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New Orleans Auction galleries

MARCH 17-18, 2018


New Orleans Auction galleries Estates Auction:

March 17-18, 2018

333 Saint Joseph Street, New Orleans, Louisiana 70130

www.neworleansauction.com | info@neworleansauction.com | Main: 504.566.1849 | Fax: 504.566.1851 LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 25% Buyer’s Premium (3% Discount For Prompt Payments Made By Cash or Check) Pictured: Lot 922 Cover: Lot 920


December 9-10, 2017

Evening Reception

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1. Michel and Marie Tourniaire and Burke 2. Robert Diamond and Justine Roig 3. Francis, Grace, Jelena and Fleming James 4. Shane Thornton, Shelly Pecot, Brian Sands and Gerrard McGovern 5. Nicole Casi, Susan and Carl Wedemeyer, Michele Carolla 6. Ray and Tish Steib 6

tulane AT NOAG On February 6, NOAG hosted Professor Michael Plante’s art history class from Tulane University The class, titled “How to Acquire a Work of Art,” explores the challenges of collecting art. Michele Carolla, one of NOAG’s Fine Art Specialists and a Tulane alum, led a lively discussion on the role of auction houses in the art world, as well as how to spot a fake and what questions to ask when evaluating works of art. We are pleased to welcome these future collectors and members of the arts community into our gallery and look forward to future visits!

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7. Tessa Steinkamp, Dr. Val Earhart, Ruth Winston


Letter from the ceo “She has long been haunting my paintings, the great central image of my art.” - Marc Chagall (1887-1985)

While his renowned talent as an early modernism artist is unequivocal, Marc Chagall’s passion for beauty is a longing to which I think many of us can relate. To be completely enraptured by something (or, in his case, someone … Bella Rosenfeld, his wife), is an indulgent joy in and of itself.

I have long had an appreciation for this particular Chagall painting, but when Casi, who recently earned an Appraisal Studies Certificate in fine and decorative art from New York University, so eloquently shared the emotional story behind it, well, I am now enthralled with it. After all, who among us is not in love with true love?

Chagall articulated this feeling of desire prolifically through an array of mediums, providentially leaving a legacy of fine art for us to enjoy today. Among his notable works is the stunning “Le Bouquet d’Amour,” which New Orleans Auction Galleries is honored to offer in our March auction (lot 920).

Continuing our obsession with all things beautiful, we will be hosting a special event in March, and I want you to be the first to know about it. The very talented fashion designer Adam Lippes will feature sportswear from his luxury lifestyle brand for women and men during an exclusive trunk show for friends of NOAG during our auction preview party (details below).

"This painting exemplifies the magical, dreamlike poetry of Chagall’s work,” said Nicole Casi, NOAG researcher and fine art specialist. It is a symphony in blue that celebrates two of the most recurring themes painted by the artist: lovers and the crowded rooftops of his childhood village in Vitebsk, Belarus (then part of the Russian Empire), where Chagall met Bella, his young bride." Casi – who holds doctorate and master’s degrees in the history of art from Cornell University, among many other scholarly achievements – pointed to Chagall’s muse, whom she calls the artist’s ultimate raison d'être. Bella was, Casi said, a representation of “a purity of love that spilled forth in his paintings, defying gravity and perspective, causing figures to soar through the skies and objects to dance in tandem in a kaleidoscope of colors and forms." In 1944, Bella, an American war émigré, died suddenly; however, Chagall’s desire to draw artistic inspiration from her continued. “The song of Bella and his beloved Belarus persisted in the composition of ‘Le Bouquet d’Amour,’ also known as ‘Amoureux au Bouquet,’ which he painted several times between the late 1940s and early 1960s,” said Casi, who joined NOAG in 2015 after a successful career in academia. “In each, lovers who resemble Chagall and Bella embrace beneath an overwhelming plume or tree – the flowering bouquet the wellspring of their love rooted in the courtship of their youth beneath the moonlit village.”

Lippes is, of course, a prominent international designer who launched his own collection in 2004 after years in the fashion industry. Since that time, the brand is represented in 75 luxury retailers – including Bergdorf Goodman, Neiman Marcus and Saks Fifth Avenue – in 29 nations and widely online (AdamLippes.com). Flip to the next spread to learn more about Adam. I have long been an Adam Lippes admirer (and shopper!). The fabrics, colors, and fresh, easy elegance of his creations are genius. I think you’ll love the pieces he is bringing from his New York studio to share just with us. Don’t miss out, so mark your calendars now: The NOAG preview party is Thursday, March 15, 5:00 to 7:30 p.m. The event will offer delicious refreshments as well as the opportunity to see Adam’s latest line and to view Marc Chagall’s “Le Bouquet d’Amour.” The trunk show will continue on Friday, March 16, from 10:00 a.m. to 4:00 p.m. On Saturday and Sunday, March 17-18, we will offer 1,100 lots during the auction, with bidding in person, by phone and online. Among this amazing collection of jewelry, art, silver and furniture, I know you are sure to find your next object of desire.


Single-Owner Lifetime Collection of Silver Salt Cellars

Online Auction: March 27, 2018

Beginning at 10:00 a.m. Central Time Listed Exclusively on liveauctioneers.com | Catalogue Posted March 13, 2018 PDF Catalogue Available Online and by Request

The sale will include over 165 lots of single, pairs and groups of salt cellars, including 65 Gorham examples, early 18th-century English, French and German cellars, several lots by the Hennell family, and many others.

SALE HIGHLIGHTS

Fine Pair of Louis XV Provincial Covered Silver Salt Cellars, second quarter 18th century, Avignon, probably Joseph Virgile Vilhet

Pair of Georgian Hester Bateman Sterling Silver Salt Cellars and Associated Spoons, hallmarked London, 1790-1791

Good Pair of Gorham Sterling Silver Renaissance Revival Salt Cellars, Model #440 (#GM33), introduced ca. 1863

Good Pair of Regency Paul Storr Sterling Silver Salt Cellars, hallmarked London, 1815-1816

browse & bid catalogue available March 13


trunk show NOAG Invites You to Meet Designer Adam Lippes and Shop His Latest Collection

THURSDAY, MARCH 15, 2018 4 - 7:30 p.m. Evening Reception & Trunk Show Champagne, Cocktails & Hors d'Oeuvres

friday, MARCH 16, 2018 10:00 a.m. - 4:00 p.m. Trunk Show Continues

about adam Adam Lippes, Founder and Creative Director of Adam Lippes, LLC, is rethinking the traditions of American sportswear through his luxury lifestyle brand. Inspired by his personal aesthetic for unhurried elegance and understated design, Adam's work communicates ease and confident luxury through cut, fit, color and details. The brand is committed to quality above all else and supports the finest fabric mills, craftsmen and ateliers worldwide. Adam began his career at Polo Ralph Lauren before moving to Oscar de la Renta, where he grew to be one of the youngest creative directors of a luxury fashion house. Widely published for fashion, interiors and travel, Adam's position as a tastemaker and influencer provides an authenticity and point of reference for the brand's audience. His inspirations and passions include art, architecture, interiors, antiques, textiles, gardens, travel, philanthropy and dogs. Adam is a graduate of Cornell University and splits his time between Greenwich Village in NYC and a farm in the Berkshires in southwestern Massachusetts.


FEATURED PROPERTY Property Descended in the Kilp Family

Antonio and Carola Kilp, Wiesbaden Germany; to their daughter Carmelita Kilp Blackburn (1923-2017), Sugar Land, Texas

Antonio Kilp was born February 14, 1885 in Muenster, Germany, and his wife, Carola Werner Kilp, was born April 14, 1895 in MĂźnzenberg, Germany. The Kilps settled together in Wiesbaden.

The factory was used to manufacture weapons and munitions, and their home, which was quite grand, was used as a field hospital and officer quarters during the war.

The Kilps, according to immigration and death records, appear to have moved between Germany and Texas from 1921 when Antonio became a naturalized U.S. citizen and the early 1930s. In 1927, they resided again in Wiesbaden. Antonio was fluent in seven languages, including English. Antonio and Carola were strongly against the Hitler regime and chose to leave Germany, ultimately settling in Houston, Texas for a number of years during and after World War II.

Collectors of art and antiquities for generations, the Kilps brought their family collection to the United States when they left Germany.

The German Army confiscated the family’s furniture factory and home in Wiesbaden during the war.

New Orleans Auction Galleries is pleased to offer property descended in the Kilp Family.

The couple frequently travelled between the United States and Germany following the war. Antonio died January 3, 1959 in Houston and Carola died March 24, 1967 in Germany. She is buried in a German cemetery in Ostheim, Germany.


the estate of dr. george h. porter iii New Orleans, Louisiana

Dr. George H. Porter III was an accomplished medical executive, and a fixture in business and society both in New Orleans and nationally. He served as the CEO of Alton Ochsner Medical Foundation for over two decades, making him the longest-serving CEO in Ochsner’s history. Born in North Carolina, Porter graduated magna cum laude and received his medical degree with honors from Duke University. After completing his internship at Duke, he did residencies at Barnes Hospital at the Washington University School of Medicine in St. Louis and the Peter Bent Brigham Hospital at Harvard Medical School in Boston. Porter went on to complete a hematology fellowship at the National Cancer Institute in Bethesda, Maryland, where he worked as part of a team that developed treatments for Hodgkin’s disease and childhood leukemia. He moved to New Orleans in 1964, marking the beginning of his decades-long career at Ochsner. Porter served as president of the Alton Ochsner Medical Foundation from 1980 until 2001, when the Ochsner Clinic Foundation was formed. When Porter became president, he oversaw the Ochsner Clinic, Ochsner Foundation Hospital and a research facility. During his tenure, he oversaw the development of numerous satellite clinics and an expansion of educational and research programs. In addition to his role at Ochsner, he was a fellow at the International Association for the Study of Lung Cancer and a fellow and life member of the American College of Physicians. He also served on the boards of the American Medical Center Consortium, the Greater New Orleans Area branch of the American Cancer Society and the Louisiana Cancer and Lung Trust Fund. Porter held certifications from the American Board of Internal Medicine and the Subspecialty Boards of Hematology and Medical Oncology. He was a former chairman of the Bureau of Governmental Research, a former vice chairman of the Chamber of Commerce and a member of the Metropolitan Crime Commission, Gallier House, the Business Task Force on Education and the Eye, Ear, Nose & Throat Hospital.

Porter was a member of the Sons of the American Revolution, the New Orleans Country Club and the Boston, Pickwick and Stratford Clubs in New Orleans, and several prominent carnival organizations. New Orleans Auction Galleries is honored to offer a fine collection of portraits, among other items from the Estate of Dr. George H. Porter III. Source: The Advocate, “Dr. George Porter III, longest-serving CEO of Ochsner, dies at 84”


A U C T I O N S C H E DU L E Exhibition:

Evening Reception:

March 5 - March 16, 2018

Thursday, March 15, 2018 5 - 7:30 p.m.

Monday - Friday, 9 a.m. - 5 p.m. Open Saturday, March 10 10 a.m. - 4 p.m.

Session I

Session II

Lots 1-577

Lots 578-1100

Saturday, March 17, 2018

10:00 - 11:00

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11:00 - 12:00

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200

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400

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1:00

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2:00

301

2:00

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3:00

401

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500

3:00

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3:45

501

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577

Sunday, March 18, 2018

10:00 - 11:00

578

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650

11:00 - 12:00

651

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720

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1:00

721

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800

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2:00

801

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900

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3:00

901

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1000

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4:00

1001

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1100


Session I: March 17, 2018 10:00 a.m. CT Lots 1-577

Lot 281


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1 Continental Bureau and a Pair of Side Chairs

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late 19th century, the fruitwood and burl wood bureau with a rectangular top within a three-quarter pierced brass gallery, above a slant front centered by a shaped rectangular ebonized panel with an elaborate inlay of a courtier in a garden, opening to an interior fitted with storage spaces and drawers, over a single long drawer, raised on ebonized tapering circular legs joined by a shaped H-form stretcher and ending in toupie feet, h. 42”, w. 30‑1/2”, d. 17‑1/2”, and the pair of ebonized side chairs in the Aesthetic taste, each with a square open back centered by a scrolling foliate-inlaid panel, the padded seats raised on ring-turned tapering circular legs ending in toupie feet, h. 38”. $600‑$900 2 Bronze Lantern in the Baroque Taste second quarter 20th century, French, the hexagonal lantern set with beveled glass and hung from a pierced crown-form top support, the interior set with molded brass tulip-form light sockets. h. 35”, dia. 12” $1,500‑$2,500

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3 Continental Embroidery of a Bucolic Lake Scene 19th century, silk and chenille threads on silk fabric now laid down on board, the faces and background enhanced with ink and watercolor, an old framer’s label en verso backing. Glazed and framed. sight 16” x 21‑1/4” $1,000‑$1,500 4 English Embroidery of a Mountain River Scene with Figures 19th century, wool and silk thread on silk fabric, various stitches including French knots and leaf stitch, the faces, hands and background enhanced with ink and watercolor. Glazed and framed. sight 19” x 26‑1/4” $700‑$1,000

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5 Pair of Continental Embroideries of a Shepherd and Shepherdess ca. 1800, variety of stitches in silk thread on linen, the faces and hands with ink and watercolor details. Glazed and framed alike. sight 13‑1/2” x 10‑1/2” $900‑$1,200

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7 Paul Louis Narcisse Grolleron (French, 1848‑1901) “Charge de L’Infantrie” oil on canvas signed lower right. Presented in a period giltwood and gesso frame affixed with artist plaque. 12” x 20”, framed 22” x 30‑1/4” $1,500‑$2,500

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6 Thirteen-Piece Collection of German Porcelain Figures of French Military Heroes 20th century, polychrome painted and identified on the bases, including three examples on horseback, the others standing. h. 9‑3/4” to 11”, w. 2‑3/4” to 3”, d. 2‑1/2” to 7‑3/4” $1,500‑$2,500 6

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8 Continental School (19th Century) “Portrait of a Cavalier with a Wine Goblet and His Horse” oil on panel monogramed lower right “f. R.”. Presented in a period giltwood and gesso frame. 30” x 24”, framed 42” x 35‑3/4” $1,000‑$1,500 9 Pair of Bohemian Blown, Cut and Enameled Glass Vases second quarter 20th century, the beaker-form vases decorated with coaching scenes, the panel-cut bases trimmed in black and gilt. h. 10‑1/4”, dia. 7” $700‑$1,000

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10 Baroque-Style Carved Walnut Dining Table first quarter 20th century, the rectangular top with canted corners and a relief-carved border, the base with carved cabriole legs joined by like stretchers and a carved finial, accompanied by five 15‑1/2” leaves, one with carved aprons and border, the other four plain. h. 30‑1/2”, w. 54”, l. 66”, ext. l. 143‑1/2” $1,000‑$1,500 11 Baroque-Style Carved Walnut and Marble-Top Sideboard first quarter 20th century, the thick Egyptian marble top above a row of three carved drawers, raised on carved cabriole legs joined by cross stretchers with carved finials. h. 39”, w. 84”, d. 24” $800‑$1,200


12 Suite of Ten Baroque-Style Carved Walnut Dining Chairs first quarter 20th century, consisting of two armchairs, h. 47”, and eight side chairs, h. 43”, each with a rectangular padded back, block-and-turned carved legs and stretchers. $1,000‑$1,500

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14 Continental Metal and Glass Chandelier mid-20th century, the eight-light chandelier with a scrolled metal frame set with scrolled candle arms decorated with swags of glass beads, and hung with colorless and smokecolored cut crystal drops, the interior with a molded glass spire. h. 32”, dia. 24‑1/2” $600‑$900

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13 Dutch Mahogany and Marquetry Cabinet early 19th century, the molded and domed cornice above two arched glazed doors, the sides also glazed, the lower section of bombe form and fitted with three long drawers, raised on splayed square legs, the whole richly inlaid with floral, foliate and avian marquetry designs. h. 90‑1/2”, w. 64”, d. 19‑1/2” $700‑$1,000

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15 Dutch-Style Mahogany and Marquetry Bureau early 20th century, probably R. J. Horner, New York, the shaped backpiece with end finials and above a single covemolded drawer, with a shaped slant front below, opening to a variety of drawers and cubbyholes surrounding a central cupboard with a single drawer below, raised on cabriole legs ending in ball-and-claw feet, the whole richly inlaid in foliate and floral marquetry patterns. h. 56”, w. 42”, d. 23” $700‑$1,000 16 Joseph Alphonse Planson (French, 19th Century) “Nature Morte aux Faisans, Coq et Fruits” oil on canvas signed and dated lower left “Planson 1850”. Presented in an antique giltwood frame. 36‑1/4” x 28‑1/2”, framed 43” x 35” $1,000‑$1,500 17 Continental School (19th Century) “Floral Still Life in an Urn”

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oil on canvas unsigned. Framed. 40” x 28‑1/4”, framed 45” x 34” $1,000‑$1,500

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18 Circle of Jakob Bogdani (Hungarian, 1660‑1724) “Still Life with Cockatoo, Bird and Spaniel” oil on canvas unsigned. Framed. 29‑5/8” x 52‑1/2”, framed 39” x 69‑3/4” $7,000‑$10,000

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Jakob Bogdani, a native of Presov, Hungary, moved to Amsterdam in 1684 where he was trained in the Dutch Golden Age tradition of the masters Melchior de Hondecoeter (1636‑1695) and Willem van Aelst (1627‑1683) - who specialized in still lifes with wild game and flowers. In 1688 Bogdani traveled to London, where he would remain for the rest of his life, seeking employment first with William III, Prince of Orange, before being appointed court painter to Queen Anne. Under the tutelage of the court, Bogdani achieved great success, earning commissions from some of the most esteemed aristocrats, such as Queen Mary II and Admiral George Churchill, brother of the Duke of Marlborough.

19 Continental Oak Refectory Table

Churchill, one of his chief patrons, owned the famous aviary at Windsor Park, affording Bogdani ample access to the many exotic birds he depicted like the cockatoo in the painting offered here. Bogdani’s superb still lifes typically featured the imported goods of London’s rich maritime trade; foreign species of birds and flowers crowded his paintings with white and scarlet highlights in the plume and foliage accentuated by dark backgrounds. Examples of his work are conserved in the Royal Collection and Fitzwilliam Museum in London and in Magyar Nemzeti Galeria in Budapest.

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19th century, the long rectangular top raised on rectangular end supports joined by a stretcher and ending in splayed runner feet. h. 30”, w. 39”, l. 107” $1,500‑$2,500

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20 Suite of Six Flemish-Style Fruitwood Side Chairs each with a tall, domed and padded back above the padded seat, raised on shaped legs joined by a like H-form stretcher. h. 43‑1/4” $700‑$1,000 21 Josef Cornelius Correns (Flemish, 1814‑1907) “The Amateur Artist’s Studio”, 1869 oil on cradled wood panel signed and dated mid-left on bed frame, initialed lower left on portfolio. Framed. 25” x 31”, framed 33‑1/8” x 38‑1/8” $1,500‑$2,500 21

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22 August Stephan Sedlacek (French/Czech Republic, 1868‑1936) “The Arrival at the Inn” oil on canvas signed lower right. Framed. 21‑3/4” x 27”, framed 27” x 32‑1/2” $1,500‑$2,500

23 British School (Third Quarter 19th Century)

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“Charity Starts at Home” oil on canvas unsigned. Framed. 25‑1/2” x 29‑1/4”, framed 29” x 34” $1,000‑$1,500

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24 Vilhelm Theodor Fischer (Danish, 1857‑1928) “Dutch Interior” oil on canvas after the ca. 1660 painting by Hendrick van der Burgh (Dutch, 1627‑after 1664) now conserved at the Gemaldegalerie, Berlin, Germany, signed lower right, old handwritten labels en verso stretcher Framed. 18” x 14‑3/4”, framed 24” x 21” $1,000‑$1,500 24

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25 Harry Kluge (Danish, 1879‑1963) “Interior Scene - The High Court”, 1928 oil on canvas signed, dated and with faint inscription lower left, old newspaper clipping titled “Landrettens dom falder Lordag” en verso. Framed. 20‑3/4” x 15”, framed 24‑1/4” x 18‑1/4” $1,000‑$1,500 26 Pair of Silvered Bronze Andirons in the Gothic Taste first quarter 20th century, Continental, each standard with a molded shield and leaf-molded finial of fleur-de-lis form, and raised on a pierced trefoil foot. h. 31‑1/2”, w. 12‑1/2”, d. 31‑1/4” $800‑$1,200 25

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27 KPM-Style Hand-Painted Porcelain Plaque fourth quarter 19th century, probably German, carefully painted in great detail, depicting Christ being removed from the Cross, mounted in a gilt-bronze Gothic bezel on a black marble-molded base, on an easel support. h. 10‑3/4”, w. 10‑1/2” $600‑$900 28 Pair of Italian Giltwood Blackamoor Occasional Tables mid-19th century, each with a shaped top with incised scrolling patterns and a shaped apron, raised on a support in the form of a blackamoor, each holding a wine goblet and grape cluster, and with traditional garb, continuing to three shaped legs with floral accents and ending in peg feet. h. 37‑1/2”, w. 13‑1/2”, d. 11‑1/2” 28

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$1,000‑$1,500


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31 Italian Carved and Stained Figural Pedestal fourth quarter 19th century, the standard carved with a figure in a feathered headdress, supporting a turned top. h. 21”, dia. 12‑1/2” $700‑$1,000 32 Italian Carved Walnut Bust fourth quarter 19th century, probably depicting Homer, retaining a rich patina, on a contemporary wooden base, marked on the back in pen and ink: “St. Peter, XVI, Italia, 826”. h. 11”, w. 4‑1/2”, d. 5‑1/2” 30

$700‑$1,000

29 Continental School (18th Century) “Capriccio with Figures in an Italian Landscape” oil on canvas unsigned. Presented in a carved, ebonized and parcel-gilt frame. 44‑5/8” x 65‑1/2”, framed 46‑1/8” x 65‑5/8” $1,000‑$1,500 30 Pair of Italian Grand Tour Bronze Souvenir Standards fourth quarter 19th century, now mounted as lamps, with Dionysian decoration, and molded with satyrs holding ewers being filled by putti squeezing grapes. h. 22‑1/2”, dia. 7‑1/2” $700‑$1,000 32

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33 Pair of Italian Walnut Cupboards early 18th century, each with a banded top with a bowed and canted front, above a conforming case fitted with a short cupboard over a taller one, both banded and with burled panels, raised on cabriole feet. h. 30”, w. 19‑1/2”, d. 13‑1/2” $1,000‑$1,500 34 Continental Fruitwood and Parquetry Secretary 18th century, the superstructure with a raised section fitted with a small drawer over a bowed cupboard door and lower long drawer, flanked to either side by three short drawers, all banded, the lower section fitted with a slant front opening to a fitted interior, flanked to either side by a small slanted drawer, over three long drawers, all banded and with a shaped front, raised on bun feet. h. 73‑1/2”, w. 51”, d. 24‑1/2”

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$1,500‑$2,500

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35 Pair of Italian Giltwood Sconces third quarter 20th century, in the neoclassical taste, the oval mirrored backplates with guilloche-carved surrounds and pierced-ribbon crests, the scrolled arms set with gilt-metal drip pans and pricket candle holders. h. 17”, w. 8‑1/2”, d. 8‑1/2” $700‑$1,000 36 Italian Giltwood Chandelier 19th century, now electrified, the eighteen-light chandelier with a two-tiered leaf-carved standard supported on a carved quiver, the scrolled candle arms leaf-carved and decorated with medallions, a pinecone finial on the bottom. h. 35‑1/2”, dia. 25” $900‑$1,200

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39 Pair of Italian Rococo-Style Giltwood Mirrors fourth quarter 19th century, of shield form and decorated with pierced scrollwork and flowerheads, with open-mouthed masques on the lower edges. h. 24‑3/4”, w. 12‑1/2” $900‑$1,200

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37 Continental Walnut Bombe Commode 20th century, the banded and shaped stepped top above a bombe case fitted with two short drawers over three long drawers, all banded, the sides banded en suite, raised on cabriole legs ending in Flemish toes. h. 37”, w. 56”, d. 24” $2,000‑$4,000

38 Pair of Italian Parcel-Gilt Wooden Altar Sticks second quarter 19th century, on paw feet, the bases decorated with “keys to heaven”, supporting carved, fluted and tapered standards terminating in flared capitals and pricket candle holders. h. 47‑3/4”, dia. 11” $900‑$1,200 37

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40 Continental Polychrome Chinoiserie Secretary the domed and shaped cornice above two domed doors opening to a shelved interior, the lower section fitted with a slant front opening to a central open cupboard, flanked to either side by two short drawers, above three shaped long drawers, raised on molded feet ending in scrolled toes, the whole with elaborate polychrome and gesso designs in the chinoiserie taste. h. 89”, w. 36‑1/2”, d. 20” $700‑$1,000

41 Venetian Carved, Painted and GiltDecorated Blackamoor late 19th century, modeled as a female figure poised on a draped pedestal, painted in a typically colorful, fringed costume, and supporting a plateau in each hand, the higher one on a cornucopia-form standard. h. 47‑1/4”, w. 13”, d. 12” 41

$1,800‑$2,500

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42 Italian 19th-Century Trumeau of serpentine form, the oil on canvas depicting a busy harbor scene, unsigned. Presented in a conforming giltwood frame. overall 39‑1/4” x 39‑1/4” $1,000‑$1,500

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43 Suite of Eight Italian-Style Polychrome and Gilt Side Chairs each with a shaped scrolling crest above a baluster-form splat, the padded seat raised on cabriole legs ending in ball-and-claw feet. h. 42‑1/2” $1,800‑$2,500 44 Venetian Fruitwood Canape early 19th century, the shaped, domed and padded back surmounted by a foliate shell-carved crest, joined by padded outswept arms to the shaped cushioned seat, raised above a shell-carved apron on cabriole legs ending in foliate scrolled toes. h. 42”, w. 77”, d. 27”

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$2,500‑$4,000 45 Pair of Italian Fruitwood Encoignure Bergeres early 19th century, each with a domed and padded back and sides, centered by a foliate crest, joined by downswept sides to the padded seat, raised on stop-fluted tapering circular legs ending in toupie feet. h. 32” $1,500‑$2,500 45

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46 German Walnut Bombe Commode late 18th century, the rectangular banded top with a double bowed front, over a conforming case fitted with three long drawers, all banded, raised on splayed square feet. h. 33”, w. 51‑1/2”, d. 27” Provenance: By descent in the Kilp Family, Germany; to Antonio (1885‑1959) and Carola (1895‑1967) Kilp, Wiesbaden, Germany; to their daughter Carmelita Kilp Blackburn (1923‑2017), Sugar Land, Texas. $1,400‑$1,800 47 Italian Giltwood Bateau-Form Jardiniere

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19th century, in the rococo taste, the elongated body with cross-hatched and foliate decor, raised on leaf and scroll legs, the interior finished in faux marble. h. 31”, w. 66”, d. 24” $2,000‑$4,000

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48 Pair of Gilt-Bronze Sconces in the Baroque Taste second quarter 20th century, Continental, the mirrored backplates decorated with gilded leaves and pierced lower drops terminating in bellflowers, the scrolled arms supporting leaf-molded drip pans and turned candle cups. h. 25”, w. 14‑1/2”, d. 8‑3/4” $600‑$900 49 Near Pair of Italian Parcel Giltwood Carvings fourth quarter 19th century, now mounted as lamps, the Baroque-style carvings decorated with scrollwork and rocaille work, on a faux tortoise ground, mounted on acrylic bases. h. 23‑3/4”, w. 12‑1/2” and h. 24‑1/4”, w. 12‑1/2” $800‑$1,200 49

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50 Pair of Italian Giltwood Carvings fourth quarter 19th century, now mounted as lamps, the Baroque-style carvings pierced with scrollwork and shells, and mounted on acrylic bases. h. 18‑1/4”, w. 8”, d. 5” $800‑$1,200 51 Italian Pierced Giltwood Mirror second quarter 20th century, in the rococo taste, the rectangular mirror framed with scrollwork, rocaille work and flowerheads, the crest with a pierced medallion. h. 46”, w. 23‑1/2” $700‑$1,000 52 Pair of Italian Parcel-Gilt Wood Sconces in the Rococo Taste mid-20th century, decorated with reeded urns supporting the candle branches, trimmed with blue paint and giltwood finials, the bottom with carved scrollwork. h. 25‑1/4”, w. 11‑1/2”, d. 6‑1/2” $600‑$900

51

53 Pair of Italian Polychrome Side Chairs early 19th century, each with a shaped crest above a balusterform splat centered by a portrait medallion, the padded seat raised on tapering circular legs joined by an H-form stretcher and ending in bulb feet. h. 38‑1/4” $800‑$1,200

50

52

53

17


54

57

55 56

54 Pair of Neapolitan Painted Wood and Fabric Creche Figures second quarter 19th century, with carved and painted heads, feet and hands, dressed in 19th-century velvet and silk clothing ornamented with gold braid and beading, in custom glass cases on giltwood bases. h. 17”, w. 8‑1/4”, d. 5‑3/4” $800‑$1,200 55 Marble and Bronze Armillary Sphere first quarter 20th century, Continental, the bronze armillary sphere with an arrow-form directional, the interior molded with Roman numerals, on a Doric-form columnar base. h. 53‑1/2”, dia. 12‑1/2” $1,000‑$1,500

18

56 Italian Giltwood and Marble Center Table in the neoclassical taste, the circular specimen marble top with a banded sunburst pattern and supported by three elaborately carved dolphin supports to a concave tripartite marble base with gilt banding. h. 29‑1/2”, dia. 43‑1/2” $3,000‑$5,000 57 Italian Spiral-Reeded Onyx Pedestal ca. 1900, composed of dramatically figured brown and green onyx, with a cove-molded base and capital. h. 41”, w. 13‑1/4”, d. 13‑1/4” $700‑$1,000


58 Bentvueghels School Circle of Philipp Peter Roos, “Rosa da Tivoli” (1655‑1706) “Shepherdess with Sheep” oil on canvas unsigned. Framed. 69‑1/4” x 59‑1/4”, framed 76‑3/4” x 67” Provenance: By descent in the Kilp Family, Germany; to Antonio (1885‑1959) and Carola (1895‑1967) Kilp, Wiesbaden, Germany; to their daughter Carmelita Kilp Blackburn (1923‑2017), Sugar Land, Texas. $1,500‑$2,500

60

59 Continental Fruitwood and Burlwood Commode 19th century, the rectangular top with a molded edge, above a conforming case fitted with four long drawers, each inset with a burled panel, raised on shaped bracket feet. h. 41‑1/2”, w. 60”, d. 25‑1/2” $1,000‑$1,500

58

60 Pair of Baroque-Style Parcel Giltwood and SilverGilt Frames

61

fourth quarter 19th century, now mounted as lamps, decorated with silver-gilt frames mounted with mirror glass and trimmed with giltwood carving, on acrylic bases. h. 17‑1/4”, w. 8”, d. 4‑3/4” $900‑$1,200 61 Baroque Carved and Painted Putto ca. 1700, possibly Italian, the figure wearing a feathered skirt and standing amid boldly carved and pierced scrollwork. h. 17‑3/4”, w. 16”, d. 6‑1/2” $1,500‑$2,500 59

19


64 Pair of Louis XIV-Style Painted Wooden Candlesticks 20th century, Continental, now mounted as lamps, with threesided bases supported on paw feet, the standards decorated with carved leaves and scrollwork. h. 35‑1/2”, w. 9”, d. 9” $600‑$900 65 Northern Italian Walnut Bureau late 18th century, the banded rectangular top above a banded and quarter-veneered slant front, opening to various drawers, over a serpentine base fitted with three banded long drawers, raised on block feet. h. 42‑1/2”, w. 45‑1/2”, d. 24” $600‑$900 63

62 Continental Polychrome and Argente Settee 19th century, the padded back and downswept padded sides surmounted by a foliate-pierced crest and above a cushioned seat, raised above a swag-carved apron on rounded and pierced feet. h. 42”, w. 70‑1/2”, d. 24” $2,000‑$4,000 63 Pair of German Delicately Carved and Pierced Mirrors 19th century, in the Baroque style, on bold scrolled feet, with scrolled edges, the central mirror plate supporting a carved shell against a pierced and latticed ground, the scrollwork crest set with an oval mirror, with a partial label. h. 33‑3/4”, w. 18‑1/2” $900‑$1,200

65

62

20

64


66 Pair of Continental Fruitwood Side Tables early 19th century, each with a concave rectangular top with a molded edge, above a shaped frieze, raised on a single scrolling support to three cabriole legs headed by bellflower carving and ending in hoof feet. h. 30‑1/2”, w. 20”, d. 10‑1/2” $600‑$900 66

68 Pair of Continental Baroque Giltwood Altar Sticks ca. 1700, the tripartite base on ball-and-claw feet and supporting the tapered, turned and leaf-carved standard, trimmed in red. h. 24”, dia. 8” Provenance: By descent in the Kilp Family, Germany; to Antonio (1885‑1959) and Carola (1895‑1967) Kilp, Wiesbaden, Germany; to their daughter Carmelita Kilp Blackburn (1923‑2017), Sugar Land, Texas. $700‑$1,000

68

67 Pair of Italian Baroque-Style Carved Giltwood Candelabra fourth quarter 19th century, the three-light candelabra on leaf-carved, handled urn-form bases, with scrolland leaf-carved giltwood candle branches set with tole candle sockets and ruffled drip pans. h. 33‑1/2”, dia. 14‑1/2” $800‑$1,200

67

21


69 Albertus Magnus (ca. 1200‑1280), Summa de Creaturis, 1498/99 first edition, Venice: Simon de Luere for Andreas Torresanus, 19 December 1498 and 16 February 1498/99, chancery folio, double column, capital spaces with guides, in full brown tooled leather (with contemporary restoration), the spine with raised bands and black panels with gilt lettering. [BMC V:574; ISTC ia00334000] 12‑1/4” x 8‑1/2” $1,000‑$1,500 A rare copy of the first printed edition of Albertus Magnus’ Aristotelian analysis of the Creation and nature of man.

69

70 Boethius (ca. 480‑524), Consolatione Philopsophiae, 1489 [Lyon: Guillaume Le Roy], 1487, with commentary ascribed to Thomas Aquinas, ed: Conradus Poseiaen (whose name appears in acrostic on the final page), rubricated, folio, in brown quarter leather on marbled boards, the spine with raised bands and black panels with gilt lettering, the edges cut (reduced) and marbled, with marbled endpapers. [BMV VIII:236; ISTC ib00782500] 10‑1/8” x 7‑5/8” $1,500‑$2,500 The Consolation of Philosophy was one of the most popular and influential works of the Middle Ages. It was written by Roman senator Anicius Manlius Severinus Boethius while imprisoned by Ostrogothic king Theodoric the Great, for whom Boethius had served as magister officiorum until he was suspected of treason for correspondence with Byzantine Emperor Justin I. The commentary, which has traditionally been attributed to Thomas Aquinas, has in recent times been thought to be the work of Oxford Dominican scholar Thomas Waleys (fl. first half 14th century).

70

71 Juvenal (Fl. Late 1st/Early 2nd Century), Satires, 1548 Venice: Franciscus Bindonum and Mapheum Pasinum, 1548, Chancery folio, two columns, some woodcuts, in brown quarter leather on marbled boards, the spine with raised bands and gilt lettering. [Graesse III.519; BMC 1903 supplement 264] 12‑1/4” x 8‑1/2” $600‑$900 71

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72 Iberian Fruitwood Armchair 19th century, the padded square back surmounted by gilt finials, joined by barley-twist arms on knotted armrests to the padded seat, raised on barley-twist legs joined by a like box stretcher and ending in molded bun feet. h. 53” $700‑$900 73 Continental Patinated Bronze of Moses Receiving the Commandments on Mount Sinai 20th century, cast signature “O. Morath” along lower edge of robe, on a carved marble plinth. overall h. 10‑3/4”, w. 3‑3/4”, d. 3‑3/4”

73

74

$700‑$1,000 74 Continental Embroidery of Moses at the Bitter Waters of Marah 19th century, silk, chenille and bullion threads on linen fabric, the head, hands and background enhanced with ink and watercolor. Glazed, with a craquelure fillet and framed. sight 13” x 15‑1/2” $900‑$1,200

75

75 Continental Needlepoint of the Virgin Mary 19th century, wool and silk threads on a canvas backing, the face and hands with watercolor details, an old “G. Vigneron/ Magasin Ateliers/Paris” framer’s label en verso backing. Glazed and framed. 18‑1/2” x 15‑1/4” $1,200‑$1,800 72

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76 Continental School (19th Century) “Madonna and Child” oil on canvas illegibly signed lower right, partially legible inscription en verso. Framed. 37‑3/4” x 29‑1/4”, framed 43” x 34” $1,500‑$2,500

78

78 After Willem Drost (Dutch, 1633‑1659) “Daniel’s Second Vision”, 18th century oil on canvas unsigned, after the ca. 1650 painting restored by Sir Joshua Reynolds and now conserved at the Staatliche Museen, Berlin. Framed. 39‑1/2” x 47‑3/4”, framed 48‑3/4” x 57‑1/2” $4,000‑$7,000

76

77 Circle of Giovanni Battista Pittoni (Italian, 1687‑1767) “St. Peter” oil on linen unsigned. Framed. 40” x 33‑1/2”, framed 47‑3/4” x 41‑1/2” $2,000‑$4,000

77

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79 Style of Raphael Sanzio (Second Half 19th Century) “The Mount of Transfiguration” oil on canvas unsigned, stretcher inscribed “Raphael”. Framed. 32‑1/4” x 39‑1/2”, framed 35” x 42‑1/4” $1,500‑$2,500

80 Baroque-Style Silvered Bronze Chandelier second quarter 20th century, French, the vasiform standard decorated with fluting and molded putti heads, the scrolled arms with bellflowers on a stippled ground, with leaf-molded drip pans and candle cups. h. 25”, dia. 22” $1,000‑$1,500

79

81 Italian Neo-Renaissance Bone-Inlaid Ebony and Ebonized Desk second half 19th century, in the manner of Pogliani, the upper case with a recessed bank of inlaid drawers, on a base with a fold-out drawer opening to reveal a fitted and inlaid interior, on an ebonized stand. h. 58”, w. 35”, d. 18‑1/2” $1,000‑$1,500

80

81

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82 Madonna and Child Gilt-Bronze, Brass and Ebony Table Clock, Benedict Miller, Augsburg, Germany, ca. 1635 the Madonna figure backed with a later sunburst, her crown with a revolving chapter ring band, her left hand holding a steel pointer, her right arm supporting the Infant Jesus holding a “globus cruciger”, the glass-paneled ebony base containing the movement signed “Binedickt Miller”, with a fusee movement for the going train and a standing barrel for the strike, the verge escapement with steel balance and engraved and reticulated floral cock, the barrel with lips and pinned cover, engraved and pierced striking gate, the backplate mounted with the countwheel cut for 3 x 6 hour striking. h. 12‑1/4”, w. 6‑1/4”, d. 4‑1/2” Provenance: “The Justice Warren Shepro Collection of Clocks”, Sotheby’s, New York, April 26, 2001, lot 26; Private collection. $12,000‑$18,000

82

83

83 Continental Mahogany Center Table 19th century, of guard-room form, the rectangular top centered by a starburst inlay with like corner accents, raised on shaped and pierced supports joined to the top by scrolling iron supports and ending in scrolled toes. h. 28‑1/4”, w. 30”, d. 18” $800‑$1,200 82 detail

26


84 Spanish Mahogany Guard Room Table 19th century, of traditional form, the twoboard rectangular top with breadboard ends, pegged and raised on shaped end supports joined by scrolling iron stretchers. h. 29”, w. 31”, l. 83” $700‑$1,000

85 Continental School (Fourth Quarter 18th/First Quarter 19th Century) “Pair of Monumental Pendant Portraits of a King and Queen in Full Regalia” oils on linen unsigned. Framed alike. 107‑1/4” x 40‑1/2”, framed 113” x 46‑3/4” $8,000‑$12,000

85 one of two 85 two of two

84

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86

87

86 Italian Carved and Stained Walnut Cassone

87 Large Continental Carved Oak Cassone

17th/18th century, the front with a relief-carved allegorical scene and flanked by figural pilasters, the base molding deeply carved and raised on shell- and scroll-carved feet. h. 28”, w. 69”, d. 21”

17th/18th century, in the Baroque style, the front deeply reliefcarved with the central panel depicting a man on horseback with chickens, with hand-wrought iron handles and hinges. h. 27”, w. 73”, d. 23”

$700‑$1,000

$700‑$1,000

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88

89

88 Giltwood and Eglomise Cushion-Form Mirror 20th century, the surround lined with colorful glass tablets decorated with scrollwork, flowerheads and cartouches, with penwork details. h. 61”, w. 38‑1/4” $700‑$1,000 89 Giltwood and Eglomise Cushion-Form Mirror 20th century, the surround lined with colorful glass tablets decorated with scrollwork, flowerheads and cartouches, with penwork details. h. 61”, w. 38‑1/4” $700‑$1,000 90 Antique Spanish Carved Fruitwood Artist’s Lay Figure with fully articulated ball joints and incised facial features. h. 32”, w. 10” $700‑$1,000 90

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91 Carved and Polychrome Santos Cage Doll set with a carved head and torso, and articulated and jointed arms with carved hands, with a figure of Salvatore Mundi in her bosom, the “cage” mounted on a stepped base. h. 36‑1/4”, w. 14”, d. 13‑1/2” $600‑$900 92 Continental Carved and Polychromed Wood Head of a Young Gentleman in a Ruffled Collar late 18th century, now on a lucite presentation stand. overall h. 12‑1/2”, w. 7”, d. 7”

92

$700‑$1,000 93 Giltwood Reliquary Bust of Saint Agnes

94

17th century, probably Spanish or Italian, depicted with her signature long hair, the aperture for the relic in the chest, framed with scalloping. h. 14‑1/2”, w. 12‑1/4”, d. 4‑1/2” $1,000‑$1,500 94 Pair of Carved and Painted Lamps in the Italian Baroque Style 20th century, decorated with spiraled columns carved with grape leaves and vines, on clear acrylic bases. h. 34”, w. 10”, d. 5” $700‑$1,000

93

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91


96

95 Pair of Italian Carved Marble Jardinieres

96 Italian Fruitwood Settee

late 19th century, in the Renaissance taste, each with an oblong bowl relief-carved with grapes and the masque of Bacchus, supported by four columnar-form legs with spiraland foliate-carved motifs and mounted to a platform base. h. 44”, w. 32”, d. 13‑1/2”

late 19th century, of box form and Baroque inspiration, the padded back and sides with double rows of brass tacks, above the cushioned and bolstered seat, the molded, foliatecarved frieze raised on fluted square legs joined by a shaped stretcher, ending in molded, square feet, upholstered in silk and mohair velvet. h. 39‑1/4”, w. 80”, d. 30‑1/2”

$7,000‑$10,000

$2,500‑$4,000

95

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97 Continental Fruitwood Occasional Table 19th century, the rectangular top above a frieze fitted with two small molded drawers, raised on turned, splayed legs joined by scrolling iron stretchers and ending in toupie feet. h. 17‑1/2”, w. 25‑1/2”, d. 19” $1,000‑$1,500 98 Italian Renaissance Revival Carved Fruitwood Fantasy Rocking Chair 97

fourth quarter 19th century, the crest with a maiden’s portrait bust above the backboard, with a central accented carved plaque and flanked by dragons, the arm rests and sides depicting fully carved lions, the seat upholstered in pierced tooled leather. An apparently identical rocking chair, marked “Anti Brothers Vicenza Italy” was exhibited in the 1892 Worlds Columbian Exhibition, Chicago, IL h. 42”, w. 27”, d. 49” $1,500‑$2,500

100

98

99 Pair of Composition Table Lamps in the Italian Baroque Taste 20th century, with gilt square bases decorated with scrolled cartouches and black cabochons, the “covers” with leaf molding and guilloche borders, on acrylic bases. h. 13”, w. 10”, d. 10” $700‑$1,000 100 Italian Polychrome Gondola Chair 18th century, possibly Venetian, the domed and padded back joined by downswept arms to the padded seat, raised on a waisted shield-carved base to four splayed legs ending in animal-head feet, the sides with carved and gilt floral accents. h. 40” $1,500‑$2,500

99

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103 Pair of Provincial Directoire Fruitwood Fauteuils early 19th century, each with a curved crest above an ovoid shell-carved splat, joined by rounded arms to the cushioned rush seat, raised on splayed tapering square legs, now with taupe linen cushions. h. 33‑1/2” $700‑$1,000 104 Provincial Charles X Fruitwood Buffet 101

19th century, the rectangular top with a molded edge, above a conforming case fitted with two drawers over two paneled cupboard doors, raised on block feet. h. 35‑1/2”, w. 50”, d. 20” $700‑$1,000

103 102

101 Spanish-Style Walnut and Fruitwood Guard Room Table 20th century, of traditional form, the banded, rectangular top with inlaid diamond accents, raised on circular and bobbin-turned legs, joined to the top by scrolling iron stretchers. h. 30”, w. 40”, d. 26‑1/4” $700‑$1,000 102 Castelli Majolica Charger fourth quarter 17th century, Italian, with a central panel depicting a sacrificial scene, and cobalt ground borders with scrollwork and masques, the back marked “VBG”, dia. 20‑1/2” $700‑$1,000 104

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104A

104A Victorian-Style Cast Iron and Slate-Top Conservatory Table the rectangular slate top above a pierced pendant foliate frieze, raised on scrolling supports joined by stretchers with turned and spherical brass accents, ending in ball feet. h. 30”, w. 32”, d. 24” $600‑$900 105 Provincial Louis-Philippe Fruitwood Buffet mid-19th century, the canted rectangular top above a conforming case fitted with two drawers over two paneled cupboard doors, raised on a bracket base. h. 34‑3/4”, w. 57”, d. 54”

106

$800‑$1,200

106 Victorian-Style Wrought Iron and Brass Baker’s Rack of slatted construction, the scrolling cornice above three D-form shelves, separated by scrolling supports with brass accents, raised on tubular legs, the whole with decorative brass edging. h. 86”, w. 60”, d. 18” $700‑$1,000

105

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109 Jose Cunha Palissy Ware Plaque fourth quarter 19th century, Portuguese, decorated with lizards, a snake, frogs, shells and insects, on a shredded ground, stamped “Jose A. Cunha, Portugal, Caldas Rainha” and “No. 3” in script on the back, below apertures for hanging. dia. 11” $800‑$1,200 110 Provincial Louis XV Polychrome Commode 18th century, with three long drawers with molded edges and in-carved panels, raised on short cabriole legs with scrolled toes. h. 33”, w. 37”, d. 20”

107

$1,400‑$1,800

107 French Wrought Iron and Tole-Painted Tilt-Top Wine Tasting Table mid-19th century, the circular top with hand-painted floral motifs, the scrolled iron base of trestle form, joined by a stretcher. h. 29”, dia. 39” $700‑$1,000 108 Provincial Louis XV Polychrome Tray-Top Side Table 18th century, the top of rectangular form with a raised molded edge and canted corners, all sides with scalloped aprons, the front fitted with a drawer, raised on cabriole legs ending in cloven feet. h. 29‑1/2”, w. 25”, d. 20‑1/2” 109

$700‑$1,000

108

110

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111 French Provincial Pine Buffet a Deux Corps early 19th century, the domed and C-scroll-carved crest above a circular paneled frieze and two doors, each inset with two shaped and glazed panels, the lower section fitted with two cupboard doors, each inset with a shaped panel, raised on scrolled toes. h. 93‑1/2”, w. 52”, d. 19‑1/2” $800‑$1,200 112 Provincial Louis XV-Style Fruitwood Bureau 19th century, the rectangular top above a slant front opening to a variety of drawers flanking a central bowed cupboard, above a shaped shell-centered frieze, raised on cabriole legs. h. 42”, w. 35”, d. 22” $700‑$1,000 113 French Provincial Walnut Armoire

112

mid-19th century, the double-domed and molded cornice centered by a shaped crest, above a case fitted with two long doors, each inset with two shaped chevron-veneered panels, over a shaped apron, raised on pointed toes. h. 91‑1/2”, w. 60”, d. 27” $700‑$1,000

111

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113


116 Louis Robbe (Belgian, 1806‑1887) “Cattle and Sheep in the Pasture” oil on canvas signed lower right. Framed. 14” x 20‑1/4”, framed 21‑3/8” x 27‑1/4” $1,500‑$2,500

