised on slender legs ending in button feet.

h. 38”, w. 19”, d. 19”

$1,500-$2,500

605

Impressive Custom-Made Black-Lacquer Pedestal Dining Table

the expansive rectangular top with a gilded and molded edge set with a broad border and inner silver-leaf liner, raised on a pair of pedestals with down-curved legs ending in carved and gilded paw feet.

h. 30-1/2”, w. 48”, l. 144”

$2,500-$4,000

606 Miyao Eisuke (Japanese, 1850-1920)

“Samurai”

bronze

figure holding a detachable halberd in his left hand and a saihai in his right, a kabuto hanging on his back, cast signature, on a Miyao-style wooden stand decorated with ho-ho birds and scrollwork. h. 12-1/4”, w. 5-1/2”, d. 4-1/2”

$1,000-$1,500

607

Japanese Bamboo and Lacquer Overmantel Mirror

fourth quarter 19th century, the peaked and pierced crest over a central shelf with a lacquered back panel with ebonized arcading, trimming the bamboo frame, the sides set with lacquered panels and small shelves, surrounding the beveled mirror plate.

h. 46”, w. 44-1/2”, d. 7”

$1,000-$1,500

608

Unusual Pair of Bamboo Floor Lamps

second quarter 20th century, of tripodal form, each with a central bamboo standard set into an exterior frame with angled bamboo legs, the tops set with molded brass caps, fitted with linen lampshades. h. 62-1/4”, dia. 17”

$1,400-$1,800

608

607

609

Fine Japanese Hanging Scroll of a Samurai by Yosai (1781-1878), delicately painted in ink and pale colors, samurai speaking to a kimono-clad maiden at a gate with a mountainous background with flowering trees, bordered in cloud brocade silk, with bone jiku (scroll ends).

h. 69”, w. 24”

$800-$1,200

610

Four Japanned Papier-Mache Nesting Tables

19th century, the black-lacquered tables with raised decoration, with bamboo and bird motifs, raised on faux bamboo turned legs.

h. 29-1/2”, w. 22-1/2”, d. 14-1/2”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

Antique Tabriz Carpet ca. 1920, North West Persia.

11’ 6” x 18’ 7”

$5,000-$8,000

Provenance: A Villa, Palm Beach, Florida; interior designed by Juan Pablo Molyneux.

According to a sales invoice from J.P. Molyneux, this carpet was made for Vosough-odDowleh (1868-1951), an Iranian politician who served two terms as Prime Minister under Ahmad Shah, the last Qajar monarch.

Literature: Thurman, Judith, “Juan Pablo Molyneux Outfits a Refined Palm Beach Villa”, Architectural Digest, July 2008.

612

Antique Sultanabad Carpet ca. 1880, West Persia.

12’ x 18’ 2”

$6,000-$9,000

Provenance: A Villa, Palm Beach, Florida; interior designed by Juan Pablo Molyneux.

Literature: Thurman, Judith, “Juan Pablo Molyneux Outfits a Refined Palm Beach Villa”, Architectural Digest, July 2008.

613

Antique Sultanabad Carpet ca. 1880, West Persia.

13’ x 17’ 2”

$7,000-$10,000

Provenance: A Villa, Palm Beach, Florida; interior designed by Juan Pablo Molyneux.

Literature: Thurman, Judith, “Juan Pablo Molyneux Outfits a Refined Palm Beach Villa”, Architectural Digest, July 2008.

612

614

Antique Persian Lavar Kerman Carpet ca. 1880, signed and dated.

21’ 8” x 32’

$30,000-$50,000

Provenance: According to a sales invoice from J.P Molyneux this carpet was commissioned for the Golestan Palace, Tehran, Iran; Nahigian Brothers, Inc., Chicago, Illinois; Private collection, King’s Point, New York; A Villa, Palm Beach, Florida; interior designed by Juan Pablo Molyneux.

This exceptional carpet was designed and woven by Ostad Hossein Kermani, one of the preeminent weavers of 19th century Persian carpets and reflects the master’s mature work at its most accomplished. Kermani was the court weaver for Qajar monarch Naser al-Din Shah (1831-1896) and was responsible for the numerous carpets of the opulent Golestan Palace, Tehran. His work is conserved at the Carpet Museum of Iran in Tehran.

Literature: Thurman, Judith, “Juan Pablo Molyneux Outfits a Refined Palm Beach Villa”, Architectural Digest, July 2008, illustrated.

615

Pair of Gilt- and Patinated-Metal Figural Lamps

20th century, the two-light lamps decorated with chinoiserie figures holding palm fronds, on molded giltwood bases and fitted with lampshades. h. 28”, dia. 16”

$900-$1,200

616

Chinese Export Lacquered Game Box

second quarter 19th century, the box with notched corners and gilt panels of mandarin figures and scattered flowers, on a black ground, resting on gilt paw feet, the interior with card boxes and trays for playing pieces, each with cards decorated with Chinese characters. h. 5”, w. 13”, d. 11-1/2”

$800-$1,200

Provenance: Private collection, New Orleans, Louisiana.

617

Chinese Carved Hardstone Ruyi Scepter

Qing Dynasty (1644-1912), the wooden scepter with carved and molded edges, set with three hardstone panels decorated with various Chinese elements.

h. 3-1/4”, w. 4-3/4”, l. 19”

$800-$1,200

Provenance: Collection of Arlene Philipson, New Orleans, Louisiana.

615

616

617

618

Four Sancai-Glazed Pottery Tomb Figures of Attendants

in the Ming taste, larger, h. 13” to 14-1/2”, w. 3-1/4”, d. 3-1/4 and smaller, h. 10” to 10-1/4”, w. 2-3/4” to 3”, d. 2-1/4” to 2-1/2”.

$700-$1,000

Provenance: Collection of Arlene Philipson, New Orleans, Louisiana.

619

Collection of Song-Yuan Dynasty Ceramics

ca. 1127-1368, the collection including a bowl on a stand, h. 4”, dia. 5-1/2”, a small vase carved with lotus blossoms, h. 5-1/4”, dia. 3”, a wine ewer with a twisted handle, on a stand, h. 6-1/2”, dia. 3-1/2”, a circular box with a lotus-carved cover, on a stand, h. 2-3/4”, dia. 3”, a lotus-carved box on a stand, h. 5-1/2”, dia. 3-1/2”, a Yuhuchunping vase carved with scrolling leaves, h. 10-1/4”, dia. 4-3/4”, an unadorned wine ewer, h. 2-1/4”, dia. 3-1/4”, a pear-form wine ewer decorated with raised leaves and scrollwork, on a stand, h. 6”, dia. 3-1/2”, a circular covered box with a peony-carved cover, h. 2-1/4”, dia. 2-1/2”, a coupe carved with a pair of fish, h. 1-1/2”, dia. 6-1/2”, and a cup on a stand, h. 2-3/4”, dia. 4”.

$700-$1,000

Provenance: Collection of Arlene Philipson, New Orleans, Louisiana.

620

Provincial Oak Work Table

20th century, the rectangular plank top over a straight frieze, one long side fitted with three drawers, raised on large, square legs joined by like stretchers and supported by turned spindles. h. 32”, w. 88-1/2”, d. 30”

$1,000-$1,500

618

619

621 Frank Fleming (American/Alabama, 1940-2018)

“Peter the Rabbit”, ca. 2011

glazed Tennessee porcelain in two segments. h. 58”, w. 18”, d. 21”

$10,000-$15,000

Rabbits frequently inhabit Frank Fleming's imaginary natural world. Whether crafted from porcelain or cast in bronze, each sculpture of a rabbit is an individual that was uniquely depicted by the artist: some rabbits are clothed, anthropomorphized with human hands and feet, or interact with his other animal sculptures. This porcelain sculpture of “Peter the Rabbit” is a natural and realistic version, one covered with fur and having paws. The distinguishing feature of this rabbit is that it is raised up on his hind quarters and stands nearly five feet tall, creating a commanding presence.

622

Frank Fleming (American/Alabama, 1940-2018)

“Ram Man”, 1984

partially glazed Tennessee porcelain incised signature and date en verso of stump. 14-1/2” x 6-1/2” x 7-1/2”

$2,500-$4,000

The sculptural fountain The Storyteller was envisioned as a memorial to Malcolm McRae, a Birmingham art dealer and anthropologist, who died tragically. A committee comprised of McRae’s mother, friends, and local politicians selected Alabama artist Frank Fleming to design and create the fountain. Initially, Fleming planned on a “peaceful kingdom” with the central figure of a lion surrounded by rabbits, frogs, turtles, and dogs listening attentively to the storyteller. As the work progressed, Fleming made the decision to have the central figure become an anthropomorphized figure of a “ram man,” which he felt symbolized McRae.

As part of the commission, Fleming created several maquettes and sculptural versions of the “ram man” for the selection committee. Similar to the final version, this maquette was seated fully clothed on a tree stump, but instead of book and staff in his hands, he holds a fig. The image of fig has various symbolic meanings including enlightenment, peace, fertility, and abundance.

623

622

623

Frank Fleming (American/Alabama, 1940-2018)

“Melting Ice Cream Cone”, 1978

partially glazed Tennessee porcelain incised signature and date at back of base.

