Estates Auction: October 8-9, 2022

OCTOBER 8-9, 2022

SEPTEMBER 26

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

Saturday, October 1 10:00 a.m. - 3:00 p.m.

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

Saturday, October 8, 2022 10:00 a.m CST LOT SCHEDULE: Please note that times are approximate.

10:00 - 11:00 11:00 - 12:00 12:00 - 1:00 1:00 - 2:00 2:00 - 2:45 1 - 80 81 - 160 161 - 240 241 - 320 321 - 380 381 - 460 461 - 540 541 - 620 621 - 700 701 - 763 10:00 - 11:00 11:00 - 12:00 12:00 - 1:00 1:00 - 2:00 2:00 - 2:45

Sunday, October 9, 2022 10:00 a.m CST

The best design reveals itself during a long, fatiguing process of digging into the sub

Charles James concious.

into the dream

ente r

theuS

"Imagination, fantasy and creativity are always irresistible for the soul and spirit. Those who have these qualities are responsible for passing them on to others, as fantasy breeds fantasy"

– Piero Fornasetti

– Pedro Friedeberg

"I paint what cannot be photographed, that which comes from the imagination or from dreams, or from an unconscious drive."

– Man Ray

with special thanks to photography

rob

In the ever-changing tides of our lives, it seems fitting, more so than ever, to be drawn to escapism in its many forms as a creative North Star. I see in my own life, art and design more poignantly, the perception and interpretation of these practices has been impacted by the unexpected waves of world events we have collectively experienced. No doubt, this imaginative diversion through art harkens to the surrealists of WWI.

Living within dreams and fantasies, we get to not only escape the “real world” (if only for a moment), but also unabashedly cater to our inner desires. Approaching interiors with this tenet of surrealism, we can create not only spaces that fully, wholly, express our truest selves, but ones that unapologetically disregard any rule or confinement. That is where imagination not only plays but thrives.

Certainly, the concept of mixing old with new, or one style with another, is nothing novel, but a surrealist approach digs a little deeper, threading commonalities between even the most disparate objects. Separately distinct, together they create something that’s indescribably special and entirely individual: surreal and liberating.

In this spirit, we’ve selected a stunning space, the Marigny Opera House, as a backdrop to present the remarkable offerings in our Oct. 8-9 Estates Auction. Nestled in New Orleans’s historic Faubourg Marigny, the self-proclaimed “Church of the Arts” is home to the Marigny Opera Ballet and host to countless other performances and events (most notably, the wedding of the inimitable Solange Knowles).

Against the Romanesque-style venue’s large domes, sweeping arches and natural light-flooded checkered floor, a curated selection of auction items from French antiques to modern sculpture come together to create one-of-a-kind stories, open to interpretation and meant to inspire you as you explore the catalogue.

However, these stories are not complete without mentioning the collectors behind each piece. We are thrilled to offer the estate of Lin Emery an accomplished artist whose collection ranges from pre-Columbian artifacts to abstract sculpture, as well her own imaginative creations (read more about her remarkable life in the pages that follow).

We are also delighted to offer fine art from distinguished New Orleans dermatologist and art collector Dr. Nia Terezakis (NOAG had the privilege of offering a Lalanne table from her collection in our July Estates Auction); antiques and fine art from the collection of Memphis physician Dr. Vance Shappley; and furniture, paintings and decorative objects from the collection of beloved New Orleans designer and author Rosemary James.

Our Oct. 8-9 Estates Auction, which includes 763 lots, begins at 10 a.m. each day. Exhibition opens Monday, Sept. 26, and continues through Friday, Oct. 7. The gallery is open Monday-Friday from 9 a.m. to 5 p.m., on Saturday, Oct.1, from 10 a.m. to 3 p.m.

We encourage you to join us at our gallery for in-person bidding, but you can also bid from the comfort of your own home by telephone or live online with LiveAuctioneers.com and Invaluable.com. You may also submit absentee bids in advance of the sale. As always, we stand ready to assist you with anything you may need. Whether it’s a request for a condition report, additional photos or guidance on how to bid, please don’t hesitate to contact us.

As you dive into this catalogue, I invite you to indulge in your fantasies. Don’t overthink why you love something; remember that there is always a common thread and logic in the seemingly illogical. When it comes to collecting and creating, the directive is simple: let it be about you and your experiences, thoughts and dreams.

See you at the auction,

Taylor Eichenwald Assistant Director

“The imaginary is what tends to become real.”

–André Breton

R

osemary James

“Rosemary James is evidence that, perhaps, it’s better not to read the script. Sometimes you just have to get on stage. Improvise. Put on the different masks. See what fits. If you find the right role in the right place, your story will write itself.”