114

114 Provincial Regence Fruitwood Commode 18th century, the shaped top with a molded edge, above a conforming case fitted with three long drawers, all tri-paneled, raised on scrolled toes. h. 38”, w. 50‑1/2”, d. 23‑1/2” $1,000‑$1,500

117 Cornelis van Leemputten (Belgian/Dutch, 1841‑1902)

116

“Poultry in the Yard” pair of oils on panel each signed and dated: lower left “1864”, lower right “1862”. Presented in matching contemporary frames. 8‑1/2” x 12” and 8‑3/4” x 11‑3/4”, each framed 16‑1/4” x 19‑3/8” $2,000‑$4,000

115

115 Hendrik van de Sande Bakhuyzen (German/American, 1795‑1860) “Cattle in a Landscape” oil on canvas signed lower left. Presented in a giltwood frame affixed with artist plaque. 23‑1/4” x 25‑1/4”, framed 32” x 34‑1/2” $3,000‑$5,000 117

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118 German Black Forest Carved Lindenwood Encrier fourth quarter 19th century, decorated with cockerels, a rooster and hen on the back, the inkpot covers carved to mimic hens on nests, the pen tray with carved vines and leaves. h. 9‑1/4”, w. 15”, d. 10” $700‑$1,000 119 French Provincial Fruitwood Vitrine mid-19th century, the molded and rounded cornice above a conforming case fitted with two doors, each with an upper glazed and grilled panel and a lower shaped panel, raised on cabriole feet ending in pointed toes. h. 89”, w. 55”, d. 19” $800‑$1,200

120

120 Provincial Fruitwood Reading Chair 118

early 19th century, the tall, padded and domed back, mechanized to recline, joined by padded arms to the cushioned seat, with a conforming wooden tray, raised on cabriole legs headed by foliate carving, joined by an H-form stretcher and ending in foliate toes. h. 46‑1/2” $700‑$1,000

120 detail 119

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121 Provincial Regence Fruitwood Commode 18th century, the shaped rectangular top above a bombe case fitted with three long drawers, flanked to either side by a carved ram’s-masque upright, raised on splayed scrolled feet. h. 34”, w. 50”, d. 27” $2,000‑$4,000 122 Henry Schouten (Belgian, 1864/67‑1927) “Bulls at a Fence” oil on canvas signed lower left. Framed. 17” x 24”, framed 23‑1/2” x 31”

122

$1,200‑$1,800

121

123 Niels Pedersen Mols (Danish, 1859‑1921)

124

“Landscape with Cattle and Ducks” oil on canvas monogrammed and dated “08” lower right, verso with “Aug. With’s Efte/Rich. Wilstrup” label. Framed. 23‑3/4” x 30‑1/2”, framed 29‑5/8” x 36‑5/8” $1,000‑$1,500 124 After Georges Gardet (French, 1863‑1939) “Taureau” patinated bronze 20th century, cast signature along side of self-base, on a black marble plinth. overall h. 14‑1/2”, w. 16‑1/2”, d. 6‑3/4” $600‑$900 123

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125

125 Provincial Louis XV-Style Mahogany Buffet

126 Provincial Louis XV-Style Fruitwood Settee

late 19th century, the banded and rounded rectangular top above a conforming case fitted with two cupboard doors, each shaped and inset with a like panel, over a pierced foliatecarved apron, raised on scrolled toes. h. 35‑1/2”, w. 60”, d. 27”

early 20th century, the padded and triple-domed back surmounted by floral-carved crests, joined by padded arms to the cushioned seat, raised above a shaped apron on molded cabriole legs headed by floral capitals and ending in foliate toes. h. 40‑1/2”, w. 80‑1/2”, d. 25”

$700‑$1,000

$700‑$1,000

126

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127 Provincial Regence-Style Mahogany Cylinder Secretary Bookcase with a large molded cornice and fan-carved central cartouche over a pair of framed and paneled doors, the base with a cylinder roll opening to a fitted interior, above three long drawers, each end with side cabinets. h. 97”, w. 68”, d. 23” $900‑$1,200 128 Provincial Regence Fruitwood Commode 18th century, the rounded rectangular top slightly bowed and above a conforming case fitted with three long tripaneled drawers, raised on cabriole feet. h. 38”, w. 52”, d. 22” 128

$2,000‑$4,000

129 Laurens Plas (Dutch, 1828‑1893) “Sheep in a Landscape” oil on canvas signed and dated lower right “L. Plas 1875”. Framed. 23” x 29”, framed 30‑1/4” x 36‑1/2” $1,000‑$1,500

129 127

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130 Jean-Paul Gourdon (French, b. 1956), Eighteenth-CenturyStyle Faience Terrine designed for pate and decorated with the ingredients used in the dish, including a boar on the cover, acorns on the handles, and bas-relief game on the side, the inside of the cover with a delicately molded oak branch matching the handles, the cover and base signed. h. 14”, w. 24‑1/2”, d. 11” $800‑$1,200 131 French Provincial Fruitwood Panettiere mid-19th century, of traditional form, the shaped and foliatepierced crest with finial accents, above the slatted case fitted with a single centered grilled door, over a shaped and pierced apron on scrolled toes. h. 42‑1/2”, w. 36‑1/2”, d. 11”

131

$700‑$1,000

130

132 Continental Provincial Oak Bureau 18th century and later, the rectangular top above a paneled slant front opening to an interior fitted with a variety of drawers and cubbyholes, over three long drawers, each inset with two shaped panels, the sides paneled en suite, raised on shaped feet. h. 46”, w. 46”, d. 23‑1/2”

133

$700‑$1,000 133 Henry Schouten (Belgian, 1864/67‑1927) “Horses in a Barn” oil on canvas signed lower left. Framed. 24” x 16”, framed 33‑3/4” x 25‑3/4” $1,500‑$2,500

132

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136 Alfred de Breanski, Sr. (British, 1852‑1928) “Loch Tarbel” oil on canvas signed lower left, signed and titled en verso. Presented in a period giltwood and gesso frame. 8” x 16”, framed 13” x 20‑3/4” $1,400‑$1,800

134

137 Manner of John Constable (British, 1776‑1837) “Hills of Hampstead Heath” oil on canvas unsigned. Framed. 24‑1/4” x 31”, framed 29‑1/2” x 36” $1,000‑$1,500

135

134 Wenceslas Vaclav von Brozik (Czechoslovakian/Austrian, 1851‑1901) “Returning from the Fields”

136

oil on canvas signed lower right. Framed. 12‑3/4” x 18”, framed 18‑1/4” x 23‑1/5” $3,000‑$5,000 135 Edmund Morison Wimperis (British, 1835‑1900) “Stapleton Vale from Strawberry Hill”, 1987 oil on canvas initialed “E.M.W.” and dated lower right. Presented in a giltwood frame affixed with brass plaque with artist name and title. 33‑3/4” x 48‑1/2”, framed 42‑1/2” x 55‑1/2” $2,000‑$4,000 137

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138 Sebastian Pether (British, 1790‑1844) “Moonlight Riverscape with Figures and Ruins” oil on wood panel signed lower right. Framed. 25‑1/4” x 29‑3/4”, framed 30‑1/4” x 35” $1,000‑$1,500 139 Theodore Alexander Weber (German, 1838‑1907)

140

“The Rescue” oil on canvas signed lower right. Framed. 22” x 36”, framed 28‑1/8” x 42‑1/2” $1,000‑$1,500

138

140 French/Belgian School (First Quarter 20th Century) “On the Scent” oil on canvas signed lower right “M. Breuil”. Framed. 23‑3/4” x 38‑3/4”, framed 30” x 44‑3/4” $1,500‑$2,500 141

141 Frederick Henry Henshaw (British, 1807‑1891) “Tamworth Castle - As Seen from the Meadows Between Tamworth and Drayton Manor”, 1844 oil on canvas signed, inscribed and dated en verso stretcher, with a “Kurt E. Schon, Ltd., New Orleans, Louisiana” gallery label. Presented in a giltwood frame affixed with artist plaque. 36‑1/8” x 28‑5/8”, framed 41‑3/4” x 34” Provenance: Kurt E. Schon, Ltd., New Orleans, Louisiana. $1,000‑$1,500

139

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142 one of two

143

142 two of two

142 Frank Cassell (British, 19th Century) “Playful Terriers in a Barn” 144

pair of oils on canvas each signed. Presented in matching frames. each 28” x 36”, framed 33” x 41” $1,500‑$2,500 143 William E. Jones (British, active 1849‑1871) “The Old Mill, Devizes, Wiltshire” oil on canvas signed lower right, titled and with a “Winsor & Newton/London” stamp en verso canvas. Framed. 30‑1/4” x 25‑1/4”, framed 36‑1/4” x 31‑1/2”

144 Cast Iron and Sheet Iron Strong Box 17th/18th century, Continental or English, with heavy molded handles and double-lock hasps, the cover with a pedimented nameplate on gutae feet, the interior decorated with gilt vines on an orange ground. h. 16”, w. 23‑1/4”, d. 15‑1/2” $1,500‑$2,500

$1,500‑$2,500

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148 Mahogany and Burlwood Server in the William and Mary Style

145

19th century, the rectangular top banded and with oyster veneers around an oval panel centered by a floriform oysterveneered design, over a conforming frieze fitted with a central drawer flanked to either side by a deeper drawer, raised on paneled cup-and-cover legs joined by a shaped stretcher and ending in paneled bun feet. h. 35”, w. 73‑1/2”, d. 26” $3,000‑$5,000

145 Pair of Chinese Blue and White Porcelain Bowls and Stands first half 20th century, each of bell form, with flared rim tapering down to a raised foot-rim, decorated to the exterior with molded cartouches containing fish, with a scrolling peony design to the surround, the interior rim with a floral lappet border, the base with a six-character Jiajing mark within a double concentric band, each with pierced presentation stand. bowls h. 8‑1/2”, dia. 18‑1/2”, stands h. 4‑1/2”, dia. 13‑3/4” 148

$1,000‑$1,500

146 English Oak Refectory Table 18th century, the long rectangular top above a frieze with stylized arched carving, and raised on large balusterform legs joined by a box stretcher and ending in block feet. h. 32”, w. 81‑1/2”, d. 28” 147

$1,000‑$1,500

147 Two Chinese Export Porcelain Blue and White Serving Dishes and Covers last quarter19th century, each of foursided, lobed form, decorated with Fitzhugh pattern borders, encircling an interior with floral motifs with auspicious objects, centered by a stylized floral medallion design, the cover similarly decorated, surmounted with gilded lotus bud finial. h. 6”, w. 11”, d. 9‑3/4” $700‑$1,000 146

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150 149 Anglo-Dutch Walnut Secretary

early 19th century, the molded and double-domed cornice above two doors, each inset with a domed and beveled mirrored panel, opening to a shelved interior, over two small candle slides, the lower section fitted with a banded slant front opening to a leather-inset writing surface and a variety of drawers and cubbyholes surrounding a central cupboard, over two short drawers and two graduated long drawers, raised on bun feet. h. 92”, w. 42”, d. 24”

151

$700‑$1,000

150 Chinese Blue and White Porcelain “Fish” Vase possibly Ming Dynasty, Jiajing period (1521‑1567), of baluster form and heavily potted, having a short neck with slightly flared lip, decorated to the exterior with four fish amid various marine-plant life, and lotus sprays, the foot encircled with a border of stylized waves, the shoulders with floral lappets, the neck with scrolling floral design, the base unglazed. h. 14”, dia. 10‑1/2” Provenance: Purchased from the Estate of Mrs. Eben Richards, Washington, D.C., 1990. Previously acquired through Sydney Moss, July 10, 1970. With an M. H. Soames Collection sticker to base. Exhibited: Paper exhibition labels for Royal Academy of Arts, London, International Exhibition of Chinese Art 1935‑36, and Oriental Ceramic Society Exhibition1952, #168. $3,000‑$5,000 151 Queen Anne Walnut Highboy 18th century, the rectangular molded cornice above a concealed frieze drawer over three short drawers and three graduated long drawers, all banded, the lower section fitted with a central drawer over an arched apron flanked to either side by a short deep drawer, raised on cabriole legs ending in spade feet. h. 61”, w. 40‑1/2”, d. 22‑1/2” $1,500‑$2,500 149

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153

153 English Oak Server 18th century, the rectangular top above a conforming case fitted with three deep drawers, over a shaped apron, raised on cabriole legs ending in pad feet. h. 31”, w. 77‑1/2”, d. 20‑1/2” $800‑$1,200 154 Two Chinese Export Porcelain Dishes or Undertrays fourth quarter 18th/first quarter 19th century, each of oval form, the broad, slightly flared rim with pierced design, centered with the distinctive crest of Fane, Earl of Westmorland, within entwined foliate vine borders. w. 9‑3/4”, d. 7‑1/2”

154

152 Suite of Ten Queen Anne-Style Walnut Side Chairs

$800‑$1,200

20th century, each with a domed crest above a vasiform splat, the padded saddle seat raised on cabriole legs ending in pad feet. h. 38‑1/4”

This appears to be part of the service made for John Fane (1759‑1841), 10th Earl of Westmorland and Lord Lieutenant of Ireland; see David Sanctuary Howard, Chinese Armorial Porcelain (London: Faber & Faber, 1974), p. 668, item T12 for more information and an illustration of a plate from the service.

$1,500‑$2,500

152

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155 Two English Mahogany Looking Glasses including a George III example with a Chinese Chippendale fretwork crest, fourth quarter 18th century, h. 29‑1/2”, w. 19”, and an example after George III, with a pierced ho-ho bird, ca. 1961, h. 36‑3/4”, w. 18”. $700‑$1,000 156 Queen Anne Mahogany Fold-Over Games Table third quarter 18th century, with swing-out rear legs retaining their original accordion stretchers, raised on cabriole legs with carved knees. h. 29‑1/2”, w. 35‑1/2”, d. 17‑1/4”, open d. 34‑1/2” $700‑$1,000 155 two of two

155 one of two

156

158

157 Irish Georgian-Style Mahogany Gainsborough Chair early 20th century, the padded and domed back joined by shaped eagle-carved arms to the padded seat, raised on cabriole legs headed by lion’s masques and ending in hairy paw feet. h. 43‑1/4” $800‑$1,200 158 George III-Style Walnut Pedestal Desk late 19th century, the rounded rectangular top with an inset writing surface, above a conforming frieze fitted with three drawers, raised on two pedestals, each fitted with three graduated short drawers, all drawers banded, raised on bracket feet. h. 30”, w. 54‑1/2”, d. 27‑1/2” 157

$1,500‑$2,500

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160 160 Rare English Micro-Petit-Point Embroidery of Shepherds Among an Abbey Ruins

ca. 1800, silk thread on a linen netting, exceptionally fine stitches allowing for well-detailed figures and architectural elements. Presented in a gessoed and carved giltwood frame. 6‑3/4” x 9‑1/2” $800‑$1,200 161 George III-Style Mahogany Sofa 19th century, in the Irish Chippendale taste, the triple back with shaped foliate-carved crests over pierced ribbon- and floral-carved splats, joined by dolphin- and duck-carved arms to the shaped and padded seat, raised above a shaped masque-centered apron on cabriole legs ending in hairy paw feet. h. 37‑1/2”, w. 70‑1/2”, d. 25” 159

$1,000‑$1,500

159 George III-Style Mahogany Secretary early 19th century and later, the molded cornice above two doors, each inset with a grille panel, the lower section fitted with a dropfront drawer opening to a variety of drawers and cubbyholes, faced as two long drawers, over two graduated long drawers, raised on splayed bracket feet. h. 84‑1/4”, w. 40‑1/2”, d. 20” $900‑$1,200

161

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164 George III-Style Ebonized Bureau in the chinoiserie manner, the rectangular top above a slant front opening to various drawers and cubbyholes around a central cupboard, over two banks of four graduated short drawers, raised on bun feet, the whole with gilt and polychrome accents in the chinoiserie taste. h. 39”, w. 34‑1/2”, d. 24” $600‑$900 165 Pair of Imari Ginger Jars first quarter 20th century, Japanese, now mounted as lamps, ribbed with domed covers and decorated with dragons and pots of prunus, on giltwood bases. h. 23‑1/2”, dia. 8” $800‑$1,200

163

162 English Embroidery of a Pastoral Scene of a Red-Brick Cottage by a Pond with Figures ca. 1800, silk thread on silk fabric, rendered in delicate seed and leaf stitch, background with watercolor details. Presented in an antique, oval, carved giltwood frame. sight 8‑3/4” x 10” $700‑$1,000 163 Brass and Glass Chandelier of Georgian Inspiration

165

the twenty-light chandelier with a brass frame inspired by Georgian fretwork, with a glass-clad standard and cascades of glass drops, set with scrolled candle arms with glass prism rings. h. 46”, dia. 35” $3,000‑$5,000

162

164

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166 Carved Mahogany Extension Table in the Chinese Chippendale Taste 20th century, the rectangular top with a molded edge and blind fretwork apron, and mounted to a base with chamfered blind fretwork legs joined by a molded stretcher, with one additional 24‑inch leaf. h. 30”, w. 48”, l. 96” 166

$700‑$1,000

167 Covered Ginger Jar on Stand in the Japanese Imari Taste 20th century, on a scalloped base, the jar decorated with panels of figures on a cobalt, gilt and orange ground, set with a matching cover with a foo dog finial. h. 42‑1/2”, dia. 15‑1/2” $500‑$800 168 Suite of Eight George III-Style Mahogany Dining Chairs consisting of two armchairs and six side chairs, each with a shell-carved and earred crest above a pierced and interlacing splat, the padded seat raised on cabriole legs headed by shell carving and ending in ball-and-claw feet. h. 38‑1/2” $800‑$1,200

167

168

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169 Pair of English Eagle-Carved Giltwood Brackets third quarter 20th century, in the Georgian taste, each in the form of a displayed eagle perched on an acanthus leaf surmounted by a carved shell, the serpentine shelf with carved edges. h. 23‑1/2”, w. 24”, d. 10” $1,500‑$2,500 170 George III Mahogany Chest-on-Chest

169

fourth quarter 18th century, the molded and dentillated cornice above a blind fret-carved frieze over two small drawers and three graduated long drawers, the lower section fitted with three graduated long drawers, raised on ogee-molded bracket feet. h. 70‑1/4”, w. 42”, d. 19‑1/2” $600‑$900 171 Pair of Georgian-Style Giltwood Brackets first quarter 20th century, English, of classic form, reeded and leaf-carved with deeply molded serpentine front shelves. h. 18‑1/4”, w. 9‑1/4”, d. 7‑1/2”

171

$600‑$900 172 George III Mahogany Chest early 19th century, the rectangular top with a molded edge, above a conforming case fitted with two short drawers over three graduated long drawers, raised on ogee-molded bracket feet. h. 35‑1/2”, w. 38‑1/2”, d. 21” $600‑$900

172

170

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173 Pair of George III-Style Mahogany Gainsborough Chairs 19th century, each with a padded and domed back joined by padded foliate-carved arms to the padded seat, raised on cabriole legs headed by foliate carving and ending in scrolled toes, upholstered in gold silk damask trimmed with brass tacks. h. 40‑1/2” Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana. $1,000‑$1,500 174 George III-Style Mahogany Bowfront Cabinet

173

19th century, the molded cornice with a drop pendant-carved frieze, above two long doors, each inset with two panels and opening to a shelved interior, raised on splayed bracket feet. h. 79”, w. 45‑1/4”, d. 22‑1/2” $1,000‑$1,500

175

175 Pair of Handsome Giltwood Oval Mirrors mid-20th century, American, in the George III style, decorated with a central vase finial holding a spray of flowers, with trailing flowers and leaves, labeled from Colonial Williamsburg Collection, the original in the Raleigh Tavern. h. 49‑1/2”, w. 20” $1,000‑$1,500 174

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177

176

176 George III-Style Mahogany Sideboard 20th century, the shaped and bowed rectangular top above a conforming case fitted with a central bi-paneled drawer, flanked to either side by a banded oval paneled cupboard, opening to a removable cutlery tray. h. 37”, w. 71‑3/4”, d. 22‑1/2” $700‑$1,000

177 Assembled Collection of Meissen “Blue Onion” Dinnerware primarily ca. 1860‑1924, German, including twenty-four dinner plates, dia. 9‑3/4”, eight soup plates, dia. 9‑1/4”, seven salad/dessert plates, dia. 7‑3/4” to 8”, eleven bread-and-butter plates, dia. 6”, six square dishes, w. 7” to 9”, d. 7” to 9”, a sauce boat with integral stand, h. 4”, w. 9‑1/2”, a pair of shell-form salts, h. 2‑1/4”, w. 4‑1/4”, a pair of bottle coasters, dia. 5‑1/2”, two platters, w. 15‑3/4” to 19”, d. 11‑1/2” to 13‑3/4”, a mustard pot with ladle, h. 5”, dia. 6”, sixteen knife rests, w. 3‑3/4”, and three stoppers, h. 3”. Provenance: By descent in the Kilp Family, Germany; to Antonio (1885‑1959) and Carola (1895‑1967) Kilp, Wiesbaden, Germany; to their daughter Carmelita Kilp Blackburn (1923‑2017), Sugar Land, Texas. $700‑$1,000

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178 Assembled Collection of Meissen “Blue Onion” Dinnerware primarily ca. 1860‑1924, German, including a fish platter, w. 24”, d. 11‑1/2”, two chargers, dia. 12‑1/4” and 14”, a notched salad bowl, h. 4”, w. 8‑1/2”, a pair of bottle coasters, dia. 6”, a covered vegetable dish, h. 6‑3/4”, w. 13”, a three-compartment pickle dish, h. 4”, w. 12‑3/4”, six pierced dessert plates, dia. 8”, a reticulated fruit compote, h. 9”, dia. 9”, a pair of candlesticks, h. 10”, an oil cruet, h. 6‑1/4”, w. 3‑1/2”, six custard dishes, dia. 4”, a double salt, h. 2”, w. 3‑1/2”, two oval scalloped dishes, dia. 6‑1/4” and 8”, a teapot, h. 5‑1/2”, w. 7‑1/2”, and six demitasse cups, h. 2”. Provenance: By descent in the Kilp Family, Germany; to Antonio (1885‑1959) and Carola (1895‑1967) Kilp, Wiesbaden, Germany; to their daughter Carmelita Kilp Blackburn (1923‑2017), Sugar Land, Texas.

179 detail

$700‑$1,000

179 George III-Style Mahogany Dropleaf Wake Table with large curved drop leaves supported by swing-out legs, creating an oval table. h. 30”, l. 84”, w. 17”, ext. w. 50” $800‑$1,200

179

178

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180 Suite of Ten George III-Style Mahogany Dining Chairs 20th century, in the Chippendale manner, consisting of two armchairs and eight side chairs, each with a shaped crest above a foliate-carved, pierced and interlacing splat, the padded seat raised on square chamfered legs joined by an H-form stretcher. h. 38” $800‑$1,200 181 Waterford-Style Molded Glass Chandelier the nine-light chandelier with a vasiform glass standard hung with festoons of drops, and set with glass arms and prism-hung glass drip pans, the top set with a scrolled glass arm corona. h. 33”, dia. 37‑1/2” $1,000‑$1,500 182 Pair of George III-Style Mahogany Benches 20th century, each with a padded rectangular top raised on chamfered square legs joined by an H-form stretcher. h. 20‑1/4”, w. 33‑1/4”, d. 20‑1/2” $1,000‑$1,500 181

182

180

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183 Queen Anne Mahogany Wing Chair 18th century, the padded and domed back joined by shaped sides and outscrolled arms to the cushioned seat, raised on cabriole legs ending in pad feet. h. 48” $1,000‑$1,500 184 Chinese Export Porcelain Imari Charger second half 19th century, of circular form, with flared cavetto and broad, flattened rim, painted with a stylized floral design of peonies and lilies amid scrolling foliage, all within dense floral and foliate borders, the reverse with two simple floral motifs. dia. 15‑1/4”

186

Provenance: From the Chinese Export collection of J. Louis Binder. $700‑$1,000 185 Group of Six Chinese Export Porcelain Mandarin Palette Plates mid-19th century, each of lobed octagonal form, decorated to the center with a scene of a village by a river, with fishman and boat, all within stylized floral motif and cell-diaper borders. each approx. dia. 9‑1/4” 185

$800‑$1,200 186 Associated Pair of Chinese Export Imari Porcelain Dishes one first quarter 19th century, the other slightly later, each of circular form, with steep, flared sides, decorated with a terraced garden scene centered by rockwork, within crosshatched borders with floral cartouches. dia. 9‑3/4” $700‑$1,000

183

58

184


187 George III-Style Figured Mahogany and Inlaid Map Chest Pedestal Desk second half 20th century, the top framed in three sections with highly-figured veneers, each with a central inlaid compass star medallion, the front fitted with three deep side-by-side drawers, each pedestal fitted with a bank of seven deep map/document drawers. h. 36‑1/2”, w. 84”, d. 41” $1,000‑$1,500 188 George III-Style Mahogany Corner Cabinet 20th century, the molded and dentillated cornice canted and above a conforming case fitted with two bi-paneled doors, the lower section fitted with two paneled doors, raised on shaped bracket feet. h. 86‑1/2”, w. 52‑1/2”, d. 26‑1/2” $1,000‑$1,500 189 Chinese Export Imari Porcelain Charger possibly Kangxi period (1662‑1772), of circular form with broad, flared rim, decorated in the traditional Imari palette of blue, copper red and gilt, with a central scene of a bird perched on a flowering branch near rockwork, in a terraced garden setting, all within floral borders. dia. 14” $700‑$1,000 188

187

189

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191 Regency-Style Mahogany Triple-Pedestal Dining Table mid-20th century, the oval top with a string-inlaid and banded edge, mounted to three pedestals with turned standards and reeded downcurved legs ending in brass paw feet, retaining two 22” leaves. h. 30”, w. 40”, l. 96”, ext. l. 140” $1,000‑$1,500 192 Japanese Imari Porcelain Vase second half 19th century, of baluster form, with everted neck and splayed foot, the body decorated throughout with a design of blossoming crysanthemums, some with molded and pierced detail, within scrolling foliate borders to foot and neck. h. 14‑1/4”, dia. 6” $800‑$1,200 192

190 Suite of Eight George III-Style Oak Dining Chairs consisting of two armchairs and six side chairs, each with a shaped foliate-carved crest above a pierced splat, the padded seat raised on cabriole legs headed by foliate carving and ending in ball-and-claw feet. h. 41‑1/2” $700‑$1,000 191

190

60


193 Suite of Twelve George III-Style Mahogany Dining Chairs early 20th century, in the Sheraton taste, consisting of two armchairs and ten side chairs, each with a domed back above a pierced fan-form splat, the curved and padded seat raised on tapering legs joined by an H-form stretcher. h. 38‑1/2” $700‑$1,000 194 Georgian-Style Mahogany Settee 19th century, probably Portuguese, the triple back featuring pierced and earred foliate-carved crests, above pierced and interlacing splats, joined by scrolling arms to the shaped and padded inset seat, raised on cabriole legs headed by shell carving and ending in ball-and-claw feet. h. 45”, w. 65‑1/2”, d. 20‑1/2” $1,500‑$2,500

195

195 Circle of Sir Godfrey Kneller (British, 1646‑1723) “Portrait of a Lady in Blue” oil on canvas laid on board unsigned. Framed. 25‑3/4” x 21”, framed 31‑3/4” x 27‑5/8” $1,000‑$1,500

194

193

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196 British School (First Quarter 19th Century) “Portrait of a Young Woman with Her King Charles Spaniel” oil on oval canvas unsigned. Presented in an impressive shaped sand cast and gilt exhibition frame. 29” x 23”, framed 40” x 34‑1/4” $2,000‑$4,000 197 James Fellowes (British/Welsh, active 1719‑1751) “Portrait of a Member of the Nanney and Vaughan Families, Nannau Estate, Wales”, 1750 oil on canvas signed and dated en verso canvas, an old “James Bolton/Fine Art Galleries/Bristol” label en verso frame, old inventory number en verso stretcher, a later handwritten inscription erroneously identifying the sitter as “Marie Stoddard, Wife of Reverend William Stoddard”. Framed. 30” x 25”, framed 37” x 32”

196

Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana. $2,000‑$4,000 Little is known of James Fellowes, the artist of the portrait offered here. He was active in Cheshire and Wales in the first half of the 18th century, and appears to have been somewhat itinerant, often producing portraits of members of the same community or family within a short period of time. He signed and dated most of his works en verso of the canvas, so it is possible to follow his travels to some degree. Between 1751 and 1755, several members of the prominent Vaughan/Nanney family of Nannau, North Wales, sat for Fellowes and three portraits, presently conserved at Amgueddfa Cymru, Cardiff (National Museum of Wales), have been identified: William Vaughan, Catherine Nanney Vaughan, and Ann Vaughan. The latter two bear a striking resemblance to the work offered here, both in feature and composition. All three women are presented in 3/4 length, shoulders at a slight angle, heads slightly turned, finely dressed in silk and white lace, with a strand of lustrous pearls across and slightly dipping below the bosom. Of the numerous extant portraits of women by Fellowes, these are the only three to reveal such a carefully and prominently displayed strand of pearls, suggesting a very specific meaning which, unfortunately, has been lost to posterity. The similarity of features between the portrait of Catherine and this unidentified sitter is undeniable; the same deep-set , heavy-lidded dark eyes, strong brown, roundly tipped noses, and thin upper lips. The two women could be sisters.

62

197


198 After Sir Henry Raeburn, R.A., P.R.S.A. (Scottish, 1756‑1823) “Portrait of Lady Dalrymple” oil on canvas 19th century, unsigned, after the undated painting now conserved at Tate Britain, London, a “Walter F. Jeune/Victoria B.C.” and “The Wimbledon Fine Art Gallery/F. Dibben & Son/ Wimbledon” labels en verso frame. Framed. 30” x 25‑1/8”, framed 39” x 34” Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana. $2,000‑$4,000

198 200 Circle of John Watson Gordon (Scottish, 1788‑1864)

“Portrait of a Gentleman with a Ledger” oil on canvas unsigned, a “Robert R. Nelson, Edinburgh” supplier’s label stenciled en verso. Framed. 36” x 28”, framed 46‑3/4” x 38” Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana. $2,000‑$4,000

199

199 Circle of Sir Henry Raeburn, R.A., P.R.S.A. (Scottish, 1756‑1823) “Portrait of a Gentleman in a White Silk Cravat” oil on canvas first quarter 19th century, unsigned, partial old “Portsmouth/ London” label en verso stretcher. Framed. 30‑1/2” x 25‑1/4”, framed 36‑1/8” x 32‑1/8” Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana. $3,000‑$5,000

200

63


201 Regency Mahogany Sofa Table 19th century, the rectangular top with a molded edge and two rounded drop leaves, above a frieze fitted with two drawers, raised on lyre-form end supports joined by a turned stretcher and ending in splayed, ribbed legs ending in brass caps and casters. h. 29”, w. 34‑1/2”, d. 24‑1/2”, ext. w. 54‑1/2” $800‑$1,200 202 Regency Mahogany Draftsman’s Table early 19th century, the rectangular top above a pull-out section opening to an easel-backed leather-inset surface, further opening to a compartmented baize-lined interior fitted with small drawers and lidded compartments, raised on ribbed circular legs headed by bulbous capitals and ending in brass caps and casters. h. 30”, w. 48”, d. 27‑1/2” 203

$700‑$1,000

204

201

203 Regency-Style Tole-Peinte Mirror 20th century, English, the molded tin frame with a red ground painted with gilt chinoiserie decoration and set with antique mirror glass. h. 39‑1/2”, w. 22‑3/4” $700‑$1,000 204 Regency Polychrome Chinoiserie Stair-Step Side Table 202

early 19th century, in the form of three steps, the middle one lifting to a storage compartment, raised on ring-turned tapering legs to gilt ball feet. h. 27”, w. 18‑1/2”, d. 27‑1/2” $700‑$1,000

64


205 British School (First Quarter 19th Century), “Portrait of Francis Spencer Hawkins, of H.M.’s Bengal Indian Army” oil on canvas unsigned. Presented in an antique carved giltwood frame. 36‑1/4” x 28”, framed 43” x 35” $1,000‑$1,500 Francis Spencer Hawkins was born into an Anglo-Indian military family; his father was Colonel Thomas Hawkins of His Majesty’s Bengal Indian Army. Following in his father’s footsteps, Hawkins entered the Bengal Army as an Ensign in 1815 at the tender age of 17. The portrait offered here was likely completed a short time later to commemorate his commission into the army. Hawkins proved a capable and diligent officer, and he steadily rose within the echelons of the army, eventually attaining the rank of Colonel. He was twice married; firstly to Maria Loveday in 1823, with whom he had one daughter, and secondly to Emily Kellet of County Cork, with whom he had two children including a son, Francis Kellet Hawkins, who also joined the Bengal Army (culminating his career as a Major-General). 205

The Bengal Indian Army, formed in 1765, was initially under the auspices of the powerful East India Company. In 1858, in part due to social and political upheavals between the military and the civilians, oversight of the army was transferred to the direct authority of the British Crown. References: The Bengal and Agra Annual Guide and Gazetteer for 1841, p. 467. 206 Pair of English George IV Mahogany Pedestal Cabinets second quarter 19th century, the pagoda-style tops with hinged lids, above a concealed drawer and cabinet below, with turned columns at the front corners, the base with a gadrooned molding and raised on turned legs. h. 49‑1/2”, w. 22”, d. 25” $1,000‑$1,500 207 Collection of English Imari Porcelain and Ironstone Dinnerware

206

including twenty-three pieces of Derby pattern 383, ca. 1784‑1820, with red-painted marks, comprised of four luncheon plates, dia. 9‑1/4”, four salad/ dessert plates, dia. 8‑1/2”, three breakfast cups, h. 2‑1/4”, and three saucers, dia. 6‑1/2”, five dessert dishes, dia. 7” to 8”, and four cookie or cake dishes, dia. 8‑1/2”, together with fifteen pieces of Ashworth’s pattern 7499, fourth quarter 19th century, with printed and impressed marks, comprised of five dinner plates, dia. 10‑1/2”, four soup plates, dia. 10‑1/2”, and six luncheon plates, dia. 9‑1/2”, and three waste bowls in various patterns, h. 3‑1/2”, dia. 6‑1/4”. Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana. $700‑$1,000

207

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208 Regency Mahogany Bowfront Chest 19th century, the bowed top with a shaped edge, above a conforming case fitted with two short drawers over three graduated long drawers, raised on splayed feet. h. 40‑1/2”, w. 41‑1/4”, d. 21‑1/2” $700‑$1,000 209 Regency Mahogany Games Table first quarter 19th century, the rounded rectangular top hinged and opening to a gaming surface, above a conforming frieze, raised on ribbed tapering circular legs ending in tall bulbous feet. h. 29‑1/2”, w. 36‑1/4”, closed d. 18” $700‑$1,000

208

209

210

210 Regency Giltwood Window Seat 19th century, the padded rectangular seat with a molded and rounded armrest to either end, above a fluted frieze, raised on fluted tapering circular legs headed by a foliate capital and ending in toupie feet. h. 26”, w. 34‑3/4”, d. 20” $1,500‑$2,500 211 Regency Mahogany Sofa Table

211

19th century, the rectangular top with a molded edge and two rounded drop leaves, above a frieze fitted with two drawers, raised on end supports joined by a turned stretcher and ending in splayed, molded legs headed by foliate carving and ending in brass caps and casters. h. 29”, w. 36”, d. 29‑1/2”, ext. w. 58” $800‑$1,200

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212 Regency-Style Ebonized Wood and Silvered Bronze Double Music Stand first half 19th century, the column-form standard on a platform base with a molded, silvered bronze bezel, the stand on a telescopic support, fitted with four candle arms with silvered bronze candle cups. h. 49‑1/2”, w. 27”, d. 19‑1/4” $900‑$1,200 213 Pair of Exceptionally Detailed Cast Iron CampanaForm Garden Urns fourth quarter 19th century, Continental or English, with a patinated bronze finish decorated with deeply cast Dionysian figures around the sides and a border of grapes and grape leaves, the reeded handles terminating in masques, the lower portion with acanthus leaves. h. 30‑1/2”, dia. 23”

213 detail

$5,000‑$8,000 214 William IV Mahogany Butler’s Chest mid-19th century, the rectangular top with projecting ends, above a conforming case fitted with a dropfront drawer, opening to a variety of drawers and cubbyholes, flanked to either side by acanthinecarved scrolling uprights, raised on a plinth base. h. 45‑1/2”, w. 54”, d. 28” $600‑$900

213

212

214

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215 George II Sterling Silver Coffeepot hallmarked London, 1741‑1742, by John Swift (ca. 1704‑1766; free 1725), tapered baluster form, with hinged, flat-domed lid, toupie finial, acanthusmounted “gooseneck” spout and crested double-scroll wooden handle, decorated with flat-chased rococo bands centering the arms of the widow de Nevile. h. 8”, dia. 3‑3/8”, l. 7‑1/2”; 19.96 t. oz. (including wooden handle) $700‑$1,000 216 Two George II Sterling Silver Mugs

215 detail

one hallmarked London, 1746‑1747, by Benjamin Cartwright, the other with rubbed date letter but ca. 1745, by William Williams I, each of traditional baluster form with molded foot ring and crested double-scroll handle, the Williams example monogrammed “TW” and inscribed on the underside “Thomas Williams”. h. 4‑3/4”, dia. 3‑1/2”; 23.35 total t. oz.

215

$600‑$900

216

217

217 George II Sterling Silver Salver hallmarked London, 1752‑1753, by Dorothy Mills, circular with rocaille “Chippendale” rim and raised on four claw-and-ball feet, the plateau engraved with a band of rococo cartouches and centering the arms of Wilson of Cliffe Hall, Durham. dia. 20‑3/4”; 75.62 t. oz. $4,000‑$7,000 217 detail

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221

218

220 Two Georgian Sterling Silver Soup Ladles

222

219

218 George II Sterling Silver Waiter hallmarked London, 1751‑1752, by James Morrison, circular with rococo-scroll “Chippendale” rim and raised on three scroll-and-pad feet, engraved with the crest of Bowyer of Knypersley, Staffordshire. dia. 8‑7/8”; 13.51 t. oz. $700‑$1,000 219 Pair of George III Sterling Silver Sauceboats hallmarked London, 1775‑1776, by William Cattell, of bulbous batteau form with embossed beaded rim, crested double “C”-scroll handle and raised on three shell-crested scroll-andpad feet. h. 4‑1/4”, l. 6”, w. 3‑1/4”; 10.33 total t. oz. $700‑$1,000

the first hallmarked Newcastle, 1784‑1785, by John Langlands & John Robertson, “Old English” pattern with circular bowl and bright-cut decoration, engraved with the crest of Bradwell et al. (a rock proper), the second hallmarked London, 1819‑1820, by Josiah and George Piercy, “Fiddle” pattern with elliptical bowl and engraved with the crest of Southwell of Kingston-onThames, Surrey. l. 12‑3/4”; 11.89 total t. oz.

220

$700‑$1,000 221 Pair of George III Sterling Silver Waiters hallmarked London, 1779‑1780, by Richard Rugg II (1749‑1797; free 1770), each circular with bright-cut rim and beaded edge, raised on three claw-and-ball feet, engraved with the arms of Peryns of Brockton. dia. 8”; 26.25 total t. oz. $1,000‑$1,500 222 Two Late George III Sterling Silver Sugar Baskets London, first quarter 19th century, each octagonally paneled with bright-cut decoration, reeded rim, conforming handle and foot, the larger hallmarked 1802‑1803, by William Abdy II (1759‑1835; free 1781), with cavetto corners and gilt interior, h. 4‑3/8” (7” with handle), l. 6‑3/8”, w. 4‑1/4”; the smaller hallmarked 1809‑1810, by Robert Hennell I (1741‑1811; free 1763), monogrammed “JMH” and engraved with a crest of a Hands, Hay et al., h. 3‑3/4” (6” with handle), l. 4‑7/8”, w. 3‑1/2”. 12.79 total t. oz. $700‑$1,000

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223 detail

223 detail

223

223 detail

223 Paul Storr (1771‑1844) Sterling Silver Gilt Covered Cup hallmarked London, 1809‑1810, retailed by Rundell, Bridge and Rundell, of campana form, with laureland-ribbon banding at the base, ovolo banding at the shoulder and gadrooned banding at the rim, with Bacchus masque-mounted addorsed reeded handles, decorated on one side with three repousse racehorses and the other with an applied laurel wreath centering a presentation inscription “Newcastle Upon Tyne / 1817 / Stewards / Hon.ble W. N. Powlett / Matt.w Bell Esq.r / Rob.t Nickolson Esq.r”, the fitted domed lid centering a palmetteand-leaf-mounted spiral gadroon bud finial, stamped on the basal edge “Rundell, Bridge et Rundell Aurifices Regis et Principie Wallae London Regent”. h. 14‑3/4”, dia. 10‑1/8”; 113.05 t. oz. $9,000‑$12,000 223 detail

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224 Irish Georgian Sterling Silver Cake Basket hallmarked Dublin, 1806, by Robert Breading (free 1782; d. 1822), of rounded rectangular form with conforming swing handle and foot ring, the rim with wrigglework banding and engraved cartouches of shamrocks, thistles, acorns and roses, with applied reeded edge. h. 4‑1/2” (h. 10‑1/2” with handle), l. 13‑1/4”, w. 9‑7/8”; 31.58 t. oz. $1,400‑$1,800 225 Three Regency Sterling Silver Fish Slices first quarter 19th century, all “Fiddle” pattern with threaded and reticulated scimitar-shaped blades, two hallmarked London, by Edward Farrell, one 1810‑1811, the other 1811‑1812, the former engraved with a crest of a morion, one hallmarked Edinburgh, 1815‑1816, by George Fenwick. l. 12”; 15.57 total t. oz.

224

$700‑$1,000

226 225

226 Large Pair of Late George III Sterling Silver Goblets hallmarked London, 1802‑1803, by Robert Gaze, each with a deep bucket-form bowl above a knopped stem and cavetto-molded circular foot. h. 9”, dia. 4”; 29.94 total t. oz. $1,000‑$1,500 227 Good Victorian Sterling Silver Well-and-Tree Platter hallmarked London, 1854‑1855, by Mortimer & Hunt (fl. 1843‑1889), successors to Paul Storr, oval form with annulated edge, the rim engraved with the badge of the clan Baird. 24‑1/4” x 17‑1/2”; 117.35 t. oz. $4,000‑$7,000

227

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228 Good Pair of Victorian Ducal Sterling Silver Sauceboats hallmarked London, 1861‑1862, by Robert Garrard II (1793‑1881; free 1816), each of deep batteau form, with gadrooned rim, acanthus crested “S”-scroll handle and raised on three beaded acanthus-crested scrolling rocaille feet, engraved with the crest of the Duke of Richmond, presumably for Charles Henry Gordon-Lennox (1818‑1903), 6th Duke in 1860. h. 2‑1/4”, l. 9‑1/4”, w. 4‑1/4”; 44.19 total t. oz. $2,500‑$4,000

228 detail

229 Victorian Porcelain and Sterling Silver Fruit Set hallmarked London, 1884‑1885, by Francis Higgins III (1818‑1908; free 1857), including twelve forks and twelve knives, with “pistol grip” floral-painted porcelain handles. 24 pieces l. 7‑1/2” and 6‑3/4” $700‑$1,000

228

229

230 Pair of Victorian Sterling Silver Candlesticks hallmarked London, 1883‑1884, by John Aldwinkle and James Slater (active March 1880‑August 1884), in the neoclassical taste, each with a tapering square columnar standard decorated with patera, bellflowers and annulated banding, above a conforming cavetto-domed foot decorated en suite and terminating in an urn-form nozzle gadrooned on the lower half and decorated en suite, with a detachable circular annulated bobeche. h. 11”, w. 4‑1/4”; weighted $800‑$1,200 230

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231 Late Victorian Sterling Silver Punch Bowl hallmarked London, 1893‑1894, by Gibson & Langman (Goldsmith’s and Silversmith’s Co. Ltd.), the bucket-form bowl decorated with embossed gadrooned calyx and rim, raised on a domed foot en suite. h. 7‑1/2”, dia. 12‑1/4”; 44.21 t. oz. $900‑$1,200 232 George V Sterling Silver Entree Dish hallmarked Sheffield, 1929‑1930, by Maples & Co., of shaped rectangular form with molded “Chippendale” rim, the fitted lid with stirrup ring handle finial, engraved on the lid with the crest and motto of Laird of Strathmartin. h. 5”, l. 11‑1/4”, w. 8‑1/2”; 43.81 t. oz.

232

$700‑$1,000 233 George V Sterling Silver Tray hallmarked London, 1915‑1916, by Holland, Aldwinkle & Slater, oval with applied Vitruvian scroll rim and beaded edge, with addorsed scrolling serpent handles. l. 29”, w. 16‑3/4”; 88.73 t. oz. $3,500‑$5,000 234 Set of George V Sterling Silver and Other Flatware most pieces hallmarked London, 1914‑1915, by Garrard & Co., in the traditional “Fiddle, Thread and Shell” pattern, including seven four-piece place settings with an additional six place pieces, together with six Dominick & Haff teaspoons in the same pattern, and a dozen each unmarked “King’s” pattern luncheon and dinner knives. 64 pieces 82.43 total t. oz. (weighable silver) Detailed list of pieces available on request

234

$1,500‑$2,500

231

233

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237

235

236

238

235 R. Domba (Italian, Late 19th/Early 20th Century)

237 Pierre-Isidore Bureau (French, 1827‑1876)

“Lake Geneva”

“Rural Path with Figures”

oil on masonite signed lower right. Framed. 10‑1/2” x 19”, framed 17‑3/4” x 26‑1/4”

oil on canvas signed lower right. Framed. 28‑3/4” x 45‑3/4”, framed 39” x 55‑1/2”

$1,000‑$1,500

$1,200‑$1,800

236 George Emil Liebert (Danish, 1820‑1908)

238 Thomas Shotter Boys (British, 1803‑1874)

“Landscape with River and Canoe”, 1865

“Pastoral Scene”

oil on canvas signed and dated lower left, an old inventory label en verso stretcher. Framed. 20‑1/4” x 29‑3/4”, framed 29‑1/2” x 39”

oil on canvas board signed lower left. Framed.