8” x 7” x 6-1/4”

$1,500-$2,500

624

Frank Fleming (American/Alabama, 1940-2018)

“Sugar Baby Melon with Calla Lilies”

partially glazed Tennesse porcelain signed along top edge. 10” x 10-1/2” x 8”

$1,800-$2,500

625

Frank Fleming (American/Alabama, 1940-2018)

“Frank the Frog” patinated bronze unsigned.

5” x 7” x 10”

$2,500-$4,000

Provenance: Purchased from the artist.

624 detail

625

626

Frank Fleming (American/Alabama, 1940-2018)

“Towering Tree House”

glazed Tennesse porcelain with bronze base incised signature at proper lower right.

15” x 5-3/4” x 6-1/2”, overall 71”

$3,000-$5,000

Provenance: Purchased from the artist.

Frank Fleming’s Towering Tree House sculpture combines his deft skills in both pottery and metal work. The tree house sits on a tall bronze stand that Fleming fashioned into a realistic tree branch. His meticulous attention to detail extends to the textures on the individual bricks that make up the house as well as the roof tiles.

627

Frank Fleming (American/Alabama, 1940-2018)

“Summer Harvest”, 1988

partially glazed Tennessee porcelain in two parts with tureen and cornucopia, incised signature and inscription at base of cornucopia. overall h. 14”, w. 27”, d. 12”

$4,000-$7,000

Provenance: Commissioned by a Birmingham, Alabama collector, 1988.

After a road trip to San Francisco, Frank Fleming embraced the new aesthetic of the Funk Art Movement of the 1970s which encouraged moving away from abstract expressionism while embracing the figurative. The Funk Art Movement emphasized the physicality of the art-making process and promoted elevating ceramics to the realm of fine art and rejecting its functional aspects.

A commissioned piece, Frank Fleming's Summer Harvest features a large cornucopia overflowing with okra, figs, corn, pear, and apples, with a soup tureen nestled beside it. The interior of the tureen is glazed and includes a ladle, which makes the piece unique for Fleming with its functionality. The piece was personally inscribed, “I hope you enjoy the soup tureen as much as I enjoyed making it, on these past few extremely hot and dry days in the third week of June 1988-Summer, The USA. Frank Fleming.”

627 detail

628

Francois-Xavier Lalanne (French, 1927-2008)

“La Poule”, 2004

etching with aquatint in colors on Moulin de Larroque paper artist monogram lower right. Unframed.

15” x 11-1/4”

$2,000-$4,000

Literature: P. Mauries, Lalanne Bestiaires, Paris, 2022, cover and pp. 62-63.

629

Francois-Xavier Lalanne (French, 1927-2008)

“Le Canard”, 2004

etching with aquatint in brown on Arches paper artist monogram lower right. Unframed.

15” x 11-1/4”

$2,000-$4,000

Literature: P. Mauries, Lalanne Bestiaires, Paris, 2022, pp. 56-57.

628

629

630

Jean-Claude Janet (French, 1918-2008)

“Composition Symboliste”, 1982 oil on canvas signed and dated lower left. Together with Certificate of Authenticity and receipt from Art en Seine. Unframed.

35” x 46”

$1,500-$2,500

Provenance: Galerie Art en Seine, Le Havre, France.

631

Don Eddy (American, b. 1944)

“Motus Orbicularis”, 1997

acrylic on wood panel nine panels within an integral framework, with a “Nancy Hoffman Gallery, New York” label en verso. overall 52-1/2” x 62-1/2”

$12,000-$18,000

Provenance: Nancy Hoffman Gallery, New York, New York; Private collection.

Since 1990, a distinguishing feature of Don Eddy's work has been his experimental use of format to explore the nature of representational art. Drawing inspiration from Medieval altarpieces, Eddy combines multiple canvases to create diptychs, triptychs, and polyptychs. Each canvas is overtaken by imagery that ranges from the micro to the macro, including scenes of nature, light, and humanity, which evoke juxtaposing themes of change and timelessness. As a master of representational art, Eddy employs a meticulous creative process involving three layers of underpaint: the first layer consists of tiny circles painted in phthalocyanine green to establish the values, while the second and third layers are painted with burnt sienna and dioxazine purple paints to distinguish the warm and cool tones. This meditative process produces hyper realistic depictions, imbuing the work with a spiritual quality that invites the viewer to contemplate the depth of the presented images.

Motus Orbicularis is a monumental polyptych comprised of nine interconnected panels. At its center is a landscape, bordered by various scenes of human connection, animals, fire, and architectural details. As the conversation between the interwoven images intensifies, it emphasizes the dynamism of experience and the relationship between human society and nature. This open-ended reflection encourages the viewer to engage with the piece and consider their personal narratives in relation to the harmony and balance of all living things.

632

Paul Jenkins (American, 1923-2012)

“Untitled”

watercolor on paper signed lower center.

Float-mounted, glazed and framed. 21” x 30”, framed 33” x 41”

$3,000-$5,000

“Colors are the essence of his work. Not as a means to an end - although he is a master at handling paint - but as protagonists, agents, within what he paints.”

- John Berger

A post-World War II abstract artist, Jenkins is acclaimed for his unusual and distinctive technique of paint application which combined paint pouring with canvas (or paper) manipulation. The result is thin layers of translucent colors that seemingly flow and pool of their own volition, creating amorphous, sinuous forms which belie the meticulous and careful planning by the artist. As Jenkins himself once commented on this intentionality, “You enter a state of being with the paint, a language unfolds, a dialogue with paint and discovered intention in the time of the execution, not an action or acting out, but a deliberate revealing of the unspoken and the enigmatic.”

632

Mario Schifano

(Italian, 1934-1998)

“Moonlight”, ca. 1990s

acrylic on computer-prepared PVC signed en verso; “Fondazione Mario Schifano” label en verso, Multistudio Foundation Archive registration No. 90-97/407. Unframed.

27-3/4” x 39-1/2” x 1”

$4,000-$7,000

Provenance: Daliano Ribani Arte, Carrara, Italy.

Often dubbed “Italy’s Andy Warhol”, Mario Schifano was a consummate postmodernist - a painter, musician, and filmmaker whose multifaceted career defies categorization. He embraced the closely intertwined relationship between Pop art and postmodernism. Schifano led a colorful life from an early age: his social circle included Cy Twombly, Frank O’Hara, and JeanLuc Godard, and he had many romantic dalliances, including famously stealing Marianne Faithfull away from Mick Jagger. His debaucherous lifestyle earned him six separate prison sentences. In recent years, Schifano’s vivacious oeuvre and way of life have earned him several retrospectives, including those at the National Gallery of Modern Art in Rome and at the Gallerie d’Italia in Naples.

634

Arman (French, 1928-2005)

“Tuborg Lemon”, 1996

resin-encased bottle caps plaque with etched signature lower right, verso numbered “6/30”, Denyse Durand-Ruel Archive registration No. 7616. h. 17-7/8”, w. 11-7/8”, d. 3-1/2”

$2,500-$4,000

I specialize very much in...everything.

Arman, 1968

In 1960, Arman was one of the founding members of the Nice-based Nouveau Realisme along with Yves Klein, the art critic Pierre Restany, and others; the installationist Chriso was to join the following year. Contemporaneous with American Pop art, the group explored the perception of art by toying with and eventually pushing the boundaries of what was then generally accepted. It was around this time that Arman began to experiment with his concept of "Accumulation", a series which would continue in slightly varied forms throughout the rest of his career and consisted of identical or similar items laid out and placed between plexiglass (or later set within resin). The resulting assemblages are both ordered - precise, grid-like placement of each item - or disordereditems are allowed to ìfallî naturally, creating, as one critic suggested, abstraction out of repetition.

635

Laura Covaci (Romanian, b. 1964)

“Untitled”, 2002

oil on gallery-wrapped canvas initialed and dated en verso. Unframed.

52-1/2” x 55”

$1,200-$1,800

634

635

636

Mario Schifano (Italian, 1934-1998)

“Single Bloom”, 1995

enamel and acrylic on canvas signed en verso; “Fondazione Mario Schifano” label en verso, with Mario Schifano Foundation Archive Registration No. 95/348.

Framed.

20” x 27-1/2”, framed 28” x 36”

$5,000-$8,000

637

Invader (French, b. 1969)

“Rubik Camouflage”, 2023

Diasec-mounted giclee print on aluminum composite panel from the “Rubikcubism” series; signed, titled, dated, and numbered “647/812” on a HENI Gallery label en verso. Unframed.

39-1/3” x 39-1/3”

$3,000-$5,000

Provenance: HENI Gallery, London, England.

Invader is the pseudonym of a French street artist wellknown for his ceramic tile mosaics. These mosaics, often installed under the cover of darkness in highly visible locations, are a form of guerilla art modeled after the pixelated art of 8-bit video games like “Space Invaders” and “Pac-Man.” Believing that museums and galleries were not properly accessible to the public, Invader chose to bring his work to the street, where ordinary people could encounter it in their daily lives. A graduate of Ecole des Beaux-Arts, Invader still centers much of his work in Paris, but his mosaics have reached the depths of the ocean floor off the coast of Cancun and the heights of the International Space Station.