ALICIA LUTZ

"On a Lark", The College Today

As an accomplished author, designer and collector, Rosemary James surely knows a thing or two about multifaceted living. Her inspiring and magnificent life has seen her become an educator, a newspaper fashion editor, a hard-nosed print journalist, a television personality, a communications executive, a designer and a bookstore owner.

We are honored to offer pieces from The Collection of Rosemary James in this sale, including items from her beloved longtime residence in the French Quarter – fittingly, the former home of fellow author William Faulkner. While Rosemary sold the property in 2019, the home’s legacy and character live on with a new generation of owners who share Rosemary’s passion for literature and history.

The following story, "On a Lark" by Alicia Lutz, was published in The College Today in 2014; it has been condensed for use by NOAG, with permission from Rosemary James.

ON A LARK

No matter what role she’s playing, Rosemary James has never followed a script. She’s never had a problem with improv, with trying out a part just to see where it takes her. It’s in her nature to take things as they come, to follow her whims. Her life has been dictated by impulse –taking opportunities life offered and running with them. That’s not to say she’s not a planner when it comes to her work. She’s just never been one to plot out a life plan and plod along with it.

She understood, early on, that she loved design and writing. While at Myrtle Beach High School, she worked for the Myrtle Beach Sun every afternoon – making up ads, doing social notes, covering news.

“My original idea was to combine design and journalism and write for shelter magazines, like House & Garden, so my credits were heavy in that direction,” says James, who lost most of her credits when, in 1957, she transferred to the College of Charleston from Syracuse University to get away from the cold.

After college, James took a teaching job at Mount Pleasant High School. While teaching, the News & Courier sent her to Duke University for a summer course in using

newspapers as teaching tools. This led to a job in women’s news. Soon after, when the News & Courier and Evening Post combined Women’s Sections, James began writing features for both papers on celebrities like Zazu Pitts and Rose Kennedy.

SENSE OF STYLE & PLACE

“She has a flair for putting clothes together, an innate sense of personal style. I saw that spark in her early on,” says friend and colleague Barbara Williams, who joined the News & Courier after James had been made fashion editor, traveling to fashion shows from Dallas and New York to Europe. “You can just look at her and see her artistic side in the way she packages herself.”

It wasn’t clothes alone which made James stand out in those days. “She was the only person I knew, who—at our age, and on our salaries— would go out and buy a small piece of good silver. Even when we were young, she loved beautiful things. And she’d save to buy them,” says Williams. “She’s always had refined taste, and she’s always had this visual thing. Everything had to be in scale, in its place.”

Even then, her nest was paramount and, like a bird, she never left home without coming back with some little feather for it. Growing up in Panama and, later, in Myrtle Beach and Charleston – she became accustomed to colorful landscapes and people and architectural diversity.

“She was the only person I knew, who—at our age, and on our salaries—would go out and buy a small piece of good silver. Even when we were young, she loved beautiful things. And she’d save to buy them"

“To me, place has always been more important than anything,” says James from her French Quarter living room, overlooking St. Anthony’s Garden, where music from the street performers on Royal seeps through the guillotine windows.

Place, as it turns out, is more important than anything to her story, too. When she visited friends in the Big Easy in 1963, she decided – again, on a lark – to apply for a job at the New Orleans States-Item. She got the job and moved to New Orleans in 1964.

NEW ORLEANS, LIVING THEATER

In many ways, this story belongs every bit as much to New Orleans its people, its culture, its history as it does to Rosemary James. New Orleans wrote the drama, inspired the characters, created the premise, set the tone. New Orleans set the stage — it is the stage — for most acts in which she has had and continues to have a role.

Without this extraordinary place as her backdrop, she would not have covered Civil Rights events. (Work with Mark Garner and the 1955 murder of Emmett Till determined her political views, summed up as equality and justice for all.) She remains close to friends from that era. Nor would she have covered waterfront strikes and offshore oil drilling or devastating hurricanes.

There would have been no story for her to break about D.A. Jim Garrison and his wild-hair investigation of JFK’s assassination. She could not have witnessed Garrison’s “maniacal, cynical” methods of “proving” New Orleans native Lee Harvey Oswald was not a lone assassin. She could not have heard Garrison’s outlandish theories du jour. She could not have covered the trial of Garrison’s unfortunate scapegoat, Clay Shaw.

During this period, James had established herself among local media as a serious, hard-nosed print journalist. She’d started out covering the maritime and oil industries, but by 1968 was best known for her work in New Orleans courts and politics. Then, on a lark, she bit when the CBS affiliate, WWL-TV, dangled the bait of a better-paying job there.

She was ready for a walk-on in a new scene, a new role as a TV personality, covering political and government affairs and anchoring during elections. She had mixed emotions about the celebrity that came with the job.

Early on at WWL she was under emotional duress, separating from her first husband, Exxon Public Relations man Judson James (whose name she kept professionally because of her established byline). So, in her leisure, she kept to herself, zeroed in on political writing for Figaro and New Orleans Magazine . Searching for creative outlets, she moved and redecorated frequently, helped friends with their decorating.