$1,500‑$2,500

$1,400‑$1,800

74

16” x 20”, framed 20‑1/2” x 24‑1/2”


239 Hans Dall (Danish, 1862‑1920) “Autumn Landscape” oil on canvas signed lower right. Framed. 10‑1/2” x 15‑1/2”, framed 14‑1/4” x 19‑1/2” $1,000‑$1,500 240 Karl Heffner (German, 1849‑1925) “Landscape”

239

oil on canvas signed. Framed. 35‑3/4” x 52‑1/2”, framed 47‑3/4” x 63‑1/2” $1,000‑$1,500

241

240

241 Leon Moreau (French, 19th Century) “Nature Morte” oil on canvas signed and further inscribed lower right. Presented in a giltwood frame affixed with artist plaque. 17‑7/8” x 14‑5/8”, framed 23‑3/4” x 20‑3/4” $1,000‑$1,500 242 Jan Frans van Dael (Belgian/French, 1764‑1840) “Still Life of Fruit in a Basket” oil on canvas signed lower right. Presented in an ebonized frame. 23‑1/2” x 19‑3/4”, framed 32” x 27‑1/2” $3,000‑$5,000

242

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243 Sophie Spielman (Dutch, 1874‑1939) “Spray of Pale Pink Flowers” oil on canvas signed lower right. Framed. 17” x 31‑3/8”, framed 24‑1/4” x 38” $1,000‑$1,500 244 Louis XVI-Style Polychrome Settee 20th century, the padded medallion back surmounted by a wreath crest, joined by downswept padded arms to the padded seat, raised on stop-fluted tapering circular legs ending in toupie feet. h. 41”, w. 54”, d. 26”

246

$1,800‑$2,500

244 243

245 Italian Neoclassical Distressed Pine and Marble-Top Console Table 19th century, the D-form marble top above a pierced guilloche-carved frieze with pendant fruit garlands, raised on fluted tapering circular legs joined by an urn-centered stretcher and ending in peg feet. h. 35”, w. 39‑1/2”, d. 15‑1/2” $1,500‑$2,500 246 Baccarat-Style Molded Crystal Chandelier

245

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mid-20th century, the twelve-light chandelier with a sectioned vasiform standard mounted with prism rings and set with ropetwist glass arms terminating in tulip-form candle cups and molded glass prism rings, the base with tiers of drops. h. 32”, dia. 33” $700‑$1,000


250

249

248

247

247 Pair of Louis XVI-Style Polychrome and Parcel-Gilt Bergeres avec Orielles

249 French Fin-de-Siecle Giltwood Mirror

early 20th century, each with a slightly domed and padded back surmounted by a floral crest, joined by shaped and padded sides to the cushioned seat, raised on fluted circular legs ending in toupie feet. h. 39‑1/2”

fourth quarter 19th century, of Louis XVI inspiration, the surround lined with leaf-molded edges, the pierced crest decorated with a crossed torch and arrows and sprays of leaves, set with a beveled mirror plate. h. 49‑1/2”, w. 36‑1/2”

$1,800‑$2,500

$1,000‑$1,500

248 Louis XVI-Style Bronze Firescreen

250 Louis XVI-Style Polychrome Bench

late 19th century, French, on cabriole legs, the screen centered with a mount of musical instruments, framed by a pair of fluted colonettes, the serpentine crest decorated with gadrooning and a pierced bowknot crest. h. 38”, w. 25‑3/4”, d. 15‑1/4”

19th century, the padded rectangular top above a conforming fluted frieze, raised on fluted tapering square legs headed by a ribbed capital, joined by an H-form stretcher and ending in fluted tapering square feet. h. 20”, w. 31‑1/4”, d. 19”

$800‑$1,200

$800‑$1,200

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251 Pair of Directoire-Influenced Polychrome Bergeres each with a molded imbricate-carved crest with finial accents above the padded back, joined by padded outswept arms on columnar uprights to the cushioned seat, raised on fluted tapering circular legs headed by a floral block capital and ending in peg feet. h. 39” $1,500‑$2,500 252 Louis XVI-Style Polychrome and Marble-Top Side Table early 20th century, the rectangular top above a frieze centered by a pierced shell carving, raised on paneled tapering square legs headed by Ionic capitals, joined by an urn-centered X-form stretcher and ending in peg feet. h. 33”, w. 48”, d. 21” $2,500‑$4,000 253 Maria Theresa-Style Chandelier second quarter 20th century, the nine-light chandelier with a frame clad in molded glass, and set with cut glass drip pans and hung with festoons of drops, the center set with one light. h. 26”, dia. 27”

254

$1,000‑$1,500 254 Belle Epoque Parcel-Gilt Trumeau Mirror fourth quarter 19th century, French, the tablet with a white ground and decorated with a wreath of flowers and swags of fruit, the beveled mirror plate surround with giltwood ribbonand-leaf-bound reeds. h. 76‑3/4”, w. 41” $2,500‑$4,000 252

253

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251


255 Louis XVI-Style Polychrome, Parcel-Gilt and Marble-Top Coffee Table mid-20th century, the inset marble top with cookie corners conforming to the turned and fluted outside legs, the aprons with a foliate frieze. h. 17”, w. 54”, d. 16” $800‑$1,200

255

256 Louis XV-Style Creme-Peinte and Parcel-Gilt Gondola Chair late 19th century, the padded and domed back surmounted by a floral crest, joined by downswept sides to the cushioned seat, raised on molded cabriole legs headed by floral capitals. h. 37‑1/2” $1,500‑$2,500

256

257

257 Transitional Louis XV/XVI-Style Polychrome Settee late 19th century, the shaped and padded back surmounted by a floral crest, joined by padded downswept arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes. h. 36”, w. 62”, d. 28” $700‑$1,000 258 Louis XV-Style Gilt-Bronze Firescreen first quarter 20th century, French, with a rococo-molded surround and handle, the screen decorated with swags and flowers, and a drop finial depicting crossed arrows and a quiver. h. 31”, w. 30”, d. 5‑1/2” 258

$600‑$900

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259 Belle Epoque Painted Trumeau Mirror in the Louis XV Style fourth quarter 19th century, French, decorated with gray scrollwork on a green ground, the upper table with a quiver of arrows supported by a bowknot. h. 76”, w. 49‑1/2” $700‑$1,000

260 Louis XVI-Style Polychrome Bergere early 20th century, the padded and domed back within a ribboncarved crest, joined by closed and padded arms to the padded seat, raised on fluted tapering circular legs ending in peg feet. h. 36‑1/2” $700‑$1,000

262

261 Louis XVI-Style Polychrome and Faux Marbre Commode 19th century, the rectangular faux marbre top above a conforming case fitted with two long drawers, both paneled and with gilt scrolling foliate accents, the sides en suite, raised on paneled and bellflower-carved tapering square legs. h. 32”, w. 51”, d. 25‑1/2” $1,500‑$2,500

262 Continental Fruitwood Pedestal late 19th century, the shaped top with a molded edge, above a waisted frieze and tapered paneled standard with applied shield carving, to a molded base. h. 44”, w. 24”, d. 17‑1/4” $700‑$1,000

261

80

259

260


265

263

264 266

263 Bronze and Crystal Chandelier in the Louis XIV Taste first quarter 20th century, French, the six-light chandelier with a bronze frame hung with festoons of drops under a corona of drops, and supporting scrolled candle arms set with leafmolded candle cups and matching drip pans. h. 36”, dia. 18” $1,000‑$1,500 264 Pair of Transitional Louis XV/XVI-Style Fruitwood Fauteuils 18th century, each with a slightly domed and padded back surmounted by a floral crest, joined by padded and reeded arms to the padded seat, raised on fluted tapering circular legs ending in toupie feet. h. 37” $900‑$1,200

265 Pair of Louis XVI-Style Mahogany and Marble-Top Occasional Tables 20th century, each with a circular marble top within a full pierced brass gallery, above a conforming banded frieze, raised on tapering square legs ending in brass caps. h. 21”, dia. 21” $600‑$900 266 Pair of Carefully Detailed Porcelain Figures of Children at Play third quarter 18th century, French, the gilt-trimmed turquoise figures of children picking flowers and playing with a goat. h. 8‑3/4”, w. 5”, d. 4” $700‑$1,000

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268

269

267

267 Niek van der Plas (Dutch, b. 1954) “Beach Scene” oil on panel signed lower right. Framed. 9‑5/8” x 11‑3/4”, framed 16‑1/2” x 18‑1/2”

270

269 Charles Henri Verbrugghe (Belgian, 1877‑1974) “Mediterranean Terrace” oil on wood panel signed lower left. Framed. 22‑1/4” x 34‑1/4”, framed 28‑7/8” x 41”

$1,200‑$1,800

$1,000‑$1,500

268 Niek van der Plas (Dutch, b. 1954)

270 Henri Joseph Pauwels (Belgian, 1903‑1983)

“Cafe Scene”

“Tea in the Garden”

oil on panel signed lower right. Framed. 11‑5/8” x 15‑5/8”, framed 19‑1/4” x 23”

oil on canvas signed lower left. Framed. 20” x 33”, framed 26” x 39”

$1,200‑$1,800

$1,000‑$1,500

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271 Louis XVI-Style Mahogany and Marble-Top Table 20th century, the rectangular top with turreted corners, above a conforming frieze fitted with a single central side drawer, raised on fluted tapering circular legs ending in brass caps. h. 30”, w. 50‑1/2”, d. 24” $800‑$1,200 272 French Gilt-Bronze Chandelier in the Belle Epoque Manner mid-20th century, the twelve-light chandelier with a turned standard decorated with oval bas-relief classical depictions, and supporting the reeded and leaf-molded scrolled candle arms terminating in drip pans set with inverted bell-form candle cups and beaded bobeches. h. 31”, dia. 29” $1,000‑$1,500 272

271

273 Louis XVI-Style Giltwood Vitrine early 20th century, the nearly oval top over a conforming case with vinewrapped columns flanking the bowed glass front door and curved glass sides, raised on turned and reeded legs. h. 60‑1/2”, w. 29‑1/2”, d. 17‑3/4” $900‑$1,200

273

274 Louis XVI-Style Giltwood Bench the long, padded rectangular seat above a molded frieze, raised on stop-fluted tapering circular legs ending in ball feet. h. 15”, w. 68”, d. 17” 274

$800‑$1,200

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275 Louis XVI-Style Polychrome Vanity Bench late 19th century, the padded low back surmounted by a floral crest and joined by downswept padded sides to the cushioned seat, raised on stop-fluted tapering circular legs ending in toupie feet. h. 30” $700‑$1,000

277

277 Louis XVI-Style Giltwood and Marble-Top Center Table 19th century, the rectangular marble top with projecting corners, above a conforming pierced foliate frieze, raised on fluted tapering circular legs headed by a waisted capital, joined by a shaped X-form stretcher and ending in peg feet. h. 28‑1/2”, w. 46”, d. 28‑1/2” $1,000‑$1,500 275

276 Octave Denis Victor Guillonnet (French, 1872‑1967) “Jardin Fleuri” oil on wood panel signed lower left “O.D.V. Guillonnet”. Presented in a period giltwood and gesso frame. 19‑3/4” x 23‑5/8”, framed 28” x 32” $1,500‑$2,500

276

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278 Set of Four Louis XV Painted Panels third quarter 18th century, French, with molded edges and green grounds, painted in the Directoire style with flowers, urns and arabesque panels decorated with draped masques, the upper and lower panels with arabesque tracery lines. h. 87‑1/2”, w. 19‑1/2” $2,000‑$4,000 279 Louis XVI-Style Polychrome Stool late 18th century, the padded rectangular top above a paneled and patera-carved frieze, raised on fluted tapering circular legs headed by a waisted capital and ending in toupie feet. h. 18”, w. 18”, d. 16” $700‑$1,000 280 French Parcel-Gilt Mirror in the Directoire Taste second quarter 20th century, the green-painted surround trimmed with giltwood guilloche, and supporting a masque beneath a pierced rosette, the crest and sides trimmed with laurel swags, set with reeded urns. h. 54‑1/2”, w. 31”

278

$1,500‑$2,500

279

280

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281

281 Raoul Dufy (French, 1877‑1953) “Barriere Champetre” oil on canvas signed lower right, an “Ansley Graham, Los Angeles” label en verso, French customs label on stretcher. Framed. 18‑3/4” x 21‑3/4”, framed 25‑1/2” x 29” Literature: Laffaille, Maurice. Raoul Dufy: Catalogue Raisonne de l’Oeuvre Peint. Geneva: Motte, 1972, p. 25, fig. 17. $20,000‑$40,000

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282 Howard Dwight Beach (American/New York, 1867‑1954) “Forest Landscape”, 1922 oil on board signed and dated lower right. Framed. 12” x 16”, framed 17‑1/2” x 21‑1/2” $1,000‑$1,500

282

283 Pierre Ernest Ballue (French, 1855‑1928) “Village au Printemps” oil on canvas signed lower right. Glazed and framed. 15” x 21‑3/4”, framed 21‑3/4” x 28‑1/4” $1,000‑$1,500

283

284 Lionel Garner (French, b. 1931) “Village en Touraine” oil on canvas signed lower left, hand-inscribed title en verso. Presented in a contemporary giltwood frame. 32” x 39‑1/2”, framed 43‑3/4” x 49‑3/4” $1,200‑$1,800

284

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285 Gail Sherman Corbett (American, 1871‑1952) “Paris in Winter” oil on canvas signed lower left “G. Sherman”. Framed. 24” x 20”, framed 31‑1/2” x 27‑1/8” $1,000‑$1,500 286 Randolph LaSalle Coats (American, 1891‑1957) “Still-Life: the Russian Samovar”, 1928 oil on canvas signed lower left, dated and titled on old label en verso canvas. Framed. 30” x 30”, framed 34‑1/2” x 34‑3/4”

285 288

$1,200‑$1,800

288 Polished Steel Newel Post Lamp ca. 1900, possibly American, modeled as a conquistador posing on a circular base and holding aloft a fluted “torch” terminating in an electric light, set with a colorless glass beaded shade. h. 41‑1/2”, w. 13”, d. 10” $1,200‑$1,800

287

287 Cast Iron Signal Cannon 20th century, decorated with a molded shield and scrolled grips. h. 12”, w. 11‑1/2”, l. 30” $600‑$900

286

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289 Unusual Pair of English Rococo Revival Gilt-Bronze Candlesticks third quarter 19th century, with vine-molded scrollwork and horizontal incising, the candle cups and bobeches molded to match. h. 10”, dia. 4‑3/4” $700‑$1,000 290 Two Cast Iron Garden Figures of Renaissance Guards 20th century, in the Donatello style, the guards on round bases, poised with broad axes. h. 26”, w. 19”, d. 13” $2,500‑$4,000 291 Two Pieces of Bohemian Cranberry Overlay Glass

289

including a centerpiece, ca. 1900, enameled with panels of children at play, against a white overlay cut to reveal a cranberry ground decorated with gilt scrollwork and panels of white overlay crosshatching, h. 7”, w. 10‑1/2”, d. 8”, and a Gothic Revival vase, fourth quarter 19th century, decorated with white overlay carefully painted with gilt scrollwork cut to cranberry Gothic panels, h. 14”. $700‑$1,000 292 English Mahogany Folio Holder late 19th century, the slatted sides hinged and mechanized to open to four different angled positions, raised on splayed and scrolled supports to casters. h. 39”, w. 25”

291

$600‑$900

292

290

89


293

295

294

293 William Adams and Sons Ironstone Partial Dinner Service ca. 1850, English, with gilt-trimmed claret and ivory borders and decorated with hand-painted village scenes, the set comprised of two graduated platters, w. 14‑1/4”, d. 11‑1/2” and w. 19”, d. 14”, a pair of oval covered vegetable dishes with melon knops, h. 7‑3/4”, w. 12‑1/4”, d. 9”, a covered sauce tureen with a melon knop, h. 6‑1/2”, w. 7”, d. 5‑1/2”, eight dinner plates, dia. 10‑1/4”, seven soup plates, dia. 10‑1/4”, and twelve luncheon plates, dia. 9”, each signed “W. Adams & Sons, Stoke-upon-Trent” in underglaze puce. $700‑$1,000 294 Victorian Mahogany and Leather-Upholstered Tete-a-Tete late 19th century, of traditional form, the padded and tufted S-form crest joined by barley-twist uprights to the likeupholstered shaped seat, raised on barley-twist legs to casters. h. 26”, w. 54”, d. 26” $800‑$1,200

90

295 Unusual Continental Gilt-Bronze and Majolica Chandelier fourth quarter 19th century, the nine-light chandelier with a cranberry-ground stoneware base held with gilt-bronze fittings, the scrolled candle arms supported by bronze figures of “Victory”, the drip pans and chain inserts in matching stoneware. h. 46‑3/4”, dia. 20‑1/2” $1,000‑$1,500


296 English Late Victorian Carved Oak Five-Tube Tall Case Clock fourth quarter 19th century, the case profusely carved with flowers and ribbons, with a spring-wound movement signed “Junghans” and five tubular chimes. h. 95”, w. 21‑1/2”, d. 12‑1/2” $700‑$1,000 297 Victorian Painted Cast Iron Umbrella Stand ca. 1842‑1883, English, the back modeled as a child holding a snake-form holder, the bottom set with a leaf-molded pan, with an illegible diamond registration mark. h. 33”, w. 18”, d. 9‑1/2” $700‑$1,000 298 Pair of Amber Flashed Cut-to-Clear Oil Lamps fourth quarter 19th century, the molded fonts engraved with flowers, and supported on brass standards set into marble and brass bases, mounted with period optic dot amber glass shades, now electrified. h. 26‑1/2”, dia. 9” $800‑$1,200 299 Victorian Campaign-Style Mahogany Pedestal Desk late 19th century, the rectangular top with an inset leather surface, above a frieze fitted with three drawers, raised on two pedestals, one fitted with three graduated drawers, the other fitted with a narrow drawer over a deep drawer, raised on plinth bases, the whole with brass accents and recessed hardware in the campaign taste. h. 30‑1/2”, w. 55”, d. 31” $1,000‑$1,500

296

297

299 298

91


300 Set of Twelve Lenox Porcelain Dinner Plates ca. 1930‑1953, Trenton, New Jersey, each with a raised gilt border on a cerulean ground, and with a green underglaze mark and gilt overglaze decorator’s mark. dia. 10‑1/4” $700‑$1,000 301 Arthur Conan Doyle (1859‑1930), First Publication of Eight Sherlock Holmes Short Stories in The Strand Magazine, 1892‑1893, including “The Adventure of”: “The Speckled Band” (February 1892, vol. 3, no. 14, pp. 142‑157) “The Engineer’s Thumb” (March 1892, vol. 3, no. 15, pp. 176‑188) “The Noble Bachelor” (April 1892, vol. 3, no. 16, pp. 386‑399) “The Copper Beeches” (June 1892, vol. 3, no. 18, pp. 613‑628) “Silver Blaze” (December 1892, vol. 4, no. 24, pp. 645‑660) “The Cardboard Box” (January 1893, vol. 5, no. 25, pp. 61‑73) [three copies] “The Yellow Face” (February 1893, vol. 5, no. 26, pp. 162‑172) “The Stockbroker’s Clerk” (March 1893, vol. 5, no. 27, pp. 281‑291) [two copies] with illustrations by Sidney Paget (1860‑1908), in blue paper wrappers. 11 copies total 9‑3/4” x 6‑5/8”

300

Literature: Ref: Richard Lancelyn Green and John Michael Gibson, Bibliography of A. Conan Doyle (Oxford: Clarendon Press, 1983). $1,500‑$2,500 Coincidental with the February 1892 appearance of the first story in this lot, “The Adventure of the Speckled Band” (the tenth story in the canon), the character of consulting detective Sherlock Holmes and his chronicler Dr. Watson had proved so wildly popular that Conan Doyle’s publishers paid him a thousand pounds for a new series of stories featuring the duo. The Adventures of Sherlock Holmes appeared in October 1892, collecting the first series of stories, including those from the February 1892 through June 1892 issues offered here. The new series of stories began in the Strand with the December 1892 issue here and continuing through December 1893, when they were collected in The Memoirs of Sherlock Holmes - with the exception of “The Adventure of the Cardboard Box”.

301

It has been suggested that the story’s illicit love affair and double murder (topics which Doyle was keen to keep out of his stories when possible) prompted Doyle to exclude it. It was included in the American edition, but quickly removed because of its controversial nature. It did appear in the third British collection - The Final Bow - and even today, the story is usually found in Memoirs in American Editions and in Final Bow in English ones. Similarly, the famous opening of the story, wherein Holmes seems to read Watson’s mind, interrupting his thoughts with the observation “You are right, Watson, it does seem a most preposterous way of settling a dispute” is sometimes found in the story “The Adventure of the Resident Patient” as well; Doyle thought the passage too good to exclude from The Memoirs, so he added it to the latter story in the first edition. The section was printed in both stories until the error was corrected in the 1928 omnibus edition. 301 detail

92


302 The Novels of Jane Austen R. Brimley Johnson, ed., with illustrations by H. M. Brock, incomplete in 9 of 10 volumes (missing Persuasion), J. M. Dent & Co.: London, 1898, celadon green cloth boards with dark green and gilt decoration, spines with gilt lettering and design, sheets with deckled edges. 7” x 4‑5/8” $600‑$900 303 Group of Thirty-One Volumes of British Children’s Literature

302

including The Works of Eugene Field, complete in 24 volumes, Charles Scribner’s Sons: New York, 1898, green cloth boards with gilt lettering, sheets with deckled edges, spines with gilt lettering; and The Novels, Tales and Sketches of J. M. Barrie, complete in eight volumes, Charles Scribner’s Sons: New York, 1898, green cloth boards with gilt lettering, spines with gilt lettering and design. 7‑3/4” x 5‑1/2” and 8‑1/2” x 5‑3/4”, respectively $600‑$900 304 Edwardian Mahogany Sideboard early 20th century, the tiered and silvered back rail above a bowed center section over a conforming frieze fitted with a single cutlery drawer over a central drawer flanked to either side by a bank of two small drawers, the whole flanked by taller pedestal cabinets, each centered with an applied carved urn and opening to a shelved interior, raised on plinth bases. h. 53”, w. 85”, d. 25”

303

$600‑$900

304

93


305 Edwardian Canvas on Wood Five-Panel Folding Screen first quarter 20th century, decorated in the George III taste with chinoiserie figures, flowering vines and fruit trees, on a blue/ green ground. h. 39‑3/4”, w. 55” $1,200‑$1,800 306 Pair of Regency-Style Pierre Lotier Ebonized Armchairs

307

20th century, each with a rectangular back with a caned fan-form splat centered by a painted floral panel, joined by downswept arms to scrolling uprights to the padded seat, raised on paneled splayed circular legs, the whole with gilt accents. h. 33‑1/2” $700‑$1,000 307 Royal Crown Derby “Traditional Imari” Partial Tea and Coffee Set ca. 1921‑1965, English, each piece marked, the set including a square cake dish, w. 10‑1/2”, d. 9‑1/2”, a waste bowl, h. 3‑1/2”, dia. 5‑1/2”, ten dessert plates, dia. 6‑1/4”, a cream jug, h. 4‑1/4”, six coffee cups, h. 2‑1/2”, with six saucers, dia. 5”, and six tea cups, h. 2‑1/4”, with six saucers, dia. 5‑1/4”. 306

Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana. $700‑$1,000

94

305


308 Edwardian-Style Leather-Upholstered Chesterfield Sofa

310 Set of Three Edwardian Polychromed Satinwood Nesting Tables

20th century, the rounded, padded and tufted back and sides above the like seat, raised on bun feet. h. 28”, w. 76”, d. 34”

early 20th century, each with a painted center framed by floral and scroll polychrome, raised on turned legs. the largest h. 24‑3/4”, w. 19”, d. 13‑5/8”

$1,000‑$1,500

$700‑$1,000

309 Partial Service of Waterford “Powerscourt” Cut Crystal Stemware ca. 1969‑2017, Irish, including eleven water goblets, h. 7‑5/8”, twelve claret glasses, h. 7‑1/8”, twelve hock glasses, h. 7‑1/2”, twelve champagne/tall sherbets, h. 5‑3/8”, twelve cordial glasses, h. 4‑5/8”, and a wine goblet, h. 7‑1/4”. $700‑$1,000

310

310 detail 309

308

95


311 George III Cherry, Figured Maple and Mahogany Sideboard early 19th century, the brass rail above a banded top of cupid’s-bow form, over a conforming case fitted with two central deep drawers flanked to either side by a cupboard, all banded and inset with circular panels, raised on tapering square legs ending in spade feet. h. 51”, w. 68”, d. 30” $1,000‑$1,500 312 Pair of Edwardian Satinwood Armchairs early 20th century, in the Adam taste, each with a pierced shield-form back with floral- and rose-painted accents, joined by downswept arms to the cushioned and caned seat, raised on tapering circular legs with faux fluting. h. 37”

312

$700‑$1,000

311

313

313 Rare Parian Bust of Daniel Webster fourth quarter 19th century, American or English, depicting Webster dressed in classical robes, inscribed “June 1883” on the back, accompanied by a carte de visite of Webster. h. 15‑1/2”, w. 7”, d. 5‑3/4” $900‑$1,200 314 Victorian Papier-Mache Tray on a Custom-Made Stand

314

96

314 detail

the mid-19th-century tray with rare topographical decoration depicting Loch Achray in Scotland, identified on the rear, with a gilt scrollwork border, raised on a later ebonized turned stand. h. 21‑1/2”, w. 16‑1/2”, d. 13‑3/4” $900‑$1,200


315 British School (First Quarter 19th Century) “A Teary-Eyed Child and Her Two Siblings” oil on canvas unsigned, verso with shipping labels. Presented in a handsome, period, giltwood and gesso frame. 36” x 27‑1/2”, framed 46‑1/4” x 37‑3/4” $3,000‑$5,000 316 British School (Third Quarter 19th Century) “Portrait of a Young Boy with Sausage Curls, Family Pet by His Side” oil on canvas unsigned. Presented in a fine antique cove-molded giltwood frame. 50” x 36‑1/2”, framed 63” x 49” $3,000‑$5,000

315

317

317 Continental Patinated Bronze of a Young Woman in Contemplation 20th century, the figure modeled crouched, cradling a wreath of flowers, cast signature “ZEGNA” at proper left edge of drapery. h. 27”, w. 15”, d. 24” $1,500‑$2,500 316

97


318 Peshawar Sultanabad Carpet 10’ 11” x 22’ 10” $700‑$1,000 319 Nain Carpet 9’ 10” x 13’ 2” $1,500‑$2,500 320 Semi-Antique Lavar Kerman Carpet 9’ 6” x 15’ 9” $800‑$1,200

318

319

98

320


322

321

321 Turkish Angora Oushak Carpet 9’ 1” x 11’ 9” $900‑$1,200 322 Agra Serapi Carpet 9’ x 12’ $1,200‑$1,800 323 Heriz Carpet 8’ 4” x 11’ 2” $900‑$1,200

323

99


324 Heriz Carpet 8’ x 10’ 10” $1,800‑$2,500 325 Turkish Angora Oushak Carpet 9’ 2” x 11’ 8” $900‑$1,200 326 Silk Tabriz Carpet 7’ 10” x 9’ 7” $1,000‑$1,500

326

324 325

100


327 Heriz Carpet

329 Turkish Angora Oushak Carpet

8’ 6” x 11’ 9”

8’ 3” x 9’ 10”

$1,200‑$1,800

$700‑$1,000

328 Agra Serapi Runner 2’ 7” x 21’ 9” $600‑$900

327

329 328

101


330 Heriz Carpet 8’ 1” x 11’ 8” $900‑$1,200 331 Laristan Sultanabad Runner 2’ 9” x 18’ $700‑$1,000 332 Semi-Antique Qum Carpet 1’ 5” x 2’ 10” $700‑$1,000 332

331

330

102


333 Restauration Carved and Parcel-Gilt Mahogany and Marble-Top Pier Table ca. 1825‑1830, of diminutive size, with a conforming figured dove-gray marble top. h. 31‑1/4”, w. 31‑3/4”, d. 17‑3/4” $800‑$1,200 334 Pair of Directoire-Style Polychrome Fauteuils 20th century, each with a backswept crest above a padded back, joined by padded arms on reeded bulbous uprights to the cushioned seat, raised on reeded bulbous legs headed by block floral capitals and ending in bulb feet, upholstered in taupe leather. h. 34‑1/2”

333

$1,500‑$2,500

334

336

335 Pair of French Empire-Style Gilt- and Patinated Bronze Candleholders ca. 1900, now electrified as lamps, on engine-turned bases with patinated bronze winged angels perched on balls, mounted with shades. h. 32‑1/2”, dia. 17‑1/4” $1,000‑$1,500 336 Charles X Walnut and Marble-Top Side Table first quarter 19th century, the rounded rectangular marble top above a waisted frieze fitted with a single drawer, raised on scrolled supports ending in paw feet on a concave base. h. 35”, w. 32‑1/2”, d. 19‑1/2” Provenance: Balzac Antiques, New Orleans, Louisiana. 335

$700‑$1,000

103


337 Unusual Directoire-Style Cherry and Kingwood Planter ca. 1900, the long rectangular trough with a molded edge and removable copper liner, raised on tapered legs ending in brass casters. h. 20”, w. 69”, d. 16” $1,500‑$2,500 338 Empire Mahogany and Brass String-Inlaid Tall Case Clock early 19th century, the case with an arched and molded hood with a circular glazed door flanked by brass-inlaid trapezoidal pilasters, the mid-case of similar form and raised on carved paw feet, the enameled clock face with Roman numeral chapters, featuring a thirty-hour time-and-strike movement. h. 97”, w. 17”, d. 10”

339

Provenance: Fireside Antiques, Baton Rouge, Louisiana. $1,000‑$1,500 339 Suite of Four Empire-Style Mahogany Chairs 20th century, decorated with ormolu mounts, the domed, barrel-form, caned back surmounted by a molded crest, the caned seat raised on tapering circular legs joined by an X-form stretcher and ending in brass caps, the underside stamped “Sormani”. h. 33‑1/2” $800‑$1,200 340 Pair of Directoire Gilt-Bronze Candelabra

340

fourth quarter 18th century, the three-light candelabra with cupids on footstools, grasping the standards, set with leaf-molded and engine-turned candle cups and drip pans, all resting on engine-turned column-form bases. h. 15‑3/4”, w. 7”, d. 3‑1/2” $1,000‑$1,500

337

338

104


341 Pair of Louis-Philippe Mahogany Fauteuils mid-19th century, the padded rectangular back surmounted by a rounded crest, joined by downswept arms to dolphin uprights, to the padded seat, raised on sabre legs. h. 35‑1/2” $600‑$900 342 Louis-Philippe Mahogany Extension Dining Table second quarter 19th century, the circular top supported by four shaped legs connecting to a central turned column and mounted to a platform base, with two later 18” leaves. h. 29‑1/2”, dia. 55‑1/2”, ext. l. 91‑1/2” 342

$1,000‑$1,500

341

343

343 Louis-Philippe Gothic Revival Bronze Dore et Patine Clock second quarter 19th century, French, with columns framing the Gothic dial, supported by a pierced Gothic screen, the base with a maiden plucking a flower, sitting between the columns, all supported on Gothic feet. h. 20‑1/2”, w. 7‑3/4”, d. 5‑1/2” $1,000‑$1,500 344 Louis-Philippe Giltwood Mirror mid-19th century, the bolection-molded frame with rounded top corners and set with a pierced crest decorated with delicate scrollwork, grapes and grape leaves. h. 46‑1/2”, w. 28” $900‑$1,200 344

105


345 Jean-Pierre Feulard (French, 1790‑1849) “Portrait of a Lady in a Lace Bonnet”, 1840s oil on canvas signed lower right, signed, dated “184?” and localized “Le Havre” en verso canvas. Presented in an antique carved wood frame. 18‑1/4” x 15”, framed 21‑1/2” x 18‑1/4” $1,000‑$1,500 346 Pair of Empire-Style Burl Elm and Marble-Top Commodes late 19th century, each with an inset rectangular marble top above a conforming case fitted with a frieze drawer over two recessed drawers, flanked to either side by an engaged pilaster continuing to a lower concave shelf, raised on ball feet. h. 34‑1/2”, w. 23”, d. 17‑1/2” $800‑$1,200 347 Empire-Style Gilt-Brass and Marble-Top Pedestal late 19th century, the circular marble top above a conforming patera- and masque-applied frieze, raised on three splayed and ribbed legs joined by a triangular stretcher and ending in foliate paw feet, the underside stamped “Germany”. h. 40”, dia. 11‑1/2”

345

$700‑$1,000

346

347

106


348 Group of Five French Patinated Bronze Busts of Napoleon each presented on a marble or stone columnar plinth. smallest h. 7‑3/4”, w. 5‑1/2”, d. 5‑3/4”, largest h. 15”, w. 5‑1/2”, d. 5‑3/4” $700‑$1,000 349 Carved Alabaster Bust of Napoleon late 19th century, signed “A. DREUX, 1893”, after a model by Lorenzo Colombo. h. 26”, w. 14”, d. 11” $1,200‑$1,800 349

348

350

350 Empire-Style Mahogany and Marble-Top Pedestal early 20th century, the inset circular marble top above a conforming ormolu-applied frieze, raised on square supports to a lower shelf, terminating in paw feet on a circular base. h. 44‑1/2”, dia. 16” $800‑$1,200 351 Empire-Style Mahogany and Marble-Top Secretaire a Abattant mid-19th century, the rectangular marble top above a conforming case fitted with a frieze drawer, over a drop front opening to slotted compartments and drawers, over three long drawers, flanked to either side by ormolu-mounted pilasters, all raised on turret feet. h. 55‑1/4”, w. 37‑1/2”, d. 18‑1/4” 351

$700‑$1,000

107


352 Empire-Style Mahogany Fauteuil early 20th century, the padded rectangular back with a carved gilt design, joined by padded scrolling arms to the padded seat, raised on sabre legs. h. 37‑3/4” $1,000‑$1,500 353 Impressive Signed Bronze and Marble Figural Clock ca. 1823‑1851, French, set with works marked “LMP Deschamps, horloger a Paris”, the rosso antico marble base decorated with the arms of Napoleon, the spherical clock with gilt-bronze stars and an impressed gilt-bronze zodiac bezel carried on the back of an eagle. h. 20‑1/4”, w. 7”, d. 6‑1/4” $1,800‑$2,500 354 Pair of Napoleon III Ebonized and Parcel-Gilt Pedestals third quarter 19th century, French, the facades decorated with wraparound panels of fluted giltwood, the tops with giltwood medallion-inset guilloche. h. 55”, w. 15‑1/4”, d. 12‑1/4”

352

$600‑$900

354 353

108


355

356 Empire-Style Tole Chandelier mid-20th century, the seven-light chandelier with a ring-form frame painted with gilt details on a green ground and set with hunting horn-form candle arms alternating with lyres, supported by a prism-hung canopy decorated with a corona of gilt leaves. h. 31‑1/2”, w. 43”

356

355 Empire-Style Mahogany and Slate-Top Center Table

$1,500‑$2,500

19th century, the circular slate top with polychrome fauxmarbre-painted patterns surrounding a central design of cavorting wolves, on a conforming ormolu-applied frieze, raised on four ormolu-mounted columnar supports to an X-form platform to turned bun feet. h. 31”, dia. 23‑1/2”

357 Empire-Style Mahogany Dining Table labeled Maitland Smith, the rounded rectangular top banded and above a conforming frieze fitted with a drawer to each end, raised on three pedestals, each with a fluted columnar standard to a foliate base on a concave tripartite platform to silvered paw feet. h. 30‑1/2”, w. 44”, l. 120”

$1,000‑$1,500

$1,500‑$2,500

357

109


358 Pair of Empire-Style Mahogany Side Chairs early 20th century, each with a padded back surmounted by an ormolu-mounted backswept crest, the padded seat raised on shaped legs, headed by winged lion capitals and ending in ormolu paw feet. h. 37” $1,000‑$1,500 359 Empire-Style Mahogany Settee early 20th century, the padded back with a backswept ormolu-mounted crest, joined by paneled arms on sphinx uprights to the padded seat, raised on shaped legs headed by ormolu winged lion masques and ending in paw feet. h. 41‑1/2”, w. 65”, d. 23‑1/2” $1,500‑$2,500

358

359

110


360 Empire-Style Mahogany Secretaire a Abattant mid-19th century, the plinth top above an ebonized molded frieze and a case fitted with a single drawer over a drop front, opening to a variety of drawers and cubbyholes, over two cupboard doors flanked to either side by ebonized columns with gilt capitals, raised on block feet. h. 61‑1/4”, w. 40‑1/2”, d. 22” $1,500‑$2,500 361 Italian Empire-Style Painted and Parcel-Gilt Mirror mid-20th century, the lower section framed with fluted half balusters, the upper tablet painted with bees on a green ground, set into a lunette panel, and framed with neoclassical molded gilt decoration. h. 41‑1/4”, w. 25‑1/4” $1,200‑$1,800

361

360

360 detail

111


362 Pair of Empire-Style Giltwood Fauteuils each with a padded rectangular back surmounted by a shaped laurel-carved crest, joined by padded arms on an elaborate swan upright to the cushioned seat, raised on ring-turned tapering circular legs ending in ball feet, ex collection Reuben “Buzz” Harper, Natchez MS h. 43” $2,000‑$4,000 363 Empire-Style Giltwood Settee the padded rectangular back surmounted by a central shaped laurelcarved crest, joined by padded arms on an elaborate swan upright to the cushioned seat, raised on ring-turned tapering circular legs ending in ball feet, ex collection Reuben “Buzz” Harper, Natchez MS h. 44‑1/2”, w. 79”, d. 26”

362

$1,800‑$2,500

363 detail

112

363


364 Pair of Empire-Style Giltwood Fauteuils each with a padded rectangular back surmounted by a shaped laurel-carved crest, joined by padded arms on an elaborate swan upright to the cushioned seat, raised on ring-turned tapering circular legs ending in ball feet, ex collection Reuben “Buzz” Harper, Natchez MS h. 43” $2,000‑$4,000

364

365 Pair of Empire-Style Giltwood Fauteuils each with a padded rectangular back surmounted by a shaped laurel-carved crest, joined by padded arms on an elaborate swan upright to the cushioned seat, raised on ring-turned tapering circular legs ending in ball feet, ex collection Reuben “Buzz” Harper, Natchez MS h. 43” $2,000‑$4,000 365

113


366 Pair of Empire-Style Bronze and Marble Candelabra 20th century, now mounted as lamps, on giltwood bases, the green marble tripartite plinths with gilt-bronze mounts and supporting patinated bronze caryatids smoking pipes, set with gilt-bronze candle cups with molded masques, mounted with shades. h. 35‑1/4”, dia. 17‑1/2” $700‑$1,000 367 Set of Twelve Handsome Paris Porcelain Luncheon Plates second quarter 19th century, each with a lavender border decorated with anthemia and gilt medallions, and an undocumented overglaze rouge-de-fer retailer’s mark. dia. 9” $700‑$1,000 366

368 Pair of Empire-Style Creme-Peinte Fauteuils each with a padded backswept crest with applied laurel ormolu mounts, over the padded back, joined by padded arms on ormolu maiden’s-head uprights to the like seat, raised on tapering square legs ending in paw feet. h. 39” $1,800‑$2,500 367

368

114


369 Pair of Plaster Busts of Diana and Apollo Belvedere 20th century, presented on molded plaster brackets decorated with shells and scrollwork. h. 41‑1/2”, w. 13”, d. 6‑1/2” $700‑$1,000

369

370 Louis-Philippe Giltwood Mirror mid-19th century, French, with a beaded edge, the frame incised with leaves and flowers. h. 28”, w. 21‑1/2” $600‑$900

370

115


371 Napoleon III Kingwood and Burlwood Bureau Cylindre 2nd half, 20th century, in the Louis XVI style, the superstructure with an elevated marble-topped central cupboard fitted with a single beveled glass door, flanked to either side by a single drawer surmounted by a stepped brass galleried pediment, above a roll-top cylinder, inset with a floral-inlaid panel and opening to a trisected pull-out writing surface and three small drawers, over three frieze drawers, all inset with marble panels, the sides with like insets, raised on tapering square legs headed by ormolu putti and ending in foliate caps. h. 65‑1/2”, w. 52‑1/2”, d. 25‑3/4” $1,500‑$2,500

372 Napoleon III Jewel Casket third quarter 19th century, signed by Charles-Guillaume Diehl (French, 1811‑1885), trimmed with bronze mounts and decorated with burl veneers, ebonizing and delicate bone inlay, the lock engraved “Diehl 19 R. Michel le Comte Paris”, the interior retaining a rich royal blue tufted silk lining. h. 4”, w. 13”, d. 5‑1/2” $800‑$1,200 371

373 Near Pair of Napoleon III Fruitwood and Exotic Woods Cabinets late 19th century, each with a banded and circular top within a full pierced brass gallery, one with an elaborately inlaid Orientalist landscape, above a conforming case fitted with a single cupboard door, inlaid with a floral urn, with like-inlaid urns around the whole, joined to a like-galleried lower shelf with landscape inlay, by shaped supports terminating in sabots. h. 31”, dia. 14‑1/2”

372

$2,000‑$4,000

374 French Gilt-Bronze Wall Thermometer fourth quarter 19th century, in a handsome case with rope-twist columns and a pierced ribbon crest, the base decorated with acanthus leaves and a roundel depicting an angel with a lion, mounted with a steel dial. h. 16‑1/4”, w. 6” $900‑$1,200

374

116

373


375

375 Belle Epoque Glass, Marble, Bronze and Brass Vitrine

376

early 20th century, the upper section with curved glass panels in a cast metal frame adorned with fluted columns and fleursde-lis, on a marble top with a molded edge, the lower case with curved glazed corners and like decor, on a mahogany base with a pair of drawers, raised on brass feet. h. 57‑1/2”, w. 50‑1/4”, d. 23‑1/2” Provenance: By oral tradition, the present display case was found in a New Orleans store. $3,000‑$5,000 376 Belle Epoque Bronze Chandelier first quarter 20th century, French, the twelve-light chandelier with a patine et gilt standard set with a fringed, swag-molded canopy and supporting molded chains leading to ram’s-headmolded arms alternating with molded masques, the scrolled arms decorated with molded floral swags. h. 44”, dia. 22” $1,500‑$2,500 377 Napoleon III Giltwood Mirror of Louis XVI Inspiration third quarter 19th century, French, the oval mirror with a segmented surround, framed with beaded giltwood, the outer edge with carved gadrooning, the crest decorated with lovebirds carrying a quiver of arrows and a torch, flanked by laurel sprays. h. 54”, w. 38” $1,800‑$2,500

377

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378 Near Pair of French Bronze and Crystal Chandeliers 20th century, in the Louis XIV taste, each eightlight chandelier with a bronze frame set with scrolled candle arms, the lights with sprays of prisms, a spear-point finial decorating the interior, and a spray of drops forming the corona. h. 34‑1/2” and h. 33‑1/2”, dia. 23‑1/2” $900‑$1,200 379 Pair of Napoleon III Gilt-Bronze Candelabra third quarter 19th century, in the Directoire taste, the quiver-form standards decorated with classical profiles and hung with swags of flowers, the scrolled arms with delicately molded leaves and medallions, supporting laurelmolded cups and wheat-molded drip pans, electrified. h. 25‑3/4”, w. 13”, d. 8‑3/4”

378

$700‑$1,000 380 Pair of Barbedienne Bronze and Champleve Enamel Candelabra pre-1892, French, decorated with Middle Eastern and Egyptian motifs, the vasiform standards with Assyrian masques, the scrolled arms terminating in candle cups enameled with Egyptian motifs, on enamel bases, marked “F. Barbedienne” on the bottom. h. 17‑1/4”, dia. 7‑3/4” $1,000‑$1,500 381 Unusual Pair of Stoneware Vases fourth quarter 19th century, French, each with a glazed decoration mimicking champleve enamel, the finely textured body impressed with an unidentified mark, “L.M. & Co.”. h. 13‑1/4”, dia. 6‑3/4”

379

$700‑$1,000

381

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380


382 Napoleon III Cave a Liqueur third quarter 19th century, French, with a serpentine front, the exterior veneered with kingwood, rosewood and walnut parquetry, the interior with a lift-out bronze and wood tray fitted with four decanters and sixteen liqueur glasses, ten matching the decanters, the others assembled. h. 18‑3/4”, w. 13”, d. 10” $900‑$1,200

382

383 Pair of French Molded Crystal Sconces second quarter 20th century, possibly Baccarat, set with rope-twist arms and molded crystal prism rings, a single arm set with a spire, mounted with tulip-form cups and opaline “candles”. h. 25”, w. 15‑1/2”, d. 8” $600‑$900

383

384 Belle Epoque Gilt-Metal Figural Mantel Clock fourth quarter 19th century, French, the leaf-molded case set with ring pulls and with signed “Japy Freres” works, the enamel dial marked by the retailer, “J. P. Tryner”, the top decorated with a figure of Cupid with a basket of flowers. h. 23‑1/2”, w. 18”, d. 8” $700‑$1,000

384

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385 Pair of Patinated Bronze and Glass Figural Sconces ca. 1900, each modeled as an angel on a scrolled bracket, supporting a socket set with a frosted flameform glass shade. h. 32”, w. 9‑1/2”, d. 9” $1,500‑$2,500 386 Rare French Restauration Patinated Bronze and Glass Perfume Fountain second quarter 19th century, in a bronze dore et patine case fitted with a cut glass well, the fountain set with a clockwork mechanism, based on a wall fountain with a dolphin spigot, flanked by griffins and set with a spiralturned glass tube supported by a shell-form basin. h. 11”, w. 5‑1/4”, d. 5‑1/2”

385

$2,000‑$4,000 387 Pair of Napoleon III Ebonized and Marble-Top Cabinets late 19th century, each with a rectangular marble top with a molded edge, above a conforming case fitted with an ormolu foliate-applied frieze over a single cupboard door, inset with polychrome and incised figural Orientalist landscapes, raised on bracket feet. h. 43”, w. 34”, d. 16‑1/2” $2,000‑$4,000 386

387

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388 Napoleon III Ebonized and Chinoiserie Decorated Etagere mid-19th century, the shaped rectangular top with an inset lacquered panel featuring an avian scene in the chinoiserie taste, joined to paneled uprights to four like lower shelves, raised on cabriole legs ending in sabots. h. 45‑1/2”, w. 19‑1/2”, d. 15‑1/4” $1,000‑$1,500

389

390 Impressive Fin de Siecle Carved Marble Mantel Clock fourth quarter 19th century, French, composed of whiteveined chocolate brown marble, the facade carved with scrolls and divided into panels, the works marked on the dial by the retailer, E. Roger, Marseille, and signed by the maker, “Marti”. h. 20”, w. 22”, d. 9‑1/4” $1,000‑$1,500

388

389 French Egyptian Revival Marble and Bronze Mantel Clock third quarter 19th century, retailed by Tiffany & Co., in a pylonform case flanked by Egyptian parcel-gilt bronze mounts and incised hieroglyphs, the bronze figure crowning the top marked “HORUS”, and “Bruchon”, for Emile Bruchon (French, 1806‑1895). h. 28‑1/2”, w. 15‑1/2”, d. 6‑1/2” $2,500‑$4,000 390

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393 Assembled German Biedermeier Silver Coffee and Tea Set mid-19th century, 13 lot (.813) silver, including a four-piece tea set by Sackermann, Hessenberg & Co., Frankfurt, with kettle-on-stand, h. 14‑1/2”, teapot, h. 9‑3/4”, open sugar bowl, h. 4‑1/4”, and cream jug, h. 6”, with a tea caddy by Johann Schott Soehne, Frankfurt, h. 5‑5/8”, and a teapot by Carl Wilhelm Gutjahr, Gotha, h. 6‑3/4”, all of waisted bulbous form, lobed or serpentine lobed, the teapot monogrammed “St.” 6 pieces total 117.46 total t. oz. 391

Provenance: By descent in the Kilp Family, Germany; to Antonio (1885‑1959) and Carola (1895‑1967) Kilp, Wiesbaden, Germany; to their daughter Carmelita Kilp Blackburn (1923‑2017), Sugar Land, Texas.

391 Two German Historizmus Silver Boxes

$1,400‑$1,800

first quarter 20th century, Hanau, .800 silver, the larger of “turtleback” form and decorated with Vitruvian scrolls and centering a couple of amorous putti, h. 2”, w. 5‑3/8”, d. 3‑7/8”, the smaller by Jean L. Schlingloff, rectangular, decorated with scenes of boar and stag hunts, h. 2‑1/4”, w. 3‑3/4”, d. 2‑5/8”. 15.19 total t. oz. $800‑$1,200 392 German Silver Standing Cup ca. 1900, by Lazarus Posen Witwe, Frankfurt, .800 silver, in the Mannerist taste, the cup waisted and spiral lobed, with knopped standard, domed foot and fitted lid en suite, with the standard and finial decorated with applied flowers and tendrils, the interior gilt. h. 21‑3/4”, dia. 7”; 56.06 t. oz. $1,800‑$2,500

392

393

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394

395

394 Good Pair of German Sterling Silver Gilt Jousting Knight Table Garnitures first quarter 20th century, by Ludwig Neresheimer, Hanau, the realistically detailed figures on rearing horses in full armor with elaborately crested morions and each brandishing a lance, with carved ivory faces, each presented on a canted rectangular base decorated with ferns, frogs and lizards above a reticulated gallery set with faux citrines. h. 12‑3/4” and 13‑3/4”, l. 14‑1/2”, w. 4”; 120.60 total t. oz. Provenance: By descent in the Kilp Family, Germany; to Antonio (1885‑1959) and Carola (1895‑1967) Kilp, Wiesbaden, Germany; to their daughter Carmelita Kilp Blackburn (1923‑2017), Sugar Land, Texas. $2,000‑$4,000 395 Austro-Hungarian Silver Sugar Box third quarter 19th century, .800 silver, of oval bombe form, decorated with guilloche and wrigglework Greekkey banding, with applied knotted rope twist bands, the hinged lid with bird finial, all raised on four openwork rococo feet. h. 6‑1/4”, w. 6‑1/2”, d. 5”; 17.83 t. oz.