In 2004, Invader created a series called Rubikcubism, which represents the integration of the artist's multifaceted practice and his interests in toys and games, popular culture, and the deconstruction and reappropriation of images.

638

Paolo Masi (Italian, b. 1933)

“Senza Titolo”, 2013

mixed media on corrugated cardboard signed and dated en verso. Together with a Certificate of Authentication from Daliano Ribani Arte.

Framed in a plexiglass shadowbox. framed 20-1/4” x 43-3/4”

$3,000-$5,000

Provenance: Daliano Ribani Arte, Carrara, Italy.

637

638

639 Arman (French, 1928-2005)

“Untitled”, 2003

mixed media collage of paint tubes on canvas affixed to wood panel unsigned, Arman Studio Archive registration APA#8110.03.055. A Certificate of Authenticity from Arman Studio will be supplied to purchaser after sale.

Framed in a plexiglass shadowbox. 31-3/4” x 23-1/2” x 4”

$6,000-$9,000

Provenance: Private collection, Italy; FinArte sale “Arte Moderne e Contemporanea - Modernariato e Design”, Venice, October 12, 2007; Private collection, France; Astoria Gallery, France.

I specialize very much in...everything.

Arman, 1968

In 1960, Arman was one of the founding members of the Nicebased Nouveau Realisme along with Yves Klein, the art critic Pierre Restany, and others; the installationist Chriso was to join the following year. Contemporaneous with American Pop art, the group explored the perception of art by toying with and eventually pushing the boundaries of what was then generally accepted. It was around this time that Arman began to experiment with his concept of "Accumulation", a series which would continue in slightly varied forms throughout the rest of his career and consisted of identical or similar items laid out and placed between plexiglass (or later set within resin). The resulting assemblages are both ordered - precise, grid-like placement of each item - or disordered - items are allowed to "fall" naturally, creating, as one critic suggested, abstraction out of repetition.

640

Alexandra Huber (German, b. 1955)

“Paradise is watching you”, 1999

mixed media on paper signed and numbered “59/99” en verso, initialed and dated lower left, and titled upper center. Matted, glazed and framed.

sheet 19-3/4” x 25-1/2”, framed 29” x 34-1/2”

$500-$800

Provenance: Collection of Mrs. Arlene Philipson, New Orleans, Louisiana.

At thirty-five years old in 1990, Alexandra Huber became bored with her life and turned her attention to creating art. A selftaught artist, she did not have any formal art education. She had her first exhibition in her hometown of Munich in 1992. Her paintings have achieved critical acclaim and have been exhibited in Germany, Austria and New York City. Paradise is watching you represents her mature work and depicts two figures peering out and expressing a warning about the consequences of the viewer's behavior.

641

Quinn Gregory (Gregory Quinlivan) (American, Contemporary)

“Zebra”

animal skull with Swarovski crystals h. 8”, w. 21”, d. 9”

$1,000-$1,500

Gregory embarked upon his series of crystal encrusted skulls after receiving a devastating medical diagnosis. Utilizing actual animal skulls - steer, ram, antelope, or, as offered here, a zebrahe painstakingly hand-applied each crystal resulting in a truly personal memento mori.

641

642

Set of Four Zinc Klismos Chairs

20th century, after a Michael Taylor design, the chairs with curved crests, sabre legs and mesh seats, now mounted with striped cushions. h. 33-1/4”, w. 19”, d. 22-3/4”

$1,000-$1,500

after a design by Los Angeles designer Richard Frinier, the set including four chaise lounges on casters, with adjustable backs, set with “woven” metal seats and terracotta-colored cushions, h. 41”, w. 30-1/2”, l. 88”, and four circular drinks tables with glass tops, h. 17-1/2”, dia. 18-1/2”, some pieces labeled.

$1,000-$1,500

643

Brown Jordan “Florentine” Garden Furniture

642

643

644

Brown Jordan “Campaign Grande” Garden Furniture

the five-piece metal suite with bold octagonal legs and X-form stretchers, designed by John Caldwell, including a sofa with removable cushions, h. 33”, w. 95”, d. 35”, a loveseat with removable cushions, h. 33”, w. 62”, d. 35”, a pair of glasstop side tables, h. 20-1/2”, w. 26”, d. 26”, and a glass-top cocktail table, h. 20-1/2”, w. 44”, d. 25-1/2”, some pieces labeled.

$1,000-$1,500

645

Pair of Cast-Iron Campana-Form Urns

the egg-and-dart rims over reeded bodies, with tapered bases, on square plinths. h. 28”, dia. 22-1/2”

$1,000-$1,500

646

Pair of Cast-Iron Garden Figures

ca. 1900, each decorated with a putto on a draped stool, fruit and flowers on two corners, raised on a plinth with rope-twist ornaments.

h. 20-1/2”, w. 11-3/4”, d. 11-3/4”

$1,200-$1,800

644

645

646

647

Raffaello Romanelli (Italian, 1856-1928)

“Shulamite”

carved marble incised signature and localized “Firenze” along back of self-base. h. 45”, w. 22”, d. 21”

$15,000-$25,000

Provenance: Private collection, Baton Rouge, Louisiana.

Romanelli received his earliest training from his father at his family's studio in Borgo San Frediano, Florence, learning the rudiments of drawing and carving. While at the Accademia di Belle Arti di Firenze, he was the recipient of the prestigious Annual Prize for Sculpture which essentially launched his career as one of the most sought-after marble sculptors. Excelling at portraiture, particularly difficult when working with the unforgiving hard stone, the young man was commissioned for such notable works as the Portrait of Pope Leo the Great on the facade of the Duomo, the equestrian sculpture in honor of Giuseppe Garibaldi, and the monument in honor of Donatello at the Basilica de San Lorenzo. The fine sculpture offered here, with its delicate treatment of the facial features and the classically inspired composition, reveals Romanelli at his most accomplished.

648

Pair of Italian Marble Pedestals

fourth quarter 19th century, the circular tops mounted on rope-twist standards, over cove-molded bases, on hexagonal plinths.

h. 42-1/4”, dia. 10-3/4”

$800-$1,200

649

Empire Style Crystal and Brass-Plated Chandelier

the eight-light basket-form chandelier with a cut-glass-clad standard supporting a fret-patterned ring, hung with strands of cut-glass drops, set with scrolled candle arms, and the base with a faceted crystal ball pendant finial.

h. 28”, dia. 28”

$1,400-$1,800

650

Louis XVI-Style Giltwood Sofa

early 20th century, the carved frame with floral and rope details, the back with a central padded roundel and floral crest above, the seat with three reversible cushions and the ends with neckroll pillows, raised on carved trumpetform legs.

h. 38”, w. 79”, d. 28”

$1,200-$1,800

648

649

651

Impressive French Louis XV Giltwood Mirror

third quarter 18th century, the pierced and arched crest with a central shell flanked by pierced flower heads, decorated with crossed torches and a lyre, the surround decorated with carved rocaille and scrollwork, the mirror plate lined with beading. h. 50”, w. 28”

$2,000-$4,000

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

French Religious Needlework Picture

mid-19th century, of the “Vision of Our Lady of Salette”, with a gilt paper border which translates to “Well my children, you will pass it on to all my people” and “19 September 1846”, in an impressive giltwood frame, the crest decorated with a figure of Our Lady of Guadalupe. h. 69”, w. 35-1/2”

$800-$1,200

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

653

Large Carved Wooden Icon of the Lamentation of Christ

early 20th century, possibly Greek or Russian, in a shadowbox surround, the “13th Station of the Cross” and an incised “XIII” on the base, flanked by Coptic crosses. h. 27-3/4”, w. 22-1/2”, d. 3-1/4”

$1,000-$1,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

652

651

652

654

Italian Polychrome and Faux Marbre Commode

19th century, in the neoclassical taste, the canted rectangular faux-marbre top above a conforming case fitted with three long drawers, all decorated with polychrome scrolling foliate patterns, raised on tapering square legs. h. 34-1/2”, w. 38”, d. 20-1/4”

$1,500-$2,500

655 Niermann Weeks Chandelier

the six-light basket-form chandelier with a corona composed of gilt-metal feathers, over a gilt-metal frame decorated with molded guilloches, strung with strands of cut-glass prisms, the primary ring mounted with carved metal branches terminating in turned sockets and fluted bobeches, electrified. h. 41”, dia. 39-1/2”

$1,500-$2,500

French Giltwood Pier Mirror

ca. 1800, in the Louis XVI taste, the crest decorated with carved garden trophies against a laurel wreath, with laurel trailing on each side, the giltwood surround with rope-twist trim. h. 69-3/4”, w. 42”

$1,200-$1,800

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

656

655

654

656

657

Pair of Italian Painted and Gilded Wood Altar Figures of Angels

mid-19th century, figures realistically painted and wearing papier-mache banners. h. 32-1/2”, w. 30-1/2”, d. 14-3/4”

$1,400-$1,800

659

Italian Creme-Peinte, Parcel-Gilt and Marble-Top Console Table

18th century, the thick, rectangular Incarnat Turquin marble top over a frieze with similar faux marbre panels and a central gilt lion’s masque, raised on turned and fluted legs. h. 35-1/2”, w. 43”, d. 21-1/2”

$2,000-$4,000

658

Monumental Empire-Style Gilt-Bronze Chandelier

20th century, the thirty-six-light chandelier with a corona composed of sprays of bronze flowers, supporting grapemolded bronze chains, set with two tiers of classical molded bronze rings, lined with classical masques, the leaf-molded candle branches terminating in engine-turned candle sockets and drip pans, the lower portion set with pierced bronze panels of acanthus leaves. h. 71-1/2”, dia. 50”

$1,500-$2,500

Provenance: Steve Wynn, Las Vegas, Nevada.