After eight years at WWL-TV covering such colorful figures as Mayors Moon Landrieu and Dutch Morial, Governors John McKeithen and Edwin Edwards, national political conventions, and Mafia don trials— James took a Port of New Orleans job, reorganizing the Port’s public relations and marketing thrusts and coordinating the board’s legislative liaison program.

WRITING A NEW CHAPTER

Thus began a lucrative new role. James created a communications firm with Strachan Shipping as her first client, and, subsequently, oilman and financier Louis Roussel, who invented the jack-up rig for offshore drilling; then Avondale Shipyards, independent oil man Jack Stanley, Louisiana Land & Exploration Company, the Audubon Institute.

By the late 80s, James had co-authored Plot or Politics? The Garrison Case and Its Cast ( “a playbill” about the Garrison investigation); was singled out four times by the Associated Press of Louisiana-Mississippi for its Frank Allen Award for best story or series of the year; had won the national Sigma Delta Chi Award

“I see this city as living theater. It allows you to try on new ideas about yourself. People here continually present new faces to the world.”

ROSEMARY JAMES

"Rosemary-Girl Reporter" by Robin Von Breton

for Courage in Magazine Reporting for her New Orleans Magazine story on corruption in the criminal justice system; was named Public Relations Person of the Year and had many first place plaques for ads; and had established herself as an expert in oil and maritime affairs and Louisiana courts and politics.

DESIGN, LITERATURE AND A TOAST TO FAULKNER

In 1988, James again switched directions, starting Faulkner House Designs, to renovate and decorate historic properties. In her design role, her work has received three Vieux Carre Commission awards and has been showcased in The New York Times Sunday Magazine, Departures, Southern Accents and Southern Living, to name just a few. She has designed custom furniture, limited-edition folding screens, a limited-edition fabric featuring famous Southern writers, lamps, chandeliers, other accessories. She supervised creation of draperies for sets of Interview with the Vampire and renovated and decorated a Buckhead house for one of Ted Turner’s girlfriends.

For someone living off script, Rosemary James made quite the prediction on that 1963 visit to New Orleans. Of course, she could not have known she was foretelling her own story. When she and her friends cut through Pirate’s Alley, headed for Café Du Monde and beignets, she pointed out a tall, narrow 1830s Greek revival townhouse and said, “I will live in that house one day.”

reconfigured rooms—turning staircases around to make room for closets, closing off inefficient doorways, making fireplaces operable, adding storage space, and bathrooms—and, finally, decorating the home for both elegance and livability.

ROSEMARY JAMES

She liked the looks of it. She liked the second and third floor balconies, the way it fit like a puzzle piece with the adjoining structures, the view of St. Anthony’s Garden behind St. Louis Cathedral. “It was place-perfect.” James loved it, too, because William Faulkner, with whom she was a bit obsessed at the time, wrote his first novel there, a fact commemorated with a plaque on the house.

Twenty-five years later, she and her husband bought the property and began renovating it to include a bookstore—Joe’s dream for retirement—in the ground floor space where Faulkner lived while establishing himself as a writer and completing that first novel, Soldiers’ Pay. The upper three floors, which were a warren of four tiny apartments, were renovated as their residence. James incorporated and got her license to oversee the renovation-decoration and take advantage of design trade prices available. For two years, she

The process paid off. The final interior with its Louis XVI and Directoire furnishings and art by New Orleanians George Dunbar and George Dureau and Charlestonians Manning Williams, ’60, and Linda Fantuzzo appeared quickly in Southern Accents and Metropolitan Home, which gave her design career an enviable prompt.

Despite its small rooms, the Faulkner House has turned out to be the perfect fit – both as a home and for an occupation. “Joe and I feel we are trustees of part of the Faulkner heritage and the New Orleans literary heritage, that we have an obligation to share the building with others,” says James, explaining that they opened Faulkner House Books on Faulkner’s birthday, September 25, 1990. “On a lark, really a bit of a spoof, we called the black-tie celebration the First Annual Meeting of the Pirate’s Alley Faulkner Society.”

The vision has grown like topsy. Combining readers, writers, scholars, editors, agents, publishers, actors, and

“I think it was my subconscious desire for Faulkner’s House that made me trot over to the newspaper and apply for a job.”

jazz and classical musicians in a celebration of “the word,” this five-day convocation is where James shines.

“She didn’t just drum up a writers conference she brought music into it, because New Orleans creates music, loves its music. She knew to do that,” says Williams. “Rosemary’s creativity spans design, writing, entertaining and she’s used her creative range perfectly to make this festival unique. It’s a great vacation and also a cultural and intellectually stimulating experience. You’re learning… and having fun. It’s the complete package. She has a flair and uses it instinctively as a tool.”