397

$600‑$900 396 Continental Silver-Gilt and Engraved Glass Claret Jug

396

ca. 1900, probably Belgian, .800 silver, in the Renaissance taste, the glass ovoid body decorated with fluted calyx and wheel-engraved floral scrolls, fitted with four silver-gilt strapwork bands, the outer ones with oval cartouche and lion’s masque crest, joining the knopped and domed foot and the waisted collar, with hinged lid and “S”-scroll handle, all decorated with Renaissancestyle scrollwork. h. 15”, l. 7‑1/4”, dia. 5‑1/4”

ca. 1900, by H. Meyen & Co., Berlin, .800 silver, the openwork baluster standard decorated with embossed irises and lily pads, with applied handles en suite, supporting a circular bowl with embossed openwork rim decorated with water lily buds. h. 16”, dia. 12‑1/4”; 36.53 t. oz.

$800‑$1,200

$1,500‑$2,500

397 Large German Jugendstil Silver Compote

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398 Large Cased German Rococo-Style Silver Flatware Service fourth quarter 19th century, by Karl Kaltenbach & Sohne, Altensteig, .800 silver, including a dozen seventeen-piece place settings (two pieces lacking), with an additional dozen dinner knives and forks and thirty-four serving pieces, presented in a fitted, taupe jersey-lined oak case with lift-top and cupboard door front revealing five drawers, 15‑1/2” x 21‑3/4” x 20”. 260 pieces 299.50 total t. oz. (weighable silver) Detailed list of pieces available on request $4,500‑$7,000 399 Pair of German Silver and Engraved Glass Claret Jugs ca. 1900, by Wilhelm Binder, Schwabisch-Gmund, .800 silver, each with a pear-shaped molded glass body with spiral gadroons, cut with a diamond-pattern cartouche and wheel-engraved scrolls and a matte ground, fitted with a silver rococo-style collar with acanthus-crested scroll handle and hinged domed lid with floral decoration and finial. h. 12”, l. 7”, dia. 5‑1/4” $1,500‑$2,500 400 Dutch Silver and Cobalt Glass Sugar Basket

398

1924, by B. W. van Eldik, Jr., Zutphen, .833 silver, in the Empire taste, the ovoid frame with three flat-column legs with lion masque capitals and paw feet, decorated with applied floral swags and bunting, with rococo scroll rim and openwork foliate swing handle, fitted with a conforming cobalt glass liner. h. 5‑1/4” (8‑1/2” with handle), dia. 4‑1/2”; 4.26 t. oz. $600‑$900

400

124

399


402 401

401 Italian Silver Tray

403 Large Italian Silver Center Bowl

third quarter 20th century, by Bruno & Cesare Zaramella, Padua, .800 silver, oval with reticulated gallery and serpentine-molded edge, with integral handles. 24‑1/2” x 18‑1/4”; 92.27 t. oz.

fourth quarter 20th century, by Stancampiano, Palermo, .800 silver, of lobed oval form with upswept ends, with applied rococo rim and medallions, with hammered finish, raised on a conforming foot en suite. h. 8‑3/4”, l. 24”, w. 11”; 86.86 t. oz.

$2,000‑$4,000

$800‑$1,200

402 Italian Silver Wine Cooler fourth quarter 20th century, by Argentiere Pagliai, Florence, .800 silver, in the Settecento taste, of slightly tapering cylindrical form with serpentine paneled sides, the shaped and molded rim quartered by rococo shells, two of which scroll upwards to form the handles. h. 7‑1/2”, w. 8‑1/2”; 23.53 t. oz. $500‑800

403

404 18th-Century Vermeil and Shell Cameo Box probably Italian, shield-shaped, the hinged lid fitted with a shell cameo of a bacchanal procession, the interior retaining a sale label from A La Vieille Cite, 350 rue St. Honore, Paris. w. 3”, d. 2‑5/8”; 3.58 t. oz. (including cameo) $1,400‑$1,800

404

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405 Two Continental Silver and Enamel Boxes

408 German Art Deco Sterling Silver Tea Set

the first unmarked, late 19th century, canted rectangular form, gilt with engraved leaf banding, the lid with malachite plaque and faux lapis enameling, 3‑1/8” x 2‑1/4”, the other third quarter 20th century, Ottavio Spinelli, Florence, scalloped oval form, engraved with oval scrolls, the lid with enamel plaque of a riparian laundress, surrounded by faux turquoise enamel plaques, the interior lid fitted with a mirror, 4” x 2‑7/8”. 7.57 total t. oz. (including enamel, mirror and malachite)

first quarter 20th century, by Wilhelm Binder, Schwabisch Gmund, including a coffeepot, h. 8‑1/2”, dia. 4‑1/2”, a teapot, h. 5‑1/2”, dia. 6”, a covered sugar bowl, h. 3‑1/2”, dia. 3‑3/4”, and a cream jug, h. 2‑3/4”, dia. 3‑1/4”, each with an ovoid body raised on a conical, vertically paneled foot-ring, with flushdomed lids and carved ivory “C”-scroll handles and ovoid finials. 45.78 total t. oz. (including ivory fittings)

$1,000‑$1,500

Provenance: By descent in the Kilp Family, Germany; to Antonio (1885‑1959) and Carola (1895‑1967) Kilp, Wiesbaden, Germany; to their daughter Carmelita Kilp Blackburn (1923‑2017), Sugar Land, Texas.

406 Louis XVI Provincial Silver Baby’s Rattle late 18th century, Rouen, maker’s mark “EJS”, spiral fluted, decorated with scrolls and bells, with masque-faced whistle at one end and carved nacre teether at the other, with single ring. l. 7‑1/4”; 3.24 t. oz. (including nacre teether)

$700‑$1,000

$900‑$1,200 407 French Silver Ecuelle ca. 1900, Paris, maker’s mark “EE”, .950 silver, circular with ovolo-banded rim and flat palmette handles, the fitted, ogeedomed lid with realistically detailed “cabbage” finial. h. 6‑1/2”, w. 12‑3/4”, dia. 8‑1/2”; 36.26 t. oz.

405

$600‑$900

406 407

408

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409 Japanese Silver Pedestal Punch Bowl late Meiji period, of compressed globular form with circular interior insert, narrowing to a shallow neck with flared lip, and raised on a pedestal foot, the front centered by a single applied gilt chrysanthemum mon badge flanked by floral sprays, the reverse with a foliate motif, the base impressed with a Jungin mark and a two-character maker’s mark. h. 9‑1/2”, dia. 11”; 128.0 t. oz. $3,000‑$5,000

409

410 Indian Silver Tray ca. 1900, Lucknow, of canted rectangular form with wavy beaded rim, decorated with an elaborate repousse jungle scene within a border of leaping fish. 13‑1/4” x 9‑1/2”; 14.94 t. oz. The fish was the symbol of the Nawabs of Oudh (now part of the modern Indian state of Uttar Pradesh) and was, therefore, a popular motif among the silversmiths of Lucknow, the state’s capital city. $600‑$900

410

411 Indian Silver Tray ca. 1900, Kutch, probably Bhuj, of canted rectangular form, the plateau decorated with repousse fauna including camels, elephants, tigers, crocodiles and others, centering the Sindh Madressatul Islam University in Karachi, within a border of scrolling foliage decorated with medallions of the Starand-Crescent and the Tree of Life, with a “bamboo” edge and handles. 19” x 10‑1/4”; 28.76 t. oz. $1,000‑$1,500 411

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413

412

412 French Needlepoint Embroidery of an Orchard Scene first quarter 19th century, silk and wool threads on canvas, central scene of workers picking apples, an elaborate allover border of vignettes of village life including architectural elements. Framed. 34‑1/4” x 25‑3/4” $600‑$900 413 Louis XVI-Style Giltwood and Marble-Top Center Table of generous proportions, the figured deep green marble top with projecting corners, above a conforming base with a foliate- and masque-modeled apron, raised on beribboned and fluted tapering legs joined by shaped stretchers. h. 35”, w. 74”, d. 43” $800‑$1,200

414

414 Giltwood Sunburst Barometer of Louis XV Inspiration the painted dial set in a carved bezel decorated with ribbonbound laurel, the outside with carved wood rays. dia. 50” $700‑$1,000 415 Pair of Louis XV-Style Bronze and Crystal Sconces second quarter 20th century, French, the molded backplates set with candle arms, candlecups and bobeches, the arms supporting crystal spires and two upper sprays, all hung with cut glass drops. h. 17‑1/2”, w. 13”, d. 7‑1/2” 415

128

$800‑$1,200


416 417

416 Regence-Style Fruitwood, Burlwood and Marble-Top Commode 19th century, the shaped marble top above a conforming bombe case fitted with two short drawers over two long drawers, all with decorative banding, raised on splayed legs ending in sabots. h. 35”, w. 52”, d. 22” $1,500‑$2,500 417 Louis XIV-Style Bronze Cartel Clock fourth quarter 19th century, French, of inverted bombe form with bracketed corners, set with pinecone finials on the crest, oak leaf swags hanging beneath the dial, grillwork side panels and an acanthus-molded base. h. 25‑1/2”, w. 13‑1/2”, d. 7‑3/4” $600‑$900 418 Pair of Regence-Style Kingwood Commodes

418

early 20th century, each with a slightly bowed, banded and quarter-veneered top within a brass edging, above a conforming case fitted with three drawers, the drawers and sides all banded and veneered en suite, raised on bracket feet with sabots. h. 32‑1/2”, w. 23‑1/2”, d. 18” $1,200‑$1,800 419 Regency Penwork Work Box first quarter 19th century, English, the cover decorated with a group of muses, the sides with carefully detailed scrolling leaves flanking an eagle, set with a mother-of-pearl keyhole surround, the interior lined with marbleized paper. h. 5”, w. 12‑1/2”, d. 11”

419

$700‑$1,000

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421

420

423

420 Louis XIV-Style Gilt-Bronze-Mounted and Brass-Inlaid Ebony and Ebonized Mantel/Pier Mirror late 19th century, the arched crest mounted with a bronze masque, the mirror in a Boulle-work frame. h. 80‑1/2”, w. 48”, d. 3” $1,000‑$1,500 421 Bronze Chandelier of Louis XIV Inspiration second quarter 20th century, French, the six-light chandelier with leaf-molded arms set with ram’s heads and supporting the candle arms, alternating with pierced, fringed swags, the whole hanging from a canopy and mounted with shades. h. 28”, dia. 21” $700‑$1,000

130

422

422 French Gilt-Bronze and White Marble Bouillotte Lamp first quarter 20th century, on a white marble base with giltbronze mounts, the standard set into a flower basket-molded base, supporting scrolled arms with rose-molded candle cups and leaves, with a black tole shade. h. 25‑1/2”, dia. 13‑1/2” $800‑$1,200 423 Louis XIV-Style Gilt-Bronze and Marble Garniture fourth quarter 19th century, French, now electrified as a lamp, the marble body raised on three cabriole hoof-footed legs terminating in Dionysian heads, above a platform base, fitted with double sockets. h. 26‑1/2”, dia. 7” $800‑$1,200


424 Louis XV-Style Giltwood and Marble-Top Center Table early 20th century, the verdigris marble top with projecting rounded corners, over a conforming pierced foliate-modeled apron, the face centered by a female masque, raised on cabriole legs with masques above the knees. h. 33‑1/4”, w. 52”, d. 30‑1/2” $2,500‑$4,000

424

426 Louis XVI-Style Marble Mantelpiece 20th century, French, the mottled gray marble with a serpentine thumb-molded shelf, the upper center of the surround with an incised roundel flanked by inset panels, the side pilasters with an inset roundel flanked by panels. h. 39‑1/2”, w. 45”, d. 13‑3/4” $1,800‑$2,500

425

425 Pair of French Neoclassical-Style Marble and Bronze Garniture Urns first quarter 20th century, the white-veined and chocolate brown/black marble bodies mounted with leaf-molded pistil-form handles and knops, sitting on notched, molded bases. h. 17‑1/2”, w. 6‑3/4”, d. 5” $2,000‑$4,000

426

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427

427 Two-Piece Louis XV-Style Giltwood Salon Suite mid-20th century, consisting of a sofa, h. 44”, w. 90”, d. 33”, and an armchair, h. 41”, each with a pierced and floral-carved frame, scrolled arm fronts and raised on cabriole legs. $1,500‑$2,500

428 Pair of Louis XV-Style Giltwood Armchairs

428

mid-20th century, each with a pierced and floralcarved frame, large scrolled arm fronts and raised on cabriole legs. h. 41” $1,000‑$1,500

429 Follower of Francois Boucher (French, 1703‑1770) “Bird Catchers” oil on canvas unsigned. Presented in a giltwood and gesso frame. 53” x 65‑1/2”, framed 64” x 75” $4,000‑$7,000

429

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430 431

430 Louis XIV-Style Polychrome and Marble-Top Side Table early 20th century, the rectangular marble top above a gadroon-carved frieze centered by a lion masque and with pendant foliate garlands, raised on cabriole legs headed by acanthine carving and ending in paw feet. h. 35‑1/2”, w. 46”, d. 19” $1,800‑$2,500 431 Two Wood and Canvas Panels ca. 1900, French, decorated en grisaille with central urns, laurel swags and arabesque scrollwork, framed with faux painted nailheads. h. 10‑1/4” to 10‑3/4”, w. 40‑1/2” to 41‑3/4”

432

$700‑$1,000 432 Two Wood and Canvas Panels ca. 1900, French, decorated en grisaille with central urns, laurel swags and arabesque scrollwork, framed with faux painted nailheads. h. 10‑1/4” to 10‑3/4”, w. 40‑1/2” to 41‑3/4” $700‑$1,000 433 Louis XVI-Style Giltwood and Marble-Top Console Table 19th century, the bowed marble top above a conforming paneled frieze with pendant floral garlands, raised on fluted tapering circular legs headed by foliate capitals, joined by an urn-centered stretcher and ending in bulb feet. h. 37”, w. 30‑1/2”, d. 13” $2,000‑$4,000

433

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434

435

434 Three Wood and Canvas Panels ca. 1900, French, decorated en grisaille with central acanthus leaves and arabesque scrollwork, framed with faux painted nailheads. h. 10‑3/4”, w. 28‑3/4” to 41‑1/2” $700‑$1,000 435 Louis XV-Style Polychrome Bergere and Ottoman mid-20th century, of generous proportions, the molded and carved frame with floral crest, the seat with a reversible cushion, the ottoman with an attached cushion, both with carved aprons and cabriole legs. chair h. 38”, w. 36”, d. 30”, ottoman h. 21”, w. 36”, d. 23” $1,500‑$2,500

436

436 French Wrought Iron and Slate-Top Conservatory Table early 20th century, the ornate scrolled iron base with trestle-form ends and an elaborate stretcher, the rectangular mottled gray slate top with a molded edge. h. 30”, w. 71”, d. 35‑1/2” $3,000‑$5,000 437 Pair of Transitional Louis XV/XVI-Style Creme-Peinte and Parcel-Gilt Fauteuils late 19th century, each with a padded medallion back surmounted by a wreath crest, joined by padded imbricate-carved arms to the padded seat, raised on molded cabriole legs headed by gilt foliate carving and ending in scrolled toes. h. 38” $1,500‑$2,500

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437


438

440

441 Painted and Parcel-Gilt Trumeau Mirror ca. 1900, French, in the Louis XVI style, the mirror plate and painting lined with bound ribbon, with a bowknot crest, each side decorated with panels of applied scrollwork, the painting with a French country outdoor genre scene on a moss-green ground. h. 60”, w. 44‑1/4” $700‑$1,000

439

438 Pair of Italian Giltwood Sopraportes first quarter 20th century, of Louis XV inspiration, carved with scrollwork and flowerheads. h. 7‑1/4”, w. 64” $800‑$1,200 439 Grisaille-Painted Canvas on Wood Panel fourth quarter 19th century, French, with a porthole painted harbor scene framed with laurel leaves against a ground of delicate arabesque scrollwork and festoons of flowers. h. 54‑1/2”, w. 34” Provenance: Sotheby’s New York. $800‑$1,200 440 Louis XIV Carved and Painted Wood Applique ca. 1700, probably lignum vitae, the urn-form applique carved with guilloche and reeding. h. 23‑3/4”, w. 15”, d. 5” $800‑$1,200

441

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442 Continental School (19th Century) “The Encounter” oil on canvas unsigned, handwritten inscription en verso of frame. Presented in an antique giltwood frame. 21‑1/2” x 25‑1/2”, framed 30” x 34” $1,800‑$2,500 443 Suite of Four Louis XVI-Style Polychromed Side Chairs late 19th century, each with a padded rectangular back surmounted by a ribboned foliate carving, the padded seat above a dentillated apron, raised on fluted tapering circular legs ending in peg feet. h. 36‑1/4” Literature: An identical suite of chairs is illustrated in Architectural Digest, Nov. 1980, pp. 106‑107, as part of a featured article on a New Orleans mansion in the French Quarter decorated by the interior designer Valerian Rybar.

442

$700‑$1,000 444 Set of Twelve Haviland Porcelain Dinner Plates ca. 1893‑1930, French, with exceptional raised gilt centers, the cream borders with Chinese red edges and gilt flowers and leaves, marked “Haviland France” in underglaze green. dia. 10‑3/4” $700‑$1,000 445 KPM Hand-Painted Porcelain Tureen fourth quarter 19th century, German, in the rococo taste, with scrolled feet and handles and delicately molded scrollwork, the four panels decorated with hand-painted fruit, flowers and vegetables, with an underglaze blue scepter mark and an overglaze rouge-de-fer “KPM” and orb mark. h. 6‑1/4”, w. 17‑1/4”, d. 11”

443

$800‑$1,200

445

136

444


447 Continental School, Probably German (18th Century) “Portrait of a Composer with a Flute and Sheet of Music” oil on canvas unsigned. Framed. 34‑5/8” x 26‑7/8”, framed 44” x 38” $2,000‑$4,000

446

446 Follower of Elisabeth Vigee Le Brun (French, 1755‑1842) “Portrait of a Young Woman Playing a Harpsichord” oil on canvas unsigned, verso with a hand-inscribed label. Presented in an antique giltwood frame with a “P. Sooty fils, Paris” framer label. 41” x 32‑5/8”, framed 47‑1/4” x 39‑3/8” Provenance: Sotheby’s Colonnade, London, March 16, 1993, lot 129; Estate of Dr. George Porter III, New Orleans, Louisiana. $6,000‑$9,000

447

448 Louis XVI-Style Mahogany and Marble-Top Side Table early 20th century, the rectangular marble top with turreted corners and a three-quarter pierced brass gallery, above a conforming frieze fitted with two short drawers, joined to a concave like-galleried shelf by fluted tapering circular legs ending in toupie feet. h. 24”, w. 28”, d. 14” $800‑$1,200 448

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449 School of Jean-Antoine Watteau (French, 1684‑1721) “Fete Galante”, probably second/third quarter 18th century oil on canvas unsigned. In an antique carved giltwood frame. 25” x 30‑1/4”, framed 33” x 36” $1,000‑$1,500

449

450 School of Alexandre Paul Joseph Veron (French, 1773‑1838) “The Lute Player” oil on wood panel unsigned, handwritten “A. Veron” label en verso. Presented in an antique giltwood frame with brass plaque, reading “Presented by C. LaRue Munson, Esq.” 9‑3/4” x 12‑3/4”, framed 17‑1/2” x 20‑1/2” 450

$1,500‑$2,500

451 Continental School (19th Century) “Piano Lesson” oil on copper remnants of handwritten labels en verso. Framed. 11‑1/4” x 9‑1/2”, framed 18‑1/2” x 16‑1/4” $1,000‑$1,500

138

451


452

453

452 French Gilt-Bronze Chandelier first quarter 20th century, in the rococo taste, the fifteen-light chandelier with a pierced and turned standard terminating in a molded lily, the scrolled arms set with reeded and incised candle cups, interspersed with bold busts of women in 18th-century dress. h. 27‑1/2”, dia. 31‑1/4” $700‑$1,000 453 French Terracotta Bust of a Young Woman first quarter 20th century, after the ca. 1770 sculpture by Jean-Jacques Caffieri (French, 1725‑1792), now conserved at the California Palace of the Legion of Honor, San Francisco, incised signature at back. h. 30”, w. 14”, d. 7‑1/2” $700‑$1,000 454 Louis XV-Style Giltwood and Marble-Top Console Table 19th century, the shaped marble top above a conforming lattice-patterned frieze, centered by a pierced shell carving, raised on molded scrolling legs joined by a pierced shell stretcher and ending in in-scrolled toes. h. 33”, w. 25”, d. 12‑3/4” $800‑$1,200

454

139


455 French Parcel-Gilt Wood and Faux Marbre Overmantel Mirror fourth quarter 19th century, the mirror plate framed with scrollwork and decorated with garlands of flowers, with a rosso antico faux marbre ground, the outside edge trimmed in giltwood. h. 57”, w. 45‑1/4” $800‑$1,200 457

456 Louis XV-Style Fruitwood and Marble-Top Center Table late 19th century, the turtle-form top with an inset marble top, above a conforming lattice-incised frieze centered by a foliate shell carving, raised on cabriole legs headed by shield carving and ending in scroll toes on pegs. h. 30”, w. 41‑1/2”, d. 25” $900‑$1,200 457 Pair of Louis XV-Style Bronze Sconces mid-20th century, French, the rocaille-molded backplates set with scrolled arms and scroll-molded candle cups with matching drip pans. h. 24”, w. 16‑1/4”, d. 10” $800‑$1,200 458 Pair of Louis XV-Style Bronze Sconces 455

mid-20th century, French, the rocaille-molded backplates set with scrolled arms and scroll-molded candle cups with matching drip pans. h. 24”, w. 16‑1/4”, d. 10” $800‑$1,200

456

458

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461

459

459 French Pierced Brass Firescreen first quarter 20th century, in the Louis XV taste, the rocaille-molded surround resting on cabriole feet, a pierced mount of putti and pierced branches decorating the center screen. h. 30”, w. 22”, d. 9” $600‑$900 460 Louis XVI-Style Mahogany and Marble-Top Cabinet early 20th century, the inset canted rectangular marble top within an ormolu gadrooned border, above a conforming case fitted with two paneled cupboard doors, raised on bracket feet. h. 40”, w. 44‑1/2”, d. 18”

460

$1,200‑$1,800 461 Pair of French Giltwood Pelmets fourth quarter 19th century, of rococo inspiration, cove molded with central scrolled cartouches, decorated with trailing flowers. h. 10‑1/2”, w. 69”, d. 8‑1/4” $600‑$900 462 Haentges Freres, Paris, Transitional Louis XV/ XVI-Style Gilt-Bronze-Mounted Oak Dining Suite

462 seven-piece suite

early 20th century, consisting of a table and six side chairs, the table of rounded, rectangular form, bisected to accommodate three 19‑1/2” original unfinished leaves, raised on molded cabriole legs ending in sabots, bearing the stamp “Haentges Fres. Fabricants, 6, Rue Titon Paris”, h. 29”, w. 47‑1/2”, l. 59”, ext. l. 117”, and the six side chairs each with a domed and carved back above the caned seat, raised on molded cabriole legs ending in scrolled toes, all bearing the Haentges Freres metal label, h. 39”. Provenance: Keil’s Antiques, New Orleans, Louisiana. $1,200‑$1,800

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465

463

463 Haentges Freres, Paris, Transitional Louis XV/XVI-Style Gilt-Bronze-Mounted Oak and Marble-Top Server early 20th century, the rectangular marble top with projecting rounded corners, above a conforming case fitted with three drawers over three cupboard doors, all inset with a shaped panel, raised on splayed legs and sabots, the back bearing the stamp “Haentges Fres. Fabricants, 6, Rue Titon Paris”, the interior bearing the Haentges, Freres metal label. h. 43”, w. 75‑1/2”, d. 25” Provenance: Keil’s Antiques, New Orleans, Louisiana. $2,500‑$4,000 464 Haentges Freres, Paris, Transitional Louis XV/XVI-Style Gilt-Bronze-Mounted Oak and Marble-Top Cabinet early 20th century, the rectangular marble top with projecting rounded corners, above a conforming case fitted with two drawers over two cupboard doors, all inset with shaped panels, raised on splayed legs and sabots, the back bearing the stamp “Haentges Fres. Fabricants, 6, Rue Titon Paris”, and the interior bearing the Haentges Freres metal label. h. 43”, w. 52”, d. 20”

465 Pair of Louis XIV-Style Gilt-Bronze Sconces 20th century, French, the two-light sconces on backplates decorated with cabochons supported by bowknots, the lotusmolded candlecups and laurel swags supported by caryatids mounted on molded scrollwork. h. 19‑3/4”, w. 9”, d. 6‑3/4” $1,000‑$1,500 466 Louis XV-Style Kingwood and Marquetry Desk early 20th century, the shaped rectangular top richly inlaid in floral, foliate and avian patterns, above a conforming frieze fitted with three drawers to one side, all with like inlays, raised on cabriole legs ending in sabots, the whole accented with ormolu millwork and mounts. h. 31”, w. 42‑1/2”, d. 25” $700‑$1,000

Provenance: Keil’s Antiques, New Orleans, Louisiana. $1,800‑$2,500

466

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469

467 French School (Second Half 18th Century)

468

“Portrait of a Princess from the House of Bourbon, possibly Marie Josephine Louise of Savoy (wife to Louis XVIII) or Madame Elisabeth (sister of King Louis XVI) oil on canvas unsigned, titled en verso “M S/J [?] soeur du Dauphin”. Framed. 16” x 12‑3/4”, framed 19‑1/2” x 16” $1,000‑$1,500 468 Gilt-Bronze and Porcelain Chandelier in the Sevres Taste mid-20th century, the eighteen-light chandelier extensively mounted with bleu-celeste-ground porcelain with handpainted flowers, the bronze and porcelain standard mounted with six scroll-molded candle arms, each set with three candle sockets, supported on porcelain-mounted chains. h. 38”, dia. 24” $1,500‑$2,500 469 Pair of Hand-Painted Sevres-Style Vases

467

fourth quarter 19th century, French, the celeste blue vases with guilloche-molded sides decorated with carefully painted portraits of French nobility, with spurious Sevres marks. h. 21”, dia. 10” $1,500‑$2,500 470 Napoleon III Gilt-Bronze and Porcelain Clock mid-19th century, mounted with a figure of the goddess Libertas, and several of her emblems, the Rococo Revival case set with a hand-painted porcelain dial and three plaques in the base. h. 17‑1/2”, w. 22‑1/2”, d. 7‑1/4” $1,200‑$1,800

470

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471 Two French Gilt-Bronze and Stone Figures fourth quarter 19th century, one of a young Louis XIV, leaning on a pedestal with a book, mounted on a molded siena marble base, h. 7‑3/4”, w. 5‑1/2”, d. 3‑1/2”, and the other of a classical figure holding a ouroboros, a snake biting its tail, the Greek symbol of the continuity of life, on an onyx base, h. 9”, w. 3‑3/4”, d. 3‑3/4”. $900‑$1,200 472 Louis XV-Style Giltwood and Marble-Top Center Table early 20th century, the turtle-form marble top above a shaped, carved shell frieze, raised on molded cabriole legs headed by shield carving, joined by an urn-centered X-form stretcher and ending in foliate scrolled toes. h. 31”, w. 59”, d. 39”

471

$4,000‑$7,000 473 Impressive Pair of Sevres-Style Gilt-Bronze-Mounted Porcelain Garniture Urns on molded bronze bases set with bronze caryatid-form handles, the urns decorated with luminous hand-painted panels of courting couples, framed with enamel beading on the obverse and landscapes on the reverse, the covers marked with spurious crossed L’s Sevres marks. h. 24”, w. 9‑3/4”, d. 7‑1/4” $1,500‑$2,500

472

474 Assembled Pair of Sevres “Cuvettes a Fleur” ca. 1770, French, each hand-painted with panels of flowers and laurel bands against a cobalt ground with enameled dots, one decorated on the interior bottom, and the other without decoration, with an underglaze blue interlaced “L” mark, with the letter “R”, for 1770. h. 4‑3/4”, w. 13‑1/2”, d. 7” $1,000‑$1,500

474 473

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475

475 Collection of Herend “Chinese Bouquet-Raspberry” Porcelain post-1958, Hungarian, including a fruit compote, h. 7‑3/4”, dia. 8‑1/2”, a dinner plate, dia. 10”, an oval tray, w. 16”, d. 10”, an oval dish, w. 10”, d. 8‑1/4”, a three-section hors d’oeuvre dish, dia. 7‑1/4”, a covered butter dish, h. 3‑1/4”, w. 6‑1/2”, a small coffee pot, h. 7”, w. 5‑1/2”, six coffee cups, h. 2‑3/4”, with six saucers, dia. 4‑1/2”, a cream jug, h. 2‑3/4”, w. 4”, a covered sugar bowl, h. 4”, dia. 3‑3/4”, a sugar shaker, h. 5‑1/4”, dia. 2‑1/2”, a sauceboat, h. 3”, w. 9‑1/4”, eight tea plates, dia. 5”, eight napkin rings, dia. 2‑1/4”, a bonbonniere, h. 1‑1/2”, dia. 2‑3/4”, seven pots de creme, h. 3‑1/2”, w. 5”, and two pairs of salt and pepper shakers, h. 2‑1/2”, dia. 1‑1/2”.

477 French Metal and Bronze Chandelier in the Louis XIV Style 20th century, the nine-light chandelier with a metal frame hung with cut glass drops and set with metal candle cups and prism rings, the lower portion with festoons of drops and three interior sockets. h. 41”, dia. 18” $1,000‑$1,500

$800‑$1,200 476 Pair of Louis XV-Style Fruitwood Bergeres 19th century, each with a domed and padded back surmounted by a scrolling foliate crest, joined by padded arms to the cushioned seat, raised on cabriole legs headed by foliate carving and ending in scrolled toes. h. 35‑1/2” $800‑$1,200

476

477

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479 478

478 Set of Twenty Hutschenreuther Porcelain Plates ca. 1925‑1939, Bavarian, with raised gilt borders, each plate hand-painted with floral bouquets, with the company’s underglaze green “Selb Bavaria” mark. dia. 10‑1/4” $800‑$1,200 479 French Bronze, Mirror, Glass and Porcelain Surtout de Table first quarter 20th century, the oval bronze surround set with a mirror plate, supporting parian angels strung with wire “vines” decorated with enameled leaves and porcelain flowers. h. 5‑1/2”, w. 23”, d. 15‑1/2” $1,200‑$1,800 480 Pair of French Fin-de-Siecle Bronze Candelabra fourth quarter 19th century, in the rococo style, each with three gilt-bronze branches set with cups and pierced drip pans, the pierced bases supporting charming patinated bronze male and female ice skaters carrying torches. h. 11”, w. 10‑1/4”, d. 3‑1/2” $1,500‑$2,500 481

481 Rococo-Style Giltwood Mirror 20th century, the molded frame decorated with pierced, flowering vines and scrollwork, and set with a basket of flowers finial. h. 54‑1/2”, w. 35” $600‑$900

480

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482 Regence Kingwood and Marble-Top Bombe Commode late 18th century, the shaped bombe case fitted with two small drawers over two long drawers, all banded and with inlaid floral garland accents, the sides inlaid en suite, raised on splayed legs ending in sabots. h. 34‑1/2”, w. 52”, d. 26” $2,500‑$4,000

482

483 Louis XV-Style Kingwood Bureau Plat late 19th century, in the manner of Paul Sormani, Paris, the shaped rectangular top with an inset leather surface and within a brass edging, above a conforming frieze fitted with a central drawer flanked to either side by a short deep drawer, with like faux drawers verso, raised on cabriole legs headed by ormolu mounts and ending in sabots, the whole richly ornamented with ormolu mounts and millwork. h. 31‑1/2”, w. 57”, d. 32‑1/2” $1,800‑$2,500

483

484 Louis XV-Style Kingwood Writing Table late 19th century, in the manner of Francois Linke, the shaped rectangular top with an inset leather surface and within a brass edging, above a conforming case fitted with a single shaped frieze drawer, raised on cabriole legs ending in sabots. h. 29‑1/2”, w. 44”, d. 21‑1/2” $1,500‑$2,500

484

147


485 Maurice Jean Lefebvre (Belgian, 1873‑1954) “Standing Odalisque”, 1912 oil on canvas signed and dated lower right. Framed. 43‑1/2” x 25”, framed 52‑3/8” x 32‑3/4” $4,000‑$7,000

485

486 Louis van der Pol (Dutch, 1896‑1982) “Tea Time at the Cafe” oil on panel signed lower right. Framed. 37” x 21”, framed 43” x 27” $1,200‑$1,800

486

148


487 Emile Tabary (French, 1857‑1927) “Dans Le Boudoir”, 1924 oil on canvas signed lower left, signed, dated and further inscribed “Salon de L’Ecole Francaise” en verso. Presented in a carved giltwood frame. 40” x 30”, framed 49” x 39‑1/4” $3,500‑$5,000

487

488 Hans Buchner (German, 1856‑1941) “Portrait of a Fashionable Young Woman” oil on canvas signed and localized “Munchen” upper right. Presented in a period giltwood and gesso frame. 22” x 16”, framed 34” x 27‑3/4” $1,000‑$1,500

488

489 George Vuillard (French, b. 1956) “The Banquet” oil on wood panel signed lower left. Framed. 20‑1/4” x 31‑1/4”, framed 30‑3/4” x 41‑1/4” $1,000‑$1,500

489

149


490 Joseph Bernard (French, 1864‑1933) “Morning, Looking Through the Keyhole” oil on canvas signed lower right. Presented in an antique giltwood frame. 26‑1/2” x 14‑3/4”, framed 32‑1/2” x 21‑1/4” $8,000‑$12,000 491 Joseph Bernard (French, 1864‑1933) “Looking Through the Keyhole” oil on canvas signed lower left. Presented in an antique giltwood frame. 26‑1/2” x 14‑3/4”, framed 32‑1/2” x 21‑1/4” $8,000‑$12,000 492 Luis Jimenez y Aranda (Spanish, 1845‑1928) “La Costurera”, 1891 oil on wood panel signed, dated and localized “PARIS”. Framed. 14” x 10‑1/2”, framed 21” x 17‑1/2”

490

$2,000‑$4,000

492

150

491


493

495

493 Louis XV-Style Mahogany Chaise Longue

495 Pair of Rococo-Style Gilt-Bronze Tie-Backs

late 19th century, the domed and padded back surmounted by a foliate crest, above the long cushioned seat, raised on cabriole legs headed by gilt floral capitals and ending in scrolled toes. h. 35‑1/2”, w. 28”, l. 62”

first quarter 20th century, French, decorated with molded bunches of fruit held with pierced bowknots. w. 11‑1/2”, d. 5” $800‑$1,200

$700‑$1,000

494 Fine Two-Part Rosewood Sideboard in the Louis XV Rococo Style ca. 1900, the upper section with a central shaped and beveled mirror flanked by serpentine side cabinets, the base with a complicated shaped front and a central bowed section with a drawer above, and a curved and beveled glass door, each side flanking the center section and with a pull-out work slide, flatware drawer and cabinet. h. 63”, w. 79”, d. 29” $800‑$1,200 494

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496

496 Paris Porcelain Garniture Vase mid-19th century, in the manner of Jacob Petit, with unusual vine-molded handles, hand-painted with a peacock and fruits on the obverse and fruits and flowers on the reverse, each panel framed with sculpted and encrusted flowers. h. 18‑1/2”, w. 11‑3/4”, d. 6”

497

$800‑$1,200 497 French Giltwood Mirror in the Louis XVI Taste third quarter 20th century, the beaded, coved surround set with a pierced crest decorated with lovebirds and crossed arrows, beneath an arc of flowers, framed with scrollwork and tassels. h. 49‑1/2”, w. 27‑3/4” $800‑$1,200 498 Louis XV-Style Giltwood and Onyx-Top Occasional Table mid-19th century, the oval top with an inset onyx panel and a ribbon-carved edge, above a conforming foliatecarved frieze, raised on cabriole legs headed by foliate capitals, joined by a floral basket-centered X-form stretcher and ending in scrolled toes. h. 28‑1/2”, w. 27”, d. 19‑1/2” $1,000‑$1,500

152

498


501 Louis XVI-Style Mahogany Commode 19th century, the banded, rectangular top with turreted corners, above a conforming case fitted with three graduated long drawers, all paneled and flanked by rounded and fluted uprights, raised on toupie feet. h. 51‑1/2”, w. 34”, d. 22‑1/2” $700‑$1,000

499

499 Gilt-Bronze and Crystal Chandelier

501

first quarter 20th century, Italian, the ten-light chandelier with a molded glass-clad standard supporting bronze scrolled candle arms and a corona of gilt-bronze leaves supporting festoons of drops, the prism-hung drip pans supporting lower festoons of drops and a spherical cut glass finial. h. 38”, dia. 26” $1,200‑$1,800 500 Suite of Twelve Louis XVIStyle Oak Side Chairs each with a caned medallion back above a cushioned caned seat, raised above a guilloche-carved frieze, on stop-fluted tapering circular legs ending in toupie feet, with custom-fitted down cushions in Duralee “Highland Court” celadon silk damask. h. 37‑1/2” $1,500‑$2,500

500

153


502 Transitional Louis XV/XVI-Style Kingwood and Marble-Top Semainier late 19th century, the canted rectangular breche d’Alep marble top above a conforming case fitted with seven small drawers, all with decorative banding and quarter veneered, raised on cabriole legs ending in sabots. h. 52”, w. 14”, d. 11” $1,000‑$1,500 503 Neoclassical-Style Kingwood and Mahogany Commode early 20th century, the canted rectangular top banded and quarter veneered, above a conforming case fitted with six drawers, all veneered en suite, the sides with two likeveneered panels, raised on canted block feet. h. 39”, w. 20”, d. 12‑3/4” $800‑$1,200

504

504 Louis XIV-Style Brass and Crystal Chandelier second quarter 20th century, French, the twenty-three-light chandelier with a brass frame set with turned brass candle cups and drip pans, with glass spires on the next tier, hung with multiple cut glass prisms. h. 61”, dia. 30” $1,200‑$1,800

502

154

503


505

505 Pair of Louis XVI-Style Bronze Dore et Patine Sconces

506

second quarter 20th century, the two-light sconces on leaf-molded backplates decorated with patinated putto playing trumpets, set with carefully detailed and scrolled arms with molded acanthus leaves and matching drip pans and candle cups. h. 19”, w. 11‑3/4”, d. 5” $1,000‑$1,500 506 Impressive Gilded Age Bronze Clock fourth quarter 19th century, the central urn-form clock case mounted with a dial marked “Masse, Paris”, flanked by figures of putti symbolizing “arts” and “sciences”, the fluted base with a globe, books and a sextant symbolizing “education”, now with a battery-powered movement. h. 25‑1/2”, w. 31”, d. 10‑1/2” $1,500‑$2,500 507 Louis XVI-Style Mahogany Desk early 20th century, the superstructure with a rectangular marble top within a three-quarter pierced brass gallery, over two banks of two small drawers to either end, the lower section with a rectangular leather surface with turreted corners, all within a brass edging, over a conforming case fitted with a central drawer flanked to either side by a drawer over a paneled cupboard door, raised on tall toupie feet, the whole richly ornamented with ormolu mounts and millwork. h. 42‑1/2”, w. 57”, d. 28‑1/2”

507

$3,000‑$5,000 508 Pair of Louis XVI Fruitwood Fauteuils 18th century, each with a padded medallion back within a molded frame, joined by scrolling padded arms to the like seat, raised on fluted tapering circular legs ending in toupie feet. h. 37‑1/2” $1,000‑$1,500

508

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509

509 Pair of Napoleon III-Style Elm, Fruitwood and Marble-Top Commodes first half 20th century, each with a kidney-form breche d’Alep marble top above a conforming case fitted with a drawer over a single cupboard, the cupboard and sides banded, raised on cabriole legs ending in sabots. h. 30‑1/2”, w. 23‑1/2”, d. 16”

510

$1,800‑$2,500

510 Gilt-Metal and Crystal Basket Chandelier third quarter 20th century, in the Louis XVI style, the metal frame lined with glass drops, and set with candle arms on two levels hung with festoons of drops. h. 46”, dia. 33‑1/2” $800‑$1,200

511 Louis XV-Style Mahogany and Marble-Top Secretary Chest late 19th century, the rounded rectangular top with a molded edge, above a case fitted with a single drawer over a dropfront secretary, opening to an inset writing surface and a pair of drawers, over three drawers, all banded and quarterveneered, raised on bracket feet, the whole with decorative ormolu mounts. h. 50”, w. 27‑1/4”, d. 15‑3/4” $800‑$1,200

511

156


512

512 Near Pair of Louis XVI-Style Fruitwood and Marble-Top Bouillotte Tables

514

early 20th century, each with a full pierced brass gallery surrounding a circular marble top, above a conforming frieze fitted with two small drawers, and two candle slides, raised on fluted tapering circular legs ending in ormolu peg feet. h. 29”, dia. 24‑1/2” and 25‑1/2”

514 Louis XIV-Style Bronze Chandelier second quarter 20th century, the six-light chandelier with an urn-form molded standard, the scrolled candle arms set with turned candle cups and drip pans, the lower portion with grape-molded pendant finials. h. 34”, dia. 31”

$700‑$1,000 513 Louis XVI-Style Kingwood Parquetry Desk

$700‑$1,000

early 20th century, the superstructure with a shaped rectangular parquetry top within a three-quarter pierced brass gallery, fitted with three banded parquetry drawers, the lower section with an inset leather surface over a central frieze drawer flanked to either side by a short deeper drawer, raised on tapering square legs ending in brass caps. h. 41”, w. 54‑1/2”, d. 30‑3/4” $700‑$1,000

513

157


515 Pair of Chinese Blanc-de-Chine-Style Vases Mounted as Table Lamps 20th century, each of of lobed baluster form, having an elongated neck with slightly flared rim, molded with panels to body and neck depicting birds amid blossoming flowers and foliage, the surround with dense geometric flowerhead design with bands of interlocking scroll motifs, mounted on ormolustyle bases and with twin-bulb fixtures. overall h. 34‑1/2”, w. 10‑1/2”, d. 9” $800‑$1,200 516 Continental Satinwood Cabinet 20th century, the canted rectangular top above a conforming case fitted with two doors, each inset with a polychrome panel in the chinoiserie manner, raised on tapering square legs ending in brass pegs. h. 33‑1/2”, w. 41‑1/2”, d. 15‑1/2”

515

$600‑$900 517 Pair of Chinese Famille Verte Porcelain Covered Vases late 19th/early 20th century, each of ovoid form, with neat dome cover, decorated to the exterior with opposing cartouches depicting birds perched amid blossoming foliage, and an arrangement of scholarly objects, the shoulders and feet with floral borders, the bases unmarked, together with carved hardwood stands. h. 11”, dia. 4‑1/2” $700‑$1,000 518 Chinese Famille Jaune Porcelain Jar and Cover late 19th century, of compressed baluster form, with everted neck and splayed foot, the domed cover surmounted with a peach-form finial, decorated to the exterior with a continuous design of birds and insects amid foliage, below cobalt blueground lappets depicting auspicious objects, the base with an apocryphal six-character Chenghua mark within two concentric bands in underglaze blue. h. 16”, dia. 12”

516

$700‑$1,000

158

517

518


520

521 Louis XV-Style Polychrome and Marble-Top Commode

519

early 19th century, the shaped marble top above a conforming bombe case fitted with two long drawers over a shaped ormolu-mounted frieze, the whole with painted scenes of courtiers in pastoral 516 settings, in the manner of Angelica Kauffman, raised on splayed legs ending in sabots. h. 34‑1/2”, w. 53‑3/4”, d. 26‑1/2” $2,000‑$4,000 522 Japanese Blue and White Porcelain Centerpiece with Ormolu Mounts 20th century, the porcelain of compressed globular form, decorated to the exterior with figures in a garden setting, the mounts to rim and base of foliate design, joined by scrolling floral handles. h. 13”, w. 17”, d. 10‑1/2”

521

$900‑$1,200

519 Impressive Chinese Famille Jaune Porcelain Covered Jar 20th century, of baluster form with slightly splayed foot and everted neck supporting a carved hardwood cover, decorated to the exterior with birds perched amid blossoming foliage and rockwork, the base unglazed, together with an associated hardwood stand. h. 26”, dia. 13” (excluding stand) $800‑$1,200 520 Large Chinese Famille Verte Porcelain Brush Washer second half 19th century, of compressed globular form with rounded lip, decorated to the exterior with a panoramic design depicting flowering water plants in reds, yellows and greens, the base with an apocryphal six-character Kangxi mark in underglaze blue, together with a carved hardwood stand. h. 5”, dia. 9‑1/4”

522

$600‑$900

159


524 523

523 Louis XVI-Style Fruitwood and Marble-Top Encoignure late 19th century, the bowed marble top above a conforming case fitted with a single cupboard door inset with a panel featuring an inlaid cityscape, raised on block feet, the whole with ormolu accents. h. 35”, w. 25‑1/2”, d. 18” $1,500‑$2,500 524 Associated Pair of Chinese Famille Rose Porcelain Jars Mounted as Table Lamps 20th century, the porcelain likely Republic period (1912‑1949), each of square-sided form, with conforming cover, decorated with opposing panels depicting figural scenes and blossoming plants and rockwork, mounted on a giltwood base, with twin-bulb fixture. overall h. 26‑1/2”, w. 11”, d. 11” $1,200‑$1,800 525 Louis XV-Style Kingwood Cabinet late 19th century, the molded and domed cornice centered by an ormolu shell mount, above a case fitted with two doors, each inset with a lacquered panel featuring a figural Asian scene over a quarter-veneered panel, raised on cabriole legs ending in sabots. h. 83”, w. 44‑1/2”, d. 17” $2,000‑$4,000

525

160


528 526

526 Louis XV-Style Ebonized and Marble-Top Commode the shaped marble top above a conforming bombe case fitted with two long drawers, the whole with polychrome floral and architectural accents, raised on splayed legs ending in sabots. h. 29‑1/2”, w. 33‑1/2”, d. 17”

528 Japanese Imari Porcelain Bowl with Ormolu Mounts fourth quarter 19th century, the bowl with tall sides and flared lip, mounted with a pierced and beaded ormolu band with foliate loop handles, the porcelain decorated to the exterior with a dense foliate design interspersed with phoenix, the interior with cartouches of various forms containing stylized floral motifs and zoomorphic forms on a geometric-pattern ground, the whole raised on a pierced ormolu pedestal base with four block feet. h. 11‑1/2”, w. 17‑1/2”, d. 13‑1/2” $1,000‑$1,500

$800‑$1,200 527 Louis XV-Style Ebonized and Marble-Top Bombe Commode 20th century, in the chinoiserie manner, the shaped marble top above a conforming bombe case fitted with two long drawers, featuring a colorful polychrome and etched figural landscape scene in the chinoiserie taste, raised on splayed legs ending in sabots, the top drawer stamped “Made in France”. h. 34‑1/2”, w. 46”, d. 20‑1/2”

529 Chinese Famille Verte Porcelain Charger possibly Kangxi period (1662‑1722), of circular form with broad, slightly flared rim decorated with individual floral sprays, the center painted with a flowering tree in a garden setting, within a copper-red cell-diaper border interspersed with floral cartouches, the reserve with floral motifs. dia. 12‑1/4” $700‑$1,000

$700‑$1,000

527 529

161


532

530

530 Associated Pair of Chinese Famille Verte Porcelain Dishes probably Kangxi period (1662‑1722), each of circular form with slightly flared lip, decorated with cranes perched on or near rockwork surrounded by blossoming peony plants and other flowers, with a butterfly and dragonfly hovering overhead, within floral borders, the reverse with individual floral sprays, the base with Artemisia leaf within double concentric bands. dia. 8‑1/4”

533

532 Chinese Export Porcelain Famille Rose Bowl second half 19th century, having tall, slightly flared sides, decorated to the exterior with a floral design, with geometric scroll embellishments, the interior with floral sprays, having a scrolling foliate border encircling the rim. h. 5”, dia. 12”

$800‑$1,200

$700‑$1,000

531 Pair of Chinese Export Porcelain Famille Rose Fish Bowl Planters

533 Chinese Powder-Blue and Famille Verte Porcelain Bowl

20th century, each of compressed globular form with broad, flattened rim, and opposing foo dog-head-form loop handles, decorated to the exterior with flowers and ducks on a lake surface, the interior with goldfish amid marine plant-life, the rim with various floral motifs and sprays. h. 15‑1/2”, dia. 22‑1/2”

second half 19th century, the slightly flared sides tapering to a raised foot-rim, decorated to the exterior with alternating lappets containing mythical creatures, flowers and birds, below an overpainted powder-blue and gilt border with scrolling floral design, the interior centered with a terraced garden design, the rim encircled with an alternating border of butterflies and floral sprays. h. 5‑3/4”, dia. 11‑1/2”