657

659

658

660

Pair of Painted Fabric Panels in the Neoclassical Taste

in the Percier et Fontaine style, painted with polychrome sprays of flowers, arabesque scrollwork and shields.

h. 69-3/4”, w. 24-3/4”

$1,500-$2,500

661

Large Glass and Gilt-Metal Chandelier

early 20th century, the fifteen-light chandelier with a foliate metal corona hung with sprays of drops, supporting a metal frame ornamented with sprays of polychrome glass fruit, set with fluted prism rings hung with matching drops, the center with a brass inverted dome concealing three sockets.

h. 41-1/2”, dia. 29-1/2”

$3,000-$5,000

660

661

662

Pair of Large Painted Terracotta Columns

each with a flaming urn finial atop a fluted column mounted with love birds, supported by a draped putto on the base, decorated with swags of laurel leaves secured with bowknots, on faux marbre wooden bases. h. 98-3/4”, w. 21-1/4”, d. 21-1/4”

$2,000-$4,000

663

Lead “Pan” Garden Fountain

19th century, the figure supporting two pipes, each piped for water, standing on a raised base. h. 32”, w. 8-3/4”, d. 9”

$1,500-$2,500

664

Italian Polychrome and Parcel-Gilt Wooden Pedestal

fourth quarter 19th century, in the rococo taste, the top with a recessed oval and carved gadrooned edge, over a tapered body with applied rococo carvings, the bottom wrapped in a carved molding. h. 37-1/2”, top w. 27”, bottom w. 31”, top d. 14”, bottom d. 16”

$1,000-$1,500

662

665

French Provincial Walnut Armoire

late 18th century, the molded and domed cornice centered by a deeply carved mythical bird, above a case fitted with two long doors, each inset with two shaped panels and foliate-carved accents, raised above a deep scalloped apron on Flemish toes. h. 111”, w. 69”, d. 32”

$3,000-$5,000

666

French Belle Epoque Giltwood Pier Mirror

fourth quarter 19th century, the serpentine crest with a central shell and pierced flowers, over a rocaillemolded surround with scrolled corners, accented with acanthus leaves. h. 76-1/2”, w. 46”

$1,500-$2,500

665

667

Collection of Three Majolica Chargers

19th century, in the Castelli style, the larger Istoriato charger decorated with Diana and a pair of putti, with a crowned “M” mark and “Italy”, dia. 18”, and the smaller chargers decorated with armorial centers, all with borders of similar “grotesque” satyr masques, dragons and scrollwork, the smaller chargers with an unidentified mark, dia. 13”, all pierced for hanging.

$400-$700

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

668

Pair of Signed Polychrome Delftware Covered Vases

ca. 1700, possibly Gerrit Pietersz Astonne, the covers with bird knops, over the inverted pear-form urns decorated with peacocks, framed in scroll and rocaille work, and scattered with flower heads. h. 14-1/2”, w. 5-3/4”, d. 4-3/4”

$1,200-$1,800

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

669

Rare Italian Istoriato Majolica Dish

15th century, likely Urbino, the center panel decorated with Poseidon rising up from the sea, on a shell and holding his trident, attendants at his side, the border decorated with grotesque satyr masques, griffins and dragons on a cobalt ground, an unidentified mark on the back. dia. 13-1/2”

$1,200-$1,800

Provenance: Kevin Stone Antiques, The Collection of Kevin Stone & Mark Diamond.

667

668

669

670

French Provincial Mahogany Bonnetiere

19th century, the rounded and molded cornice above a conforming case fitted with a paneled frame over two paneled cupboards, divided by a drawer, raised above a shaped apron on pointed toes. h. 79-1/2”, w. 36-1/2”, d. 22-1/4”

$1,000-$1,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

671

American Dedon “Daydream” Daybed

after a design by Los Angeles designer Richard Frinier, the faux caned daybed accented with carved cone-form finials, with curved sides and back, over a platform base on an incurvate support.

h. 43-1/2”, w. 78-3/4”, d. 34”

$1,000-$1,500

672

Murray’s Iron Works Sofa

the silver-painted metal sofa of Louis XVI inspiration, with tapered and fluted front legs set with ball finials, the sides and back set with strapwork, the base supporting a fixed off-white bottom cushion under removable celadon printed seat and back cushions and loose pillows.

h. 38”, w. 95-1/2”, d. 38”

$1,000-$1,500

673

Pair of Murray’s Iron Works Club Chairs

the silver-painted metal chairs of Louis XVI inspiration, with tapered and fluted front legs set with ball finials, the sides and backs set with strapwork, the bases supporting fixed off-white bottom cushions under removable celadon printed seat and back cushions and loose pillows. h. 34-1/4”, w. 31-1/4”, d. 31-1/4”

$1,000-$1,500

674

Pair of Murray’s Iron Works Club Chairs

h. 34-1/4”, w. 31-1/4”, d. 31-1/4”

$1,000-$1,500

672

673

675

Pair of Neoclassical-Style Cast-Metal Garden Urns

of recent manufacture, the fluted, flaring urns set on tapered bases, raised on paw feet. h. 23”, dia. 17”

$1,000-$1,500

676

Pair of Metal Tree Tubs of Asian Inspiration of recent manufacture, the tapered tubs mounted with ring pulls on “strapwork” mounts, raised on bun feet. h. 15-1/2”, w. 16”, d. 16”

$800-$1,200

677

Set of Three Bronze Garden Deer of recent manufacture, the set including two stags and one doe. h. 17” to 43-1/2”, w. 22” to 24”, d. 5” to 10-1/2”

$1,200-$1,800

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

675

677

676

678

Rolland Harve Golden (American/Louisiana, 1931-2019)

“Docked Shrimp Boats”, 1962

watercolor on paper signed and dated lower left and “Taylor Clark, Baton Rouge” label en verso. Matted, glazed and framed. sight 21” x 28-3/4”, framed 31-1/4” x 38-3/4”

$1,000-$1,500

Provenance: Taylor Clark Gallery, Baton Rouge, Louisiana; Private collection, Baton Rouge, Louisiana.

679

Louise Guidry (American/Louisiana, b. 1930)

“October 6th”

acrylic on board signed lower right. Unframed. 48” x 36”

$2,500-$4,000

680

Rolland Harve Golden (American/Louisiana, 1931-2019)

“The House on Ellicott Hill” oil on canvas signed lower right, and signed, titled, dated and copyright-marked en verso. Framed.

30” x 40-1/2”, framed 39” x 47”

$1,000-$1,500

Provenance: Private collection, Baton Rouge, Louisiana.

681

Michael Low Crespo (American/Louisiana, 1947-2010)

“Ducks”

oil on canvas signed lower right. Framed.

18” x 24”, framed 18-1/2” x 24-1/2”

$800-$1,200

682

French Provincial Walnut Drop-Leaf Table

19th century, the oval top with short drop leaves on each side, mounted to a base with straight aprons and four turned legs. h. 29-1/2”, w. 50”, closed d. 23-1/2”, ext. d. 40-1/2”

$800-$1,200

681

683

Alexander John Drysdale (American/Louisiana, 1870-1934)

“Louisiana Dawn”, 1932

oil wash on cardboard signed and dated lower right. Glazed and framed.

20” x 30”, framed 23-1/2” x 33-1/2”

$3,000-$5,000

684

Alexander John Drysdale (American/Louisiana, 1870-1934)

"Live Oaks, Louisiana Bayou"

oil wash on board signed lower left.

Glazed and framed. sight 9-1/2" x 29-1/2", framed 11" x 31"

$1,500-$2,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

685

Alexander John Drysdale (American/Louisiana, 1870-1934)

“Live Oak and Cypress Trees, Louisiana Bayou”

oil wash on board signed lower left. Glazed and in a period frame. sight 20" x 29", framed 24" x 33-1/2"

$3,000-$5,000

Provenance: The Estate of Kenneth Abshire Gulfport, Mississippi.

684

685

683

686

Eight Native American Regional River Cane Baskets

20th century, the collection including a Coushatta elbow basket with a double lip, h. 15-1/4”, w. 12”, d. 3-1/2”, two gathering baskets in the “flowing water” pattern, h. 10” to 15-1/2”, w. 9” to 19-1/2”, d. 7-3/4” to 14-1/2”, and five circular, handled baskets, h. 6” to 8-1/2”, dia. 3-1/2” to 8-1/2”.