Faulkner Society began publishing its literary journal, The Double Dealer , in 1992. A revival of the 1920s journal which published the first work of Faulkner and Hemingway, The Double Dealer, showcases established authors with debut writers and provides writing, editing, small-press publishing experience for college interns for course credit.

“To me, Rosemary represents not just the literary scene in New Orleans, but the city itself. She’s got that great way of talking about it – with affection and fascination – she speaks with such love that I know her truest niche is there,” says Williams.

“Working with students helping them get some focus in their work is important to me. I love working with developing adult writers, too, guiding them toward publication. I like writing, reading, editing, and page design, so everything comes together for me with the Society.”

After 30 years in Pirate's Alley, the four-story Faulkner House was proving to be too much of a challenge for Joe, who was losing mobility due to spinal stenosis. Rosemary and Joe sold both the house and the bookstore and purchased a Prytania Street property to renovate. More recently, in the wake of her beloved husband's death, Rosemary has changed courses again. She sold the Prytania house and taken on the renovation of a smaller, long neglected house on Audubon Street.

From the beginning, Rosemary James knew she was interested in writing and design. And, for a character without a script, she managed to keep her story on point even if it was just freelance writing and styling for lifestyle magazines along the way.

And it has been recognized nicely. The Louisiana Endowment for the Humanities awarded Rosemary and Joe a joint Lifetime Achievement Award for the contributions they’ve made to the literary arts.

“Everything I’ve done has been without thinking it to death. So, my life seems haphazard to me,” says James. Her priest, however, recently told her to look at it this way: “Whenever you have not known what you’re going to do next, you found the energy, or the willpower, the determination to move in a different direction. And how has all of this come about? It’s God’s grace. Maybe you have no plan for your life, but God has one.”

“And, when I consider his words, I must agree that someone has been watching over me!”

happley Dr. Vance

From Ferraris to French furniture, collecting has been Dr. Vance Shappley’s lifelong passion.

For as long as he can remember, Vance has admired antiques and things of value and fondly remembers the first piece he fell in love with: his grandmother’s Zenith Trans-Oceanic Radio. She would bring the radio with her when visiting, and Vance became infatuated with it, wanting to own one himself one day. While she promised it to him at her death, he sadly never received it, but this disappointment led to his first collecting pursuit (he eventually found one in St. Louis, Mo. that he still cherishes it today).

Growing up in Memphis, Vance and his brother worked seven days a week at their father’s modest neighborhood grocery store. The Shappley brothers knew that their ambitions were greater than what the small store could provide and were determined to find a path to greater opportunities.

Vance chose to pursue a career in medicine, attending the University of Memphis and receiving his M.D. from the University of Tennessee Health Sciences Center, where he also completed his internship, general surgery residency and urology residency.

During his time in college, medical school and in the early days of his career, Vance’s childhood-sparked admiration for beautiful, storied objects only grew stronger. He frequented antique shops and estate sales on the hunt for interesting pieces, acquiring the best that he could afford at the time.

Following active duty in the United States Air Force, Dr. Shappley returned to Memphis and entered private-practice urology. In 1994, he founded The Shappley Clinic, where he has practiced urology for more than 35 years.

This rewarding medical career ultimately provided Dr. Shappley with the means to pursue his passions, especially his love for collecting.

From Palm Beach to New York, and London to New Orleans, Dr. Shappley never missed an opportunity to visit the best antique shops in any city in which he found himself. Whether he was attending a medical conference, visiting his son at college, or enjoying the Cavallino Classic, he took note of pieces to add to his collection.

When Dr. Shappley built his home in Memphis’s Germantown area 32 years ago, he set out to create a house with the feel of a storied home with all of the conveniences of a modern one. Over the past several decades, he’d go on to beautifully furnish it with the

very best items he could find, slowing down as his sons attended college.

Despite his long English lineage, Dr. Shappley was attracted to the romanticism and warm, elegant qualities of French furniture and decorative arts, amassing exceptional pieces in his beautiful home.

Of particular interest to Dr. Shappley were clocks, with which he became fascinated by from a young age, delighting in his grandfather’s mantle clock’s cabinetry, artistry and engineering. We are pleased to offer many of Dr. Shappley’s cherished clocks in this sale.

One of Dr. Shappley’s favorite pieces, and one included in this auction, is a magnificent breakfront once owned by Memphis political powerhouse E. H. Crump. When the legendary politician died and his collection was sold, Dr. Shappley was able to acquire several exceptionally fine pieces, including the breakfront.

New Orleans Auction Galleries is honored to assist Dr. Shappley as he moves to a new home and downsizes his cherished collection – or, as he more eloquently puts it, “I am simplifying my existence.” The Shappley Collection includes fine French furniture, clocks, garden furniture, carpets and more–and beautifully represents Dr. Shappley’s lifelong admiration for antiques, as well as his keen eye for the very best.