$1,000‑$1,500

$700‑$1,000

531

162


535

534

534 Louis XV-Style Ebonized and Marble-Top Bombe Commode 20th century, in the chinoiserie manner, the shaped marble top above a conforming bombe case fitted with two long drawers, featuring a colorful polychrome and etched figural landscape scene in the chinoiserie taste, raised on splayed legs ending in sabots, the top drawer stamped “Made in France”. h. 34‑1/2”, w. 46”, d. 20‑1/2” $700‑$1,000 535 Middle Eastern Steel, Brass and Silk Sword 20th century, with a damascene-decorated steel blade and a faux jade handle, in a silk-lined and pierced brass scabbard, all in a velvet-lined walnut presentation case. h. 3‑1/4”, w. 44‑3/4”, d. 5‑1/2”

536

$1,500‑$2,500 536 Anglo-Colonial Mahogany Writing Table mid-19th century, the rectangular top with a three-quarter wooden gallery and spiral-ribbed edge, above a frieze fitted with a central drawer flanked to either side by a paneled cupboard door and an applied ribbed carving, raised on spiral-ribbed circular legs ending in toupie feet. h. 39‑1/2”, w. 54‑3/4”, d. 21‑1/2” $700‑$1,000 537 Maximilian Aurel Rasko (Hungarian/New York, 1883‑1961) “Asian Woman”, 1953 oil on canvas signed and dated lower left. Presented in a carved giltwood frame. 24” x 20”, framed 31‑3/4” x 27‑1/2” $1,800‑$2,500 537

163


538 Chinese Robin’s Egg Blue Glaze Porcelain Miniature Vase Qianlong period (1736‑1795), of bottle form, having a slender, slightly flared neck over a globular body, raised on a slightly splayed circular foot-rim, having a distinctive speckled glaze with vibrant turquoise over a deep cobalt ground. h. 5‑1/4”, w. 3” Provenance: From the collection of Buford and Veda Nichols, Houston, Texas. With “Marchant, London” label to base. $3,000‑$5,000

539 Chinese Robin’s Egg Blue Glaze Porcelain Bottle Vase Qianlong period (1736‑1795), the long, slightly flared neck over a globular body on a circular foot-rim, with all-over speckled glaze of turquoise on cobalt. h. 6‑1/2”, w. 3‑3/4”

538

Provenance: From the collection of Buford and Veda Nichols, Houston, Texas. With “Marchant, London” label to base. $3,000‑$5,000

540 Chinese Robin’s Egg Blue Glaze Porcelain Dish

539

second half 19th century, of shallow, circular form, having slightly flared sides and raised foot-rim, with all-over distinctive speckled glaze of turquoise and cobalt blue tones. h. 2‑1/4”, dia. 10‑3/4” Provenance: From the collection of Buford and Veda Nichols, Houston, Texas. Previously of the Vermeer and Griggs Collection, #736. $3,000‑$5,000

541 Chinese Clair-de-Lune Glaze Porcelain Basin

540

fourth quarter 19th/first quarter 20th century, of straight-sided circular form with broad, flattened lip, having an all-over sky-blue glaze with lavender tones, the base unglazed and unmarked. h. 4”, dia. 15” Provenance: From the collection of Buford and Veda Nichols, Houston, Texas. $2,000‑$4,000

541

164


542 Anglo-Colonial Rosewood Writing Table mid-19th century, the rectangular top with a gadrooned edge, above a frieze fitted with two drawers, raised on shaped and foliate-pierced supports joined by a shaped stretcher and ending in splayed legs to carved toes on casters, the whole with intricately carved designs. h. 29”, w. 46‑1/2”, d. 23” $700‑$1,000 543 Asian Carved Rosewood Gondola Chair

542

19th century, possibly Burmese, the domed back and downswept sides elaborately carved and pierced in a variety of foliate patterns, to the figural hand rests, the padded seat raised on like-carved legs ending in scrolled toes. h. 36‑1/2” $1,000‑$1,500 544 Japanese “Pigeon Blood” Cloisonne Vase 20th century, of compressed baluster form, with short neck and slightly flared, metal-mounted lip, the body decorated throughout with a deep red enamel, offset with a single stylized floral spray in pink, white and yellow, the base with the single mon badge mark of the Ando Cloisonne Company. h. 10”, dia. 9” $700‑$1,000 545 Two Chinese Porcelain Frog-Form Brush Washers with Hardwood Stands one fourth quarter 19th century, the other later, each with all-over flambe glaze, and modeled poised to jump, looking upward, with fitted hardwood presentation stands. the largest h. 3‑1/4”, w. 4”, d. 4‑3/4” (excluding stand)

543

$800‑$1,200

545

544

165


546 Chinese Flambe Porcelain Bottle Vase first quarter 20th century, with elongated, slightly flared neck over a compressed ovoid body, having a deep oxblood glaze covering the lower body, becoming progressively paler, with a light band encircling the top of the neck. h. 15‑1/2”, w. 9” Provenance: From the collection of Buford and Veda Nichols, Houston, Texas. $600‑$900 547 Chinese Langyao Porcelain Bowl possibly Kangxi period (1622‑1722), with flared rim and deep sides tapering to a circular, raised foot, interior and exterior with an even burnt red glaze, the base with a celadon tone crackle glaze finish. h. 3‑1/4”, dia. 7‑1/4”

546

547

Provenance: From the collection of Buford and Veda Nichols, Houston, Texas. With “Marchant, London” label to base. $2,500‑$4,000 548 Pair of Chinese Aubergine Glaze Bowls fourth quarter 19th/first quarter 20th century, each of circular form with slightly flared lip, with an even, rich aubergine-purple glaze throughout. h. 2‑1/2”, dia. 4‑3/4” Provenance: From the collection of Buford and Veda Nichols, Houston, Texas. $600‑$900 549 Chinese Silk-Embroidered Panel first half 20th century, the rectangular panel intricately embroidered in silk threads with a design of birds amid blossoming branches, depicted in whites, pinks, greens and browns, mounted and framed. h. 42‑1/4”, w. 16‑1/2”, framed h. 62”, w. 24” $1,000‑$1,500

548

166

549


550 Two Japanese Lacquered Wood and Bone Inlay Screen Panels first quarter 20th century, each with a large central panel depicting birds amid blossoming branches, framed by red borders with floral motifs, all within an outer frame with densely carved foliate designs. h. 74‑1/2”, w. 33‑3/4” $700‑$1,000

551 Two Chinese Nephrite Carvings likely first half 20th century, comprising a celadon tone example depicting two figures holding a ruyi scepter on the back of an elephant, together with a smaller example depicting a feline form in repose, worked from a mottled black stone blending to celadon tones. h. 2”, w. 1‑7/8”, d. 1” and h. 7/8”, w. 3/4”, d. 1‑1/8”, respectively $700‑$1,000

550

552 Chinese Han-Style Vase in the archaic style but later, of ovoid form with short neck, having molded bands encircling the body and shoulders, with all-over green glaze of various tones, the base unglazed. h. 11‑1/4”, dia. 8” $800‑$1,200

551

552

167


553

553 Chinese-Style Hardwood Cabinet fourth quarter 19th/first quarter 20th century, having a broad rectangular top overhanging a form-fitting frame raised on four block feet, with three short drawers over twin doors opening to reveal a vacant interior, finished with brass hardware. h. 33”, w. 70‑1/2”, d. 20‑1/2” $700‑$1,000 554 Framed Chinese Porcelain Plaque 20th century, the plaque probably Republic period (1912‑1949), of rectangular form, painted with a scene of a river cutting through a mountainous landscape, with boats and houses in the foreground, having an inscription and seal mark to top right corner, mounted within a thick hardwood frame. plaque h. 21‑1/4”, w. 12‑1/2”, framed h. 27‑1/4”, w. 18‑1/4” $900‑$1,200

555

555 Large Chinese Porcelain Tree Tub on Stand 20th century, with embossed floral decoration on a celadon green ground. overall h. 32”, dia. 22‑1/2” $600‑$900

554

168


558 Pair of Anglo-Dutch-Style Mahogany Demi-lune Occasional Tables each with a curved top over a scalloped apron, raised on cabriole legs with shaped feet, joined to a half-round base, presented in a highly polished finish. h. 33‑1/2”, w. 26‑1/2”, d. 15” $800‑$1,200 559 Associated Pair of Chinese Blue and White Porcelain Covered Ginger Jars fourth quarter 19th/first quarter 20th century, each of compressed ovoid form with dome cover, decorated to the exterior with a cartouche containing auspicious and scholarly objects, with a traditional cherry-blossom design to the surround, the base with a double concentric band in underglaze blue. h. 11‑1/2”, dia. 9‑1/4”

556

556 Chinese Hardwood Cabinet fourth quarter 19th century, with a rich patina, the rectangular top set within a conforming frame with three short drawers over twin doors, flanked by two narrow additional drawers, all fitted with brass hardware, to include three additional “lock” bars with leaf-form finial, the whole raised on four block feet. h. 37”, w. 55‑1/2”, d. 22”

Provenance: Lynda Willauer Antiques, Nantucket, Massachusetts. $900‑$1,200

$800‑$1,200 557 Pair of Japanese Satsuma Vases circa 1920s, each of baluster form with opposing dragon-form handles, raised on a compressed base with pierced floral motif design, the bodies decorated with scenes of arhats on one side, and temples in the mountains on the other, all within floral borders. h. 14”, w. 12”, d. 9” $1,500‑$2,500

557

559 558

169


561

560

563

562

560 Turkish Heriz Serapi Carpet

562 Semi-Antique Bakhtiari Carpet

12’ x 19’

10’ 4” x 12’ 7”

$1,800‑$2,500

$1,000‑$1,500

561 Peshawar Sultanabad Carpet

563 Turkish Angora Oushak Carpet

8’ 10” x 11’ 2”

8’ 9” x 12’

$1,000‑$1,500

$900‑$1,200

170


564

565

566

567

564 Heriz Carpet

566 Mahal Carpet

10’ x 14’

11’ x 13’ 8”

$900‑$1,200

$2,500‑$4,000

565 Agra Serapi Carpet

567 Agra Serapi Carpet

10’ x 13’ 10”

10’ 1” x 14’

$2,000‑$4,000

$1,200‑$1,800

171


569

568

571

572

570

172

568 Turkish Angora Oushak Carpet

570 Silk Tabriz Carpet

572 Nain Carpet

12’ x 14’ 9”

8’ x 10’ 7”

6’ 6” x 10’ 2”

$1,500‑$2,500

$1,000‑$1,500

$1,200‑$1,800

569 Heriz Carpet

571 Antique Sarouk Carpet

7’ 9” x 11’

4’ 9” x 6’ 6”

$1,200‑$1,800

$1,000‑$1,500


574

573

576

575

577

573 Laristan Bakhtiari Carpet

576 Agra Sultanabad Carpet

7’ 9” x 9’ 9”

12’ x 14’ 10”

$1,000‑$1,500

$3,000‑$5,000

574 Laristan Sultanabad Carpet

577 Turkish Angora Oushak Runner

8’ x 9’ 10”

2’ 4” x 24’ 1”

$900‑$1,200

$600‑$900

575 Heriz Carpet 9’ 4” x 11’ $1,500‑$2,500

173


Session II: March 18, 2018 10:00 a.m. CT Lots 578-1100

LOT 922


578

579

580

581

582

583

176

584


578 Pearl and Diamond Bee Brooch 18k white gold, the body of the brooch mounted with a black baroque pearl measuring 4.0 x 9.0 mm, the eyes set with cabochon-cut green tourmalines weighing approximately 0.08 carats in total, and the movable wings mounted with single-cut diamonds weighing approximately 0.22 carats in total. l. 1”, total weight 7.0 grams $700‑$1,000 579 Tahitian Pearl and Diamond Ring 18k white gold, the ring mounted with a 12.9 mm Tahitian pearl with a very good luster, and round brilliant-cut diamonds weighing approximately 2.50 carats in total. size 7‑1/2, total weight 18.5 grams $7,000‑$10,000 580 Pearl and Diamond Brooch 18k white gold, the floral-designed brooch mounted with a 12.0 mm black baroque pearl and a 12.5 mm white baroque pearl, accented on the “stems” with round brilliant-cut diamonds weighing approximately 0.82 carats in total. l. 2‑1/2”, total weight 15.2 grams $4,000‑$7,000

581 South Sea Pearl Earrings with Diamond Jackets platinum, the South Sea pearls measuring 12.8 mm and 12.9 mm, with a very good luster, together with a pair of jackets mounted with round brilliant-cut diamonds weighing approximately 1.95 carats in total. dia. 3/4”, total weight 19.6 grams $4,500‑$7,000 582 Opera-Length Pearl Necklace the hand-knotted baroque freshwater pearl necklace with a silver/white color and a good luster. l. 75” $600‑$900 583 South Sea Pearl and Diamond Ring 18k white gold, the ring designed as a flower, the center mounted with a white South Sea pearl with a very good luster, and the “petals” mounted with round brilliant-cut diamonds weighing approximately 1.50 carats in total. size 7, total weight 13.0 grams $2,000‑$4,000 584 Opera-Length Pearl and Diamond Necklace 18k white gold, the large hand-knotted baroque freshwater pearl necklace finished with a white gold clasp mounted with round brilliant-cut diamonds weighing approximately 0.47 carats in total. l. 33” $600‑$900

177


585 Tanzanite, Pearl and Diamond Earrings 18k white gold, the earrings each mounted with a 12.0 mm freshwater pearl, suspended from a cushion-cut tanzanite weighing approximately 2.74 carats in total, the whole accented with round brilliant-cut diamonds weighing approximately 0.46 carats in total. l. 1”, total weight 9.0 grams $1,500‑$2,500

589 Tanzanite and Diamond Earrings platinum, the earrings mounted with pear-cut tanzanites weighing approximately 9.92 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.21 carats in total. l. 1‑1/4”, total weight 9.4 grams $4,500‑$7,000

586 Tanzanite and Diamond Bracelet 14k white gold, the bracelet mounted with oval-cut tanzanites weighing approximately 18.08 carats in total and round brilliant-cut diamonds weighing approximately 1.32 carats in total. l. 7‑1/4”, total weight 22.7 grams

590 Tanzanite and Diamond Bracelet 18k yellow gold, the bracelet mounted with triangle-cut tanzanites weighing approximately 4.44 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.53 carats in total. l. 7‑1/2”, total weight 9.0 grams

$3,000‑$5,000

$1,800‑$2,500

587 Tanzanite and Diamond Ring 14k white gold, the ring mounted with an oval-cut tanzanite weighing approximately 4.65 carats, accented with round brilliant-cut diamonds weighing approximately 1.06 carats in total. size 7, total weight 5.0 grams

591 Tanzanite and Diamond Ring 14k white gold, the ring mounted with an oval-cut tanzanite weighing approximately 4.12 carats, accented by round brilliant-cut diamonds weighing approximately 0.44 carats in total. size 6, total weight 9.0 grams

$900‑$1,200

$1,000‑$1,500

588 Tanzanite and Diamond Ring 14k white gold, the ring mounted with a marquise-cut tanzanite weighing approximately 3.64 carats, accented by round brilliant-cut diamonds weighing approximately 0.86 carats in total. size 7, total weight 6.3 grams

592 Tanzanite and Diamond Ring platinum, the ring mounted with an oval-cut tanzanite weighing approximately 16.56 carats, surrounded by a halo of Asschercut diamonds weighing approximately 1.97 carats in total, approximate color E-F and clarity VVS1‑VVS2. size 4‑1/2, total weight 18.8 grams

$2,500‑$4,000

178

$4,500‑$7,000


585

587

586

591

588 589

590

592

179


594

593

595

593 Diamond Earrings 18k white gold, the earrings mounted with a border and a center cluster of round brilliant-cut diamonds and an inner border of baguette-cut diamonds, with an approximate total diamond weight of 1.09 carats. dia. 7/16”, total weight 4.0 grams $1,500‑$2,500 594 Diamond Necklace 18k white gold, the necklace composed of five square sections mounted with baguette- and round brilliant-cut diamonds weighing approximately 1.25 carats in total, and further accented on the chain with round brilliant-cut diamonds. l. 18”, total weight 4.0 grams $1,800‑$2,500

180

595 Diamond Ring 18k white gold, the ring with three rows mounted with baguette-cut diamonds weighing approximately 2.10 carats in total. size 6, total weight 12.0 grams $3,500‑$5,000


596

596 Diamond Eternity Band platinum, the band mounted with emerald-cut diamonds weighing approximately 4.60 carats in total, approximate color G-H and clarity VS2‑SI1. size 6, total weight 6.0 grams $3,500‑$5,000

597

597 Spectacular Diamond Necklace platinum, the necklace mounted with 122 emerald-cut diamonds weighing approximately 28.75 carats in total, approximate color G-I and clarity SI1‑SI2. l. 16‑1/2”, total weight 49.9 grams $30,000‑$50,000

598 Spectacular Diamond Ring platinum, the ring mounted with a Crisscut emerald-cut diamond weighing 3.04 carats, color I and clarity VVS2, GIA report #13329004, flanked on either side by a shieldcut diamond weighing approximately 0.66 carats in total, approximate color H-I and clarity VS1, the underside of the carriage mounted on each side with a pear-cut diamond weighing approximately 0.07 carats in total, and further accented on the carriage and the shank of the ring with round brilliant-cut diamonds weighing approximately 0.43 carats in total, all with an approximate color H-I and clarity VS1‑I1. size 6, total weight 7.7 grams

598

$25,000‑$40,000

181


605 601

599

600

603

602

182

604


599 Georg Jensen Stainless Steel Torun “Vivianna” Wristwatch designed in 1962 by Vivianna Torun Bulow-Hube (1927‑2004), Copenhagen, model #326, Swiss quartz movement in a stainless steel case with integral band forming an open bangle with “T” finial, the mirrored face with silver hands and no chapters. inside diameter 5‑1/2”; 38.5 gr. Provenance: Estate of Carolyn G. Fay, Houston, Texas. $800‑$1,200 600 Diamond Band 18k white gold, the ring mounted with baguette- and round brilliant-cut diamonds weighing approximately 2.25 carats in total, approximate color E-G and clarity VVS2‑SI2. size 6‑1/2, total weight 8.0 grams $3,500‑$5,000 601 Diamond Pendant with Chain 18k white gold, the heart-shaped pendant mounted with baguette- and round brilliant-cut diamonds weighing approximately 0.86 carats in total, suspended from an 18” chain. total weight 4.0 grams $1,800‑$2,500

602 Diamond Dangle Earrings 18k white gold, each earring mounted with an emeraldcut diamond weighing approximately 0.90 carats in total, approximate color E-F and clarity VS2‑SI1, accented by round brilliant-cut diamonds weighing approximately 0.25 carats in total. l. 7/8”, total weight 2.5 grams $3,000‑$5,000 603 Diamond Hoop Earrings 14k white gold, set with baguette-cut diamonds, with an approximate total weight of 2.00 carats. dia. 1‑1/4”, total weight 10.2 grams $1,400‑$1,800 604 Diamond Ring 18k white gold, the ring mounted with baguette- and round brilliant-cut diamonds weighing approximately 1.59 carats in total. size 7, total weight 4.0 grams $1,400‑$1,800 605 Diamond Ring 18k white gold, the ring mounted with baguette- and round brilliant-cut diamonds weighing approximately 2.04 carats in total. size 6‑1/2, total weight 11.0 grams $1,800‑$2,500

183


606 Diamond Dangle Earrings sterling silver, the pendant earrings mounted with round- and baguette-cut diamonds weighing approximately 4.00 carats in total. l. 2‑1/8”, total weight 12.8 grams

609 Diamond Bangle Bracelet sterling silver, the hinged bracelet mounted with round-cut diamonds weighing approximately 5.9 carats in total. inside circumference 7”, total weight 32.7 grams $700‑$1,000

$600‑$900 607 Diamond Bracelet sterling silver, the “Gucci”-style link bracelet mounted with round-cut diamonds weighing approximately 3.85 carats in total. l. 7‑3/4”, total weight 20.4 grams $600‑$900 608 Diamond Ring 18k white gold, the ring mounted with baguette-, princess- and round brilliant-cut diamonds weighing approximately 1.06 carats in total. size 6‑3/4, total weight 7.0 grams

608

$1,200‑$1,800 610 Diamond Tennis Necklace platinum, the necklace mounted with graduated round brilliant-cut diamonds weighing approximately 15.45 carats in total, approximate color F-G and clarity I1‑I2. l. 17”, total weight 36.7 grams $14,000‑$18,000

184


606

610

607

609

185


614 611

616

612

615 613

186


611 Fancy Brown and White Diamond Earrings 14k white gold, the earrings mounted with eight round brilliantcut Fancy Dark Brownish diamonds weighing approximately 3.26 carats in total, approximate clarity SI1‑I1, and round brilliant-cut white diamonds weighing approximately 2.22 carats in total, approximate color I-N and clarity SI1‑I1. l. 1‑3/8”, total weight 6.5 grams

614 Diamond Dangle Earrings 18k yellow gold/platinum, the pendant earrings set with rosecut and Swiss-cut diamonds weighing approximately 0.70 carats in total. l. 7/8”, total weight 3.3 grams

$2,000‑$4,000

615 Diamond Ring 18k rose/white gold, the elongated ring mounted with round brilliant-cut diamonds weighing approximately 1.35 carats in total. size 6‑1/2, total weight 5.0 grams

612 White and Brown Diamond Bracelet 18k white gold, the bracelet composed of six sections mounted with round brilliant-cut fancy deep brownish diamonds weighing approximately 4.61 carats in total, separated by links mounted with round brilliant-cut white diamonds weighing approximately 2.24 carats in total. l. 7”, total weight 55.2 grams $3,000‑$5,000 613 Morganite and Diamond Ring 14k rose gold, the ring mounted with an oval-cut morganite weighing approximately 5.26 carats, accented with round brilliant-cut diamonds weighing approximately 0.88 carats in total. size 7‑1/2, total weight 4.7 grams

$2,500‑$4,000

$1,800‑$2,500 616 Morganite and Diamond Pendant with Chain 14k rose gold, the pendant mounted with a pear-cut morganite weighing approximately 4.84 carats, accented by round brilliant-cut diamonds weighing approximately 0.16 carats in total, l. 1‑1/4”, suspended from an 18” rose gold chain. total weight 4.6 grams $1,200‑$1,800

$1,200‑$1,800

187


618

617

620

619

617 Morganite and Diamond Earrings 18k rose gold, each earring mounted with a pear-cut morganite weighing approximately 5.68 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.80 carats in total. l. 1‑1/2”, total weight 8.8 grams $2,500‑$4,000 618 Diamond Dangle Earrings 14k rose gold, the Van Cleef-style earrings mounted with round brilliant-cut diamonds weighing approximately 1.85 carats in total, approximate color E-G and clarity VS1‑VS2. l. 1‑1/2”, total weight 8.8 grams $4,500‑$7,000

188

619 Diamond Band 18k white/yellow/rose gold, the ring with a crossover design, mounted with round brilliant-cut diamonds weighing approximately 1.54 carats in total. size 6‑1/2, total weight 8.0 grams $2,500‑$4,000

620 Diamond Pendant Earrings 14k rose gold, the earrings mounted with round single-cut diamonds weighing approximately 0.28 carats in total. l. 1‑5/8”, total weight 4.3 grams $1,200‑$1,800


622

621 Pink and White Diamond Pendant Necklace 18k white gold, the pendant mounted with oval-, pear- and square-cut pink diamonds weighing approximately 1.09 carats in total, accented on the pendant and the chain with round brilliant-cut white diamonds weighing approximately 0.45 carats in total. pendant l. 1”, chain l. 18”, total weight 7.0 grams $2,500‑$4,000 621

622 Pink and White Diamond Earrings 18k white gold, the earrings mounted with pear-, oval- and cushion-cut very light pink diamonds weighing approximately 0.88 carats in total, accented by round brilliantcut white diamonds weighing approximately 0.45 carats in total. l. 1”, total weight 5.0 grams $2,000‑$4,000

623 Stunning Diamond Cuff Bracelet 18k white/rose gold, the wide openwork bracelet accented with three butterflies, and mounted with round brilliant-cut diamonds weighing approximately 11.11 carats in total, approximate color F-G and clarity VS1‑VS2. w. 1‑1/2”, inside circumference 6‑1/4”, total weight 41.0 grams $15,000‑$25,000

623

189


625

624

627 626

624 Diamond Ring 14k white gold, the elongated ring mounted with round brilliant-cut diamonds weighing approximately 1.25 carats in total. size 7, total weight 5.0 grams $900‑$1,200 625 Diamond Dangle Earrings 14k white gold, the flexible earrings mounted with round brilliant-cut diamonds weighing approximately 0.65 carats in total. l. 1‑1/2”, total weight 4.7 grams $2,500‑$4,000

190

626 Diamond Ring 18k white gold, the ring in the shape of a fan and mounted with baguette-, pear- and round brilliant-cut diamonds weighing approximately 0.80 carats in total. size 7, total weight 3.0 grams $800‑$1,200 627 Large Diamond Dangle Earrings 18k white gold, the earrings mounted with baguette- and round brilliant-cut diamonds weighing approximately 8.96 carats in total, approximate color E-G and clarity SI1‑I3. l. 2‑3/4”, total weight 32.0 grams $3,000‑$5,000


628 Beautiful Diamond Necklace 18k white gold, the large necklace with teardropshaped dangles suspended from diamond clusters, on an openwork necklace, all mounted with round brilliant-cut diamonds weighing approximately 21.92 carats in total, approximate color H-I and clarity VS2‑SI2. l. 17”, total weight 45.0 grams $6,000‑$9,000

628

629 Custom-Made Diamond Bracelet 18k white gold, the bracelet mounted with four marquise-cut diamonds weighing approximately 0.93 carats in total, approximate color G-I and clarity SI2‑I1, and baguette- and round brilliant-cut diamonds weighing approximately 13.58 carats in total, approximate color E-G and clarity VS2‑I2. w. 1”, l. 7”, total weight 46.0 grams $4,500‑$7,000

629

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630 Diamond and Ruby Necklace 14k white gold, the necklace mounted with round brilliantcut diamonds weighing approximately 6.20 carats in total, accented with round-cut treated rubies weighing approximately 0.96 carats in total. l. 17”, pendant l. 2”, total weight 38.9 grams $2,500‑$4,000 631 Ruby and Diamond Bangle Bracelet 14k white gold, the hinged bracelet mounted with a pear-cut treated ruby weighing approximately 12.48 carats, accented by round brilliant-cut diamonds weighing approximately 6.25 carats in total, approximate color E-G and clarity VS2‑SI2. inside circumference 7”, total weight 45.0 grams $3,500‑$5,000 632 Diamond and Ruby Pendant with Chain 18k white gold, the pendant mounted with a central round brilliant-cut diamond weighing approximately 0.90 carats, approximate color H and clarity I1, surrounded by a halo of trapezoid-cut treated rubies weighing approximately 1.46 carats in total, and accented by an outer halo of round brilliantcut diamonds weighing approximately 0.48 carats in total, l. 7/8”, suspended from an 18” white gold chain. total weight 6.8 grams $2,500‑$4,000

633 Diamond Ring 18k white gold, the ring mounted with a central round brilliant-cut diamond weighing approximately 2.02 carats, approximate color G and clarity SI3, accented by round brilliant-cut and baguette-cut diamonds weighing approximately 0.95 carats in total. size 7, total weight 4.8 grams $10,000‑$15,000 634 Diamond Ring 14k white gold, the ring mounted with round brilliant-cut diamonds weighing approximately 0.98 carats in total. size 6‑1/2, total weight 8.2 grams $600‑$900 635 Ruby and Diamond Earrings sterling silver/14k yellow gold, the earrings mounted with pear-cut treated rubies weighing approximately 3.50 carats in total, surrounded by round single-cut diamonds weighing approximately 0.53 carats in total. l. 1”, total weight 5.5 grams $600‑$900 636 Ruby and Diamond Ring 18k white gold, the ring mounted with a square-shaped, triangle-cut treated ruby cabochon weighing approximately 6.04 carats, flanked on either side by a triangle-cut diamond and accented by round brilliant-cut diamonds with an approximate total diamond weight of 0.72 carats. size 6‑1/2, total weight 5.0 grams $6,000‑$9,000

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637 Ruby, Opal and Diamond Earrings gold vermeil, the earrings mounted with oval-cut treated rubies weighing approximately 4.28 carats in total, suspended from oval cabochon-cut opals weighing approximately 1.04 carats in total, and accented by round single-cut diamonds weighing approximately 0.75 carats in total. l. 1”, total weight 7.0 grams $700‑$1,000

638 Opal, Diamond and Ruby Ring 14k yellow gold, the ring mounted with a central cabochoncut opal weighing approximately 9.06 carats, set in a mounting accented with round-cut treated rubies weighing approximately 0.56 carats in total and round brilliant-cut white and brown diamonds weighing approximately 0.41 carats in total. size 7‑1/2, total weight 6.0 grams

640 Opal and Diamond Bracelet 14k yellow gold, the bracelet mounted with oval-shaped opals weighing approximately 16.00 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.24 carats in total. l. 7”, total weight 16.0 grams $1,800‑$2,500

641 Opal and Diamond Ring 14k yellow gold, the ring mounted with an oval cabochon-cut opal weighing approximately 2.98 carats, accented with round brilliant-cut diamonds weighing approximately 0.48 carats in total. size 7, total weight 4.1 grams $600‑$900

$1,200‑$1,800

639 Opal, Diamond and Tourmaline Earrings 14k yellow gold, the earrings mounted with pear-shaped opal cabochons weighing approximately 1.94 carats in total, suspended from posts mounted with round-cut pink tourmalines weighing approximately 0.98 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.43 carats in total. l. 1‑1/2”, total weight 8.0 grams $1,200‑$1,800

194

642 Opal and Diamond Pendant with Chain 14k yellow gold, the pendant mounted with a rectangular-cut Ethiopian opal weighing approximately 6.14 carats, accented by round brilliant-cut diamonds weighing approximately 1.07 carats in total, l. 1‑5/8”, suspended from a 17” yellow gold chain. total weight 11.0 grams $1,800‑$2,500


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643 Opal and Diamond Bracelet 14k yellow gold, the bracelet mounted with oval-cut opals weighing approximately 16.15 carats in total and round brilliant-cut diamonds weighing approximately 0.59 carats in total. l. 7‑1/2”, total weight 24.0 grams $2,500‑$4,000 644 Opal and Diamond Pendant with Chain 18k yellow gold, the pendant mounted with an oval cabochoncut opal weighing approximately 9.48 carats, accented by round brilliant-cut diamonds weighing approximately 0.38 carats in total, l. 1‑1/8”, suspended from an 18” gold chain. total weight 6.0 grams $1,000‑$1,500 645 Opal and Diamond Earrings sterling silver/14k yellow gold, the earrings mounted with pear-shaped opals weighing approximately 5.70 carats in total, accented by round single-cut diamonds weighing approximately 1.04 carats in total. l. 3/4”, total weight 5.0 grams

646 Two Opal and Diamond Bangle Bracelets gold vermeil/sterling silver, the hinged bracelets mounted with oval cabochon-cut opals weighing approximately 40.0 carats in total, accented by round-cut diamonds weighing approximately 6.00 carats in total. inside circumference 7”, total weight 94.1 grams $700‑$1,000

647 Opal and Diamond Earrings sterling silver, the earrings mounted with round cabochon-cut opals weighing approximately 7.15 carats in total, accented by round-cut diamonds weighing approximately 2.94 carats in total. l. 1‑3/4”, total weight 17.1 grams $600‑$900

$700‑$1,000

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649

648 Turquoise and Diamond Ring 14k yellow gold, the ring mounted with an oval cabochon-cut turquoise weighing approximately 6.28 carats, accented by round brilliant-cut diamonds weighing approximately 0.60 carats in total. size 7‑1/2, total weight 7.8 grams $900‑$1,200

650

649 Turquoise and Diamond Bracelet sterling silver, the hinged bracelet finished on the ends with a turquoise cabochon measuring approximately 12.7 mm in diameter, accented with round-cut diamonds weighing approximately 1.80 carats in total. inside circumference 6‑1/2”, total weight 56.4 grams $600‑$900 650 Turquoise and Diamond Earrings 14k white gold, each earring set with an oval 11.5 mm x 14.0 mm turquoise cabochon, accented with three marquise-cut diamonds, with an approximate total diamond weight of 0.70 carats. l. 3/4”, total weight 10.4 grams $1,800‑$2,500 651 Aquamarine and Diamond Ring 18k yellow gold, the ring mounted with an oval-cut aquamarine weighing approximately 21.13 carats, accented on each side by marquise- and round brilliant-cut diamonds weighing approximately 0.92 carats in total. size 5‑1/4, total weight 15.6 grams $2,500‑$4,000

651

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652 Aquamarine and Diamond Earrings 18k yellow gold, the earrings mounted with an ovalcut aquamarine weighing approximately 14.26 carats in total, accented by marquise- and round brilliant-cut diamonds weighing approximately 1.12 carats in total. l. 7/8”, total weight 6.1 grams

653

$2,500‑$4,000 653 Aquamarine and Diamond Necklace 18k white gold, the pendant mounted with an ovalcut and pear-cut treated aquamarine weighing approximately 6.43 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.76 carats in total, l. 1‑7/8”, suspended from a white gold chain, l. 18”. total weight 10.8 grams

655

$2,500‑$4,000

654 Aquamarine and Diamond Earrings 18k white gold, the earrings mounted with pear-cut aquamarines weighing approximately 11.24 carats in total, accented by round brilliant-cut diamonds weighing approximately 2.00 carats in total. l. 2‑1/4”, total weight 18.6 grams $4,000‑$7,000 655 Edwardian Platinum and Diamond Brooch/Pendant ca. 1910, the circular platinum brooch with an openwork lacy pattern set with a central old European-cut diamond, surrounded by smaller European-cut diamonds, weighing approximately 3.65 carats in total, approximate color H-I and clarity VS2‑SI1, the reverse with a detachable lever safety catch pin and pop-up bail, the bail fixed to a lacy 18k white gold “Y” chain with opaque white and guilloche light blue enamel narrow plaques. brooch dia. 2”, chain l. 19” with 2” drop, total weight 22 grams 654

$3,000‑$5,000

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656

658

659 660

200


656 Antique Diamond Necklace platinum, the filigree pendant mounted with a central Old European-cut diamond weighing approximately 2.00 carats, approximate color I and clarity VS2, accented by Old European-cut diamonds weighing approximately 2.43 carats in total, approximate color G-I and clarity SI1‑I1, l. 1‑3/4”, suspended from a filigree chain mounted with Old Europeancut diamonds weighing approximately 0.84 carats in total, approximate color G-I and clarity SI1, l. 15‑1/2”. total weight 16.3 grams $12,000‑$18,000 657 Natural Sapphire and Diamond Necklace 14k white gold, the necklace mounted with a natural oval-cut sapphire weighing approximately 4.50 carats, accented by round brilliant-cut diamonds weighing approximately 3.25 carats in total. l. 16”, total weight 25.8 grams $6,000‑$9,000 658 Sapphire and Diamond Earrings platinum, the earrings mounted with oval-cut treated sapphires weighing approximately 3.00 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.83 carats in total. l. 1‑1/4”, total weight 9.1 grams $2,500‑$4,000 659 Natural Sapphire and Diamond Ring 18k white gold, the ring mounted with an oval-cut natural sapphire weighing 4.25 carats, GIA report #1176185674, accented by round brilliant-cut diamonds weighing approximately 1.11 carats in total. size 6‑1/2, total weight 5.7 grams

661

661 Beautiful Sapphire and Diamond Bangle Bracelet 18k white gold, the bracelet with a cross-over design and mounted with square calibrated-cut treated sapphires weighing approximately 3.40 carats in total, and princess- and round brilliant-cut diamonds weighing approximately 7.34 carats in total. inside circumference 6‑1/8”, total weight 59.0 grams $3,500‑$5,000 662 Sapphire and Diamond Ring 14k white gold, the ring mounted with four rows of baguettecut treated sapphires weighing approximately 2.50 carats in total and three rows of round brilliant-cut diamonds weighing approximately 1.12 carats in total. size 7, total weight 8.0 grams $1,200‑$1,800

$6,000‑$9,000 660 Stunning Diamond and Sapphire Ring 14k white gold, the ring mounted with a central marquise-cut diamond weighing 2.86 carats, color I and clarity VS2, GIA report #6157429137, surrounded and accented on the sides by square-cut sapphires weighing approximately 1.50 carats in total, and further accented with round brilliant-cut diamonds weighing approximately 0.22 carats in total, approximate color E-G and clarity VVS2‑VS1. size 6‑1/2, total weight 9.0 grams $18,000‑$25,000

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663 Diamond Bracelet 18k white gold, the bracelet with a center section mounted with baguette- and round brilliant-cut diamonds weighing approximately 1.97 carats in total. l. 7‑1/2”, total weight 11.0 grams

666 Diamond Ring 14k white/yellow gold, the double-row ring mounted with round brilliant-cut diamonds, with an approximate total weight of 1.11 carats, approximate color H-I and clarity VS2‑SI1. size 8‑1/4, total weight 5.0 grams $600‑$900

$3,500‑$5,000

664 Diamond Necklace the necklace with a drop pendant and mounted with baguetteand round brilliant-cut diamonds weighing approximately 0.79 carats in total. chain l. 17”, drop l. 2‑1/2”, total weight 4.1 grams

667 Diamond Ring 18k white gold, the ring mounted with round brilliant-cut diamonds weighing approximately 1.53 carats in total. size 6‑1/2, total weight 7.0 grams $2,000‑$4,000

$1,200‑$1,800

665 Sapphire and Diamond Band 18k white gold, the ring mounted with a row of baguette-cut treated sapphires weighing approximately 1.23 carats in total, flanked on either side by a row of round brilliant-cut diamonds weighing approximately 0.18 carats in total. size 7, total weight 3.0 grams

668 Beautiful Sapphire, Tsavorite Garnet and Diamond Bracelet 18k white gold, the wide bracelet mounted with ovaland round-cut natural and treated sapphires weighing approximately 18.90 carats in total, oval- and round-cut Tsavorite garnets weighing approximately 16.45 carats in total and round brilliant-cut diamonds weighing approximately 1.35 carats in total. w. 3/4”, l. 7‑1/2”, total weight 72.1 grams

$700‑$1,000

$14,000‑$18,000

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669 Stunning Certified Natural Alexandrite and Diamond Ring platinum, the ring mounted with an oval-cut alexandrite weighing approximately 3.48 carats, with a color change from a strong bluish green to a strong bluish purple, AGL report #1089352, surrounded by a halo of round brilliant-cut diamonds weighing approximately 2.60 carats in total, approximate color F-G and clarity VS1‑SI1. size 4‑1/4, total weight 8.6 grams $30,000‑$50,000

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670 Emerald and Diamond Earrings 18k white gold, the long dangle earrings mounted with baguette- and round brilliant-cut diamonds weighing approximately 1.66 carats in total and oval-cut treated emeralds weighing approximately 1.10 carats in total. l. 3”, total weight 21.0 grams

674 Emerald and Diamond Earrings 18k white gold, the earrings mounted with emerald-cut treated emeralds weighing approximately 3.20 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.14 carats in total. l. 1‑3/4”, total weight 7.7 grams $3,000‑$5,000

$3,000‑$5,000 671 Emerald and Diamond Necklace 18k white gold, the pendant mounted with three pear-cut treated emeralds weighing approximately 0.60 carats in total, and pear-, round brilliant- and marquise-cut diamonds weighing approximately 1.32 carats in total, l. 2”, suspended from an 18” chain accented with round brilliant-cut diamonds. total weight 5.0 grams $1,800‑$2,500 672 Emerald and Diamond Ring platinum, the ring mounted with a pear-cut treated emerald weighing approximately 2.36 carats, accented by round brilliant-cut diamonds weighing approximately 0.49 carats in total. size 7‑1/2, total weight 6.4 grams $2,500‑$4,000 673 Emerald and Diamond Ring 14k white gold, the ring mounted with a central oval-cut treated emerald weighing approximately 4.16 carats, flanked on either side by an oval-cut treated emerald weighing approximately 0.50 carats in total, and accented by round brilliant-cut diamonds weighing approximately 1.01 carats in total. size 7, total weight 5.7 grams $3,500‑$5,000

674

675 Emerald and Diamond Ring 18k white gold, the ring mounted with an emerald-cut treated emerald weighing approximately 1.03 carats, accented by round brilliant-cut diamonds weighing approximately 0.65 carats in total. size 7, total weight 4.0 grams $1,500‑$2,500

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676 Stunning Diamond and Emerald Convertible Pendant/Brooch Necklace 18k white gold, the custom-made Art Deco-style pendant detaching from the necklace to be worn as a brooch, composed of calibrated black chalcedony, mounted with two square-cut treated emeralds and baguette- and round brilliant-cut diamonds, suspended from a long white gold necklace mounted with round brilliant-cut diamonds, with an approximate total emerald weight of 0.26 carats and an approximate total diamond weight of 6.86 carats, approximate color E-F and clarity VVS1‑VVS2. pendant/brooch l. 1‑3/4”, necklace l. 30”, total weight 47.0 grams $14,000‑$18,000

676

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677 Diamond Dangle Earrings 14k white gold, the earrings composed of two rows of round brilliant-cut diamonds weighing approximately 3.16 carats in total, approximate color G-I and clarity SI1‑SI2. l. 1‑1/2”, total weight 7.0 grams $1,200‑$1,800 678 Diamond Tennis Necklace 14k white gold, the necklace composed of graduated round brilliant-cut diamonds, eight diamonds clarity enhanced, with an approximate total weight of 17.50 carats, approximate color F-H and clarity SI2‑I2. l. 18”, total weight 28.0 grams $5,000‑$8,000 679 Diamond Ring 14k white/rose gold, the ring mounted with a central round brilliant-cut diamond weighing 0.53 carats, color K and clarity SI1, GIA report #5171694356, accented by three rows of round brilliant-cut diamonds weighing approximately 0.36 carats in total. size 7, total weight 5.0 grams

677

$1,800‑$2,500

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682

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684

686

689

687 683

210


680 Whimsical Diamond Ring 18k white gold, the ring in the form of an owl and mounted with round brilliant-cut white and yellow diamonds weighing approximately 8.84 carats in total, accented with black onyx on the wings. size 6‑1/2, total weight 21.0 grams $8,000‑$12,000 681 Fancy Yellow and White Diamond Earrings 14k yellow gold, each earring mounted with a princess-cut fancy yellow diamond weighing approximately 1.70 carats in total, approximate clarity VVS2‑VS1, accented by round brilliant-cut white diamonds weighing approximately 0.80 carats in total. l. 3/8”, total weight 4.8 grams

686 Fancy Yellow Diamond Earrings 18k yellow gold, each earring mounted with a cushion-cut fancy yellow diamond weighing approximately 1.77 carats in total, approximate clarity VS1. l. 1/4”, total weight 3.0 grams $1,800‑$2,500 687 Three-Strand Diamond Bracelet 14k yellow gold, the flexible link bracelet set with approximately 2.75 carats of round brilliant-cut diamonds. l. 7‑1/8”, total weight 28.0 grams $1,800‑$2,500

$4,500‑$7,000 682 Faint Yellow and White Diamond Ring 18k white gold, the ring mounted with a central faint yellow diamond weighing approximately 0.93 carats in total, approximate clarity SI2, flanked on either side by a half-mooncut white diamond weighing approximately 0.45 carats in total, approximate color E-G and clarity SI2, and further accented by round brilliant-cut white diamonds weighing approximately 0.89 carats in total, approximate color G-I and clarity SI1‑SI2. size 7, total weight 6.9 grams $2,500‑$4,000 683 Yellow and White Diamond Bracelet 18/22k yellow/white gold, the bracelet mounted with eleven princess-cut Fancy Yellowish diamonds weighing approximately 1.83 carats in total, and round brilliant-cut diamonds weighing approximately 2.86 carats in total. l. 6‑1/2”, total weight 40.7 grams $3,000‑$5,000 684 Yellow and White Diamond Hoop Earrings 18k yellow gold, the earrings mounted with round brilliantcut treated fancy yellow diamonds weighing approximately 1.10 carats in total, and round brilliant-cut white diamonds weighing approximately 0.67 carats in total. l. 3/4”, total weight 9.0 grams $2,500‑$4,000 685 Yellow and White Diamond Necklace 18k white/yellow gold, the pendant composed of a single pear-cut yellow diamond weighing approximately 0.40 carats, approximate clarity SI2, surrounded by a halo of white round brilliant-cut diamonds, which are also accenting the chain, with an approximate total weight of 0.28 carats, the remainer of the pendant composed of pear-, oval-, heart- and princess-cut lab-created yellow diamonds weighing approximately 0.97 carats in total. pendant l. 1‑3/8”, chain l. 16”, total weight 5.0 grams $2,500‑$4,000

688

688 Wide Diamond Bangle Bracelet gold vermeil, the hinged bracelet bezel-set with round-cut diamonds weighing approximately 2.50 carats in total. w. 2”, dia. 7”, total weight 101.2 grams $600‑$900 689 Unusual Diamond Ring 14k yellow gold, the custom-made ring mounted with a central round brilliant-cut diamond weighing approximately 2.30 carats, approximate color G and clarity SI1, surrounded by a double halo of round brilliant-cut diamonds weighing approximately 1.32 carats in total, approximate color E-G and clarity VS1‑SI1. size 7‑1/4, total weight 23.8 grams Provenance: Estate of Carolyn G. Fay, Houston, Texas. $6,000‑$9,000

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690 Stunning Diamond Necklace 18k yellow gold, mounted with a laser-drilled clarity enhanced round brilliant-cut diamond pendant weighing approximately 6.60 carats, approximate color L and clarity SI2, suspended from the necklace mounted with round brilliant-cut diamonds weighing approximately 11.68 carats in total, approximate color E-G and clarity SI2. l. 15”, total weight 44.1 grams $60,000‑$90,000

690

691 Piaget Diamond Watch 18k yellow gold, the mechanical movement back wind and back set, the white dial signed “Piaget” and surrounded by round brilliant-cut diamonds weighing approximately 0.50 carats in total, the textured woven bracelet integrated into the case. l. 6‑3/4”, total weight 43.0 grams $1,800‑$2,500

691

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692 Diamond Bangle Bracelet 18k yellow gold, the hinged bracelet mounted with round brilliantcut diamonds weighing approximately 1.03 carats in total. inside circumference 7”, total weight 17.0 grams $1,800‑$2,500

692

693 Diamond Door Knocker Earrings 18k yellow gold, the earrings mounted with round brilliant-cut diamonds weighing approximately 0.78 carats in total. l. 1‑1/2”, total weight 15.0 grams $1,800‑$2,500 694 Diamond Necklace 18k yellow gold, the heavy, curb-link necklace with fifteen links mounted with round brilliant-cut diamonds weighing approximately 2.40 carats in total. l. 17”, total weight 105.0 grams $3,500‑$5,000 695 Diamond Cuff Bracelet 18k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 1.50 carats in total. inside circumference 7”, total weight 24.0 grams $3,000‑$5,000

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696 Diamond Band 14k yellow gold, the ring mounted with baguette-cut diamonds weighing approximately 1.22 carats in total. size 7‑1/4, total weight 5.1 grams 697

$600‑$900 697 Diamond Violin Brooch 18k yellow gold, the brooch mounted with round brilliant-cut diamonds weighing approximately 1.50 carats in total. size 1‑1/2” x 2‑1/4”, total weight 16.2 grams $2,500‑$4,000 698 Fancy Faint Yellow Diamond Ring 14k yellow gold, the solitaire mounted with a European-cut fancy faint yellow diamond weighing approximately 2.70 carats, approximate clarity VS2. size 6‑1/2, total weight 5.0 grams $6,000‑$9,000

698

699 Gurhan Diamond Bracelet and Earrings 24k/4k yellow gold, the bracelet and earrings composed of a 24k gold center, with a 4k gold cross-hatch pattern on the top, mounted with round brilliant-cut diamonds weighing approximately 2.05 carats in total. bracelet l. 7” to 8‑1/2”, earring l. 7/8”, total weight 28.5 grams $1,500‑$2,500