$600-$900

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

687

Six Native American Regional Baskets

20th century, Mississippi or Louisiana, the collection including a Coushatta river cane elbow basket with a double rim, h. 15”, w. 12”, d. 4”, a river cane heart-shaped basket, given as a gesture of love or friendship, h. 10”, w. 11-3/4”, d. 12-1/2”, a double wall basket, h. 17”, w. 10-1/2”, d. 5”, a handled waste basket in the “stairs” pattern, h. 17-1/2”, w. 12-3/4”, d. 12-3/4”, and two gathering baskets, h. 6-1/4” to 10”, w. 15-1/2” to 16-3/4”, d. 10-3/4” to 11-1/2”.

$700-$1,000

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

688

Five Choctaw River Cane Baskets

20th century, Mississippi, the collection including a large hamper with a hinged cover, h. 23-1/2”, w. 19-1/2”, d. 19-1/2”, two egg baskets, one with a wrapped handle, h. 10”, w. 12”, d. 10”, and one with a double handle, h. 14-1/2”, w. 15-1/2”, d. 11”, a polychrome storage basket, h. 9”, w. 13-1/2”, d. 9-1/2”, and a basket with a reinforced handle, h. 13-3/4”, w. 12-1/2”, d. 11”.

$700-$1,000

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

689

Five Choctaw Swamp Cane Baskets

20th century, Mississippi, the collection including a twohandled storage hamper with a hinged cover, h. 21-1/2”, w. 14”, d. 14-1/2”, a double woven waste basket in the “fish bones” pattern, h. 10-1/2”, dia. 16”, and three cylindrical double woven baskets, h. 4-1/2” to 6-3/4”, dia. 2-3/4” to 6”.

$700-$1,000

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

686

687

688 689

690

Alexander John Drysdale (American/Louisiana, 1870-1934)

"Live Oak, Louisiana Bayou"

oil wash on board signed lower right. Glazed and framed.

sight 18-1/2" x 21-1/2", framed 22-1/2" x 26"

$2,000-$4,000

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

691

Alexander John Drysdale (American/Louisiana, 1870-1934)

“Louisiana Landscape”, 1914

oil wash on canvas board signed and dated lower left. Framed.

18” x 24”, framed 23-1/2” x 29-1/2”

$2,000-$4,000

690

691

692

Six French Provincial Oak Ladderback Chairs

20th century, each with four shaped slats and a rattan woven seat, raised on block-and-turned legs joined by stretchers. h. 39”, w. 18”, d. 16”

$800-$1,200

693

American Cherrywood and Maple Farm Table

composed of antique elements, the four-board maple top with breadboard ends, mounted to an antique base with turned legs joined by an H-form stretcher. h. 30-1/2”, w. 37-1/2”, l. 120-1/2”

$1,200-$1,800

694

American Western Deep-Relief-Carved Wooden Plaque

20th century, of a cowboy tending horses in a barn, the frame decorated with logs latched together with rope, a horseshoe at the top, the whole carved from a single plank of mahogany.

h. 35-3/4”, w. 42”

$1,200-$1,800

695

Pair of Brown Leather Club Chairs

20th century, possibly by Hancock and Moore, each with a tufted back and arms, and down-stuffed seat cushion, trimmed with brass tacking, raised on turned bun feet.

h. 33”, w. 33”, d. 39”

$1,000-$1,500

696

Henri Schouten (Dutch, 1864-1927)

“Hunting Dogs”

oil on canvas signed lower left. Framed.

28” x 40”, framed 40” x 52”

$2,500-$4,000

697

Eugene Petit (French, 1839-1886)

“On the Scent” oil on canvas signed lower left. Framed.

18-1/4” x 21-3/4”, framed 25-1/8” x 28-3/4”

$3,000-$5,000

696

697

698

Ludwig Fromme (German, 1868-1938)

“At the Ranch” oil on canvas signed lower right. Framed.

24” x 35”, framed 27-1/2” x 39”

$1,500-$2,500

700 Gustav Quentell (German, 1816-1896)

“Protecting the Foal”, 1854 oil on canvas signed and dated lower left. Framed.

28-1/2” x 38”, framed 37-1/2” x 47-1/2”

$2,500-$4,000

699

Cornelis Verschuur (Dutch, 1888-1966)

“The Stableboy and His Horses” oil on canvas signed lower right. Framed.

23-1/2” x 39-1/2”, framed 31” x 46-1/2”

$1,800-$2,500

699

701

After Isidore Jules Bonheur (French, 1827-1901)

“Le Grand Jockey” patinated and cold-painted bronze on a carved wood base. h. 22”, w. 23-1/4”, d. 7”

$1,000-$1,500

702

George III Mahogany Sideboard

ca. 1800, the square block front top over a central drawer, flanked by a cabinet on the left and a bottle drawer on the right, raised on tapered square legs ending in spade feet. h. 35-1/2”, w. 72-1/2”, d. 24-1/2”

$1,500-$2,500

Provenance: Private collection, Laguna Beach, California.

703

Pair of Monumental Terracotta Vessels

the amphorae painted with designs inspired by armorial devices, with gilt borders of acanthus leaves on a red ground, on metals stands with scrolled feet. h. 60”, dia. 21-1/2”

$2,000-$4,000

704

Mahogany and Leather Camelback Settee

20th century, the George III-style settee with outscrolled arms and a loose seat cushion, the edges trimmed with brass tacking, raised on square, stopfluted legs joined by stretchers. h. 36”, w. 63”, d. 34”

$900-$1,200

705

American Sheraton Mahogany Drop-Leaf Breakfast/Dining Table

first quarter 19th century, probably South Carolina, the single-board top flanked by a pair of deep singleboard drop leaves, each supported by a swing leg, the legs ring-turned and reeded. h. 29”, w. 45”, d. 20-1/4”, ext. l. 60”

$700-$1,000

703

704

706

Swedish Polychrome Trunk

firs quarter 19th century, the domed top dated “1825” and decorated with three painted floral reserves, over a tapered body with dovetailed corners, the front and sides with more floral reserves, fitted with wrought-iron handles and raised on tapered block feet.

h. 20-1/2”, w. 32”, d. 17-1/2”

$700-$1,000

707

Mary Lee Flotte Lombard (American/Louisiana, b. 1940)

“Flowers”

oil on canvas signed lower right. Unframed.

30” x 24”

$800-$1,200

Mary Lombard attended Newcomb College and studied under Clarence Millet, John McCrady, and Ida Kohlmeyer, who considered the young artist one of her most talented students. She completed her artistic studies at the prestigious Academie Julian in Paris. An American Expressionist, her vividly hued works adeptly explore color and form. The recipient of numerous awards during her career, Lombard exhibited widely, including “Americans in Paris”, France; Masur Museum of Art, Monroe, Louisiana; Oklahoma Museum of Art; Mint Museum of Art, Charlotte, North Carolina; and the New Britain Museum of Art, Connecticut.

707

708

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997)

“Clusters”, 1974

oil and mixed media on paper signed and dated lower right.

Float-mounted, glazed and framed. sight 7-1/4” x 11-1/2”, framed 11-1/4” x 15-1/4”

$6,000-$9,000

The years 1973 and 1974 were pivotal times in Ida Kohlmeyer’s artistic career. She had accepted the position as associate professor of art at the University of New Orleans, which then had a prominent art program under the direction of New York artist Tom Young. It was at this time Kohlmeyer moved away from figurative painting and abstract expressionist brushwork to embrace the colorful grid patterns that she referred to as the Cluster painting series.

The painting Clusters, dated 1974, is an early example of the series where she was still developing her own distinctive vocabulary of hieroglyphs which were comprised of a sequence of X’s, circles, squares and bars within a grid pattern. Ida Kohlmeyer would achieve national acclaim as an artist while remaining in her native Louisiana.

708

709

Dapper Bruce Lafitte (Davenport) (American/Louisiana, b. 1972)

“My Grandpa’s Favorites”, 2015 marker on paper signed and inscribed in several places en recto and verso. Unframed.

19” x 24”

$800-$1,200

Provenance: Collection of the artist.

710

Dapper Bruce Lafitte (Davenport) (American/Louisiana, b. 1972)

“Let Them Have It”, 2020 marker on paper signed and inscribed in several places. Unframed.

24” x 18”

$800-$1,200

Provenance: Collection of the artist.

709

710

711

Dapper Bruce Lafitte (Davenport) (American/Louisiana, b. 1972)

“B.B. King”, 2017 marker on paper signed and inscribed in several places. Unframed. 18” x 24”

$800-$1,200

Provenance: Collection of the artist.