Nia Terezakis

– DR. NIA TEREZAKIS

As the daughter of Greek immigrant parents, Dr. Nia Terezakis learned from a young age about the importance of hard work, a love for life and, of course, the art of cooking. Her father, Christopher Katechis, emigrated to Montgomery, Alabama as a young man, joining his brother who had already settled there. Her father opened Chris’ Hot Dogs on Dexter Avenue in 1917, which grew to become a local institution and continues to operate today as the oldest family owned and operated business in Alabama. Over the years, its popularity attracted prominent customers such as Harry Truman, Dr. Martin Luther King, Jr., Jimmy Stewart, Elvis Presley, Hank Williams, Clark Gable, Tallulah Bankhead, countless sports stars and every Alabama Governor since 1917.

Nia spent her formative years in Montgomery, eventually attending Huntington College and earning a degree in art with the intention of pursuing a career in interior design and teaching. She married, but was soon widowed as a young woman. Her family doctor and his wife encouraged her to attend medical school. She was one of only two women accepted to Tulane School of Medicine in 1962 and was the only woman accepted in her chosen residency.

Nia went on to open her own medical and cosmetic dermatology practice in New Orleans, becoming an accomplished and respected doctor in her field. Now happily retired, Nia’s practice, Terezakis & Grieshaber Dermatology (now under the leadership of Dr. Elizabeth Grieshaber), remains one of the leading dermatology clinics in the region.

Her professional success allowed her to pursue her love of art through collecting. As she puts it, “Good food soothes the senses but great art awakens and fuels the soul.”

Over the last several decades, Nia amassed an impressive collection of modern and contemporary paintings, pottery and sculpture, befriending many of the artists along the way. The diverse collection represents her discerning eye and love for art.

New Orleans Auction Galleries is honored to assist Nia as she downsizes her collection, including works by Pedro Friedeberg, George Dunbar, Jose-Maria Cundin, Ida Kohlmeyer and Simon Gunning.

“Life has surprised me, but never disappointed me.”

in Emery

"Sculpture is living, it's vital, it's changeable. Even when you walk around it, it can be something different. Drawing is a reflection and coordinating eye and hand, but sculpture is your mind and an idea."

– LIN EMERY

A world-reknowned sculptor whose career spanned nearly sixty years, Lin Emery created breathtaking kinetic scupltures that are found in public spaces the world over.

Emery spent her youth traveling between New York and Florida, before enrolling in Columbia University at the precocious age of 16. She traveled from university to university before arriving at the Sorbonne in Paris. While in Paris, she became interested in the work of Russian sculptor Ossip Zadkine (1890-1967) whose studio was near her lodgings. Zadkine accepted her as a student, intrigued by the artistic potential of the curious and creative young woman. Emery eventually returned to New York to study welding at the New York

Upon completion of her studies, she settled in New Orleans where she turned a portion of her French Quarter apartment into a studio.

While her first sculptures were figural, Emery soon found herself more intrigued by the internal structural armatures than the finished work. She began to experiment with abstract welded sculptures, eventually incorporating natural elements - water, magnets, air - into her works to create motion.

Emery is the recipient of numerous prestigious national and international awards, most significantly the Laszlo Aranyi Award of Honor for Public Art, a National Endowment for the Arts Grant, a Louisiana Women of Achievement Award, the Osawa, Japan

Grand Prix for Public Sculpture, and an Opus Award from the Ogden Museum of Southern Art. She has exhibited widely including: the National Academy of Design, New York, New York; the Contemporary Arts Center, New Orleans, Louisiana; Arthur Roger Gallery, New Orleans, Louisiana; Kouros Gallery, New York, New York; and the Academy of Fine Art, Philadelphia, Pennsylvania.

New Orleans Auction Galleries is honored to offer the Estate of Lin Emery, which features her own work, as well as paintings and sculpture by celebrated regional artists such as Ida Kohlmeyer, John Tarrell Scott and George Valentine Dureau. Her collection also features an impressive Piero Fornasetti cabinet, as well as preColumbian pottery figures and Old Master paintings.

“I could never have done any of this anywhere else, especially as a woman. New Orleans was the only place where sculpture was thought of as something for women to do. When I was starting out, living in a ground-floor apartment in the French Quarter, I set up welding equipment in my bedroom, and no one objected. On the contrary, people were very supportive and always have been.”

no

1

1

Mario Villa (Nicaraguan/Louisiana, 1953-2021)

Wine Rack Tasting Table

20th century, mixed metal, with glass top, vine and twisted brass elements, remnants of paint.

h. 36”, w. 60”, d. 24”

$2,000-$4,000

2 Mario Villa (Nicaraguan/Louisiana, 1953-2021)

Bench

20th century, mixed metal, crossed stretcher to legs, twisted brass elements, remnants of paint.