699

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700

701

700 Lapis Lazuli, Turquoise and Diamond Ring 18k yellow gold, the ring mounted with a central 19.7 mm x 14.7 mm lapis lazuli cabochon, accented by six navetteshaped turquoise cabochons and round brilliant-cut diamonds weighing approximately 0.75 carats in total. size 12, total weight 17.1 grams $2,500‑$4,000 701 David Webb Lapis Lazuli Scarab Ring 18k yellow gold, the ring mounted with a carved lapis lazuli scarab, stamped “Webb”. size 6‑1/2, total weight 20.0 grams Provenance: Estate of Carolyn G. Fay, Houston, Texas. $1,800‑$2,500 702 Lalaounis Sodalite Choker and Bracelet 18k yellow gold/sterling silver, the bracelet and matching necklace with a twisted rope design, accented with 18k yellow gold, and set on the ends with sodalite finials, the choker stamped “Mecan, A21, 750, Greece, 925” and a partial Lalaounis logo, inside circumference 14‑1/2”, and the bracelet stamped “Mecan, Greece, 925”, the Lalaounis logo and the omega symbol followed by “6.57”, inside circumference 6‑1/2”. total weight 134.6 grams Provenance: Estate of Carolyn G. Fay, Houston, Texas. $1,400‑$1,800

702

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706

709

707

710

704

708

705

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703 Lapis Lazuli and Diamond Earrings platinum/14k white gold, each earring mounted with a 16.0 mm round lapis lazuli cabochon, and mounted with single-cut diamonds weighing approximately 1.00 carat in total. l. 2”, total weight 18.2 grams $4,500‑$7,000 704 Sapphire and Diamond Ring 18k white gold, the ring mounted with a central cabochoncut treated sapphire weighing approximately 8.88 carats, and mounted with round brilliant-cut diamonds weighing approximately 0.96 carats in total, accented with baguetteand round-cut treated sapphires weighing approximately 1.48 carats in total. size 6‑1/2, total weight 10.0 grams $7,000‑$10,000 705 Sapphire and Diamond Bracelet 18k white gold, the bracelet designed as flower clusters, each mounted with oval-shaped treated sapphire cabochons weighing approximately 50.73 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.60 carats in total. l. 7‑1/2”, total weight 36.0 grams $4,500‑$7,000 706 Sapphire and Diamond Ring 18k white gold, the ring mounted with an oval-cut treated sapphire weighing approximately 3.28 carats, accented by round brilliant-cut diamonds weighing approximately 1.74 carats in total. size 6, total weight 13.5 grams $2,500‑$4,000 707 Sapphire and Diamond Earrings 14k yellow gold/sterling silver, the earrings mounted with ovalcut treated sapphires weighing approximately 1.66 carats in total, surrounded by round single-cut diamonds weighing approximately 0.43 carats in total. l. 1/2”, total weight 5.0 grams

711

710 Sapphire and Diamond Dangle Earrings sterling silver, the earrings mounted with square- and pear-cut treated sapphires weighing approximately 4.60 carats in total and round-cut diamonds weighing approximately 1.00 carat in total. l. 1‑5/8”, total weight 10.3 grams $600‑$900 711 Sapphire Bangle Bracelet gold vermeil, the wide, hinged bracelet mounted with squarecut treated sapphires weighing approximately 5.50 carats in total. inside circumference 7”, w. 7/8”, total weight 48.2 grams $600‑$900 712 Sapphire and Diamond Cross 18k yellow gold, the cross mounted with an oval-cut sapphire weighing approximately 1.25 carats, accented with round brilliant-cut diamonds weighing approximately 0.50 carats in total. l. 2”, total weight 9.4 grams $2,000‑$4,000

$600‑$900 708 Sapphire and Diamond Ring 14k white gold, the ring mounted with two pear-cut treated sapphires weighing approximately 1.82 carats in total, accented by round brilliant-cut and baguette-cut diamonds weighing approximately 0.63 carats in total. size 7, total weight 4.0 grams $1,000‑$1,500 709 Sapphire and Diamond Earrings sterling silver, the earrings mounted with square-, oval- and pear-cut treated sapphires weighing approximately 2.10 carats in total, accented by round-cut diamonds weighing approximately 1.03 carats in total. l. 2”, total weight 7.3 grams $600‑$900

712

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713 Pink Sapphire and Diamond Ring 18k yellow gold, the wide ring mounted with oval-cut treated pink sapphires weighing approximately 3.60 carats in total and round brilliant-cut diamonds weighing approximately 0.76 carats in total. size 7, total weight 14.0 grams $1,800‑$2,500 714 Multicolor Sapphire Bracelet 14k yellow gold, the bracelet mounted with treated yellow, pink, light blue, purple and green emerald-cut sapphires weighing approximately 11.20 carats in total. l. 7‑1/2”, total weight 13.0 grams $1,200‑$1,800 715 Amethyst and Diamond Ring 14k white gold, the ring mounted with a rectangular cushioncut treated amethyst weighing approximately 9.67 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.40 carats in total. size 6‑1/2, total weight 11.0 grams

719

716 Amethyst Necklace 14k yellow gold, the necklace composed of irregular shaped and faceted amethysts separated by gold tubes and finished with a gold ball clasp. l. 17”, total weight 52.6 grams

718 Green Quartz, Diamond and Rhodolite Garnet Earrings and Pendant 14k yellow gold, the earrings and pendant mounted with a green quartz, weighing approximately 21.50 carats in total, accented with single-cut diamonds weighing approximately 0.25 carats in total, and accented on the bottom with a roundcut rhodolite garnet weighing approximately 0.24 carats in total. earrings l. 1”, pendant l. 2”, total weight 16.6 grams

$600‑$900

$600‑$900

717 Multi-Stone Ring 14k yellow gold, the ring mounted with amethyst, green tourmaline, blue topaz, iolite, white sapphire, citrine, pink topaz, orange garnet and tsavorite garnets, with an approximate total weight of 11.27 carats in total. size 8‑1/2, total weight 9.0 grams

719 Peridot and Diamond Ring 18k white gold, the ring mounted with an oval-cut treated peridot weighing approximately 3.25 carats, accented with round brilliant-cut diamonds weighing approximately 1.13 carats in total. size 6, total weight 11.0 grams

$1,200‑$1,800

$1,400‑$1,800

$700‑$1,000 720 Diamond and Emerald Snake Ring gold vermeil, the coiled snake mounted with rose-cut diamonds weighing approximately 1.00 carat in total, accented with oval-cut treated emeralds weighing approximately 2.50 carats in total, and accented on the eyes with round-cut treated rubies weighing approximately 0.02 carats in total. size 6‑1/4, total weight 14.6 grams $900‑$1,200

718

721 Emerald, Ruby and Diamond Earrings sterling silver, the earrings mounted with square-cut treated emeralds weighing approximately 2.00 carats in total, accented with round-cut treated rubies weighing approximately 0.80 carats in total, and round-cut diamonds weighing approximately 0.74 carats in total. l. 1‑1/4”, total weight 6.2 grams $600‑$900

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720

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724

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725 Rubellite and Diamond Pendant Necklace 18k yellow gold, the pendant mounted with a pear-cut rubellite tourmaline weighing approximately 9.50 carats, and round brilliant-cut diamonds on the border of the pendant and accenting the double-strand necklace, weighing approximately 1.25 carats in total. necklace l. 18”, pendant l. 1‑3/8”, total weight 10.0 grams $4,000‑$7,000 726 Rubellite, Ruby and Diamond Ring 18k yellow gold, the ring mounted with a central oval-cut rubellite weighing approximately 8.60 carats, flanked on either side by two triangle-cut rubies weighing approximately 0.72 carats in total and accented by baguette-cut diamonds weighing approximately 0.80 carats in total. size 5‑1/4, total weight 14.9 grams $2,500‑$4,000

725

727 Ruby and Diamond Bangle Bracelet 18k yellow gold, the bracelet mounted with oval-cut treated rubies weighing approximately 7.28 carats in total and round brilliant-cut diamonds weighing approximately 0.85 carats in total. inside circumference 6‑3/4”, total weight 24.0 grams $3,000‑$5,000

722 Multicolored Tourmaline and Diamond Necklace and Earring Suite sterling silver, the bib necklace and earrings designed as branches, mounted with round-cut and navette-cut tourmalines weighing approximately 28.25 carats in total, all accented with rose-cut diamonds weighing approximately 4.50 carats in total. necklace l. 17”, earrings l. 2‑5/8”, total weight 76.0 grams $900‑$1,200 723 Tourmaline and Diamond Ring 18k white gold, the ring mounted with an oval-shaped pink tourmaline cabochon weighing approximately 5.35 carats, accented by round brilliant-cut diamonds weighing approximately 1.50 carats in total. size 6, total weight 9.0 grams

727

$1,800‑$25,500 724 Rubellite and Diamond Earrings 18k yellow gold, the earrings mounted with pear-cut rubellite tourmalines weighing approximately 17.45 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.17 carats in total. l. 1‑1/2”, total weight 8.0 grams $5,000‑$8,000

728 Ruby and Diamond Earrings sterling silver/14k yellow gold, the earrings mounted with emerald-cut treated rubies weighing approximately 3.80 carats in total, each surrounded by round single-cut diamonds weighing approximately 0.68 carats in total. l. 1‑1/4”, total weight 8.5 grams $600‑$900

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729 Ruby and Diamond Necklace 14k yellow gold, the necklace set with seventeen graduated oval-cut treated rubies weighing approximately 35.49 carats in total, accented with round brilliant-cut diamonds weighing approximately 6.06 carats in total. l. 17”, total weight 34.2 grams

734 South Sea Pearl and Gemstone Ring 18k yellow gold, the ring mounted with a 14.0 mm gold South Sea pearl with a high luster, accented by butterflies and a flower, on a wide band mounted with round brilliant-cut diamonds weighing approximately 0.35 carats in total, roundcut pink and blue treated sapphires weighing approximately 0.76 carats in total and round-cut treated emeralds weighing approximately 0.36 carats in total. size 7, total weight 14.0 grams

$4,500‑$7,000

$1,800‑$2,500

730 Ruby and Diamond Earrings 14k yellow gold, the earrings mounted with oval-cut treated rubies weighing approximately 8.43 carats in total, accented by round brilliant-cut diamonds weighing approximately 2.22 carats in total. l. 1‑3/4”, total weight 10.1 grams $1,800‑$2,500

735 South Sea Pearl and Diamond Earrings 18k yellow gold, the earrings each mounted with a 12.0 mm golden South Sea pearl with a high luster, suspended from a cluster of baguette- and round brilliant-cut diamonds weighing approximately 2.26 carats in total. l. 1”, total weight 15.0 grams $3,000‑$5,000

731 Ruby and Diamond Bracelet 14k yellow gold, the bracelet mounted with oval-cut treated rubies weighing approximately 7.45 carats in total, accented by round brilliant-cut diamonds weighing approximately 2.02 carats in total. l. 6‑3/4”, total weight 14.3 grams $1,800‑$2,500 732 Ruby and Diamond Ring 14k yellow gold, the ring mounted with an oval-cut treated ruby weighing approximately 11.72 carats, accented by round brilliant-cut diamonds weighing approximately 2.60 carats in total. size 7, total weight 8.4 grams 736

$1,500‑$2,500 73 3 Ruby and Diamond Bangle Bracelet 18K yellow gold, the bracelet mounted with two rows of square-cut rubies weighing approximately 5.60 carats in total and three rows of round brilliant-cut diamonds weighing approximately 2.45 carats in total. inside circumference 6”, total weight 60.3 grams $3,000‑$5,000

736 Tutti Frutti Bracelet 18k yellow gold, the bracelet composed of an interwoven gold bracelet topped with a tutti frutti bracelet, the top portion mounted with carved and square-cut treated rubies weighing approximately 9.80 carats in total, carved treated sapphires weighing approximately 13.32 carats in total, carved and round-cut treated emeralds weighing approximately 13.16 carats in total, and rose-cut diamonds weighing approximately 2.04 carats in total. w. 1‑3/4”, l. 7‑3/4”, total weight 98.0 grams $4,500‑$7,000

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734

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737 Emerald and Diamond Earrings 18k yellow gold, the earrings mounted with oval-cut treated emeralds weighing approximately 5.60 carats in total and round brilliant-cut diamonds weighing approximately 2.92 carats in total. l. 1‑1/2”, total weight 11.0 grams

741 Emerald and Diamond Pendant with Chain 18k yellow gold, the pendant mounted with an oval-cut treated emerald weighing approximately 4.45 carats, accented by round brilliant-cut diamonds weighing approximately 0.44 carats in total, l. 1”, suspended from an 18” gold chain. total weight 3.8 grams

$3,000‑$5,000

$1,800‑$2,500

738 Emerald and Diamond Bracelet 18k yellow gold, the bracelet composed of a row of oval-cut treated emeralds weighing approximately 7.56 carats in total, flanked on either side by a row of round brilliant-cut diamonds weighing approximately 1.29 carats in total. l. 7‑1/2”, total weight 18.0 grams

742 Emerald and Diamond Bracelet 14k yellow gold, the bracelet mounted with oval-cut treated emeralds weighing approximately 8.24 carats in total, accented by round brilliant-cut diamonds weighing approximately 3.85 carats in total. l. 7”, total weight 13.3 grams

$3,000‑$5,000

$2,500‑$4,000

739 Bold Custom-Made Emerald and Diamond Ring 14k yellow gold, the ring mounted with a central cluster of labcreated emeralds accented by round brilliant-cut diamonds weighing approximately 0.33 carats in total. size 7‑1/2, total weight 41.0 grams

743 Emerald and Diamond Cuff Bracelet 18k yellow gold, the bracelet mounted with an emeraldcut treated emerald weighing approximately 1.44 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.10 carats in total. inside circumference 6”, total weight 5.0 grams

Provenance: Estate of Carolyn G. Fay, Houston, Texas.

$900‑$1,200

$1,800‑$2,500

744 Emerald and Diamond Necklace the adjustable necklace mounted with round-cut treated emeralds weighing approximately 1.45 carats in total and round brilliant-cut diamonds weighing approximately 0.26 carats in total. chain l. 16” to 18”, drop l. 3‑3/4”, total weight 7.0 grams

740 Stunning Emerald and Diamond Bracelet 18k yellow gold, the bracelet mounted in the center with seven oval-shaped treated emeralds weighing approximately 5.04 carats in total, set into a ground mounted with roundcut treated emeralds weighing approximately 6.48 carats in total, the whole accented with round brilliant-cut diamonds weighing approximately 2.18 carats in total, approximate color E-F and clarity VS1‑VS2. l. 7”, total weight 48.0 grams

$900‑$1,200

$10,000‑$15,000

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746

745 Antique Gold Bracelet 14k yellow gold, fourth quarter 19th century, American, comprised of vertical baton-shaped links, alternately smooth and rococo-engraved. w. 7/8”, l. 6‑1/2”, 45.2 grams Provenance: Estate of William Harvey Osborn, New Orleans, Louisiana. $700‑$1,000

746 Antique Gold Fob Seal Charm Bracelet the contemporary 14k gold curb-link bracelet with six late 18th-/early 19th-century rolled gold and karat gold fobs, four set with carnelian (three with intaglio seals), one with a bloodstone intaglio seal engraved with the arms of Hardinge of Bounds Park, Kent, and one with a citrine intaglio seal engraved with the arms of Wilshere of Hitchen, Herts, and a memorial inscription on the stirrup. l. 7‑1/2”, 178.7 grams Provenance: Estate of William Harvey Osborn, New Orleans, Louisiana. $3,500‑$5,000 The citrine seal with the arms of Wilshere is engraved on the fob stirrup: “Jane Maria Blake Ob. 21 Dec 1814”. Her burial at age 22 is recorded at All Saint’s Church, Fulham, Middlesex on December 27, 1814. She was the daughter of Valentine Blake (1765‑1798), of Mullaghmore and Windfield, county Galway, and Anna Maria Roper (1765‑1810). Her will, written in September of 1814, with revisions in October and December, was probated on May 18, 1815. One of the witnesses was W. Wilshere, and a bequest in her last codicil reads “to my kind friend Mr. Wilshere I bequeath a seal”; i.e., that a memorial seal in her honor be made for him. This, evidently, is that seal.

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747 Good Pair of Antique Gold Cuff Bracelets fourth quarter 19th century, by Hale & Mulford, New York, New York (fl. 1877‑1882), designed in 1880 by Charles Hein (1834‑1909), 14k yellow gold, the narrow cuffs with a recessed band flanked by cannetille-style scrolling wirework, and decorated with multicolored gold birds and foliage. w. 1/2”, inside dia. 6‑3/8”, 34.0 total grams Provenance: Estate of William Harvey Osborn, New Orleans, Louisiana. According to family tradition, these bracelets were owned by Edith Annabell Wright (Mrs Martin L.) Hubbs (1873‑1954) and inherited from her mother. They were passed to her daughter, Grace Annabell Hubbs (1892‑1976) who married Robert Stuart Abbott (1885‑1982); Abbott was first cousin to Marjorie Abbott Osborn, and through her the bracelets were passed to her son, William Harvey Osborn. $1,000‑$1,500


748 Citrine and Diamond Bracelet 14k yellow gold, the bracelet composed of a row of round-cut citrines weighing approximately 2.40 carats in total, bordered on the side by a row of round brilliant-cut diamonds weighing approximately 0.67 carats in total. l. 7”, total weight 17.4 grams $700‑$1,000 749

749 Citrine Cuff Bracelet 14k yellow gold, the bracelet composed of interwoven links of gold, finished on each end with a round faceted citrine cabochon weighing approximately 17.74 carats in total. inside circumference 7”, total weight 42.9 grams $1,400‑$1,800

751

750 Bulgari Tri-Colored Cross and Choker 18k yellow gold, the tri-colored gold cross engraved to symbolize rays of light, size 2‑1/4” x 2‑1/4”, suspended from a 2.70 mm round rigid gold choker, stamped “750, BVLGARI, N.Y. 18k, Made Italy”, inside circumference 14”. total weight 90.0 grams Provenance: Estate of Carolyn G. Fay, Houston, Texas. $2,500‑$4,000 751 Hammered Gold Cuff Bracelet 18k yellow/white gold, the bracelet with a hammered finish, decorated with a raised white gold band in the center. inside circumference 6‑1/2”, total weight 61.0 grams Provenance: Estate of Carolyn G. Fay, Houston, Texas. $1,800‑$2,500 750

752 Spitzer and Furman Gold Bracelet 18k yellow gold, the Italian bracelet composed of large links with a brushed texture. w. 1‑1/8”, l. 7‑1/8”, total weight 69.3 grams $2,000‑$4,000

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753 Tiffany & Co. “Lotus Root” Jade Bangle Bracelet 18k yellow gold, by Angela Cummings, the hinged bracelet mounted with various colors of carved jade. w. 1‑1/2”, inside circumference 6‑3/4”, total weight 90.0 grams Provenance: Estate of Carolyn G. Fay, Houston, Texas. $3,000‑$5,000 754 Multi-Strand Carved Jade Necklace the necklace composed of seven strands of brown jade, finished with a carved interlocking jadeite clasp. necklace l. 19”, clasp w. 1‑1/2”, l. 3‑1/2”, total weight 360.3 grams Provenance: Estate of Carolyn G. Fay, Houston, Texas. $700‑$1,000 755 Onyx, Coral and Diamond Earrings 18k yellow gold, the earrings each mounted with an ovalshaped black onyx cabochon, accented by round brilliantcut diamonds weighing approximately 1.76 carats in total, suspended from an oval-shaped coral cabochon. l. 1‑1/2”, total weight 12.0 grams

756 Coral Necklace and Earrings the necklace, 14k yellow gold, composed of elongated coral beads and yellow gold roundels, l. 42”, and the hoop earrings, 18k yellow gold, composed of cabochon-cut coral beads, l. 1”. total weight 109.1 grams Provenance: Estate of Carolyn G. Fay, Houston, Texas. $900‑$1,200 757 Art Deco Coral and Diamond Earrings platinum, the earrings with red and black coral dangling pendants, and mounted with round brilliant-cut diamonds weighing approximately 1.75 carats in total. l. 2‑3/4”, total weight 18.0 grams $5,000‑$8,000

$2,000‑$4,000

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758 Beautiful Art Deco Diamond Pendant Necklace the platinum removable pendant mounted with Old Europeancut, round brilliant-, baguette- and fancy-cut diamonds weighing approximately 3.85 carats in total, approximate color F-G and clarity VS1‑SI2, l. 2‑1/8”, suspended from an 18k white gold chain bezel-set with round brilliant-cut diamonds weighing approximately 12.50 carats in total, approximate color I-J and clarity SI2‑I1, l. 40”. total weight 29.2 grams $8,000‑$12,000 759 Diamond Engagement Ring 18k white gold, the ring mounted with a central radiant-cut diamond weighing approximately 3.02 carats, approximate color I and clarity SI3, accented by round brilliant-cut diamonds weighing approximately 0.22 carats in total. size 6‑1/2, total weight 5.4 grams $18,000‑$25,000

760 Diamond Earrings 18k white gold, the bold huggie-style earrings mounted with baguette- and round brilliant-cut diamonds weighing approximately 4.39 carats in total, approximate color E-F and clarity VVS2‑VS2. l. 1”, total weight 18.0 grams $5,000‑$8,000 761 Large Diamond Ring 18k white gold, the ring mounted with baguette- and round brilliant-cut diamonds weighing approximately 3.12 carats in total, approximate color E-G and clarity VS1‑VS2. size 7, total weight 10.0 grams $3,500‑$5,000 762 Diamond Earrings 18k white gold, the huggie-style earrings mounted with baguette- and round brilliant-cut diamonds weighing approximately 1.35 carats in total, approximate color E-G and clarity VVS2‑VS2. l. 1/2”, total weight 5.0 grams $2,000‑$4,000

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763 Gentleman’s Rolex Datejust Watch stainless steel, with a quick-set date quartz battery-operated movement, the white dial with applied silver Roman numerals and signed “Rolex, Oysterquartz, Datejust, Superlative Chronometer Officially Certified”, the adjustable deployant clasp signed by Rolex with number “17000”, reference #17000A, serial #9936xxxx. inside circumference 6‑1/2”, total weight 122.3 grams

765 Gentleman’s Gold Cufflinks 14k white/yellow gold, the round swivel-back cufflinks each designed as a skeleton watch with a white gold chapter ring with Roman numerals. dia. 13/16”, total weight 17.6 grams

$2,000‑$4,000

766 Tiffany & Co. Lapis Lazuli Cufflinks 18k yellow gold, the barbell-style cufflinks each with a 9.1 mm sphere on one end and a 9.0 mm square cube on the other end, stamped “Tiffany, 18k”. l. 1‑1/8”, total weight 9.4 grams

764 Diamond and Black Onyx Cufflinks 18k white/yellow gold, the cufflinks composed of a round black onyx cabochon accented by round brilliant-cut diamonds weighing approximately 0.60 carats in total. dia. 3/4”, total weight 15.2 grams

$800‑$1,200

Provenance: Estate of Carolyn G. Fay, Houston, Texas. $600‑$900

$1,400‑$1,800

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767 Neoclassical-Style Alabaster and Bronze Chandelier first quarter 20th century, Italian, with an alabaster bowlform base, concealing three sockets, supported on molded bronze chains. h. 37‑1/2”, dia. 24‑1/2” $700‑$1,000 768 Art Deco Amboyna, Palisander, Burlwood and Marble-Top Cabinet second quarter 20th century, the inset marble top framed by cyma-curved amboyna molding over a pair of burlwood doors opening to an interior fitted with shelves, with palisander sides and a molded palisander stand with cabriole-inspired legs and brass cup feet. h. 41”, w. 39‑1/2”, d. 12‑1/2” Provenance: The Uptowner, New Orleans, Louisiana. $1,500‑$2,500 769

769 Objet Insolite “Grand Diego” Patinated Bronze Floor Lamp the tall lamp fitted with an ivory paper shade. h. to top of shade 74‑1/2” $700‑$1,000 770 Pair of Palliser Chocolate Brown Distressed Leather Armchairs the arms with button-tufted sides, raised on chrome bracket feet, labeled. h. 33”, w. 38”, d. 36” 768

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771

771 Palliser Chocolate Brown Distressed Leather Sofa the arms with button-tufted sides, raised on chrome bracket feet, labeled. h. 33”, w. 86”, d. 36” $1,200‑$1,800 772 Patinated Steel and Granite Cocktail Table of Directoire inspiration, the rectangular steel base with inset honed black granite with a polished stripe border. h. 20”, w. 54”, d. 30” $700‑$1,000

774

773 Patinated Steel and Granite Cocktail Table of Directoire inspiration, the rectangular steel base with inset honed black granite with a polished stripe border. h. 20”, w. 54”, d. 30” 772

$700‑$1,000 774 Imposing Pair of English Bronze-Patinated Composition Table Lamps in the form of Egyptian maidens in the Regency taste, on faux black marble octagonal fluted bases, the figures wearing Egyptian headdresses supporting anthemion-molded amphoras, now fitted with custom brushed steel shades. overall h. 43”, w. 12‑1/4”, d. 12‑1/4” $700‑$1,000

773

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775 French Bronze and Porcelain Garniture Urn

778

ca. 1900, now mounted as a lamp, on a verde antico marble base, the patinated bronze vase decorated with grapes and Dionysian dancers, trimmed with gilt-bronze and set with swan’s-head handles. h. 31”, w. 9”, d. 5” $600‑$900 776 Continental Patinated Bronze Figure of “The Youthful Bacchus” holding a skin filled with wine, mounted on a polished black granite base. h. 32‑1/4”, w. 16‑1/2”, d. 8‑1/2” $700‑$1,000 777

777 Bronze Figure of Hercules 20th century, depicting his third labor of capturing the golden stag of Artemis, on an oval molded base. h. 25‑1/2”, w. 27‑1/2”, d. 14‑1/4” $800‑$1,200 778 After Joshua Reynolds (British, 1723‑1792) “The Infant Hercules Strangling the Serpents” oil on canvas unsigned, verso with “Sir John Savile’s Collection of Pictures at Rufford Abbey, 1888” label. Presented in a giltwood and gesso frame. 58” x 57”, framed 66” x 65‑1/2” $4,000‑$7,000

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782 Collection of Six Framed Grand Tour Plaster Medallions second quarter 19th century, Italian, the collection including twenty-nine medallions in an oblong frame, mostly profiles, lined with gilt braid, h. 11”, w. 22‑1/4”, two medallions on marbleized paper in shadowbox frames, h. 6‑1/2”, w. 6‑1/4” and h. 6‑3/4”, w. 6‑1/2”, two medallions on gray grounds in gilt frames, h. 5”, w. 4‑3/4” and h. 5‑1/4”, w. 5”, and twenty-four gilt braidlined medallions in an oval giltwood frame, h. 11‑3/4”, w. 13”. $700‑$1,000

779

779 Continental Art Deco Satinwood and Fruitwood Writing Table early 20th century, the rectangular pieced veneer top with an inset gilt-tooled leather writing surface, above a conforming frieze fitted with a single drawer, raised on reeded, bulbous tapering circular legs ending in ebonized pegs, the whole with ebonized accents. h. 29”, w. 41‑1/4”, d. 24”

780

$1,500‑$2,500 780 Collection of Four Framed Grand Tour Plaster Medallions second quarter 19th century, Italian, the collection including a pair of oblong ebonized frames mounted with fourteen medallions on a linen backing, h. 7‑1/4”, w. 14”, a collection of thirteen medallions in an American faux burl walnut frame, h. 16”, w. 17‑1/2”, and nineteen medallions in a bird’s-eye maple frame, h. 12”, w. 9‑3/4”. $700‑$1,000 781 Impressive Collection of Grand Tour Plaster Medallions

781

second quarter 19th century, Italian, the ninety-three medallions in various shapes and sizes, handsomely arranged in a contemporary giltwood shadowbox frame. h. 17‑3/4”, w. 36‑1/2” $700‑$1,000

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783 Contemporary Neoclassical-Style Table Lamp 20th century, decorated with a composition bust of the Goddess Ceres, on an acrylic base. h. 26”, w. 6‑1/2”, d. 4‑1/2” $600‑$900 784 Faux Porphyry-Painted Terracotta Bust of Diana 20th century, Continental, the classic form presented on a faux verde antico-painted base. h. 19‑1/4”, w. 7‑1/2”, d. 11‑1/4” Provenance: Balzac Antiques, New Orleans, Louisiana. $700‑$1,000 785 Collection of Seven Framed Neoclassical Medallions second quarter 19th century and later, the collection including a framed shadowbox of forty-three plaster medallions on linen, h. 16”, w. 17‑1/2”, four matching medallions, possibly Bing & Grondahl, in carved wooden frames, h. 10”, w. 10”, and a pair of medallions in limed wooden frames, dia. 7‑1/2”.

785

787 Pair of Empire-Style Fruitwood and Marble-Top Occasional Tables 19th century, each with a circular marble top raised on three ormolu-mounted columnar supports to a concave tripartite base. h. 24‑1/4”, dia. 26” $800‑$1,200

$700‑$1,000 786 Lucie Malfilatre (French, b. 1871) “Boats on a Beach, in a Cove at Twilight” oil on canvas signed lower left. Framed. 45” x 64”, framed 49‑3/4” x 68‑3/4” $8,000‑$12,000

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789 Seven-Piece Collection of Neoclassical Objets Decoratifs 19th/20th century, Italian, including a pair of fruitwood obelisks, h. 12‑3/4”, w. 2‑1/2”, a bronze and marble coupe supporting a marble sphere, h. 5‑3/4”, dia. 2‑3/4”, and four bronze figures: two of Narcissus, one of David and one of a satyr, h. 6‑1/4” to 11‑1/4”, w. 2” to 4‑1/4”. $700‑$1,000 788

790 Five-Piece Collection of Egyptian Revival Grand Tour Souvenirs fourth quarter 19th century and later, the collection including a bronze “Cleopatra’s Needle” on a marble base, h. 12”, w. 4‑3/4”, a bronze and marble sphinx candlestick, h. 6”, dia. 2‑3/4”, two figures of mummies, h. 5‑1/2” to 7”, w. 1‑1/2”, and a bronze ibis on a wooden base, h. 3‑1/2”, w. 1‑3/4”. $700‑$1,000

789

788 Five-Piece Collection of Terracotta, Bronze and Marble Neoclassical Objets Decoratifs late 19th/early 20th century, Continental, including a pair of terracotta red figure vases of Attic inspiration, h. 4‑3/4”, dia. 3”, a winged bronze lion, h. 4”, w. 5‑1/2”, a bronze seal with a figure of Hermes, h. 3”, w. 1‑3/4”, and a metal bust of Herodotus on a marble base, h. 6‑1/2”, w. 1‑3/4”. $700‑$1,000

791

791 Pair of Continental Egyptian Revival Rosewood, Ebonized and Marble-Top Pedestals third quarter 19th century, each of pyramidal form with a carved molding across the top and around the base, each with an inset white marble top and a circular marble plaque mounted to the front. h. 36”, w. 24‑1/2”, d. 16‑1/2” $2,500‑$4,000

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792 Seven-Piece Collection of Neoclassical Objets Decoratifs 19th/20th century, including two polychrome wood and metal coupes supporting stone spherules, h. 7‑1/2”, dia. 2‑3/4” and 3”, and five patinated bronze figures including a satyr, Bacchus, Silenus and Poseidon, along with a finely detailed bust of a bearded man, h. 4‑3/4” to 6”, w. 1‑1/2” to 3‑1/2”. $700‑$1,000 792

793 Six-Piece Collection of Grand Tour Objects late 19th/early 20th century, Italian, including bronze and metal figures of the goddesses Athena, Venus, and Salome with the head of John the Baptist, h. 5‑3/4” to 8‑1/2”, dia. 1‑1/2” to 3‑1/4”, and a kylix on a red griotte marble base, a “coin” decorating the bowl interior, h. 4”, dia. 5”. $700‑$1,000

794

794 Collection of Seven Neoclassical Bronze and Patinated Metal Sculptures 793

second half 19th century, Continental, including a patinated bronze Narcissus, h. 11”, dia. 4”, a bronze Perseus with the head of Medusa, h. 5‑3/4”, w. 1‑1/4”, a bronze “Dying Gaul”, h. 3‑1/4”, w. 6”, a bronze bust of Apollo Belvedere, h. 5”, w. 3‑1/4”, a patinated metal “Discobolus”, h. 4‑1/2”, w. 2‑1/4”, a patinated metal “Discobolus”, h. 4‑1/2”, w. 2‑1/4”, and a French Napoleon III bronze chamberstick with a molded swan, h. 3‑1/4”, w. 6‑1/2”. $700‑$1,000 795 Pair of Neoclassical Mahogany Pedestals 19th century, each with a dished circular top raised on a fluted columnar standard with bellflower carving, to a guilloche-carved base on a socle platform. h. 32‑1/4”, w. 14‑1/4”, d. 13‑1/2” $1,500‑$2,500

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797 British School (Fourth Quarter 19th Century) “Death of Ahithophel” oil on canvas unsigned. Framed. 40” x 53”, framed 47” x 60” $4,000‑$7,000 In mid-19th century England there was a shift from the grand historicizing paintings extolled by the salons and academies towards more intimate scenes chosen specifically to engage the sentiments of viewers. Inspired in part by the somewhat radical attitude of the Pre-Raphaelite artists, these resulting works were meticulously and intricately detailed – though not necessarily historically accurate. Great attention is given to textures, patterns and design elements, and the scenes themselves were often instantly identifiable to the intended audience.

796

796 English Mahogany Bookcase the domed and molded top above an open case fitted with shelves and flanked to either side by fluted pilasters, raised on a plinth base. h. 118”, w. 63”, d. 14” $800‑$1,200

The work offered here is of the suicide of Ahithophel from 2 Samuel 15-17. Though this reference may seem somewhat obscure to contemporary viewers, it was a scene well known to artists of the day; the Pre-Raphaelite artist Edward Burn-Jones completed a related stained glass window. Ahithophel had been a close ally to King David before betraying him and joining forces with his sworn enemy Absalom. When Ahithophel discovers his counsel has been ignored, he returns to his home and hangs himself. The artist has chosen the moment when Absalom is confronted with the dead body of his councilor. This masterfully composed scene portrays Ahithophel’s inert, pale body languidly draped atop the white bedclothes and is in intentional stark contrast to the deep, dark tones of the rest of the painting. The viewer’s attention is instantly drawn to the young man’s body, before taking in the various other elements; the figure grasping his head in despair, the gossiping couple beyond the doorframe to the right, the aide at left. It is a complex scene, with wonderfully detailed draperies and architectural elements.

797

241


798 Continental Neoclassical Mahogany Commode mid-19th century, the stepped rectangular top above a concealed frieze drawer over three long drawers, over an ogee-molded apron drawer with elaborate scrolling foliate inlays, raised on molded wheel-form feet. h. 42”, w. 48‑1/2”, d. 23‑1/2” $800‑$1,200 799 Suite of Six Neoclassical-Style Ebonized and Parcel-Gilt Side Chairs 800

each with a curved crest above a gilt splat in the form of affronted griffins, the padded seat raised on tapering circular legs ending in gilt paw feet. h. 33” $1,800‑$2,500 800 Collection of Eight Grand Tour Bronzes fourth quarter 19th century, the collection including a Trajan’s column, a triumphal arch, a coupe, a lion and emperors of Rome. h. 2‑1/4” to 11‑1/2”, w. 1” to 4‑1/2” $700‑$1,000

801

801 Collection of Ninety-Nine German Grand Tour Plaster Medallions second quarter 19th century, all lined with gilt-brass and mounted in a painted and covemolded frame of the same vintage, the back with an original guide identifying the various medallions. h. 25‑1/2”, w. 29‑1/2” $700‑$1,000 798

242

799


805

805 Pair of Empire-Style Polychrome Stools each with a padded, rectangular zebra-upholstered top raised on shaped and molded legs ending in hoof feet. h. 16‑1/2”, w. 18”, d. 14” $1,000‑$1,500

803

802 Louis XVI-Style Highly Figured Scagliola Column late 19th century, the square top above a cylindrical shaft to a molded circular base raised on a socle base. h. 50‑3/4”, w. 13‑1/2”, d. 13‑1/2” $700‑$1,000 803 George Dureau (American/Louisiana, 1930‑2014) “Centaur and Male Nude”, 1993 pastel and mixed media on paper signed and dated lower right. Matted, glazed and framed. sight 40” x 28‑1/4”, framed 49‑1/2” x 36‑1/2” $2,500‑$4,000 804 Mario Villa (Nicaraguan/Louisianian, b. 1953) “Figure Draped”, 1996 glazed and painted papier-mache signed and dated at right corner of base. h. 73‑1/4”, w. 24”, d. 16” Provenance: Collection of Mario Villa, New Orleans, Louisiana; Private collection. $2,000‑$4,000 802

804

243


806 After Antonio Canova (Italian, 1757‑1822) “Maiden”, ca. 1900 carved alabaster after the first quarter 19th century marble discovered in the artist’s studio after his death and now conserved at the National Gallery of Art, Washington, D.C., the classically draped figure supporting herself delicately on one foot, a floral wreath draped over one arm. h. 22‑1/2”, w. 7‑1/2”, d. 5” $800‑$1,200 806

807 Carrara Marble Statue of Venus Italica after Antonio Canova (Italian, 1757‑1822), carved by Attilio Giustini, fourth quarter 19th century, Firenze, presented on a column-form pedestal carved with swags of flowers held with bowknots, and signed on the rear, “Attilio Giustini, Firenze”, a professor at The Art Institute of Firenze. statue h. 69”, pedestal h. 33‑1/2”, dia. 26”, overall h. 102‑1/2” $75,000‑$125,000

244

807

807 details


808 Swedish-Style Bronze and Prism-Hung Chandelier first half 20th century, the circular frame with eight S-curved arms and dressed with multiple tiers of U-drop prisms and crystal pendalogues. h. 36”, dia. 31” $1,800‑$2,500 809 French Neoclassical Parcel-Gilt Trumeau Mirror ca. 1800, the giltwood leaf-molded surround inside a green-painted frame, the oil-on-canvas painting of the muse Urania with a globe, cupids flying above with wreaths of flowers. h. 64‑1/2”, w. 28‑1/4” $1,200‑$1,800 810 808

810

Pair of Directoire-Style Gilt-Metal and Granite Pedestals each with a circular top within a pierced frieze, raised on tubular legs joined by vertical X-form stretchers and ending in ball feet. h. 40‑1/2”, dia. 13” $1,200‑$1,800

809

245


811 Russian Neoclassical Mahogany Center Table mid-19th century, in the Jacob manner, the elongated octagonal top within a brass banding, above a central drawer to either side, the other six sides all fitted with a paneled cupboard, raised on tapering square legs ending in caps and casters, the whole with decorative brass banding and accents in the Jacob taste. h. 30”, w. 42”, d. 35‑1/2” $3,000‑$5,000

811

813 Continental Neoclassical Fruitwood and Marble-Top Commode mid-19th century, the rectangular marble top with canted corners, above a conforming case fitted with two graduated long drawers, flanked to either side by brass-inset canted and fluted panels, raised on like-inset tapering square legs ending in brass caps. h. 30‑1/2”, w. 42”, d. 20‑1/2” $1,500‑$2,500

812

812 Pair of Italian Neoclassical-Style Giltwood Altar Sticks ca. 1900, the scrolled feet supporting turned and carved bases with reeded leaf-carved, the tapering standards mounted with leafcarved capitals, and supporting gilt tole candle sockets and fluted drip pans. h. 31‑1/2”, dia. 7” $800‑$1,200

813

246


814 Continental Neoclassical Fruitwood Bureau mid-19th century, the rectangular top with decorative banding, above a like-banded slant front opening to small drawers flanking an arched storage space, above a case fitted with three like-banded graduated long drawers, raised on tapering square legs. h. 45‑1/2”, w. 51”, d. 23” $600‑$900

814

815 Continental Neoclassical Fruitwood Bureau Cylindre mid-19th century, the rectangular top above a banded parquetry-veneered roll-top opening to an interior fitted with various drawers and cubbyholes, over two graduated long drawers, the sides with decorative banding, raised on tapering square legs. h. 43‑1/2”, w. 47”, d. 26” $1,200‑$1,800

815

816 Pair of Continental Neoclassical Kingwood and Marble-Top Commodes mid-19th century, each with a rectangular marble top above a conforming case fitted with two drawers, each banded and quarter-veneered, centered by an inlaid star, the sides veneered en suite, raised on tapering square legs ending in brass caps. h. 28‑1/2”, w. 16‑1/4”, d. 12‑3/4” $1,500‑$2,500

816

247


819 Contemporary Giltwood and Mirrored Center Table in the Empire taste, the inset circular mirrored top above a paneled frieze, joined by lion’s head supports to a smaller glass shelf, raised on reeded legs ending in paw feet. h. 31”, dia. 50” $800‑$1,200 820 Pair of Giltwood Pedestal Cabinets late 19th century, each with a stepped rectangular top above a shield-carved frieze, raised on a fluted, paneled and urncarved tapering standard to a molded plinth base, the back of each fitted with a cupboard door. h. 47”, w. 14‑1/2”, d. 14‑3/4” $2,000‑$4,000 817

817 Pair of Italian Neoclassical Giltwood Altar Sticks second quarter 19th century, supported by paw feet, the bases decorated with flowerheads and mounted with tapering leaf-carved standards terminating in flaring capitals with pricket-form metal candle sockets. h. 37‑3/4”, dia. 8‑3/4” $800‑$1,200 818 Continental Kingwood and Marble-Top Cabinet mid-19th century, the demi-lune marble top with a molded edge, above a conforming case fitted with a central cupboard door, banded, quarter-veneered and centered by an inlaid floral spray, flanked to either side by a banded cupboard door, raised on tapering square legs ending in brass caps. h. 38”, w. 32”, d. 19‑1/2” 818

$900‑$1,200

248

819

820


821 Pair of Neoclassical-Style Giltwood Brackets 20th century, Italian, decorated with molded acanthus leaves and swags of fruit, held by ribbons under the molded shelves on top. h. 21‑1/2”, w. 8”, d. 7‑1/2” $1,000‑$1,500

822

821

822 Continental Neoclassical Mahogany Sideboard mid-19th century, the bowed top triple-banded and centered by an oval pastoral panel, above a conforming case fitted with a banded, scrolling foliate-inlaid drawer flanked to either side by a cupboard door centered by a figural panel, raised on tapering square legs. h. 31”, w. 44‑1/2”, d. 21” $700‑$1,000 823 Neoclassical Mahogany Bureau Cylindre mid-19th century, the superstructure with a canted and molded cornice, above a tambour cabinet over two drawers, the lower section fitted with a cylinder bureau opening to a pull-out writing surface and a central tambour cupboard flanked to either side by two small drawers, over a long central drawer flanked to either side by two small drawers, raised on fluted tapering circular legs ending in toupie feet. h. 72”, w. 58”, d. 28” $700‑$1,000 823

249


824

826

250

825

827


828

829

824 Antique Kerman Carpet 9’ 9” x 13’ 3” $1,500‑$2,500 825 Heriz Carpet 9’ 2” x 12’ 5” $2,500‑$4,000 826 Turkish Angora Oushak Carpet

828 Turkish Angora Oushak Carpet 10’ x 13’ 10” $1,200‑$1,800 829 Antique Heriz Carpet 9’ 6” x 12’ 2” $2,000‑$4,000 830 Mahal Carpet

10’ x 13’ 10”

6’ 5” x 9’ 5”

$1,200‑$1,800

$1,000‑$1,500

827 Heriz Carpet 9’ 9” x 12’ 6” $1,200‑$1,800

830

251


831

832

831 Feraghan Carpet 5’ 1” x 9’ $1,200‑$1,800 832 Silk Tabriz Carpet 7’ 10” x 10’ 1” $1,000‑$1,500 833 Antique Tabriz Carpet 11’ x 16’ $1,000‑$1,500

833

252


834

836

834 Heriz Carpet 9’ 3” x 10’ 11” $1,000‑$1,500 835 Tabriz Carpet 11’ 3” x 14’ 7” $1,800‑$2,500 836 Semi-Antique Senneh Carpet 4’ 7” x 5’ 5” $800‑$1,200

835

253


837

838

839

254

840

837 Turkish Angora Oushak Carpet

839 Heriz Carpet

10’ 3” x 13’ 9”

7’ 7” x 10’ 10”

$1,200‑$1,800

$3,000‑$5,000

838 Turkish Angora Oushak Carpet

840 Semi-Antique Tabriz Carpet

8’ x 9’ 10”

8’ 6” x 11’ 2”

$700‑$1,000

$800‑$1,200


841 Turkish Oushak Carpet 9’ 3” x 12’ 1” $900‑$1,200 842 Tabriz Carpet 4’ x 5’ 4”’ $700‑$1,000 843 Semi-Antique Persian Kerman Carpet 12’ x 15’ 4” Provenance: Samir El Helou Oriental Rugs, Lafayette, Louisiana; private collection. $6,000‑$9,000

843

841

842

255


844 Neoclassical Elmwood Settee 19th century, in the Biedermeier taste, the padded triple back joined by scrolling wing-carved arms to the shaped and padded seat, raised on splayed legs ending in scrolled toes. h. 35‑1/2”, w. 66”, d. 21” $2,000‑$4,000 845 Biedermeier-Style Burl Satinwood and Marble-Top Secretaire a Abattant late 19th century and later, the rounded rectangular marble top above a case fitted with an ogee-molded drawer over a drop front, opening to an inset leather writing surface and drawers, over three long drawers, all with inlaid scrolling patterns, raised on shaped bracket feet. h. 55‑1/2”, w. 34”, d. 17” $1,500‑$2,500

845

846 Biedermeier-Style Burl Satinwood and Marble-Top Commode late 19th century and later, the rounded rectangular marble top above a case fitted with an ogee-molded drawer over three long drawers, all with inlaid scrolling patterns, raised on like-inlaid bracket feet. h. 39‑1/2”, w. 40‑1/2”, d. 21” $1,800‑$2,500 846

256

844


847 Suite of Six Biedermeier-Style Blonde Fruitwood Dining Chairs early 20th century, consisting of two armchairs and four side chairs, each with a curved crest above a lyre-form splat, the padded seat raised on fluted tapering circular legs headed by an ormolu capital and ending in brass caps. h. 35‑1/4” $1,500‑$2,500

849

848

849 Gilt and Patinated Metal Balloon-Form Chandelier

848 Biedermeier-Style Fruitwood Center Table

second quarter 20th century, Continental, the six-light chandelier in the form of a balloon supporting a patinated metal basket set with scrolled candle arms with tulip-form candle holders. h. 39‑3/4”, dia. 16‑1/2”

the circular top with decorative line inlay, above a frieze with recessed ormolu paterae, raised on six giltwood scrolling supports with foliate designs, to a lower circular base to gilt paw feet. h. 29”, dia. 41”

$700‑$1,000

$3,000‑$5,000

847

257


852

852 Josep Grau-Garriga (Spanish, 1929‑2011) 850

“Petita Gestacio”, 1972 woven wall hanging signed, titled and dated en verso. 40” x 25”

850 Justin Garcia (American/Texas, Contemporary)

Provenance: Mary K. L. Kurtz Charitable Lead Trust, Houston, Texas. $1,000‑$1,500

“Desert Sunset”, 2009 oil on board signed lower right, signed, titled and dated en verso. Presented in a contemporary frame. 30” x 30”, framed 35‑3/4” x 35‑3/4” $3,000‑$5,000

851 Leonardo Nierman (Mexican, b. 1932) “Autumn Wind” acrylic on masonite signed lower left, titled en verso. Framed. 30‑1/2” x 22‑1/2”, framed 32‑1/4” x 24‑1/4” $1,500‑$2,500

851

258


853

853 Louise Guidry (American/Louisiana, b. 1930) “Trees and Sky” acrylic on gallery-wrapped canvas signed lower right. Unframed. 48” x 48” $3,000‑$5,000 854 Louise Guidry (American/Louisiana, b. 1930)

854

855 Biedermeier Birch Commode first quarter 19th century, the stepped top above a case fitted with three long drawers, each with recessed panel decoration, raised on shaped block feet. h. 31‑1/2”, w. 37”, d. 19‑1/2” $700‑$1,000

“Galaxies” acrylic on gallery-wrapped canvas signed lower left. Unframed. 30” x 24” $2,000‑$4,000

856

856 Pair of Art Deco Fruitwood Bergeres 20th century, in the Biedermeier taste, each with a cushioned triangular back surmounted by an ebonized crest, joined by padded outswept arms to the cushioned seat, raised on splayed tapering square legs. h. 37” $1,500‑$2,500

855

259


857 Erte (Romain de Tirtoff, Russian/French, 1892‑1990)

858 Erte (Romain de Tirtoff, Russian/French, 1892‑1990)

“La Serenade” and “Vamps - Circe”, each 1979

“Dream”

two lithographs in colors each pencil-signed and numbered “252/300” and “AP 13/60”, respectively, lower margin. Each matted, glazed and framed. 18” x 15” and 19” x 12‑1/2”, respectively, framed 32” x 28‑3/4” and 33‑1/4” x 26‑3/4”, respectively

lithograph in colors pencil-signed and numbered “137/300” lower margin. Matted, glazed and framed.