712

Earl Hebert (American/Louisiana, 1942-2006)

“Cajun Riviera”, 1996 oil on canvas signed and dated lower right, and signed and dated en verso, titled on integral artist-made frame. 24” x 30-1/2”

$3,000-$5,000

711

712

713

French Daum Pate de Verre Glass L’Aigle Roi

contemporary, the frosted glass eagle composed of mottled blue and amber glass, with displayed wings, signed “Daum France” and numbered “544/1000”. h. 9”, w. 10-1/2”, d. 6-1/4”

$1,000-$1,500

714

French Daum Pate de Verre L’Aigle Roi

20th century, composed of molded amber art glass, the displayed eagle perched on a rectangular base, with an engraved “Daum France” signature and “53/200”. h. 17”, w. 18”, d. 9”

$1,000-$1,500

715

Specimen Stone Eagle

20th century, possibly Brazilian, the agate eagle with a rock crystal head and wings, perched on an amethyst rocky outcropping.

h. 16”, w. 8”, d. 4-1/2”

$1,000-$1,500

713

714

715

716

Tiffany Studios “Vine Border” Leaded Glass Table Lamp

ca. 1905-1910, New York, the pierced finial over a stained and leaded glass shade decorated with a dark green vine on a light green ground, with a brass tag reading, “Tiffany Studios, New York”, over a patinated bronze base labeled “Tiffany Studios, New York”. h. 20”, dia. 12”

$2,500-$4,000

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

717

Tiffany Studios Counterbalance Bronze Lamp

first quarter 20th century, the patinated bronze lamp base impressed “Tiffany Studios/New York/416” underneath, paired with a custard cased glass pulled feather shade. h. 14-1/2”, w. 8”, d. 4-3/4”

$1,500-$2,500

718

Tiffany Studios Leaded Glass Dragonfly Pendant Light

ca. 1900-1910, New York, of conical form, set with eight dragonflies and numerous amber glass jewel cabochons, the upper rim with beaded bronze trim and three hanging hooks, bearing a metal tag reading, “Tiffany Studios New York”, along the lower inside rim.

shade only h. 12”, dia. 28-1/2”

$30,000-$50,000

The design for Tiffany’s iconic dragonfly shade is credited to Clara Driscoll (1861-1944). She worked for Tiffany Studios from 1888-1909 and was the head of the Women’s Glass Cutting Department. Clara won the bronze medal at the 1900 Paris World’s Fair for her design of the dragonfly lamp.

718 detail

719

Bronze and Steuben Glass Table Lamp

ca. 1903-1930, New York, the two-light table lamp with a reeded brass standard, atop a lotus-molded base, set with signed Steuben gold aurene ribbed shades. h. 24”, w. 13-1/4”, d. 9”

$1,000-$1,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

720

Tiffany Studios Harp Desk Lamp

first quarter 20th century, New York, the lamp with a gold dore finish, the harp set with a later iridescent art glass shade, over a faceted standard and base with reeded trim, marked on the bottom, “Tiffany Studios, New York, 613”. h. 20-1/2”, dia. 6-3/4”

$1,200-$1,800

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

719

720

721

Tiffany Studios Bronze Desk Accessories

first quarter 20th century, New York, the collection including a grapevine-patterned caramel slag glass frame with an oval opening, h. 12”, w. 9-3/4”, a grapevine-patterned caramel slag glass perpetual calendar holder, h. 6-1/4”, w. 7-1/4”, a “Zodiac” perpetual calendar frame, h. 7-1/4”, w. 8”, a “Zodiac” perpetual calendar frame, h. 1”, w. 4-1/2”, d. 3-1/2”, and a pine needle-patterned perpetual calendar frame set with caramel slag glass, h. 1”, w. 4-1/2”, d. 3-1/2”, each piece stamped “Tiffany Studios, New York” and numbered.

$1,000-$1,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

722

International “1810” Sterling Silver Flatware Set

the pattern introduced in 1930, Wallingford, Connecticut, including eight five-piece place settings with an additional eight teaspoons and seven serving pieces, no monograms, together with eight Gorham “Old English” demitasse spoons monogrammed “C”, presented in a fitted, green buckram- and cream satinlined walnut case with lift-top and single drawer, 6-3/4” x 16” x 12”.

(63 pieces plus case)

75.52 total t. oz. (weighable silver)

$1,000-$1,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

723

Gorham Sterling Silver Tea Tray

1903, Providence, Rhode Island, oval with shaped and applied rococo scroll rim, with rocaille handles en suite. 24-1/4” x 17-1/4”; 107.37 t. oz.

$2,000-$4,000

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

722

722 detail

724

Shiebler & Co. Sterling Silver Presentation Salver

dated 1904, New York, New York, retailed by W. Kendrick’s Sons, Louisville, Kentucky, of serpentine lobed circular form with applied lilies and whiplash lines, the rim with stylized pierced and engraved leaves, engraved with a presentation inscription “Mr. & Mrs. Donald Macpherson / from / members and employees of / Louisville Board of Fire Underwriters / Golden Wedding May 9th, 1904”. dia. 15-1/2”; 27.42 t. oz.

$500-$800

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

Scottish-born Donald M. Macpherson (1835-1921) emigrated to Louisville in 1846 and there married, on May 19, 1854, Mary Louise Drabelle (1836-1921). He was the Secretary-Treasurer of Louisville Schools, 1864-1877, and a manufacturer of agricultural implements 1877-1885. He then entered the fire insurance business, in which his sons would join him, and in which he would remain until his death.

725

Reed & Barton Footed Center Bowl

first quarter 20th century, Taunton, Massachusetts, of shaped and lobed navette form with applied rococo scroll rim, raised on a conforming pedestal foot, monogrammed in the bowl “ESS”.

h. 4-1/2”, l. 14”, w. 11”; 26.92 t. oz.

$600-$900

Provenance: Private collection, New Orleans, Louisiana.

724

724 detail

726

Set of Gorham “Versailles” Sterling Silver Flatware

the patten designed in 1888 by Florentin Antoine Heller (18391904), Providence, Rhode Island, comprising eight five-piece luncheon place settings (eight pieces lacking) with an additional six place pieces and four serving pieces, some monogrammed “G”, presented in a fitted, Pacific cloth-lined wooden case with lift top and single drawer, 5-3/4" x 15-1/8" x 11-1/4".

(42 pieces plus case)

52.74 total t. oz. (weighable silver)

$1,800-$2,500

Detailed list of pieces available on request.

726 details

727

Extensive Wallace “Grand Baroque” Sterling Silver Flatware Set

the pattern designed in 1941 by William S. Warren (1888-1965), Wallingford, Connecticut, including a dozen seven-piece place settings (four pieces lacking) with an additional dozen teaspoons, thirty-three place pieces and eleven serving pieces, no monograms, presented in two fitted Nakenís clothlined wooden cases with lift top, 3-1/4” x 15-3/8” x 11-1/4”.

(136 pieces plus two cases)

163.90 total t. oz. (weighable silver)

$4,000-$7,000

726

728

S. Kirk & Son Sterling Silver Bowl

mid-20th century, Baltimore, Maryland, circular form with floral repousse rim. h. 2”, dia. 10”; 15.04 t. oz.

$400-$700

729

S. Kirk and Son Sterling Silver Footed Bowl

third quarter 20th century, Baltimore, Maryland, with everted rim and pedestal foot, decorated with repousse flowers. h. 4-1/2”, dia. 10”; 17.11 t. oz.

$400-$700

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

730

S. Kirk & Son Sterling Silver Serving Dish

first quarter 20th century, Baltimore, Maryland, of oval form, the rim decorated with rich floral repousse on a matte ground, with applied floral scroll rim, the plateau with bright-cut diaper pattern, monogrammed “EMW”. l. 14”, w. 10”; 16.66 t. oz.

$400-$700

Provenance: Estate of Loveta Byrne, Natchez, Mississippi.

728

729

730

731

Steuben Glass “Dragonfly” Bowl

1970s, designed by Peter Yenawine with an engraving of a dragonfly lighting on a blade of grass designed by Sheldon Fink, engraved “Steuben 11/15” under the rim and presented in a custom gilt-edged scarlet leather case, the interior fitted in deep rose satin and velvet. bowl dia. 16-1/4”; case h. 5”, w. 18-1/2”, d. 18-1/2”

$900-$1,200

Provenance: Private collection, New Orleans, Louisiana.

732

Partial Service of Waterford “Lismore” Cut-Crystal Stemware

20th century, the service comprised of sixteen balloon wine glasses, h. 7”, dia. 3-1/4”, twenty-one water goblets, h. 7”, dia. 3-1/4”, nineteen claret glasses, h. 5-3/4”, dia. 3”, nineteen white wine glasses, h. 5-1/2”, dia. 2-1/2”, and two finger bowls, h. 2”, dia. 4-3/4”.

$1,000-$1,500

Provenance: Collection of Arlene Philipson, New Orleans, Louisiana.

731

732

733

Brass, Gilt-Metal and Jeweled Banquet Lamp

first quarter 20th century, the brass ball-form shade decorated with pierced scrollwork and set with “jewels”, the standard decorated with cabochons and pierced scrollwork, electrified.

h. 28-3/4”, w. 7-3/4”, d. 7-3/4”

$800-$1,200

734

Pair of French Gilt-Brass Candelabra

fourth quarter 19th century, the seven-light ecclesiastical candelabra decorated with gilt-brass lilies, wheat and grapevines interspersed with candle branches on three levels, supported on cross-molded vasiform standards with leafmolded tripartite bases, raised on molded feet.

h. 43”, w. 14-1/4”, d. 6”

$700-$1,000

735

American Giltwood Tabernacle Mirror

post-1812, likely Philadelphia, the overhanging cornice set with spherules, over an eglomise tablet decorated with the battle of the USS Constitution and HMS Guerriere in the War of 1812, with cove-molded side pilasters, set with spiral-turned reeding.

h. 33-1/2”, w. 20”

$1,000-$1,500

734

733 735

736

Gideon Townsend Stanton (American/Louisiana, 1885-1964)

“Downtown New Orleans at Dusk"

oil on board

signed lower left, with a “W.E. Seebold/New Orleans” label en verso.