h. 26”, w. 48”, d. 16”

$1,000-$1,500

Mario Villa (Nicaraguan/Louisiana, 1953-2021)

Mixed Metal “Nefertiti” Bed

fourth quarter 20th century, the four brass-bound posts with female bust finials incised “M. Villa” and “93” or “87”, with neoclassical-style end panels, the top rail of one gilt-signed “VILLA 99”. h. 55-1/2”, inside w. 32”, l. 77”, outside w. 33-1/2”, l. 80”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,400-$1,800

4 Mario Villa (Nicaraguan/Louisiana, 1953-2021)

Figural Lamp

2001, bronze with pierced copper shade, signed and dated at base. h. 26”, w. 8-1/2”, d. 8-1/2”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,000-$1,500

JOANN GREENBERG

A graduate of the art program at Newcomb College, Tulane University, Joanne Greenberg continued in that institutions’s tradition of pottery, but in her own distinctive style. Newcomb Pottery, established by the Woodward Brothers, fostered creativity among the female students but within strict guidelines; the women artists decorated but did not throw the pots and their focus was limited to the flora and fauna of Louisiana rendered in a green/blue color scheme. With an exuberant and whimsical quality, Greenberg’s pottery features unconventional shapes that she constructed herself and energic scenes often depicting nude women.

JoAnn Greenberg (American/Louisiana, 1928-2013)

Group of Twelve Newcomb Studio Art Pottery Pieces

painted, glazed and incised pottery of figural motifs, including ten tiles, one bowl and one vase, most with incised signature.

bowl dia. 15-1/2”, largest tile 11-1/2” x 28”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,000-$1,500

6 JoAnn Greenberg (American/Louisiana, 1928-2013)

Group of Twelve Newcomb Studio Art Pottery Pieces

painted, glazed and incised pottery with figural motifs, including eight vases, two bowls and two tiles, each with incised signature.

bowl dia. 21”, tall vase h. 10-1/2”, dia. 8-1/2” and large tile 19” x 14-1/2”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,000-$1,500

Lisa “Tinka” Jordy (American/Louisiana/North Carolina, b. 1954)

“Untitled - Companions”

pair of stoneware sculptures h. 43”, w. 9-1/2”, d. 7” and h. 41”, w. 11”, d. 9”

Provenance: Carol Robinson Gallery, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,000-$1,500

8 George Schmidt (American/Louisiana, b. 1944)

“Carnival Ball” oil on linen signed lower left. Framed. 24” x 16”, framed 27-1/2” x 19-1/2”

Provenance: George Schmidt Gallery, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,200-$1,800

9

9 detail 9 detail

Pedro Friedeberg (Mexican, b. 1936)

“Hand Chair”

carved mahogany signed along back. h. 38-1/2”, w. 20”, d. 20”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$8,000-$12,000

10 Francisco Zuniga (Mexican, 1912-1998)

“Two Seated Women”, 1971

conte crayon signed and dated lower right. Matted, glazed and framed. sight 19-1/2” x 26”, framed 32” x 38”

$2,000-$4,000

11 Lin Emery (American/Louisiana, 1926-2021)

“Untitled”, 2003

blue-painted aluminum kinetic sculpture incised signature and dated at edge of self-base, on an integral stone base. overall h. 20”, span 17”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$3,000-$5,000

Robert Gordy (American/Louisiana, 1933-1986)

“Seven Figure Oval”, 1975

acrylic on canvas signed, titled and dated on backing board. Integral frame. 40-3/4” x 57-1/4”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana. $3,000-$5,000

mixed media and wood sculpture signed, titled and dated “Miami 92” on interior of self-base.

h. 29”, w. 12”, d. 22”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,400-$1,800

Jose-Maria Cundin (Spanish/Louisiana, b. 1938)

“Pajaro Extinguido (Del Ornibestiario)”, 1992

14

Jose-Maria Cundin (Spanish/Louisiana, b. 1938)

“Burukide II”, 1994

oil on linen

signed and dated upper right, signed, titled and further inscribed en verso.

Artist frame.

58” x 50”, framed 59-3/4” x 51-1/2”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$5,000-$8,000

15

Jose-Maria Cundin (Spanish/Louisiana, b. 1938)

“Visit to the Museum”, 2016 oil on canvas

signed and dated lower right, signed, titled and dated en verso, affixed with “Callan Contemporary, New Orleans, Louisiana” gallery label.

Artist frame.

30” x 36”, framed 38” x 45”

Provenance: Callan Contemporary, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$6,000-$9,000

16

Elemore Madison Morgan, Jr. (American/Louisiana, 1931-2008)

“Group of Irises”, 2005

gouache on museum board

initialed and dated lower right, with “Arthur Roger Gallery, New Orleans, Louisiana” label with artist, title and date en verso.

Gallery frame.