$1,000‑$1,500

sight 26‑1/4” x 20‑3/4”, framed 34‑1/4” x 33‑1/2” $1,000‑$1,500

857 one of two

859

859 Jorge Alarcon Islas (Mexican, b. 1933) “Untitled - Nude” verdigris patinated bronze incised signature along side, on a square stone plinth. overall h. 12”, w. 5‑1/2”, d. 4‑3/4” $600‑$900

858

260


860

860 Jorge Alarcon Islas (Mexican, b. 1933) “Untitled - Seated Woman” patinated bronze cast signature along back, on a beveled black marble plinth. overall h. 12‑3/4”, w. 6‑3/8”, d. 6‑1/4” $600‑$900 862

861 Atelier Primavera au Printemps Stoneware Art Deco Vase second quarter 20th century, French, decorated with a roundel of a seated nude on one side and a nude picking a flower on the other, against a gray ground with navy vermicelli decoration, incised “Primavera France” on the base. h. 11”, dia. 8” $700‑$1,000 862 Austrian Art Deco Patinated Bronze of a Female Dancer 20th century, in the style of “Hagenauer Wien, Austria”. h. 61”, w. 6‑1/4”, d. 7” $1,200‑$1,800 861

261


863 866

866 French Patinated Bronze of “German Shepherds” 20th century, after Charles Paillet (French, 1871‑1937), cast signature and inscribed “Medaille d’or” along front of self-base. h. 21”, w. 32‑1/2”, d. 11” $2,000‑$4,000 865

863 Art Deco-Style Patinated Bronze Figural Grouping of a Fashionable Lady Walking Her Dogs 20th century, on a thin green marble base. figure h. 36”, w. 22” d. 12”, marble base w. 51”, d. 20” $4,000‑$7,000 864 Wayman Adams (American, 1883‑1959) “Portrait of the Soprano Dorothy Kirsten” oil on canvas signed lower right. Framed. 80” x 68”, framed 84” x 74” Provenance: Estate of Wayman Adams and descended in family; Private collector. $6,000‑$9,000 865 Continental Patinated Bronze of “Chiens” 20th century, on a rectangular Siena marble base. overall h. 8‑1/2”, w. 12‑1/2”, d. 4‑3/4” $600‑$900 864

262


867 Collection of Four Gilt-Bronze Cabinet Bronzes of Dogs first quarter 20th century, including an Airedale, Doberman Pinscher, Retriever and a Setter, each on a portoro marble base. h. 3‑1/2” to 5”, w. 5” to 7” $800‑$1,200 867

869 Cast Bronze and Glass Ibex Dining Table ca. 1960s/70s, designed by Alain Chervet, the circular beveled glass top on a pair of ibex heads with curved horn supports. h. 29‑3/4”, dia. 60” $2,000‑$4,000

868

868 Exceptional E. F. Caldwell Bronze and Marble Mantel Clock second quarter 20th century, New York, on a molded gilt-bronze base, the verde antico marble dial supported on a matching marble base by a pair of animated gilt-bronze satyrs, signed “E. F. Caldwell Co., New York” on the back. h. 14”, w. 20‑1/2”, d. 5‑1/4” $3,000‑$5,000

870

870 Patinated Metal Table Lamp in the Japanese Taste second quarter 20th century, the standard decorated with a crane standing amongst lotus blossoms, above a lily pad base, mounted with a shade. h. 34‑3/4”, dia. 18” $800‑$1,200

869

263


871

873

872

871 Two Daum Nancy Berluze Solifleur Vases ca. 1918‑1925, French, including a large amber and blue mottled example, h. 21‑1/2”, dia. 5‑3/4”, and a small amber and brown mottled example, h. 7”, dia. 2”, both signed “Daum Nancy”, and with a Croix de Lorraine on the side. $800‑$1,200 872 Rare Vitrified Cameo Glass Vase, Attributed to Daum first quarter 20th century, French, with an outer vitrified layer carved as trees, cut to reveal an orange and yellow mottled sky over a dark green horizon, the front panel carved with a village scene including a church tower, unsigned, the bottom drilled for a lamp. h. 11‑1/2”, dia. 4‑1/2” $1,200‑$1,800 873 Pair of Bronze Art Deco Figures in the Manner of John Bradley Storrs (American, 1885‑1956) molded front and back, meant to be viewed from both sides, possibly in a gate or screen. h. 21‑1/2”, w. 21”, d. 1‑1/2” $3,500‑$5,000 Storrs was a sculptor known for exploring the relationship between architecture and sculpture.

874

874 Jan Showers Designed Mirror of Regency Inspiration 20th century, American, the distressed and beveled mirror glass surround decorated with a painted Greek-key ornament. h. 53‑1/2”, w. 40” $1,000‑$1,500

264


875 John Dickinson (American, 1920‑1982), Galvanized Tin and Brass Console Table, Model 57 1970s, bearing a brass label signed: “John Dickinson/XLVIII”. h. 30”, overall w. 58”, overall d. 30” $7,000‑$10,000

875

876 Interesting “Industrial” Steel and Iron Oval Dining Table the galvanized and waxed steel top resting on a weathered iron industrial base. h. 28‑3/4”, w. 52”, l. 84” $800‑$1,200

876

877 Contemporary Brass-Mounted Iron and Glass-Top Table of neoclassical inspiration, the inset plate-glass top and X-form paneled aprons with oval brass rosettes, raised on square iron legs. h. 30”, w. 72”, d. 41” $1,000‑$1,500

877

265


878 Michael Tracy (American, b. 1943) “Iconito”, 1996 mixed media sculpture carved giltwood edifice on a black metal support base, inscribed “For Mary Lynch Kurtz With Love M. Tracy” on base. overall h. 18‑1/4”, w. 16‑1/2”, d. 6‑1/4” Provenance: Mary K. L. Kurtz Charitable Lead Trust, Houston, Texas. $1,000‑$1,500 879 Bernhard Rohne for Mastercraft Brass Mirror 878

pre-1985, American, the brass frame set with a beveled mirror plate, the upper portion set with one of Rohne’s signature acid-etched tablets. h. 54”, w. 30‑1/2” $700‑$1,000

880

880 Schonbek “La Scala” Metal and Cut Glass Chandelier 879

third quarter 20th century, Continental, the twenty-five-light chandelier with an “antique silver” finish and a standard set with cut glass vasiform sleeves, the scroll-molded candle arms on three levels, with two levels of sprays of drops hung above. h. 39”, dia. 32” $3,000‑$5,000

266


881 Argente Metal and Onyx-Top Console Table in the Louis XVI style, the slightly bowed rectangular top with concave corners, above a scrolling foliate-pierced frieze, raised on fluted tapering circular legs ending in tubular feet, bearing an engraved signature "A.Bergue". h. 31”, w. 55‑1/4”, d. 11‑3/4” $3,000‑$5,000

882

881

882 Adolphe Mouron Cassandre (French, 1901‑1968) “Bonal”, 1935 color lithograph poster backed by linen signed in plate upper right, printed by Alliance Graphique, Paris. Unframed. 63‑1/4” x 47‑1/2” $1,000‑$1,500 883

884

883 Set of Nineteen Baccarat Crystal “Corton” Red Wine Goblets ca. 1932‑1961, French. h. 6‑3/4” $900‑$1,200 884 Partial Service of Baccarat “Auteuil” Stemware ca. 1951‑1970, including eight tall water goblets, h. 7‑1/2”, eight claret glasses, h. 6‑1/4”, and six champagne coupes/sherbet glasses, h. 5”. $600‑$900 885 Pair of Acrylic Gondola Chairs the seats upholstered in ivory linen and silk burlap. h. 32” $1,000‑$1,500

885

267


886 Biedermeier-Style Fruitwood Commode early 20th century, the rounded rectangular top above a conforming case fitted with three long drawers, raised on bracket feet. h. 32”, w. 43‑1/2”, d. 22” $800‑$1,200

886

887 Biedermeier-Style Burlwood Bureau Plat early 20th century, the rectangular top inlaid with a gilt-tooled writing surface, above a frieze fitted with three side drawers, raised on shaped legs joined by an “H”-form plinth stretcher, the whole accented with patinated brass mounts. h. 31‑1/2”, w. 70‑1/2”, d. 33‑1/4” $800‑$1,200

887

888 Michael Tracy (American, b. 1943) “Self Portrait, Diptych” acrylic and gouache on paper no visible signature. Each glazed and presented in a modern gallery frame. each 38‑1/8” x 25‑7/8”, each framed 40” x 27‑3/4” Provenance: Mary K. L. Kurtz Charitable Lead Trust, Houston, Texas. $1,500‑$2,500

888 one of two

268

888 two of two


889 Millie Fiore (American/Louisiana, Contemporary) “Abstract in Black and White” oil on panel Unframed. 48‑1/4” x 36” $1,000‑$1,500 890 Joseph Glasco (American, 1925‑1996) “Churches in Santa Fe”, 1975 acrylic on paper laid on canvas signed and dated lower right. Glazed and presented in a modern gallery frame. 59” x 39‑1/8”, framed 61” x 40‑7/8”

889

Provenance: Mary K. L. Kurtz Charitable Lead Trust, Houston, Texas. $1,000‑$1,500 891 Contemporary Taupe Leather and Linen Sofa the leather-covered frame with linen seat and back cushions, including two matching end pillows, the tapered walnut legs ending in brass caps. h. 32”, w. 76‑1/2”, d. 33” $800‑$1,200

890

891

269


892 Contemporary Taupe Leather and Linen Sofa the leather-covered frame with linen seat and back cushions, including two matching end pillows, the tapered walnut legs ending in brass caps. h. 32”, w. 76‑1/2”, d. 33” $800‑$1,200 893 Contemporary Mirrored Coffee Table in the Art Deco Taste

893

the shaped top and sides with beveled mirrors in a smoky finish, raised on likemirrored tapering square legs. h. 16”, w. 37”, d. 37” $600‑$900 894 Pair of Contemporary Chrome and Faux Leopard-Covered Benches each with an X-form support joined by a stretcher, the padded seat upholstered in leopard-printed fur. h. 19‑1/2”, w. 21‑1/2”, d. 24”

894

$900‑$1,200 895 Art Deco-Style Brushed Steel Table and Four Chairs the circular table with a plate-glass top, h. 30”, dia. 42”, and the four arrow-back armchairs with padded seats, h. 33”. $1,200‑$1,800

895

892

270


896 Clayton Whitehouse (American, b. 1936) “Untitled” kinetic chrome steel sculpture incised signature and dated “91” along bottom element, on a shaped black base. overall h. 31”, w. 15”, d. 12‑1/2” $1,000‑$1,500 897 Pair of Chrome “Gable End” Andirons post-1997, in the mid-century style, with pierced rectangular standards, labeled on the lower rear: “Dragonette, Los Angeles”. h. 17‑3/4”, w. 12”, d. 7” $700‑$1,000

896

898 Pair of Tubular Steel and Leather Eileen GrayStyle Bibendum Armchairs with an E-1027 Table the 1926 design of the chairs inspired by the “Michelin Man”, with white leather upholstery and chromed steel frames, h. 27‑1/2”, the side table designed by Gray, ca. 1924, with an adjustable circular glass top, h. 26”, dia. 20‑1/2”.

897

$800‑$1,200

898

271


899

272


899 Albert Paley (American, b. 1944) “Sphere Floor Lamp”, 1994 patinated forged steel, frosted glass shade cast signature and date on base. h. 73‑1/2”, dia. 29” Provenance: Galerie Simonne Stern, New Orleans, Louisiana. Literature: Lucie-Smith, Edward and Albert Paley. The Art of Albert Paley: Iron, Bronze, Steel. New York: N. Harry Abrams, 1996. $7,000‑$10,000 “With forged iron, I deal with plasticity. I’m dealing with vulnerability. I have no idea of what I’m capable of doing. It’s only through the process and experience that I understand what my possibilities are and what my limitations are. If I don’t challenge myself, I have no idea. I have just one time to do this.” --Albert Paley Albert Paley, a contemporary metal sculptor and endowed Professor of Art at Rochester Institute of Technology in Rochester, New York, is one of the world’s leading metalsmiths, well known for the famous Art Nouveau-style Portal Gates he created in 1974 for the Renwick Gallery at the Smithsonian Institute in Washington, D.C. He has created more than fifty site-specific sculptures and an impressive line of furniture design that is seldom offered at auction. His works are in the collections of major museums throughout Europe and the United States, including the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Houston, the Museum of Fine Arts in Boston, and the Victoria and Albert Museum in London. And he is the first sculptor to receive the Lifetime Achievement Award from the American Institute of Architects. Before his career took off with the Renwick commission, Paley was first a jewelry designer in the late 1960s at the height of the Art Nouveau revival, creating large sumptuous pieces of twisted gold,

copper and semi-precious stones that swirled and flowed like botanical forms that bespoke of the psychology of the times that Paley described in an interview with NPR as creating “a sense of self, a sense of bearing... What does jewelry do to the individual[s]? How does it manifest their ego or their presence?” Paley’s early proclivity for how to “emotionally and intellectually engage the viewer” through metallurgy underlies all of his work. As stated in the opening quote, Paley’s sculptures are a tour de force of forged movement, of synthesized line, form and ambiance through the literal and symbolic transformation of states, between elasticity and the inelastic ore, associated with modern industry. Paley studios decor line is yet another extension of this aesthetic exploration that specializes in lighting, another key element in architecture. “Sphere Floor Lamp” coaxes new forms that are both fluid and flotsam, sculpting unity and deconstruction through the inertia of bending, power lathes and pneumatic hammers that exemplify Paley’s virtuoso. References: Paley, Albert. Paley Studios. Scriptable Solutions. 2018. Web. 21 Feb. 2018; Stamberg, Susan. “With Swirls Of Steel, These Sculptures Mark The Passage Of People And Time”. NPR. 22 July 2014. Web. 22 Feb. 2018.

900 Contemporary Bronze and Glass-Top Cocktail Table with a monogram “NO86”, the base molded in the form of gnarled vines. h. 19”, w. 46‑1/4”, d. 22” $800‑$1,200

900

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902 David Halliday (American, b. 1958) “Atlantic Waves - Nantucket Island” “Untitled” pair of toned gelatin silver prints former pencil-signed, dated 1996, copyright-marked, with artist’s blind stamp lower right, numbered “21/25” lower left, pencil-titled and inscribed “Apres Edvard” en verso; latter pencil-signed, dated 1989, copyright-marked, and with artist’s blind stamp lower right. One matted, both unframed. 20‑1/4” x 20” and 15‑1/4” x 15”, respectively $1,000‑$1,500

901 one of two

902 one of two

901 two of two

901 Sandra Russell Clark (American, b. 1949) “Lingstrum, Bay St. Louis, MS” “Jourdan River, Hancock County, MS” pair of gelatin silver prints from the “Eden” series, each pencil-signed lower right, pencilsigned, titled, copyright marked and numbered “8/50” and “6/50”, respectively, en verso. Matted and unframed. 16‑1/2” x 16” and 15‑3/4” x 16”, respectively $1,000‑$1,500

274

902 two of two


904

903

903 Sonia Handelman Meyer (American/New York, b. 1920)

904 Sonia Handelman Meyer (American/New York, b. 1920)

“Under the El/3rd Ave at East 20th”, 1940s

“Street Scene with Automat”, 1940s

silver gelatin print out of an edition of 25. Attractively matted, glazed and framed. 15” x 14‑1/4”, framed 27‑3/4” x 25‑1/4”

silver gelatin print out of an edition of 25. Attractively matted, glazed and framed. 15” x 14‑1/4”, framed 27‑3/4” x 25‑1/4”

$1,000‑$1,500

$1,000‑$1,500

905 Frank Worth (American, 1923‑2000) “Marilyn Monroe Seated” limited edition archival pigment print numbered “62/75” and with “Frank Worth Estate” blind stamp lower right. Matted, glazed and framed. sheet 24” x 20”, framed 33” x 27‑1/4” Accompanied with a Certificate of Authenticity. $1,500‑$2,500 905

275


906 Frank Worth (American, 1923‑2000) “James Dean on the Set of Giant” limited edition archival pigment print numbered “14/75” and with “Frank Worth Estate” blind stamp lower right. Matted, glazed and framed. sheet 24” x 20”, framed 33” x 27‑1/4” Accompanied with a Certificate of Authenticity. $1,500‑$2,500

906

908 Frank Worth (American, 1923‑2000) “Marilyn Monroe and the Hollywood Sign” limited edition archival pigment print numbered “5/75” and with “Frank Worth Estate” blind stamp lower right. Matted, glazed and framed. sheet 20” x 24”, framed 27‑1/4” x 33” Accompanied with a Certificate of Authenticity. $2,000‑$4,000 907

907 Frank Worth (American, 1923‑2000) “James Dean on the Set of Giant” limited edition archival pigment print numbered “38/75” and with “Frank Worth Estate” blind stamp lower right. Matted, glazed and framed. 24” x 20”, framed 33” x 27‑1/4” Accompanied with a Certificate of Authenticity. $1,000‑$1,500 908

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909

911

910

909 Cassina, Italy, Le Corbusier Steel, Leather and Hide “LC-4” Adjustable “Pony Chaise” the polished chromed-steel tubular frame with hide seat and black pelle leather head rest, the black enameled-steel base with rubber-covered feet, the tubular cross bars wrapped to stabilize position adjustments, the frame and base fully marked. h. 26”-30‑1/2”, w. 16”-21‑1/2”, l. 64‑1/2”

912

911 Pair of Large Contemporary Chrome and Brass Table Lamps fourth quarter 20th century, the bamboo-inspired brass and chrome standards set with brass scrolls above chrome circular bases. h. 37‑1/4”, dia. 11”

Provenance: Ray Langley Interiors, New Orleans, Louisiana, 2005.

$1,000‑$1,500

$1,000‑$1,500

912 French Brass-Mounted Wrought Iron Gueridon

910 Vintage Pair of Knoll International “657” Sling Arm Chairs 1970s, designed by Charles Pollock in 1960, with chrome-plated tubular steel frames, the cognac leather slings fitted with velcroattached black lambskin seat cushions, the arms and stretchers of black-coated cast aluminum, both cushions bearing a white paper label: “Knoll International, 320 Park Avenue, New York, N.Y., 10022”. h. 28”

20th century, in the neoclassical taste, the circular top with an inset plate-glass top, supported by three curved legs joined by a circular stretcher. h. 31”, dia. 32” $1,000‑$1,500

$800‑$1,200

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915

913

914 Pablo Picasso (Spanish/French, 1881‑1973) “Plantes Tropicales”, 1949

913 Pair of Unusual Contemporary Brass-Framed Mirrors with campaign-style frames set with acid-etched distressed glass. h. 60‑3/4”, w. 34”

black and white lithograph signed lower left, numbered “38/50” lower right, dated in plate upper left “15.5.49”. Matted, glazed and framed. sight 25” x 18‑3/4”, framed 30‑5/8” x 24‑3/4” $3,000‑$5,000

$700‑$1,000

915 Raoul Dufy (French, 1877‑1953) “La Peche”, 1912 woodcut pencil-signed and dated lower right, titled in plate lower right. Matted, glazed and framed. sight 16‑3/8” x 19‑7/8”, framed 24‑3/8” x 28‑1/2” $1,000‑$1,500 916 Chaim Gross (Austrian/New York, 1904‑1991) “Pole Vaulter” patinated bronze cast signature at back of selfbase and numbered “39/50” at side, on a carved wooden base. overall h. 7‑1/2”, w. 3‑1/2”, d. 3‑1/2” $600‑$900

914

278

916


919 Vintage Ligne Roset, France, Purple Leather BarrelBack Chair 1988, with removable headrest and zippered wrap-around cushion, raised on ebonized conical feet, labeled: “Ligne Roset/Made in France”. h. with headrest 39”, h. without headrest 26‑1/2” Provenance: Ligne Roset, Canal Place, New Orleans, Louisiana, 1988. $700‑$1,000

917

917 Marc Chagall (Russian/French, 1887‑1985) “The Magic Flute II”, 1972

919

lithograph in colors on wove paper pencil-signed lower right, numbered “8/50” lower left. Glazed and framed. 22‑1/2” x 16‑1/2”, framed 27” x 21‑1/4” $6,000‑$9,000 918 Pair of Sculptural Rico Eastman Carbon Steel “Rocker” Chairs each stamped: “Eastman 1995 CI/99L”. h. 35”, w. 34”, d. 28” Provenance: Shidoni Galleries, Tesuque, New Mexico. $1,200‑$1,800

918

279


920 Marc Chagall (Russian/French, 1887‑1985) “Le Bouquet d’Amour” gouache, crayon, pastel, oil and collage on paper laid down on canvas signed lower left. Framed. 23” x 17‑3/4”, framed 34‑1/2” x 29‑1/4” Provenance: Private collection, Geneva, Switzerland; William A. Findlay, Chicago, Illinois; Sotheby’s, New York, New York, May 9, 2007, lot 431; Shapiro Auction, New York, New York, September 26, 2015, lot 550. $900,000‑1,200,000 920

“My painting represents not the dream of one people but of all humanity”…. ~Marc Chagall Marc Chagall, one of the most celebrated artists of the 20th century, touched thousands through his art, transforming the nostalgia of his childhood in Vitebsk, a tiny Jewish shtetl in Belarus (then part of the Russian Empire) into a wellspring of hope, creating whimsical scenes that border on the supernatural through their motley juxtaposition of color, scale and perspective that employ elements of cubism and fauvism. Though Chagall’s native village was destroyed in two world wars and its Jewish population almost halved, its memory persists in recurring symbols and images that bear witness to the past in vignette-like psalms that sing of life: clowns and musicians (particularly fiddlers) defy gravity, dancing on diminutive rooftops and spiral through heavens of blue; and flowers bloom and lovers swoon ensconced in an embryo of their own. In an open letter to his city Vitebsk, at the height of the holocaust in 1944, Chagall writes: “Why? Why did I leave you many years ago? You [the City] thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.” At the time Chagall wrote his letter, he and his wife were living as war emigres in New York; shortly after his wife and the love of his life Bella Rosenfeld died suddenly of an infection that could not be treated due to a wartime shortage of penicillin. Art critic Jackie Wullschlager writes in her biography of Chagall that "as news poured in through 1945….Bella took her place in

280

Chagall's mind with the millions of Jewish victims.” Following her death, Chagall immortalized her in a lovers' embrace in a multitude of “Bouquets d’Amour”, also known as “Amoureux au Bouquet”, which he painted several times between the late 1940s and early 1960s. This “Bouquet d’ Amour” exemplifies the magical, humanity of the artist’s work; the theme of love is universal. This painting, a veritable symphony in blue, is a testament to Bella, captured in two of the most enduring themes painted by the artist: lovers and the crowded rooftops of Vitebsk where Chagall met his bride. Bella was Chagall’s endless muse and ultimate raison d’etre as an artist. She represented a purity of love that spilled forth in his paintings in a kaleidoscope of colors and forms. As Chagall states in his autobiography My Life: All I had to do was open my window and in streamed the blueness of the sky, love and flowers with her [Bella]. ….she has long been haunting my paintings, the great central image of my art.” In each rendition of “Bouquet d’ Amour”, lovers, who resemble Chagall and Bella, embraced beneath an overwhelming plume or tree - the bouquet the flower of their love rooted in the courtship of their youth beneath the moonlit village. References: Chagall, Marc. My Life. London: Peter Owen Publishers, 1965; Wullschlager, Jackie. Chagall: A Biography. New York: Knopf, 2008; Chagall, Marc. Marc Chagall on Art and Culture, edited Benjamin Harshav. Stanford: UP, 2003


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921 Marc Chagall (Russian/French, 1887‑1985) “La Baie des Anges”, 1962 lithograph in colors on Arches paper edition of 100, signed and dated in ink in lower margin. Matted, glazed and framed. 30” x 22‑1/2”, framed 46‑1/4” x 35” Literature: Mourlot, Fernand. The Lithographs of Chagall, 1962‑1968. Boston Book Shop: Boston, 1969, no. 350. $15,000‑$25,000

921

282


922 After Pablo Picasso (Spanish/French, 1881‑1973) “Le Repas des Enfants” gemmail stained glass panel signed in glass lower right. Framed. 40” x 53‑1/2”, framed 48” x 61‑1/2” Provenance: Private collection, Nice, France; Private collection, New York, New York. $30,000‑$50,000

922

The stunning glass art of gemmail is very rare, and, by proxy, it is overlooked. The genre that flourished in the mid-20th century, largely due to Pablo Picasso's avid endorsement of the medium, attracted the attention of notable celebrities with the means to purchase them, such as the Emperor of Japan, Prince Rainier of Monaco, Nelson Rockefeller, the Rothschilds and the Weisweillers."Le Repas des Enfants (The Children's Meal)" is the third known gemmail work to be offered at auction. These works are so unique that this lot was first thought to be a pate-de-verre when it was evaluated in 2010 at Sotheby's, New York; and the Evansville Museum in Evansville, Indiana, did not realize they owned a gemmail by Picasso for sixty-one years until a New York auction house traced the provenance of "Femme Assise au Chapeau Rouge (Woman Seated with a Red Hat)" to the industrial designer Raymond Lowery, who donated the work to the Museum in 1961. Gemmail, a compound word meaning "enameled gem" (gemme + email), known also in the plural as gemmaux, is a mid-20th century technique for creating 3D glass art that is designed to be viewed in front of a light box or illuminated from behind. French painter Jean Crotti invented the technique in the 1930s and perfected the process over the next twenty years through the assistance of his neighbor and business associates- the Malherbe-Navarre family (father and two sons), who were physicists that specialized in the molecular diffusion of light and fluorescence. In the early 1950s, they patented the idea and opened a production studio, "Les Gemmaux de France." Whereas stained glass proper uses lead came to join the pieces of glass, creating metal divisions (tracery)

between them, gemmail is a more holistic process whereby multiple fragments of glass in varying sizes, shapes and colors are layered on a large piece of clear glass and then immersed in a special enamel solution to set the composition. The work is then placed in a low fire kiln that allows the pieces to bond, but not melt, creating a translucent painting that retains the clarity and superposition of the fragments. Pablo Picasso was immediately enamored by gemmail when fellow artist Jean Cocteau introduced him to it in 1954, and began experimenting with the process and collaboratively working with Crotti and the Malherbe-Navarres. Between 1954 and the first Picasso retrospective exhibition in 1957, Picasso authorized Les Gemmaux to reproduce sixty of his masterpieces, twenty of which were exhibited two years later in the first American exhibition of gemmaux. When "Le Repas des Enfants" was evaluated in 2010 by Picasso's son, Claude, he stated that while the work was indeed a gemmail piece after his father's 1953 painting, he could not ascertain if the work was authorized by his father through Les Gemmaux as the records are incomplete. Gemmail pieces are typically signed before they are fired, so if "Le Repas des Enfants" was not produced by the Malherbe-Navarres on behalf of Picasso, then by whom? Of the sixty known works Les Gemmaux produced for Picasso, only the location of a handful are known, most remain in private collections. Is this stunning work of gemmail another discovery?

283


924 Guan Yi (Chinese, Contemporary) “Enlightenment” acrylic color on paperboard unsigned Unframed. 62” x 46‑3/4” $2,000‑$4,000

923 Yaacov Agam (Israeli, b. 1928)

923

“Fantasy Spacegraph” color relief multiple signed lower right, numbered “69/99” lower left. Presented in a plexiglass shadowbox frame. h. 21”, w. 21”, d. 3‑1/4” $4,000‑$7,000

924

925 Randall Schmit (American, b. 1955) “A Double Room”, 1987 oil and acrylic on canvas signed, titled and dated en verso canvas, with a “TildenFoley Gallery, New Orleans, Louisiana” label. Unframed. 60” x 44” $1,500‑$2,500

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925


927 Anne Appleby (American, b. 1954) “Red/Green”, 1997 color aquatint signed and dated lower right, numbered “14/20” lower left, titled lower center. Matted, glazed and framed. sight 7‑3/4” x 14‑1/8”, framed 18” x 24‑1/2” $1,000‑$1,500

926

926 Wolf Kahn (American, b. 1927) “Strong Pink” pastel on paper signed lower center, verso with “Stremmel Gallery, Reno, Nevada” label. Matted, glazed and framed. 8” x 10”, framed 15‑1/4” x 17‑1/2” $2,000‑$4,000

927

928 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Small Collage 79‑2”, 1979 mixed media on paper verso with hand-inscribed artist’s name, title and date. Glazed and framed. sight 14‑1/2” x 16‑3/4”, framed 15‑3/8” x 17‑1/4” $1,500‑$2,500

928

285


929 Caio Fonseca (American, b. 1959) “Three String Etching”, 2006 soft grounds etching with aquatint and handstamping pencil-signed and dated lower right, numbered “14/50” lower left. Glazed, float mounted and presented in a contemporary frame. sheet 36‑1/2” x 44‑1/2”, framed 41‑7/8” x 51‑1/8” $3,000‑$5,000 930 William Anzalone (American/Texas, b. 1935) “Untitled Figure Studies” suite of four pastels on paper each with a “Meredith Long Gallery, Houston, Texas” label en verso with artist’s name, title and medium of work. Each matted, glazed and framed alike. each 11” x 15”, framed 17‑3/4” x 20‑3/4”

929

$1,000‑$1,500

286

930 one of four

930 two of four

930 three of four

930 four of four


931 932

931 Mallory Page (American/Louisiana, Contemporary)

932 Joseph Havel (American/Texas, b. 1954)

“Summer Series”, 2012

“Untitled”, 1997

oil on wood panel signed, titled and dated en verso. 17” x 16‑1/2”

oil and graphite on paper signed and dated lower right. Float-mounted and presented in a modern gallery frame. 40” x 41”, framed 45‑3/4” x 46‑3/4”

$1,000‑$1,500

$2,000‑$4,000

933 Sir Terry Frost, R.A. (British, 1915‑2003) “Untitled IV” pastel crayon on toned paper unsigned, verso with “MoMart” moving label, inscribed with artist’s name, title and inventory number. Glazed and framed. 12” x 9‑1/4”, framed 19‑1/2” x 16‑3/8” Provenance: Mary K. L. Kurtz Charitable Lead Trust, Houston, Texas. $1,000‑$1,500 933

287


934 Dan Corbin (American/Alabama, b. 1947) “Untitled - Female Figure”, 2002 mixed media incised signature, artist’s mark, and dated at back of proper right shoulder, on an integral metal support base. h. 56”, w. 16”, d. 12‑1/4” $1,500‑$2,500

935

935 John Lahius (American, Contemporary) “Untitled” mixed media on wood board signed lower right edge. Presented in a thin gallery frame. 70‑7/8” x 58”, framed 72‑3/8” x 59‑1/8”

934

Provenance: Naomi Silva Gallery, Atlanta, Georgia. $4,000‑$7,000 936 Provincial Oak and Polychrome Farmhouse Table the planked rectangular top with banded ends and raised on square end supports to splayed runner feet joined by a stretcher. h. 29”, w. 42”, l. 84” $1,200‑$1,800 936

288


937 Directoire-Style Polychrome Settee 20th century, of box form, the molded crest with decorative finials, above a guillochecarved frieze and slatted back and sides, the cushioned seat above a like-carved apron, raised on fluted tapering circular legs ending in toupie feet, upholstered in natural linen. h. 37‑1/2”, w. 75”, d. 29” $800‑$1,200 938 Pair of Metal-Bound Wooden Tree Tubs

940

20th century, with vertical wooden sides and acorn-turned corner finials. h. 32”, w. 21‑3/4”, d. 21‑3/4” $1,500‑$2,500 939 Pair of Provincial Polychrome Console Etageres 19th century, each with a rounded rectangular top above a conforming frieze with polychrome foliate designs, joined to two lower shelves by turned uprights and ending in a plinth base. h. 41‑1/2”, w. 47‑1/2”, d. 15”

939

$1,500‑$2,500 940 Pair of Wood and Plaster Corinthian Capital-Form Brackets 20th century, the rectangular brackets leafmolded and painted. h. 21‑1/2”, w. 27‑1/2”, d. 11” $700‑$1,000 938

937

289


942 Emery Clark (American/New Orleans, b. 1950) “Sunset Haze”, 1993 watercolor and mixed media on paper signed lower right, verso with “Arthur Roger Gallery, New Orleans” label. Matted, glazed and framed. sight 10” x 23‑1/2”, framed 26‑1/2” x 39” $1,000‑$1,500

941 one of one

942

943 Emery Clark (American/New Orleans, b. 1950) “Rolling Wave”, 1993

941 two of two

941 Emery Clark (American/New Orleans, b. 1950)

watercolor and mixed media on paper signed and dated lower right, verso with “Arthur Roger Gallery, New Orleans, Louisiana” label with artist name, date, title and medium of work. Matted, glazed and framed. 40” x 55”, framed 41‑3/4” x 56‑1/4” $1,500‑$2,500

“Study-Afternoon Waves”, 1987 “Study-Moon Glow Light”, 1993 two mixed medias on paper each signed lower right, each with an “Arthur Roger Gallery, New Orleans” label en verso. Each matted, glazed and framed. sights 9” x 13‑1/2” and 9‑1/4” x 14”, framed 26‑1/4” x 30” and 25” x 29” $1,000‑$1,500

943

290


944

944 Sandy Chism (American/Louisiana, 1957‑2013) “That Which Hath Wings Shall Tell me the Matter”, 1997 acrylic on canvas Presented in a thin gallery frame. 62” x 93”, framed 63” x 94” Provenance: Private collection, New Orleans, Louisiana. $3,000‑$5,000 945 George Bentley Nick (American/Massachusetts, b. 1927) “Georgetown, President Sadat’s Visit to Jerusalem”, 1977

945

oil on canvas incised signature, dated “20 Nov. 1977” and titled upper left, old exhibition label and a “Watson/de Nagy & Company/Houston, Texas” label en verso stretcher. Framed. 59” x 30”, framed 61‑1/2” x 31‑1/4” $1,500‑$2,500 946 James Michalopoulos (American/Louisiana, b. 1951) “Hansa Rupti” oil on canvas signed lower left “Mitchell”, signed and dated en verso “Mitchell Michalopoulos 1993”. Framed. 28” x 22”, framed 29‑5/8” x 22‑3/4” $4,000‑$7,000

946

291


947

947 Clementine Hunter (American/Louisiana, 1886/87‑1988) “Wash Day”, ca. 1960 oil on board monogrammed lower right. In the original frame. 16” x 24”, framed 19‑1/4” x 27” Provenance: Acquired from the artist. $3,000‑$5,000 948 Otis Dare Huband, Jr. (American/Texas, b. 1933) “Boy with Watermelon”, 1968 oil on canvas signed and dated lower right, signed, titled and dated en verso. Framed. 30” x 24”, framed 34” x 28” $1,000‑$1,500

948

292


950 American Chippendale Maple Chest of Drawers fourth quarter 18th century, the top with an overhanging molded edge and dovetailed case, the front with a pair of side-by-side drawers over four graduated long drawers, raised on bracket feet. h. 42”, w. 39‑1/2”, d. 21” $700‑$1,000

949

949 American Queen Anne Tiger Maple and Birch SlantLid Desk on Stand 18th century, the interior fitted with an assortment of cubbies with scalloped dividers, a single long drawer below and raised on cabriole legs separated by deeply scalloped aprons. h. 41‑1/2”, w. 38”, d. 19” $700‑$1,000

950

951 American Chippendale Birch Chest of Drawers third quarter 18th century, with a molded, rectangular overhanging top above four graduated long drawers and raised on carved ball-and-claw feet. h. 38”, w. 41”, d. 20” $700‑$1,000

951

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952 “Course of the River Mississipi [sic], from the Balise to Fort Chartres...” by Lieutenant John Ross of the 34th Regiment, engraved and published with hand-colored outlines by Robert Sayer and John Bennett, London, 1775. Matted, glazed and framed. plate 45” x 14”, framed 55” x 25‑1/4” Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $2,500‑$4,000 This map was the first official English survey of the lower Mississippi region, published at the outset of the American Revolution in Thomas Jefferys’ watershed American Atlas by Sayer and Bennett. It was commissioned by the British government in 1765 to illustrate the scope of the economical and strategical gains it acquired in the French and Indian War. Lieutenant John Ross, a distinguished member of the 34th Regiment of Foot, who served in the siege of Havana and garrison of West Florida, charted the lower Mississippi River from the mouth of the Missisippi (Fort Belise) just south of New Orleans north to Fort Chartres, just south of St. Louis. Ross’ map depicts the River’s course in excellent detail with comprehensive information on boundaries, forts, villages, arable lands and cane fields, as well as navigational data on the depths and soundings of the Mississippi and Gulf for approaching ships. To date, it is one of the most important maps of the late 18th century in terms of cartography and American colonial history.

952

953 Four Important Maps of Louisiana and the American South, 1760‑1860 including “New Map of Louisiana”, hand-colored engraving after S. Augustus Mitchell, published by Thomas Cowperthwait, sh.; “Plan of New Orleans, the Capital of Louisiana,” by Robert Benning after L. B. de la Tour’s 1720 rendition, hand-colored and engraved for the London Magazine, 1761, sheet 8” x 10”; “Plan of New Orleans”, color lithograph by Thomas Bradford, Boston, ca. 1841, sheet 6” x 8‑1/4”; and “North America, Sheet XIII, Parts of Louisiana, Arkansas, Mississippi, Alabama and Florida”, hand-colored engraving by J. and C. Walker, 1840, sheet 14” x 17‑1/2”. All unframed. Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $700‑$1,000

953 one of four

294


954

954 American Chippendale Mahogany Serpentine Chest third quarter 18th century, school of Goddard/Townsend, Newport, Rhode Island, with a bank of four graduated drawers with beaded edges, raised on ogee bracket feet. h. 34”, top w. 40‑3/8”, case w. 38‑1/4”, d. 23‑5/8” $2,000‑$4,000

295


955

956

955 Attributed to Joseph Blackburn (British/American, 1730‑after 1777, active New England ca. 1755‑1764)

956 Attributed to Joseph Blackburn (British/American, 1730‑after 1777, active New England ca. 1755‑1764)

“Portrait of a Lady in Russet Silk”

“Portrait of a Lady in Blue Silk”

oil on canvas unsigned. Framed. 28‑1/4” x 23‑1/4”, framed 34” x 28‑3/4”

oil on canvas unsigned. Framed. 29‑1/2” x 24‑1/2”, framed 35” x 30”

Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana.

Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana.

$4,000‑$7,000

$4,000‑$7,000

296


When scholars first began to seriously study Early American portraiture within the larger framework of American art history, one of the main debates was how closely it was connected to and influenced by English portraitists; could it be considered a distinct style, or was it merely a location based variation? Confusing the issue was the indisputable fact that many of these early American artists had lived, studied, or worked in England. In fact, it was not unusual for an artist to travel back and forth between the two countries and it is often difficult, if not impossible, to definitively track their travels. One such artist was Joseph Blackburn. Little is known of Blackburn’s education or artistic experience, though it is likely that he apprenticed in the studio of a London portraitist. Much of his earliest work, spanning from his beginnings in England, and including his years in Bermuda and New England, reveal the influence of mezzotints of the 18th century English masters of portraiture; figures are within a half or full oval surround, and there is a decided emphasis on the fabrics and accoutrements of wealth and prestige, often at the expense of true likeness.

In addition to the distinctive oval format, the two portraits offered here reveal several key characteristics of Blackburn’s approach to portraiture; thin compressed lips with distinctive deep dimples at the corners, full cheeks and fleshy, rounded chins, strong linear bridge of nose, and what has been referred to as his “rococo palette” of clear blues, pinks and reds. They are less opulently dressed than some of his full length or multifigural portraits, but are strikingly similar to his “Portrait of a Woman”, ca. 1762 now conserved at the Brooklyn Museum, New York or “Portrait of Anne Saltonstall”, at the San Antonio Museum of Art, Texas., References: Miles, Ellen G., ed. The Portrait in Eighteenth Century America. Newark: University of Delaware Press, 1993; Dresser, Louisa, "The Background of Colonial American Portraits: Some Pages from a European Notebook". Proceedings of the American Antiquarian Society. April 1966, Vol. 76, Issue 1, pp19-58; Barratt, Carrie Rebora. "Faces of a New Nation", The Metropolitan Museum of Art Bulletin, Summer 2003, Vol. LXI, Num 1, pp. 5-55.

297


957 American Federal Mahogany and String-Inlaid Sideboard first quarter 19th century, New York, the shaped top with string-inlaid edges, above a central long drawer disguised as two side-by-side drawers, with a pair of recessed doors below and flanked by curved doors at each end, raised on tapered legs with line-inlaid details. h. 40”, w. 69‑1/2”, d. 27” $1,000‑$1,500 958 American Federal Inlaid Mahogany Butler’s Desk first quarter 19th century, school of Michael Allison, New York, the top drawer folding down to reveal a fitted interior with drawers and cubbies, the lower portion fitted with three graduated long drawers, all with line-inlaid fronts and raised on splayed legs with a scalloped front. h. 45”, w. 47”, d. 22” $600‑$900

959 957

959 After Frederic-Auguste Bartholdi (French, 1834‑1904) “Gilbert du Motier, Marquis de Lafayette” patinated bronze third quarter 19th century, inscribed “F. Barbedienne, fondeur” and with a “Reduction Mecanique/A Collas” foundry mark along edge of proper right side, cast signature and dated “1873” along edge of left side. h. 27‑1/2”, w. 11‑3/4”, d. 9‑1/2” $5,000‑$8,000

298

958

The original monumental sculpture of the Marquis de Lafayette, the French hero of the American Revolutionary War, is in New York’s Union Square Park. A gift of the French residents of the city, it is a suitably impressive figure, resting on an elaborate carved granite pedestal. The sculptor of this work, Bartholdi, is most well-known for his “Liberty Enlightening the World” - coolloquially “The Statue of Liberty”, which is on Bledsoe’s Island in New York Harbor where it has grandly greeted visitors to the United States since its installation in 1886. This sculpture was also a gift of the French to the citizens of the United States.


960 After Jean-Antoine Houdon (French, 1741‑1828) “Bust of George Washington”, first quarter 20th century patinated bronze this version by James Wilson Alexander MacDonald (American, 1824‑1908) for the Henry-Bonnard Bronze Co., New York, foundry inscription, cast signature, copyright marked “1898”, dated “1909”, and with certificate and oath at back. h. 18”, w. 12”, d. 10” $1,200‑$1,800

962

962 American Federal Cherrywood Sugar Chest first quarter 19th century, probably Kentucky, the case with exposed dovetails on all four corners, the interior fitted with two dividers, raised on splayed legs joined by a scalloped apron. h. 18”, w. 23”, d. 14‑1/2” $700‑$1,000

960

961 American Federal Inlaid Mahogany Sideboard first quarter 19th century, New York, the figured mahogany shaped top above a row of string-inlaid drawers and four cabinets below, raised on tapered legs. h. 42”, w. 72‑1/2”, d. 30” $800‑$1,200

961

299


963

963 “Plan of New Orleans, the Capital of Louisiana” engraving by Thomas Jefferys after L. B. de la Tour’s 1720 rendition, published London, 1759. Unframed. sheet 13‑1/2” x 19‑5/8” Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $700‑$1,000 Jefferys’ map was created after Louis Brion de la Tour’s 1720 plan of the city, two years after it was founded. Divided into three sections, the first is one of the oldest plans of the French Quarter; the second is a survey of the New Orleans environs, including the Delta and the surrounding bayou; and the third section delineates the boundaries of Fort La Balise, which later sank into the marsh in the late 1700s.