Framed.

14” x 16”, framed 18-3/4” x 20-3/4”

$2,000-$4,000

Provenance: Private collection, New Orleans, Louisiana.

A native of Minnesota, Stanton’s family relocated to New Orleans when he was a toddler. Active in the local art community, he was a member of the Art Association of New Orleans, Arts and Crafts Club of New Orleans, the Artist’s Guild, and the New Orleans Art League, often serving as director or on the boards of the various associations. Most significantly, Stanton was the State Director of the Louisiana Works Progress Administration’s (WPA) Federal Art Project in the 1930s. His papers are conserved at the Historic New Orleans Collection’s Manuscript Division.

737

Julius Garibaldi (Gari) Melchers (American, 1860-1932)

“Respite”

oil on artist board

initialed and dated lower right, a “Mason Binant/Paris” supply label en verso.

Matted, glazed and framed.

sight 12-3/4” x 9-3/4”, framed 19-1/8” x 16”

$4,000-$7,000

736

738

American Federal Mahogany D-End Dining Table in the Sheraton Taste

first quarter 19th century, Philadelphia, in two parts, each with a figured single-board top and like drop leaf, over a conforming apron with reeded bottom edge, the leaves supported by a fly leg, and the tapered, reeded legs ending in ball feet.

h. 29”, w. 45-3/4”, d. 21-3/4”, extended l. 86”

$1,000-$1,500

Provenance: The Estate of Parker John Buck, Seattle, Washington.

739

American Late Classical Mahogany Tall Case Clock

19th century, the face labeled “Sam Hildeburn, Philadelphia”, with a broken-arch pediment and spiral columns on the hood, set with a time-and-strike movement and calendar dial.

h. 93”, w. 20”, d. 11”

$1,000-$1,500

Provenance: The Estate of Kenneth Abshire, Gulfport, Mississippi.

738

740

Large and Impressive Gilt-Bronze Two-Tier Gasolier

fourth quarter 20th century, the eighteen-light chandelier is an exact replica of a mid-19th-century Starr-Fellows, New York, gasolier, made by Vintage Hardware and Lighting, Port Townsend, Washington, fitted with frosted Greek-key cut-glass gas shades, electrified. h. 84”, dia. 40”

$5,000-$8,000

Vintage Hardware and Lighting is credited for providing chandeliers for the restoration of the White House and Capitol building in Washington, D.C.

741

Pair of Elizabethan-Style Rosewood Child’s Chairs

second quarter19th century, New York, possibly by J. & J.W. Meeks, each with a floral-carved crest rail, curved shoulders and central pierce-carved rosette, supported by turned spindles, raised on turned legs. h. 35”, w. 17-1/2”, d. 16”

$1,000-$1,500

742 American Late Classical Figured Mahogany Armoire

second quarter 19th century, the large, complex cornice molding above a pair of framed and bookmatchedveneered paneled doors, opening to an interior fitted with a hanging bar, shelves and medial drawer, the interior of the right door mounted with a full-length dressing mirror. h. 94”, w. 73”, d. 27”

$800-$1,200

741

743

Swiss Fabrique de Geneve Music and Organ Box

late 19th century, with a marquetry-inlaid rosewood case, the cover interior with an original air card listing eight tunes, the fourteen-inch cylinder no. 7784-6347, with a harmonica function.

h. 9-1/2”, w. 22-3/4”, d. 10-1/4”

$1,000-$1,500

744

Rare Capital “Cuff Style” Oak Music Box

ca. 1890, the style “B” box with a landscape on the cover interior, with five tole “cuffs”, marked on the interior, on a later custom oak stand.

box h. 7”, w. 14-3/4”, d. 11-1/4”, overall h. 37-3/4”

$1,500-$2,500

745

Swiss Music Box, Attributed to Jean Billon-Haller

ca. 1900, with five bells and four interchangeable cylinders boxed in an inlaid rosewood case with ebonized trim, each playing six airs, retailed by Lister & Co., London, the interchangeable design utilizing an endless screw as a spring-barrel lock.

h. 10-1/4”, w. 17-3/4”, d. 11-3/4”

$1,500-$2,500

743

746

Rare American Gothic Revival Rosewood Sofa

mid-19th century, attributed to Crawford Riddell, Philadelphia, the sweeping back frame with a central carved cartouche with circular Gothic-style “church window” rosettes, the front apron with like designs. h. 32”, w. 85”, d. 29”

$3,500-$5,000

This sofa is believed to have been part of the furnishings of the Dargan-Waring House located at 351 Government St., Mobile, Alabama. The accompanying black and white photo, which is in the archives of the Smithsonian Institute, shows what is believed to be this sofa on the right. The iconic Gothicstyle center table on the left is currently in the collection of The Detroit Institute of Arts. Cabinet maker Crawford Riddell is credited for the commission of the famous “Henry Clay” suite of bedroom furniture. During the presidential election of 1844, Clay was so convinced that he was going to win the election that he commissioned the firm of Crawford Riddell to make an extensive bedroom suite for the White House. It was to be installed in what is now the Lincoln bedroom. He lost the election to James Polk and consequently the suite of furniture had to find a new home. It was purchased and installed by the owners of Rosedown Plantation in St. Francisville, Louisiana, where it remained until 2000 when the current owners sold off the suite. The bed ended up in the Dallas Museum of Art, the dressing bureau went to the Minneapolis Institute of Art, the armoire was donated to the Louisiana State Museum by M.S. Rau Antiques, and the remaining pieces are believed to be in private collections.

746 detail

747

American Aesthetic Movement Chandelier

fourth quarter 19th century, the three-arm chandelier with a brass frame, decorated with panels of aesthetic piercing and set with molded glass kerosene fonts, with molded glass shades in the “Daisy and Button” pattern, retaining its functioning spring-loaded clutch for raising and lowering, electrified.

h. 40-1/2”, dia. 35”

$1,000-$1,500

748

Carved Pine Carousel Horse

late 19th/early 20th century, middle or outside row jumper, with glass eyes and a carved saddle, tack and hooves, with a leather rein and a plaited fabric tail, on metal front supports.

h. 53-1/2”, w. 50-1/2”, d. 8-3/4”

$1,500-$2,500

749

American Aesthetic Movement Cabinet

ca. 1875-1885, in the manner of Herter Brothers, the pedestal ends with beveled glass cupboard doors centered by a mirror over a pair of drawers with highly figured faces, and open shelves below, raised on brass feet, constructed of carefully selected figured Douglas fir throughout. h. 44”, w. 68”, d. 15-1/4”

$1,000-$1,500

Provenance: Reputedly, the present cabinet was found in a New York City home.

750 French Fin-de-Siecle Brass Chandelier

ca. 1900, the spiral-reeded rod set with five leaf-molded and scrolled arms terminating in leaf-molded sockets mounted with marigold carnival glass shades attributed to Nuart, set with a center ball finial, with bowknot mounts. h. 34”, dia. 26”

$1,000-$1,500

751

George III-Style Leather Camelback Sofa

20th century, of traditional form with a diamond-tufted back, seat and arms, raised on Marlborough legs joined by stretchers.

h. 37”, w. 83”, d. 29”

$1,000-$1,500

752

American Gothic Revival Mahogany Tall Case Clock

first quarter 20th century, the triple train movement signed “Jacques”, for Charles Jacques, set with six long tubes, playing Westminster or Trinity, the case door flanked with cluster columns, raised on a plinth base.

h. 78”, w. 22”, d. 17”

$1,000-$1,500

752

753

American Rococo Revival Gasolier

first quarter 19th century, possibly Philadelphia, the canopy with pierced and molded flowers, the lower standard decorated with brass fruit and acanthus leaves, set with pierced and scrolled arms terminating in burners set with period engraved glass shades and pierced gas keys. h. 56-1/2”, dia. 36”

$2,500-$4,000

754

French Spelter Figural Newel Post Lamp

ca. 1900, of King Henri II of France, as a hallebardier, the halberd fitted with a cut and frosted glass shade, on an ogeemolded circular base decorated with cabochons, with a brass tag reading, “FABRICATION FRANCAIS, PARIS, MADE IN FRANCE”, electrified.

h. 39-1/2”, w. 7-1/2”, d. 8”

$1,500-$2,500

753

755

2’ 6” x 20’ 5”

$600-$900

756

9’ x 12’

$3,000-$5,000

Agra Serapi Runner

Sultanabad Carpet

755

756

$1,500-$2,500

757

Agra Serapi Runner

3’ x 26’ 4”

758

Turkish Angora Oushak Carpet

10’ 2” x 14’

$1,800-$2,500

758

757

759

Semi-Antique Bidjar Carpet

8’ 9” x 12’ 3”

$2,000-$4,000

Provenance: Collection of Arlene Philipson, New Orleans, Louisiana.