30” x 40”, framed 39-3/4” x 46-1/2”

Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$5,000-$8,000

17

Elemore Madison Morgan, Jr. (American/Louisiana, 1931-2008)

“Red Flower”, 2007

gouache on paper

initialed and dated lower right, with “Arthur Roger Gallery, New Orleans, Louisiana” label with artist, title and date en verso.

Gallery frame.

22-1/8” x 30”, framed 31-1/2” x 38”

Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$2,000-$4,000

19

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997)

“Untitled”, 1979

pair of mixed medias on hand-made paper each pencil-signed and dated lower right, each float-mounted and encased in a lucite shadowbox.

16” x 16” and 11” x 11”, respectively

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$2,000-$4,000

20

Pair of French Steel, Brass and Glass Etageres

mid-20th century, in the Maison Jansen style, the steel frame on brass hoof feet, with brass lamb’s-head finials, and steel X-form stretchers on the sides, decorated with brass medallions, set with glass shelves.

h. 77-3/4”, w. 18”, d. 12”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,000-$1,500

21

Dennis Hare (American/California, b. 1946)

“Spectators”, 1991

oil on canvas

Signed and dated lower left, and signed, titled and dated en verso. Framed.

22” x 24”, framed 23” x 25”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,000-$1,500

22 Richard Johnson (American/Louisiana, b. 1942)

“Barracks Street Morning”, 1987

acrylic on canvas signed, titled and dated en verso. Integral artist frame. 64-3/8” x 59-1/4”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$2,000-$4,000

John Raymond Henry (American, b. 1943)

“Cypress Peninsula”

red-painted aluminum incised signature and illegibly dated at bottom, unnumbered from an edition of six, with a white stand. h. 48”, w. 20”, d. 18”, stand h. 13-1/2”, w. 19-1/2”, d. 19-1/2”

Provenance: Callan Contemporary, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$3,000-$5,000

24

Jere Hardy Allen (American/Mississippi, b. 1944)

“Untitled, Woman with Eagle”

oil on linen signed lower right. Unframed. 72” x 42”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana. $2,500-$4,000

Jim Eppler (American/Texas, b. 1950)

“The Crow’s Nest”, 2006

bronze, metal and natural stone signed and dated on base, nest on an integral black marble base, mother crow on natural stone base. h. 14-1/2”, w. 21”, d. 25” and h. 21-1/2”, w. 20”, d. 23”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$2,000-$4,000

26

Terrington Calas (American/Louisiana, Contemporary)

“German Tea II”, 1994

oil on canvas signed lower right, verso with “Galerie Simonne Stern, New Orleans, Louisiana” label, with artist, title and date.

Gallery frame. 40” x 40”, framed 41” x 41”

Provenance: Galerie Simonne Stern, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,000-$1,500

“Untitled”, 2013

welded bronze incised signature and dated along edge, with presentation stand. sculpture h. 37-1/2”, stand 49”, w. 12”, d. 12”, overall h. 86-1/2”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$3,000-$5,000

27 David Borgerding (American/Louisiana, b. 1972)

“Untitled from the Alluvion Series”, ca. 2018

red gold over black and white clay incised signature lower right. Integral artist frame. overall 49-1/2” x 59-1/4”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$15,000-$25,000

George Bauer Dunbar (American/Louisiana, b. 1927)

George Bauer Dunbar (American/Louisiana, b. 1927)

“Rouville No. 37”, 2015

palladium leaf over white and gray clay signed lower right and en verso, verso affixed with a “Certificate of Authenticity”. Integral artist frame. 38-1/2” x 50”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$10,000-$15,000

Contemporary Bronze and Marble-Top Narrow Console Table

in the neoclassical taste, the whitefigured charcoal marble top above a ribbed metal band edging a patinated bronze base with three sets of curulestyle legs having scrolled tops and feet and joined by ball-centered stretchers. h. 34”, w. 56”, d. 17”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,200-$1,800

31

James Flynn (American, Contemporary)

“Eigenstate VII”, 2016

UV reactive acrylic on panel signed, titled and dated en verso, affixed with “Callan Contemporary, New Orleans, Louisiana” label. Integral frame.

36” x 36”

Provenance: Callan Contemporary, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$2,000-$4,000

31

32

American Twisted Column Fountain

20th century, composed of cast stone and natural rocks on a black metal base. h. 65”, w. 26”, d. 26”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,000-$1,500

American Geometric Motif Fountain

20th century, composed of cast stone with a hexagonal base patinated to resemble bronze.

h. 78”, w. 45”, d. 38”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana. $1,000-$1,500

34

George Bauer Dunbar (American/Louisiana, b. 1927)

“Untitled from Bonfouca Series”, ca. 2014

palladium leaf and acrylic over black and white clay signed lower center, verso upper and lower center inscribed with artist name.