965

964 “Plan de la Nouvelle Orleans” hand-colored engraving by Jacques-Nicolas Bellin, from Le Petit Atlas Maritime, vol. I, published Paris, 1764. Unframed. sheet 12‑1/2” x 17‑1/4” Provenance: Tooley, London, U.K., March, 1981; Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $700‑$1,000 965 American Sheraton Cherrywood Jackson Press

964

second quarter 19th century, probably Kentucky or Tennessee, in two parts, the upper section with a molded cornice over a pair of bisected paneled doors, the base with a pair of drawers over a pair of doors, raised on turned legs, the cases and doors of pegged construction. h. 90‑3/4”, w. 42”, d. 20” $700‑$1,000

300


966 Two American Late Federal Cherry Work Tables second quarter 19th century, one fitted with two drawers and raised on bold turned legs, h. 29”, w. 22”, d. 22”, and the other fitted with a single drawer and raised on slender turned legs, h. 29”, w. 22”, d. 19”. $700‑$1,000

968

968 American Patinated Bronze of a Sheep 1989, incised monogram “TK”, dated and numbered “13/50” along back of self-base. h. 6”, w. 9”, d. 6‑1/4” $700‑$1,000 966

967 American Pictorial Embroidery of “The Young Orphan Boy” first quarter 19th century, silk and chenille threads on silk, the faces, hands, feet and background enhanced with ink and watercolor. Glazed and framed. sight 16” x 19‑1/4” $700‑$1,000

969

969 American Late Federal Cherrywood Sugar Chest early 19th century, with flush-paneled sides, the front panel mortised and pegged into the leg posts, terminating into turned legs. h. 28‑1/2”, w. 36‑1/2”, d. 18” $600‑$900

967

301


970

971

972

970 Small Chitimacha Indian River Cane Basket 20th century, Southeast Louisiana. h. 3‑1/4”, w. 5”, d. 5” $700‑$1,000 971 Chitimacha Indian River Cane Basket 20th century, Southeast Louisiana, decorated in the jekt kani (red-winged blackbird’s eyes) pattern. h. 6”, w. 8‑1/2”, d. 8‑1/2”

973

$800‑$1,200 972 Chitimacha Indian River Cane Basket 20th century, Southeast Louisiana, decorated in the jekt kani (red-winged blackbird’s eyes) pattern. h. 7‑1/4”, w. 11‑1/4”, d. 11‑1/4” $1,000‑$1,500 973 Chitimacha Indian River Cane Tray 20th century, Southeast Louisiana. h. 3”, w. 10‑3/4”, d. 10‑3/4” $700‑$1,000 974 Louisiana Creole Cypress Armoire early 19th century, the paneled doors opening to reveal an interior fitted with a medial belt supporting a pair of drawers and a pair of shelves, raised on tapering legs, the entire case, including the back, of pegged construction. h. 72”, w. 41‑3/4”, d. 17” $1,000‑$1,500

302

974


975 Vernacular Lower Mississippi Valley Cypress Garde Manger late 19th century, the case with a pair of doors, each with a screened panel over a recessed panel, the sides similarly modeled, over a single drawer, raised on four legs, the case with pegged construction. h. 64‑1/8”, w. 40‑3/4”, d. 17” $700‑$1,000 976 After John James Audubon (American, 1785‑1851) “Connecticut Warbler”, no. 33, pl. CXXXVIII, from Birds of America (1826‑1838) hand-colored engraving with aquatint by Robert Havell verso watermarked “J Whatman/1832”. Matted, glazed and framed. sight 25‑1/2” x 18‑1/4”, framed 40” x 29‑1/2”

976

$1,000‑$1,500

977

977 After John James Audubon (American, 1785‑1851) “Yellow Red-poll Warbler”, no. 33, pl. CLXIII from Birds of America (1827‑1838) hand-colored engraving with aquatint by Robert Havell verso watermarked “J Whatman/1833”. Matted, glazed and framed. sight 25‑1/2” x 18‑1/4”, framed 40” x 29‑1/2” $1,000‑$1,500

975

303


978 Pair of William IV Bronze Argand Lamps second quarter 19th century, English, resting on paw feet, the bases decorated with square medallions and mounted with urn-form fonts, set with appropriate blown and etched glass tulip-form shades decorated with pointed leaves. h. 18‑1/2”, w. 17”, d. 8” $700‑$1,000

978

979 American Late Classical Ebonized and Stenciled Secretaire a Abattant second quarter 19th century, New York, the stepped molded cornice above a recessed arched frieze over a bi-paneled drop front opening to a leatherlined writing surface, a mirrored interior and small drawers, over two paneled cupboard doors, flanked to either side by ormolu-mounted pilasters, raised on square feet. h. 74”, w. 49”, d. 23‑1/4”

979

$700‑$1,000 980 American Classical Revival Bronze- and MarbleMounted Pier Table late 19th century, the white marble top over a frieze with a central door with a gilt-bronze mount, the ends with lyre-form mounts, raised on marble columns and pilasters on a concave base with carved paw feet. h. 38‑1/2”, w. 42”, d. 18” $2,500‑$4,000

980

304


981 After John James Audubon (American, 1785‑1851) “Long-legged Sandpiper” hand-colored engraving with aquatint Plate CCCXLIV, No. 69 from Birds of America, Havell edition, 1836. Matted, glazed and framed. sheet 26” x 36‑3/4”, framed 32” x 42” $1,000‑$1,500

984

981

982 After John James Audubon (American, 1785‑1851) “Virginia Rail” hand-colored engraving with aquatint Plate CCV, No. 41 from Birds of America, Havel edition, 1834. Matted, glazed and framed. sheet 26” x 38‑1/2”, framed 32‑1/4” x 42‑1/4” $1,500‑$2,500 983 After John James Audubon (American, 1785‑1851) “Least Water-hen Edwards”

982

hand-colored engraving with aquatint plate CCCXLIX/349, from The Birds of America, Robert Havell edition, with “J. Whatman/1837” watermark. Unframed. sheet 25‑3/4” x 38” $1,000‑$1,500 984 French Patinated Bronze of “Poule Faisane” first quarter 20th century, after Leon Bureau (French, 1866‑1906), cast signature at proper right side of selfbase. h. 22‑1/4”, w. 22”, d. 7” $1,000‑$1,500

983

305


986 one of three

985

985 American Classical Bronze-Mounted Rosewood and Marble-Top Pier Table first quarter 19th century, Boston, with a rectangular white marble top supported by turned columns with brass rings and capitals, the incurved base trimmed with spiral-twist brass moldings. h. 35”, w. 36”, d. 16‑1/2” $1,500‑$2,500

986 two of three

986 Three American Schoolgirl Samplers 19th century, including two signed and dated examples: “Miss Ann Maulins/Lansingburgh/1830” and “Ann M. Ackinson/1829”, and an unsigned and undated tulip-bordered prayer sampler, each cotton threads on linen fabric, mostly cross-stitched. Each glazed and framed. 16‑1/2” x 17‑1/2”, 19‑3/4” x 21”, and 16” x 12‑1/2”, respectively $700‑$1,000

306

986 three of three


989 eight of sixty-eight

987

987 American School (Second Quarter 19th Century) “Portrait of a Girl Holding a Doll, in a Landscape” oil on canvas unsigned. Presented in a giltwood frame. 24” x 20”, framed 29” x 25‑1/2” $1,000‑$1,500

990

988 Pair of Hand-Painted Paris Porcelain Mantel Vases mid-19th century, French, set with pierced handles decorated with grape leaves, the vases with sky-blue grounds, the panels with polychrome-painted figures, a boy on one and a girl with a fan on the other, both sides with gilt ornamentation. h. 21‑1/2”, w. 14”, d. 6‑1/2” $800‑$1,200 989 Group of Sixty-Eight Volumes of Harper’s New Monthly Magazine Harper & Brothers: New York, various dates, all quarter leather with cloth or marbled paper boards, some with gilt stamping on front, spines with gilt lettering. 10” x 7‑1/4” $800‑$1,200 990 The Writings of Thomas Jefferson

988

Andrew A. Lipscomb, ed., complete in fifteen volumes, The Thomas Jefferson Memorial Association: Washington, D.C., 1904, Library Edition, green cloth boards. 8‑7/8” x 6‑1/4” $600‑$900

307


991 Philip Pittman (fl. 1760s), The Present State of the European Settlements on the Missisippi [sic] London: J. Norse, 1770, first edition, quarto, with seven engraved fold-out maps by Thomas Kitchin (1718‑1784), in brown quarter leather on marbled boards, the spine raised bands and red panel with gilt lettering. [Howe P396, Sabin 63103] 11” x 8‑5/8” $3,000‑$5,000 The rare and important first English survey of the Mississippi by British army engineer Philip Pittman, who arrived in West Florida in 1763 and spent five years traveling and surveying the region. This copy retains all seven maps: New Orleans, Mobile, the Cascaskies (now Kaskaskia, Illinois), the Iberville River (now Bayou Manchac) and the Mississippi River from Balise (La Balize, Plaquemines Parish Louisiana) to Fort Chartres (Prairie du Rocher, Randolph county Illinois).

992

992 “Map of Louisiana from D’Anville’s Atlas” hand-colored engraving by John Harrison and Thomas Bowen, published London, 1788. Unframed. sheet 14‑3/4” x 20‑3/4” Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $700‑$1,000 Harrison’s and Bowen’s map is one of the few English editions of D’Anville’s important map from 1732, published in 1752. It illustrates a highly detailed chart of the course of the Mississippi River and the Gulf Coast extending from Cabo Del Norte (Texas) in the west to the Apalachicola River (Florida) in the east, and includes numerous historical annotations, such as the Native American-Indian tribes, and important garrisons and forts, many of which were destroyed. Harrison’s map, published shortly after the American Revolutionary War, is a striking representation and translation of D’Anville’s map with the coasts, lakes and bayous outlined in green.

991 detail

991 detail

308


993

993 Rare “Norman’s Plan of New Orleans & Environs” hand-colored lithograph map by Henry Moellhausen, published by B. M. Norman, New Orleans, 1845. Unframed. sheet 18‑1/2” x 25‑1/2” 994

Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $900‑$1,200 This rare map is unparalleled in the scope of its detail that illustrates significant social mores through historical boundaries. In 1836, the city charter was repealed and redrawn around Anglo and French Creole communities due to mounting ethnic tensions. The boundaries of these three new municipalities (with their own council, police force and taxes) that lasted until 1852 are clearly delineated on the map in pink/green, green/pink and orange/yellow lines with corresponding street plans and block numbers. Intersecting these municipalities are the transportation lines - railways, canals and ferries, and footprints of dozens of other major edifices, many of which are identified on the legend at the base that contains an impressive listing of public buildings, banks, churches, theaters and businesses. 994 “Louisiana”, Charted After the Lewis and Clark Expedition (1804‑1806) hand-colored engraving by Samuel Lewis and Henry Schenck Tanner, published 1812, matted; together with a “Plan of New Orleans”, hand-colored engraving by Wellington Williams, published ca. 1845‑1869. Both matted. sheet sizes 10‑1/4” x 8‑1/2” and 8” x 8‑3/4” Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $800‑$1,200 With the first map, American map maker Samuel Lewis partnered with Aaron Arrowsmith, English hydrographer to the King, to create better articulated maps for atlases of the new Louisiana Purchase territory. Based on an earlier map by Antoine Soulard, this fine map, which depicts the region west of Mississippi explored by Lewis and Clark, became the primary map of the new territory and its surroundings, as it was easy to navigate with its clean lines and attractive coloring.

995

995 Four Rare and Unusual Maps of New Orleans, Louisiana and Bayou Teche including “Plan of the Front Part of the City of New Orleans in 1816”, engraving by Joseph Pilie, published New Orleans, 1827, matted, sheet 9‑3/4” x 24‑3/4”; “Great Conflagration of New Orleans (Map of the Great Fire of 1788)”, hand-colored engraving, matted, sheet 8” x 10‑1/4”; “A New Map of Louisiana”, hand-colored engraving by S. Augustus Mitchell, published New Orleans, 1847, sheet 13‑3/4” x 17‑1/4”; and “Bayou Teche (U.S. Mailboat Route 7084)”, by E. B. Trinidad, 1868, Cartographic Division, National Archives, 20th century facsimile reprint, sheet 20” x 14”. Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $700‑$1,000

309


997 “The World’s Industrial and Cotton Centennial Exposition, Map of New Orleans...” engraving, published New Orleans, 1884‑1885, with hand-colored outlines delineating the railway and horse car routes and inset with an illustration depicting the bird’s-eye view of the fairgrounds and four ancillary ones showing the main approaches by land and water. Unframed. sheet 27‑3/4” x 40” Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. 996

996 Three Fine Maps of New Orleans and Louisiana, 19th Century including “Plan de la Nouvelle Orleans...”, lithograph by Joseph Pilie, published New Orleans, 1827, sight 9‑3/4” x 13‑3/4”; “Charts and Plans Illustrating the Topography and Settlements of Louisiana...”, lithograph by Joseph Jones, M.D., inset with 12 maps from 1718‑1875, published New Orleans, 1882, sight 24‑1/2” x 18‑1/4”; and “Louisiana”, by Matthew Carey, hand-colored engraving, Philadelphia, 1814, sheet 17” x 21”. The first two maps are matted, glazed and framed; the third is unframed. framed 15‑1/4” x 19” and 32‑1/2” x 26”, respectively

$700‑$1,000 The World’s Industrial and Cotton Centennial Exposition was planned to commemorate the 100th anniversary of the nation’s cotton industry, and opened on December 16, 1884 in what is now Audubon Park. The map represents a comprehensive overview of the city and its means of transportation, which include four inset engravings that show a 1770 plan of New Orleans by Captain Pittman, a railroad map of Louisiana and Texas, a 1719 view of the New Orleans “Quartiers des Bourgeois”, and of the South Pass between the east and west jetty walls.

Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $600‑$900

997

310


998

998 Exceptional Walnut Cornice ca. 1873, Mobile, Alabama, the Renaissance Revival cornice carved with a parcel-gilt American shield, carved with stars and stripes, flanked with carved sprays of parcel-gilt oak leaves and acorns. h. 24‑1/2”, w. 176” $1,500‑$2,500 This cornice with an oral tradition of having been salvaged “from the courthouse fire”. Mobile suffered a series of four courthouse fires during the 19th century. Stylistically, this cornice would fit perfectly into the impressive 1873 Italianate courthouse, which burned in 1889. 999 Lilly Martin Spencer (American, 1822‑1902) “Romeyn Pierson’s Children”, ca. 1859‑60 oil on canvas unsigned, verso with “Newark, New Jersey Colorman” stamp. Presented in a period giltwood frame. 40” x 50”, framed 52” x 61”

999

Literature: “Lilly Martin Spencer”. Antiques and Fine Art. 2008. Web. Feb. 17, 2018. $8,000‑$12,000 This painting has been authenticated by Robin Bolton Smith, the leading expert on Lilly Martin Spencer, and co-author of Lilly Martin Spencer: the Joys of Sentiment; and by Holly Pyne Connor, curator of 19th Century American Art at the Newark Museum of Art. 1000 American Cast Iron Garden Bench 20th century, after a design offered by Hinderer’s Iron Works, New Orleans, the back with a central cartouche with an open latticework back and on intertwined grapevines, with a pierced grillwork seat, raised on trestle-form legs joined by a stretcher. h. 33”, w. 41”, d. 21” $1,000‑$1,500 1000

311


1001 Pair of Exuberantly Modeled Cast Iron Garden Urns on Stands of neoclassical inspiration, each with a ribbed body mounted with a pair of putti and ram’s heads, on a paneled pedestal base. h. 48”, w. 30”, d. 22” $1,500‑$2,500

1001

1002 Pair of American Gothic Revival Cast Iron Garden Benches 20th century, each with an open back with trefoil and quatrefoil motifs, and a grillworkpattern seat, the legs joined by a bar stretcher. h. 34”, w. 54”, d. 21” $800‑$1,200 1002

1003 Set of Four Cast Iron Garden Urns 20th century, of campana form, the bodies with reeding and molded scrollwork, the upper edges molded with egg-and-dart decoration. h. 28‑1/2”, dia. 22” $700‑$1,000

1003

1004 Two Victorian-Style Cast Aluminum Garden Benches comprised of a large Gothic arch and rose pattern bench, h. 35‑1/2”, w. 62”, d. 18‑1/2”, and a rococostyle bench with garlands of leaves on a crosshatched back, the dished seat in a honeycomb pattern, h. 31”, w. 33‑1/4”, d. 16”. $700‑$1,000

312

1004


1005 Manner of Ammi Phillips (American, 1788‑1865) “Portrait of a Gentleman in a White Linen Cravat” oil on canvas second or third quarter 19th century, unsigned. Framed. 29‑3/4” x 24‑1/8”, framed 33‑1/2” x 28” The majority of early Colonial American portraits were unsigned works completed by itinerant artists who traveled a circuit of New England and Mid-Atlantic states. It is, therefore, often difficult to definitively attribute a portrait to a specific artist except for the few rare occasions where there exists contemporaneous documentation in the form of letters, receipts, or even diary entries. It is not unusual for a portrait to have been ascribed for decades as the work of one artist, only for newly unearthed writings to reveal it is the work of another. The wonderful example of early American portraiture presented here, of an unidentified man, is indicative of the works produced by such itinerant artists, and is especially reminiscent of the portraits by Ammi Phillips. The assertive, direct gaze, strongly delineated facial features, the empty, darkened background, and the somewhat blockish approach to the body are all characteristics of Phillips’ work as seen in such portraits as “Colonel Nathan Beckwith” at the Brooklyn Museum, New York, or “Portrait of Henry Teller”, National Gallery of Art, Washington, D.C. 1005

$1,000‑$1,500 Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana.

1006 Anglo-American School (19th Century) “Portrait of a Member of the Biddle Family of Philadelphia, Possibly the Financier Nicholas Biddle (1786‑1844) oil on canvas unsigned, inscribed “No. 4” on frame and with an old stamp “R...775” en verso canvas. Framed. 36‑1/4” x 28‑1/4”, framed 41” x 33” Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana. $2,500‑$4,000

1006

313


1007

1008

1007 American School (Fourth Quarter 19th Century)

1009 Steinway & Sons Model S Ebonized Baby Grand Piano and Bench

“Portrait of a Gentleman in a Black Silk Cravat, with Walking Stick and Top Hat”

bearing the serial number 287879. piano h. 39”, w. 56”, l. 63”, bench h. 19”, w. 35”, d. 15”

oil on canvas unsigned, remnants of old labels en verso frame. Framed. 36” x 30”, framed 43” x 36‑1/4”

$5,000‑$8,000

Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana. $3,000‑$5,000 1008 American School (Second Quarter 19th Century) “Portrait of a Woman in a White Lace Bonnet and Black Silk Dress with Shear Sleeves” oil on canvas second quarter 19th century, unsigned. Framed. 36” x 30”, framed 43” x 36‑3/4” Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana. $2,500‑$4,000

1009

314


1010

1012

1011

1010 Pair of Brilliant Period-Style Molded and Cut Glass Decanters

1011 Signed Pittsburgh Table Lamp

20th century, probably Eastern European, decorated with pinwheel cutting, and fitted with tall, spire-form stoppers. h. 27”, dia. 6”

first quarter 20th century, the scenic reverse-painted shade depicting a waterfront cottage, the gilt-metal base signed “P.L.B.&G.”. h. 20”, dia. 13”

$700‑$1,000

$700‑$1,000 1012 Silvered Bronze Chandelier in the Neo-Gothic Taste ca. 1900, of small size, the frame decorated with Gothic piercing and a molded Gothic standard with three standing classical figures, the downturned lights around the base and set with frosted shades. h. 24”, dia. 13” $700‑$1,000 1013 French School (Third Quarter 19th Century) “Engagement Portrait of a Woman in an Elegant Interior” oil on canvas unsigned, depicting mother of Edith Annabel Wright Hubbs (1873‑1954). Presented in an antique giltwood frame. 28‑3/4” x 23”, framed 36” x 30‑1/2” Provenance: Estate of William Harvey Osborn, New Orleans, Louisiana. $1,000‑$1,500

1013

315


1014 American Rococo Revival Stained Oak Breakfront third quarter 19th century, the arched center section with conforming glazed doors and flanked by an additional glazed door to each side, the base with three graduated long drawers in the center and a cabinet to each side. h. 128”, w. 89”, d. 23” Provenance: LeDuc Mansion, Hastings, Minnesota. $5,000‑$8,000 1015

1015 Unusual Pair of Architectural Wooden Finials 19th century, the turned acorn finials on a platform supported by turned spherules, all resting on a base. h. 24”, w. 18”, d. 18” $700‑$1,000

1016 Charming Carved Alabaster Figural Group ca. 1900, depicting a young girl seated on a chair, teasing her dog with a napkin. h. 17”, w. 8‑1/2”, d. 9” $600‑$900

1014

1016

316


1017 Continental Baroque-Style Carved Oak Symphonion Musical Tall Case Clock fourth quarter 19th century, with a fourteen-day brass timeand-strike movement signed “LENZKIRCH 957732”, with a coil spring gong and playing the disc music box on the hour, with a nighttime on/off switch and speed regulator lever on the left side, with fourteen 13‑5/8” discs. h. 87”, w. 23”, d. 15” $5,000‑$8,000

1018

1018 American Late Victorian Carved Oak Library Table fourth quarter 19th century, the rectangular top mounted to a trestle-form base with pierced and carved ends, joined by a pair of medial stretchers. h. 29‑1/2”, w. 43‑1/2”, d. 23” $1,000‑$1,500

1017

317


1019 Newcomb College Art Pottery tall matte-glazed vase, 1927 decorated by Sadie Irvine with moon and moss in blue, green and yellow underglaze, the base marked with Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, reg. no. “QM53” and shape no. “250”. h. 8‑1/2”, dia. 4” $3,000‑$5,000 1020 Newcomb College Art Pottery matte-glazed vase, ca. 1930s decorated by Aurelia Coralie Arbo blue, yellow and green underglaze with moon and moss in relief, base marked with Newcomb cipher, decorator’s mark, Francis Ford potter’s mark, and “z9”. h. 5‑1/4” dia. 4‑1/2” $1,500‑$2,500

1019

1020

1021 Newcomb College Art Pottery matte-glazed vase, 1921 decorated by Anna Frances Simpson in yellow, green and blue underglaze with a band of live oaks and moss in relief, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, reg. no. “LS41” and shape no. 243. h. 5‑1/2”, dia. 5” $2,000‑$4,000

318

1021


1022 Newcomb College Art Pottery matte-glazed vase, 1918

1024 Newcomb College Art Pottery matte glaze vase, 1920

decorated by Sadie Irvine with windswept trees in blue, green and pink underglaze, the base marked with the Newcomb cipher, Joseph Meyer potter’s mark, reg. no. JV32, shape no. 240. h. 4”, dia. 4”

decorated by Anna Frances Simpson with cypress trees and hanging moss in relief in blue, green and yellow underglaze, base with Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, reg. no. “KR96” and shape no. 170. h. 7‑3/4”, w. 3‑1/2”

$900‑$1,200

$1,000‑$1,500 1025 Newcomb College Art Pottery matte-glazed bowl, 1927 decorated by Sadie Irvine with an incised floral rim band in pink and green underglaze over a blue underglaze ground, the base with Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, reg. no. PY59 and shape no. 313. h. 3‑1/8”, dia. 9” $700‑$1,000

1022

1023 Newcomb College Art Pottery matte-glazed vase, 1926 decorated by Sadie Irvine with an incised floral rim band in white, pink and green underglaze over a blue underglaze ground, the base with Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, reg. no. “PE53” and shape no. 186. h. 5”, dia. 5‑1/2” $600‑$900 1024

1023

1025

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1026 Newcomb Guild Art Pottery collection of three pieces, 1944‑1948 by Sadie Irvine with Kenneth Smith or Francis Ford, potter including a long-neck vase and bowl in the Lichen Ware glaze and a flared bowl in the Gulf Stream Ware glaze, the base of both Lichen Ware pieces with Newcomb Guild labels, the Gulf Stream Ware piece with a remnant of one. h. 6‑1/2”, dia. 4‑1/2”, h. 3”, dia. 5‑1/2”, and h. 4”, dia. 6‑3/4”, respectively $700‑$1,000

1026

1027 Collection of Five Pieces of Newcomb College Art Pottery by Joseph Meyer, ca. 1905‑1915 including three graduated “Ali Baba” olive jars in green/blue, ochre and iridescent aubergine, h. 3‑3/8” to 4‑1/2”, dia. 3” to 3‑3/4”, and two small bowls with twotone gunmetal glazes, h. 1‑3/4” to 2‑1/2”, dia. 3‑1/2” to 3‑3/4”. $700‑$1,000

1027

It is impossible to discuss the importance of Newcomb College art pottery without mentioning its preeminent potter, Joseph Meyer, and decorator Sadie Irvine, yet little is stated about Meyer as a ceramicist proper, or about Irvine’s contribution to the Newcomb Guild. Meyer, often regarded as the father of all Gulf Coast pottery, came from a long lineage of master French potters, who immigrated to America from Alsace and settled in Biloxi ca. 1857. After the Meyer’s pottery store in Back Bay was destroyed in the August hurricane of 1860, the Meyers eventually moved to New Orleans and set up shop near City Park and founded the New Orleans Art Pottery Company. Before joining Newcomb in 1896, Meyer trained George Ohr, the eccentric Biloxi potter in New Orleans and later; while at Newcomb, at the behest of the Woodwards, he advised the young Anderson brothers on the development of Shearwater Pottery. In contrast to Newcomb’s iconic slip painted pastels with botanical themes (exemplified in many of the other Newcomb lots), Meyer preferred experimental copper and red reduction glazes and fire glazes in iridescent and metallic hues, some of which

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are well demonstrated on these two bowls and the aubergine “Ali Baba” olive jar, named after the Persian tales, because of its shape. The range of glazes, clays, even shapes, represented in this lot is a fine example of the depth and range Meyer achieved. Meyer’s experimental works were widely exhibited throughout the early 20th century in international fairs and received numerous accolades and awards, including a silver medal at the PanAmerican Exposition in Buffalo, New York, and at the 1904 Louisiana Purchase Centennial Exposition in St. Louis. Irvine, under the direction of Robert Durant Field and potter Kenneth Smith, was formative to the development of the Newcomb Guild, which sought to produce commercially oriented pieces of functional design and form inspired by the Bauhaus movement. As the primary decorator and instructor, Irvine was largely responsible for the Guild’s nine beautiful high-gloss earth tone glazes, executed with subtle tonal variations that emanate outward from the rims or bases of the bowls and vases characteristic of these two Lichen Ware and Gulf Stream Ware examples in the preceding lot.


1028

1028 Tiffany Glass and Decorating Company Blue Favrile Vase ca. 1892‑1902, New York, the organic, ribbed vase marked with a paper label in the middle of the ground pontil, as well as an engraved “L.C.T.” mark, the paper label reading “Tiffany Favrile Glass, Registered Trademark”, around the initials “TGDCO”. h. 8‑3/4”, dia. 3‑3/4”

1031

1029

1031 Tiffany Studios “Harp” Desk Lamp ca. 1905‑1938, New York, marked “Tiffany Studios, New York, 419”, with a lobed base supporting the shade holder, mounted with an unsigned damascene shade. h. 14”, w. 9”, d. 5” $2,000‑$4,000

$700‑$1,000 1029 Engraved Crystal Centerpiece Set in the Nature Pattern 20th century, retailed by Tiffany & Co., including a vase, h. 12‑1/2”, dia. 7‑1/4”, and a pair of matching candlesticks, h. 17‑1/2”, dia. 3‑3/4”, engraved with butterflies, cattails and turtles. $700‑$1,000 1030 Jacob Epstein (Polish/Israeli, 1921‑2003) “Bust of Frank Lloyd Wright”, 1986 patinated bronze incised signature and dated at back of proper right truncation. h. 16”, w. 10‑1/2”, d. 9‑1/2” $1,000‑$1,500

1030

321


1032 Model of a Gaff Cutter 20th century, the carefully detailed model composed of wood, brass and fabric, with painted wood and mahogany decking, cloth sails and rigging and brass fittings. h. 47‑3/4”, w. 55”, d. 8” $1,000‑$1,500 1033 Model of the Yacht “Atlantic” 20th century, American, the three-masted schooner composed of wood, fabric and brass, with a painted hull and mahogany deck, and carefully detailed fabric rigging and sails and brass fittings, flying the “Atlantic” pendant and two additional pendants. h. 57”, w. 66‑1/2”, d. 11” $1,500‑$2,500

1032

1033

1034 Wood, Fabric and Brass-Molded Model of the “Enterprise” 20th century, Boston, the carefully detailed model of the sloop labeled by the Lannan Ship Model Gallery, Boston, in a custom wood and glass case. h. 38‑3/4”, w 32‑3/4”, d. 13‑1/4” $800‑$1,200

1034

322


1036 James Hussey (American/Louisiana, b. 1931) “St. Louis & New Orleans Anchor Line, U.S. Mail”, 1980 oil on canvas signed and dated lower left. Framed. 24” x 30”, framed 34‑1/8” x 40” $1,000‑$1,500

1035

1035 American School (First Quarter 20th Century) “P.O. Wooden Paddle Steamer, Royal Tar” oil on canvas signed lower left “G.D.R. Forbes DSMA”, and titled lower center. Framed. 20” x 30”, framed 29‑3/8” x 39” $1,000‑$1,500

1036

1037 Tunis Ponsen (American, 1891‑1968) “Sailboat at Dusk” oil on board signed lower left. Framed. 16” x 20‑1/2”, framed 22‑3/4” x 27‑1/2” $1,500‑$2,500 1037

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1038 David Spellerberg (American/California, Contemporary) “Take Off”, 2002 pair of monumental patinated, cold-painted and polished bronze eagles cast by Great American Bronze Works, Inc, designed for mounting on a pedestal, incised signature, dated, copyright marked, numbered “29/50”, and with foundry inscription along edge of one eagle’s wing. each h. 65”, w. 55”, d. 39 $5,000‑$8,000 Spellerberg creates large-scale bronzes, employing the difficult and time-consuming lost wax technique at the foundry he established in 1979 in California - Great American Bronze Works, Inc. The impressive bronze eagles presented here are a superb example of the artist’s attention to detail and his masterful approach to composition; the eagles appear as if caught in mid-flight, with tautly spread wings, partially opened beaks, and elegantly twisted torsos.

1038

1039 Bronze Figural Fountain “Boy and Girl at Water Bubbler”, signed by Jim Davidson (American, b. 1962), depicting a boy lifting a young girl up to a water fountain, with a signature on the base and a green patinated finish. h. 48‑1/2” h. 48‑1/2”, w. 34”, d. 22‑36/4” $2,000‑$4,000

1039

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1040

1040 Henry Boese (American/New York, 1824‑1863) “Mountainous Landscape with Cattle and a Figure on the Path”, 1857 oil on canvas signed and dated lower left. Framed. 34” x 49‑1/2”, framed 40” x 55‑1/2” $1,000‑$1,500

1041 George Frank Higgins (American/Massachusetts, 1850‑1884) “River Landscape with a View of a Church Steeple” oil on canvas signed lower right. Framed. 17‑3/4” x 29‑1/2”, framed 29‑1/2” x 41‑1/2” $1,000‑$1,500 1041

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1042

1043

1042 Hudson River School (Second Quarter 19th Century) “Travelers on an Adirondack Road, probably the Foothills of the MacIntyre Range” oil on canvas inscribed “McIntyre” [sic] and dated “1846” on lower mid-left rock. Framed. 20” x 24‑1/2”, framed 28‑1/2” x 34‑1/2” $1,400‑$1,800 1043 Charles Christian Eisele (American, 1854‑1919) “Expansive River Landscape” oil on canvas signed lower left. Presented in a period giltwood and gesso frame. 30” x 48”, framed 44” x 61‑1/2” $1,000‑$1,500 1044 After Frederic Sackrider Remington (American, 1861‑1909) “Coming Through the Rye” patinated bronze 20th century, cast signature along front edge of selfbase, on a green marble base. overall h. 28”, w. 32”, d. 25‑1/2” $2,500‑$4,000

326

1044


1045 Alexander Helwig Wyant (American, 1836‑1892) “Yosemite Valley” oil on canvas faint signature lower left, titled en verso, verso stretcher with an exhibition label. Framed. 20” x 30”, framed 23‑1/2” x 32” $1,200‑$1,800 1045

1046 Porfirio Salinas (American/Texas, 1910‑1973) “A Texas Landscape with Cacti”, 1966 oil on canvas board signed and dated lower left, verso with a “Reinhard Galleries, Houston, Texas” label. Framed. 9” x 12”, framed 16‑1/4” x 19‑1/4” $4,000‑$7,000

1046

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1047

1047 American Mid-Atlantic Coin Silver Coffeepot second quarter 19th century, by Thomas Whartenby (ca. 1788‑1862), Philadelphia, Pennsylvania, the pear-shaped body with serpentine panels decorated with chased roses in rococo cartouches, with acanthus-mounted “gooseneck” spout, acanthuscrested “S”-scroll handle, domed lid with figural bird finial and raised on four robust acanthus-crested pad feet. h. 10‑1/4”, l. 10”, dia. 6‑1/4”; 37.47 t. oz. $600‑$900

1049

1049 detail

1048 Cased Set of S. Kirk & Son “Repousse” Sterling Silver Flatware mid-20th century, Baltimore, Maryland, including a dozen eleven-piece place settings, with an additional sixty-two place pieces and eight serving pieces, no monograms, presented in a George I-style burl walnut chest-on-stand with three drawers, brass pulls and raised on four blind-fretwork legs, 42” x 24‑1/2” x 15”, and a fitted, Pacific cloth-lined cherry-stained wooden case with lift-top, single drawer and brass fittings, 6‑1/2” x 17” x 11‑1/2”. 202 pieces 147.84 total t. oz. (weighable silver) $3,000‑$5,000 1049 Large Cased Set of Tiffany & Co. “San Lorenzo” Sterling Silver Flatware the pattern designed in 1916 by Arthur LeRoy Barney (1884‑1955), New York, New York, including a dozen fifteenpiece place settings, with an additional dozen teaspoons and fourteen serving pieces, most monogrammed “ECC”, presented in a fitted, Pacific cloth-lined wooden case with lifttop and single drawer, 8” x 16‑1/2” x 14‑1/4”. 206 pieces 246.07 total t. oz. (weighable silver) Detailed list of pieces available on request. $6,000‑$9,000

1048

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1050

1050 Eight Sterling Silver Service Plates

1051

first quarter 20th century, circular, the rim with bead-and-bobbin inner band and gadrooned edge. dia. 11”; 98.56 total t. oz. $1,400‑$1,800 1051 Arts & Crafts-Style Sterling Silver Water Pitcher first quarter 20th century, by the Meriden Britannia Co., Meriden, Connecticut, the pear-shaped body with waisted collar, integral spout and double-scroll handle, decorated with a “hammered” finish. h. 7‑3/4”, l. 8‑1/4”, dia. 6‑1/2”; 15.54 t. oz. $600‑$900 1052 Set of Gorham “Strasbourg” Sterling Silver Flatware the pattern designed in 1897 by William Christmas Codman (1839‑1923), Providence, Rhode Island, including a dozen sixpiece place settings (one cream soup spoon lacking) with an additional two teaspoons and seven serving pieces, five pieces monogrammed, presented in a burgundy Pacific cloth-lined fitted case with lift-top and single drawer, 5‑1/4” x 18” x 11‑1/2”. 80 pieces 75.67 total t. oz. (weighable silver)

1052

Detailed list of pieces available on request. $1,400‑$1,800 1053 Gorham “Buttercup” Sterling Silver Flatware Set the pattern introduced in 1899, Providence, Rhode Island, comprising eight five-piece place settings, six serving pieces, and four youth/infant pieces, no monograms, presented in a green Pacific cloth-lined fitted case with lift-top and single drawer, 5‑1/2” x 14‑3/4” x 11‑1/4”. 55.31 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,200‑$1,800 1053

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1054

1054 Frank M. Whiting Four-Piece Sterling Silver Tea Set mid-20th century, North Attleboro, Massachusetts, including a coffeepot, h. 10‑1/4”, a teapot, h. 8‑3/4”, a covered sugar bowl, h. 6‑1/4”, and a cream jug, h. 5‑1/4”, each with a pear-shaped body decorated with handchased floral rococo cartouches, with acanthus-mounted “gooseneck” spouts, crested handles and domed lids with toupie finials, together with a complimentary E. G. Webster & Sons silverplate tray, 27” x 16”. 123.87 total t. oz. (excluding tray) $2,000‑$4,000

1055 International Silver Co. Sterling Silver Water Pitcher second quarter 20th century, Meriden, Connecticut, with hemispherical base and waisted collar, with squared handle and domed foot, decorated with embossed floral swags, beaded banding and molded rim. h. 7‑3/4”, l. 8‑3/4”, dia. 6‑3/4”; 24.05 t. oz. $600‑$900 1055

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1056

1056 detail

1057 detail

1056 Large Set of Tiffany “English King” Sterling Silver Flatware the pattern designed in 1885 by Charles Grosjean (1841‑1888), New York, New York, including a dozen fourteen-piece place settings, with an additional dozen teaspoons and seven serving pieces, variously monogrammed, presented in a fitted, Pacific clothlined mahogany-stained case with lift-top, two drawers and brass fittings, 12‑1/2” x 20‑1/2” x 14‑1/2”. 187 pieces 290.72 total t. oz. (weighable silver) Detailed list of pieces available on request. $9,000‑$12,000 1057 Large Cased International “Pansy” Sterling Silver Flatware Set the pattern designed in 1909 by Samuel Stohr (1869‑1932), Meriden, Connecticut, including a dozen fourteen-piece place settings (two pieces lacking) with an additional six place pieces and fourteen serving pieces, monogrammed “RLC”, presented in a fitted, teal velvet-lined Circassian walnut case with lift-top, two drawers and brass fittings. 186 pieces 160.83 total t. oz. (weighable silver) Detailed list of pieces available on request. $3,000‑$5,000 1057

331


1058

1058 detail

1058 124‑Piece Set of Towle “Old Colonial” Sterling Silver Flatware the pattern designed in 1895 by Lucien Durkee Cole (1849‑1926), Newburyport, Massachusetts, including a dozen nine-piece place settings with an additional ten place pieces and six serving pieces, presented in a fitted, baize-lined, two-tier wooden case, 5‑1/2” x 15‑1/2” x 13”. 113.76 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,500‑$2,500 1059 Five-Piece Tiffany & Co. “Hamilton” Sterling Silver Coffee and Tea Set

1059

the pattern designed in 1938, New York, New York, including a coffeepot, h. 10‑1/2”, a teapot, h. 7‑1/2”, a covered sugar bowl, h. 5‑1/2”, a cream jug, h. 5‑1/2”, and a waste bowl, h. 3‑1/2”, monogrammed “E”. 71.6 total t. oz. (including wooden handles) $1,800‑$2,500 1060 Set of Twelve Tiffany & Co. Sterling Silver Cordials the pattern introduced in 1915, New York City, New York, each with a rounded conical bowl raised on a short baluster stem above a circular foot, monogrammed “LHA”. h. 4‑1/8”, dia. 2‑1/4”; 41.85 total t. oz. $800‑$1,200 1060

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1061 Fifteen Reed & Barton “Francis I” Sterling Silver Serving Pieces the pattern design in 1907 by Ernest Meyers, Taunton, Massachusetts, including a wedding cake knife, a lemon fork, a pickle fork, a tomato server, a two-piece salad serving set and nine others, no monograms. 23.77 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,200‑$1,800

1061

1062 Twenty-Two Pieces of Reed & Barton “Francis I” Sterling Silver Flatware the pattern design in 1907 by Ernest Meyers, Taunton, Massachusetts, including ten seafood/cocktail forks, l. 5‑1/2”, and twelve butter spreaders, l. 5‑1/4”, the spreaders monogrammed “K”. 19.36 total t. oz. $600‑$900 1062

1063 Gorham “Chantilly-Grand” Sterling Silver Demitasse Set and Later Teapot 1900, Providence, Rhode Island, including a coffeepot, h. 10‑1/4”, l. 8‑3/4”, a cream jug, h. 5‑3/4”, l. 5”, and covered sugar bowl, h. 5‑3/4”, w. 7‑3/4”, monogrammed “HMR”, together with a 1956 teapot, h. 7‑1/4”, l. 10‑1/2”. 77.87 total t. oz. $1,500‑$2,500 1063

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1064

1066

1065

1064 Set of Tiffany & Co. “Cook/Saratoga” Sterling Silver Flatware the pattern designed in 1870 by Edward C. Moore (1827‑1891), including a dozen four-piece place settings (no knives) and two serving ladles. 50 pieces 124.91 total t. oz. Detailed list of pieces available on request. $1,800‑$2,500 1065 Two 19th-Century Tiffany & Co. Sterling Silver Punch/Soup Ladles New York, New York, one in the “Persian” pattern, designed in 1872 by Edward C. Moore (1827‑1891), l. 13”, the other “English King” pattern, designed in 1885 by Charles Grosjean (1841‑1888), monogrammed “MAB”, l. 12‑1/2”. 18.40 total t. oz. $1,000‑$1,500

1067

1066 Eight Pieces of Gorham “Japanese” Sterling Silver Flatware the pattern designed in 1871, Providence, Rhode Island, including a berry spoon, l. 9‑1/2”, a master butter knife, l. 6‑7/8”, and six teaspoons, l. 5‑3/4”, variously monogrammed on the reverse. 9.03 total t. oz. $600‑$900 Gorham’s “Japanese” pattern is one of the company’s rarest and most sought-after. Although the design does not appear to have been patented, it was almost certainly created by Gorham’s chief designer George Wilkinson (1819‑1894). It included five different basic handle motifs, which were further enhanced by variant embellishment. (For instance, one teaspoon in the present lot has an up-turned handle with “pagoda” finial, in contrast to the downturned, triangular finial of the others; note also the parcel gilding on the berry spoon).

334

1067 Seven Pieces of American Aesthetic Sterling Silver Flatware fourth quarter 19th century, including six John Wendt “Bird” pattern luncheon forks, designed in 1865 by Bernhard D. Beiderhase (ca. 1826‑1875) and retailed by Ball, Black & Co., New York, monogrammed “EAJ”, l. 6‑5/8”, and a Tiffany “Vine” pattern, “Gourd” motif sugar sifter, monogrammed “ME”, l. 5‑7/8”. 11.80 total t. oz. $700‑$1,000


1068

1068 Six Tiffany & Co. “Vine” Pattern Sterling Silver Serving Pieces designed in 1872, probably by Edward C. Moore (1827‑1891), New York, New York, including, in the “Grapevine” motif, two styles of ice cream slices, l. 11”, and a serving fork, l. 8‑3/4”, and spoon, l. 8‑5/8”, and, in the “Raspberry” motif, a sugar spoon, l. 7”, and a cream ladle, l. 7”, three pieces variously monogrammed. 17.80 total t. oz. $1,000‑$1,500 1069 Five Rare Whiting Sterling Silver Pickle Forks ornamental pattern number 6, introduced ca. 1880, Providence, Rhode Island, the handle decorated with a cucumber plant, of varying lengths and with different tines; one example monogrammed “JMW”. l. 6” to 9‑1/8”; 5.48 total t. oz. This unusual set shows how a single flatware die was embellished to form different designs. There are four different styles of tines here, and the length is varied by the addition of a “blossom” knop on the long examples, and the truncation of the cucumber motif on the shorter examples.

1069

1070

1071 Two American Gilded Age Sterling Silver Soup/ Punch Ladles one in Gorham’s “King George” pattern, introduced in 1894, monogrammed “EPS”, l. 13”, the other in Whiting’s “Dresden” pattern, introduced in 1896, monogrammed “JBD”, l. 12‑3/4”, both with gilt bowls. 17.14 total t. oz. $700‑$1,000 1072 Two American Aesthetic Period Sterling Silver Ladles third quarter 19th century, including a Gorham “Ivy” example, designed in 1865 by George Wilkinson (1819‑1894), retailed by Bailey & Co., Philadelphia, Pennsylvania, monogrammed “HMcCD”, l. 11‑1/2”, and a John R. Wendt “Bird” example, designed in 1865 by Bernard D. Beiderhase (ca. 1826‑1875), retailed by Starr & Marcus, New York, New York, l. 11”. 9.20 total t. oz. $700‑$1,000

$600‑$900 1070 Two Fine Gilded Age Sterling Silver Serving Pieces fourth quarter 19th century, including a rare Gorham parcel-gilt olive spoon, with pieced leaf bowl, stem handle with applied olive and spear finial, l. 11‑3/4”, and a Tiffany & Co. “Strawberry Vine” berry spoon, l. 9‑1/2”, the latter monogrammed “EAF”. 6.22 total t. oz. $600‑$900

1071

1072

335


1074 Edward Muegge “Buck” Schiwetz (American/Texas, 1898‑1954) “The Caldwell County Courthouse at Lockhart”, 1956 graphite on paper signed and dated lower right, titled lower left. Matted, glazed and framed. sight 10” x 14‑3/4”, framed 16‑3/4” x 21‑1/8” $1,000‑$1,500 1073

1073 Edward Muegge “Buck” Schiwetz (American/Texas, 1898‑1954) “Courthouse at Granbury”, 1956 graphite on paper signed and dated lower right, titled lower left. Matted, glazed and framed. sight 10‑1/4” x 13‑1/4”, framed 16‑3/4” x 21” $1,000‑$1,500

1074

1075 Edward Muegge “Buck” Schiwetz (American/Texas, 1898‑1954) “Irion County Courthouse, Sherwood, Texas”, 1956 graphite on paper signed and dated lower right, titled lower left. Matted, glazed and framed. sight 10” x 13‑3/4”, framed 16‑3/4” x 21‑1/8” $1,000‑$1,500

1075

336


1076 Edward Muegge “Buck” Schiwetz (American/Texas, 1898‑1954) “View of Bandera County Courthouse”, 1956 graphite on paper signed and dated lower right, titled lower left. Matted, glazed and framed. sight 10‑1/4” x 13‑3/4”, framed 17” x 21” $1,000‑$1,500

1076

1077 Jim Blanchard (American/Louisiana, b. 1955) “Parsonage, Natchez”, 1993 ink and watercolor on paper signed and dated lower right. Matted, glazed and framed. sight 14‑1/2” x 21”, framed 27‑1/2” x 33” $1,200‑$1,800

1077

1078 Max Pollak (American, 1886‑1970) “San Francisco, Hyde Street” “San Francisco, Telegraph Hill” two color etchings both pencil-signed lower right, former numbered “71/150” lower left and latter marked “P.P.” lower left. Both handsomely matted, glazed and framed alike. each sight 13‑3/4” x 11‑1/4”, each framed 21‑3/4” x 19‑3/4” $1,000‑$1,500

1078

337


1079 Will Hinds (American/Louisiana, 1936‑2014) “Gaydon Remnants” oil on canvas board signed lower right, titled en verso. Framed. 16” x 20”, framed 24‑1/2” x 28‑1/2” $1,000‑$1,500

1079

1081 Morris Henry Hobbs (American/Louisiana, 1892‑1967) “Patio at 630 St. Ann St., Old New Orleans”, 1942 watercolor on paper signed lower right, titled, dated and inscribed “For my good friends - Nemia and Sterling Armstrong - WHH 1942” lower left. Matted, glazed and framed. 18” x 14‑1/2”, framed 28‑1/4” x 23‑1/2” $2,000‑$4,000

1080

1080 Will Hinds (American/Louisiana, 1936‑2014) “Bo’s Road” watercolor on paper signed lower left, titled on old label en verso. Matted, glazed and framed. 19‑3/4” x 14‑3/4”, framed 31” x 25‑1/2” $1,000‑$1,500

338

1081


1082

1082 James N. Rosenberg (American, 1874‑1970) “New England Landscape”, 1948 oil on masonite monogramed and dated lower right, accompanied by a signed copy of “James N. Rosenberg - 50 Lithographs”, published by Harry N. Abrams, Inc., New York, 1964. Presented in a period frame. 24” x 30”, framed 30‑5/8” x 36‑3/4” x 36‑3/4” $1,000‑$1,500

1083

1083 Maurice Lebel (Canadian, 1898‑1963) “Winter Landscape with Creek”, 1943 oil on artist board signed and dated lower right. Framed. 14” x 18”, framed 20” x 24” $1,000‑$1,500

339


340

1084

1085

1086

1087


1088 Laristan Tabriz Runner

1090 Mamluk Carpet

2’ 7” x 29’ 4”

10’ 3” x 13’ 9”

$1,000‑$1,500

$1,000‑$1,500

1084 Semi-Antique Kerman Carpet

1086 Turkish Angora Oushak Carpet

9’ x 17’ 8”

7’ 10” x 9’ 10”

$1,000‑$1,500

$700‑$1,000

1085 Agra Karajeh Carpet

1087 Heriz Carpet

1089 Turkish Angora Oushak Carpet

8’ x 10’

8’ 2” x 11’ 4”

11’ 10” x 15’ 1”

$900‑$1,200

$1,500‑$2,500

$1,500‑$2,500

1090

1089

1088

341


1091

342

1093

1092


1094

1095

1091 Semi-Antique Bakhtiari Carpet 9’ 11” x 12’ 1” $800‑$1,200 1092 Turkish Angora Oushak Carpet 11’ 10” x 18’ 2” $1,800‑$2,500 1093 Turkish Agra Serapi Carpet 8’ 8” x 12’ 2” $700‑$1,000

1094 Kashan Carpet 9’ x 12’ 1” $600‑$900 1095 Turkish Angora Oushak Carpet 9’ 2” x 12’ $800‑$1,200 1096 Khorassan Carpet 10’ 6” x 15’ 10” $1,500‑$2,500

1096

343


1098

1097

1100

344

1099

1097 Semi-Antique Sarouk Carpet

1098 Semi-Antique Tabriz Carpet

1099 Semi-Antique Tabriz Carpet

1100 Semi-Antique Heriz Carpet

4’ 2” x 6’ 2”

9’ 3” x 12’ 10”

9’ 9” x 12’ 7”

7’ 9” x 9’ 5”

$700‑$1,000

$800‑$1,200

$800‑$1,200

$700‑$1,000


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. Rev. 01/04/17


(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

Rev. 01/04/17


(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 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or 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. Rev. 01/04/17


(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.

Rev. 01/04/17


New Orleans Auction Galleries

333 Saint Joseph St., New Orleans, LA 70130 | 504-566-1849 | Fax: 504-566-1851 | Info@NewOrleansAuction.com

ABSENTEE / TELEPHONE BID FORM Name (Please Print): ______________________________________________

Date: ______________________

Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _______________________________ Address: ____________________________________________________________________________________ City: _____________________________________________

State: ____________ ZIP: ___________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_______________ E-mail Address: _________________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ Expiration Date: _____________ CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires], the buyer’s premium shall be discounted 3% of this 25%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): ___________________________________________________________________ Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com 


ABSENTEE/TELEPHONE BID FORM (continued)

Name (Please Print): ______________________________________

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $


Susan D. Sarofim CEO

Tessa Steinkamp Director of Auctions

Ashton Thomas President

Jelena Restovic James Director of Fine Art

Ireys Bowman General Consignments

Greg S. Kowles General Consignments

Kim Lemon Fine Jewelry Specialist

Michele Carolla Fine Art Specialist

Nicole Casi, PhD Fine Art Specialist

Rebecca Moss Asian Arts Specialist

Thomas Halverson American Furniture Specialist

Burke Designer

Taylor Eichenwald Marketing & Public Relations

Charles C. Cage Silver Specialist & Office Manager

Colleen Ryan Director of Human Resources

AUCTIONEERS

CONSULTANTS

Tessa Steinkamp, #1265 Ashton Thomas, #1833 Taylor Eichenwald, #1922 Michael DeGeorge, #1774

Ellen McKenzie English & Continental Furniture Ira Savoie Independent Certified Gemologist Appraiser

ADMINISTRATION Christa Ougel Denise Haik Office Administration Graphic Designer Gary Michael Gittelson Bettina Bausa Graphic Designer Photographer Grace Connors Manager of Cakebread Auction

OPERATIONS Cedric Roberts | Sean Ranson Bennie Amos | Eddie Daigrepont Emmitt Kendrick, Jr. Gerald Hampton | Juanita Bazile Sol Carter | Thomas Johnson David Abney | James Collins


March 17-18, 2018 Estates Auction  

Our March 17-18 Estates Auction includes 1,100 lots of fine and decorative art, antique furniture, silver, jewelry, carpets and more. Fine a...

March 17-18, 2018 Estates Auction  

Our March 17-18 Estates Auction includes 1,100 lots of fine and decorative art, antique furniture, silver, jewelry, carpets and more. Fine a...