760

Semi-Antique Persian Tabriz Carpet

9’ 5” x 12’ 4”

$1,000-$1,500

761

Turkish Angora Oushak Carpet

9’ x 12’ 4”

$1,400-$1,800

762

Semi-Antique Heriz Carpet

8’ 3” x 12’ 3”

$1,500-$2,500

763

Semi-Antique Sarouk Carpet

14’ x 14’ 4”

$2,000-$4,000

762

ARTIST INDEX

(BY LOT NUMBER)

Adickes, David Pryor (American/Texas, b. 1927)

Alferez, Enrique G. (Mexican/Louisiana, 1901-1999)

Arman, (French, 1928-2005)

Arman, n (French, 1928-2005) 634

Audubon, After John James (American, 1785-1851)

Austrian School, (19th Century)

Baskin-Shefrin, Roberta (American/Nevada, 1929-2021) 590

Bennett, Ron (American, 1941-2017) 34

Black, Dawn (American/Louisiana, Contemporary) 24

Bonheur, After Isidore Jules (French, 1827-1901) 701

Bowers, Susan (American/Louisiana, Contemporary) 28

Bravo, Kyle (American/Louisiana, Contemporary)

56,59,60 by Yosai (1781-1878), 609

Chagall, Marc (Russian/French, 1887-1985) 213,214

Chaplin, Charles Joshua (French, 1825-1891) 280

Chihuly, Dale (American, b.1941) 255-258

Continental School, (19th Century) 238

Continental School, (ca. 1800) 112

Cooke, Anita (American/Louisiana, Contemporary)

Covaci, Laura (Romanian, b. 1964) 635

Cox, Matthew (American, b. 1961) 91

Crespo, Michael Low (American/Louisiana, 1947-2010) 681 d’’Hondecoeter, Manner of Melchior (Dutch, 1636-1695) 267

Dali, Salvador (Spanish, 1904-1989) 212

Donley, Ray (American, b. 1950) 409

Drysdale, Alexander John (American/Louisiana, 1870-1934) 683-685,690,691

Dureau, George Valentine (American/Louisiana, 1930-2014) 244

Dutch School, (19th Century) 75,295

Eddy, Don (American, b. 1944) 631

Eisuke, Miyao (Japanese, 1850-1920) 606

Farrington, Adam (American, Contemporary) 36,40

Febres, George (Ecuadorian/Louisiana, 1943-1996) 77,78

Fleming, Frank (American/Alabama, 1940-2018) 621-627

Forsythe, Jeffrey (American/Louisiana, Contemporary) 43

Franc-Lamy, Pierre (French, 1855-1919) 139

French School, (19th Century) 279

Fromme, Ludwig (German, 1868-1938) 698

Gabin, George (American, 1931-2012) 342

Gainsborough, Manner of Thomas (British, 1727-1788) 168

Geleng, Otto Friedrich (German, 1843-1939) 344

Gerson, Alan (American/Louisiana, b. 1952) 38

Golden, Rolland Harve (American/Louisiana, 1931-2019) 678,680

Gorzo, Dumitru (Romanian, b. 1975) 549

Gregory (Gregory Quinlivan), Quinn (American, Contemporary) 641

Guangxu Dynasty (1871-1908), 198

Guidry, Louise (American/Louisiana, b. 1930) 679

Guion, Scott (American/Louisiana, b. 1971) 55

Harouni, David (Iranian/Louisiana, b. 1962) 246

Hebert, Earl (American/Louisiana, 1942-2006) 712

Hill, Beatrice (American/Louisiana, 1923-1998) 88

Hofberger, Steven (American, Contemporary) 569,570

Huber, Alexandra (German, b. 1955) 640

Iles, Bill (American/Louisiana, Contemporary) 31

Invader, (French, b. 1969) 637

Janet, Jean-Claude (French, 1918-2008) 630

Jenkins, Paul (American, 1923-2012) 632

Kalal, Jayme (American/Louisiana, Contemporary)

King, After Charles Bird (American, 1785-1862)

Klinge, Dietrich (German, b. 1954)

Knipe, Kristina (American/Louisiana, b. 1990)

498

554

53,54

Kohlmeyer, Ida Rittenberg (American/Louisiana, 1912-1997) 708

Kronberg, Louis (American, 1872-1965)

281

Lafitte (Davenport), Dapper Bruce (American/Louisiana, b. 1972) 709-711

Lalanne, Francois-Xavier (French, 1927-2008)

Lambert, Charles (Continental, 19th Century)

Lambertson, Erica (American/Louisiana, Contemporary)

LeWitt, Sol (American, 1928-2007)

628,629

343

216,217

Lik, Peter (Australian, b. 1959) 574

Lombard, Mary Lee Flotte (American/Louisiana, b. 1940) 707

Marochetti, After Carlo (Italian, 1805-1867)

Masi, Paolo (Italian, b. 1933)

McNamee, Aaron (American/Louisiana, b. 1977)

117

567,638

Melchers, Julius Garibaldi (Gari) (American, 1860-1932) 737

Messinger, Matt (American/Texas, b. 1974) 553

MOMO, (American/Louisiana, b. 1974) 58

Muller, Hans (Austrian, 1873-1937) 503

Neizvestny, Ernst (Russian/New York, 1925-2016) 572

O’’Brien, Patrick (American/Louisiana, 1957-2018) 57

Odita, Odili Donald (Nigerian/New York, b. 1966) 62

Perdomo, Angel (Honduran/Louisiana, b. 1989) 37

Petit, Eugene (French, 1839-1886) 697

Phillips, Pat (British/American, b. 1987) 89

Picasso, Pablo 558

Picasso, Pablo (Spanish/French, 1881-1973) 215 Qianlong Dynasty (1736-1795), 194 Qing Dynasty (1644-1912), 617

Quentell, Gustav (German, 1816-1896) 700

Rascic, Lala (Bosnian/Louisiana, b. 1977) 29 Republic Period (1912-1949), 192 Rogers, Christy Lee (American, Contemporary) 557

Romanelli, Raffaello (Italian, 1856-1928) 647

Rooney, Stephen (American/Louisiana, Contemporary) 45 Rose, Cathy (American/Louisiana, Contemporary) 79 Rosset-Granger, Edouard (French, 1853-1934) 300

Roth, Frederick George Richard (American, 1872-1944) 404

Savini, Maurizio (Italian, b. 1962) 581

Schifano, Mario (Italian, 1934-1998) 552,571,633,636

Schouten, Henri (Dutch, 1864-1927) 696

Stanton, Gideon Townsend (American/Louisiana, 1885-1964) 736

Sullivan, David (Brazilian/Louisiana, Contemporary) 27

Szczublewski, After Waclaw Bernard (Polish, 1888-1965) 502

Takawira, Lazarus (Zimbabwian, 1952-2021) 555

Tamayo, Rufino (Mexican, 1899-1991)

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 / Follower of: In our qualified opinion, a work by a follower of the artist.

Circle of: In our qualified opinion, a work of the period of the artist and showing his or her influence.

Studio of: In our qualified opinion, a work possibly associated with the studio of the artist and showing his or her influence.

Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period.

After: In our qualified opinion, a copy of a known work by the artist.

Signed: In our qualified opinion, has the signature which is that of the artist.

Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist.

Dated: In our qualified opinion, is so dated and was executed on or around that date.

Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

550,551

Traviesa, Jonathan (American/Louisiana, Contemporary) 25 Trouillebert, Paul Desire (French, 1831-1900) 278

Tschaggeny, Edmond (Belgian, 1818-1873)

van Boucle, Attributed to Pieter (Flemish, ca. 1610-1673)

van der Plas, Niek (Dutch, b. 1954) 341

Verschuur, Cornelis (Dutch, 1888-1966) 699

Williams, Carl Joe (American/Louisiana, b. 1970) 35

Wreyford, Brad (American, Contemporary) 90

Wyllie, William Morrison (British, 1820-1895) 186

Ziegen, Pauline (American, Contemporary)

Conditions of Sale:

ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction

(a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction.

(b). Under these Conditions of Sale, the following capitalized terms are defined as follows:

• An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG;

• The “Auctioneer ” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot;

• A “ Bidder ” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding);

• A “ Buyer ” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction;

• “ Buyer’s Premium” is defined in Section 4 below;

• “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction;

• The “ Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction;

• The “ Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges;

• A “ Lot ” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below;

• The “ Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot;

• The “ Seller ” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot;

• The “ Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer.

(d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction

(a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER.

(i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.”

(ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose.

(iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale.

(iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED.

(v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership.

(vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a).

(b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

(c). Catalogue and other descriptions.

(i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others.

(ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot.

(iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price.

(iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material.

(d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that:

(i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot;

(ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere;

(iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot;

(iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and

(v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction

(a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements:

(i) A Bidder must complete and sign the attached registration form and provide identification to NOAG;

(ii) NOAG may require the production of bank or other financial references or any other additional information;

(iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment

(iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and

(v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below).

(b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion.

(c). Absentee bids / Telephone bids.

(i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”).

(ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid.

(iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith.

(d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above.

(e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller.

(f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot.

(g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction

(a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG:

(i) the Hammer Price; and

(ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires] 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 12% 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 antiterrorism 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.