Integral artist frame. 49-1/2” x 37-1/2”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$8,000-$12,000

George Bauer Dunbar (American/Louisiana, b. 1927)

“Clay Painting - Two Ladies” clay on paper with pigment verso with “Galerie Simonne Stern” label with artist name, title and medium.

Float mounted, glazed and framed. 13-1/4” x 16-1/2”, framed 19-1/2” x 23”

Provenance: Galerie Simonne Stern, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$3,000-$5,000

36 Alexei Kazantsev (Russian/Louisiana, b. 1966)

“Torso”, 1999

“Draped Torso”, 1999

two carved marble sculptures each with incised signature and dated at back, on faux bois laminate columnar plinths. h. 20”, w. 10”, d. 9” and h. 20”, w. 10”, d. 8”, plinths h. 24”, dia. 14”

Provenance: Carol Robinson Gallery, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,200-$1,800

Edward Whiteman (American/Louisiana, b. 1938)

“Untitled Abstract”

mixed media on paper Float-mounted, glazed and framed. 44-3/4” x 66”, framed 47” x 69”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,200-$1,800

Two Ingo Maurer and Dagmar Mombach Paper and Steel Table Lamps

1978, German, from the MaMo Nouchies series, including a “Samurai”, h. 30-1/2”, w. 32”, d. 8”, and a “Gaku”, h. 34-1/2”, w. 8-1/2”, d. 14-1/2”, each with an applied manufacturer’s label underneath the base.

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,000-$1,500

The MaMo Nouchies series is a tribute to sculptor Isamu Noguchi and his iconic Akari lamps which combine traditional Japanese aesthetics with a modern interpretation.

Contemporary Birdseye Maple and Ebonized Table/Desk

the oval top over a conforming frieze fitted with a single drawer, raised on ebonized tapering columnar legs with bulbous capitals.

h. 29-1/4”, w. 32”, l. 70”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,000-$1,500

40

Simon Gunning (American/Louisiana, b. 1956)

“Seated Nude”

pen and ink on paper signed lower right. Glazed and framed.

sight 35” x 23”, framed 43” x 30”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$4,000-$7,000

40

41

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997)

“Three Nudes”

mixed media on canvas signed lower right. Unframed. 48-1/2” x 48-1/2”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$8,000-$12,000

41

42 Anita Cooke (American/Louisiana, Contemporary)

“Strata: Pressure”, 2016 fabric, thread and acrylic signed and dated twice en verso. 49” x 36-1/2”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,500-$2,500

Errol Barron (American/Louisiana, b. 1941)

“The River at Oak”, “Lagoon II”, “Abandoned Rig”, and “Water Land: Mad River”

four watercolors and mixed media on paper each signed lower right. Matted, glazed and framed alike. sights 10-1/4” x 7”, 11” x 7”, 10-1/4” x 8” and 11” x 7”; framed 21” x 17” and 17” x 21”

Provenance: Boyd/Satellite Gallery, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,500-$2,500

Simon Gunning (American/Louisiana, b. 1956)

“River Garfish on Ice”, 2016

oil on canvas signed lower right, signed, titled and dated en verso, affixed with “Arthur Roger Gallery, New Orleans, Louisiana” label en verso.

Framed. 24” x 30”, framed 24-3/4” x 30-3/4”

Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$4,000-$7,000

44

Simon Gunning (American/Louisiana, b. 1956)

“Sunsplash and Blacktip”, 2017 oil on canvas

signed lower right, signed, titled and dated en verso, affixed with “Arthur Roger Gallery, New Orleans, Louisiana” label. Framed. 30” x 40”, framed 31-3/4” x 41-3/4”

Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$5,000-$8,000

46

46

Arthur Silverman (American/Louisiana, 1923-2018)

“Untitled”

aluminum sculpture incised signature at base. h. 91”, w. 27”, d. 17”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$2,500-$4,000

47

47

Arthur Silverman (American/Louisiana, 1923-2018)

“Zig-Zag”

aluminum sculpture h. 77”, w. 29-1/2”, d. 16-1/2”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$2,500-$4,000

49

48

48

Oushak Carpet

4’ x 6’

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

49 Oushak Carpet

3’ x 5’ 10”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

50 Oushak Carpet

6’ x 9’

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

2’

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

52

Sultanabad Carpet

9’

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,200-$1,800

19th

Provenance:

Fine French Carved Pine Articulated Artist’s Lay Figure

Piero Fornasetti, Milan, “Architettura” Trumeau

designed 1951, manufactured ca. 1972, in two pieces, screenprinted wood with pseudo-illusionist, trompe l’oeil decoration, the top opening to seven small glass shelves and a metal central niche shelf, the lower portion with a drop front above three long drawers, the upper drawer labeled “Fornasetti/ Milano”, electrified. overall h. 87”, w. 31-1/2”, d. 15”

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $3,000-$5,000

55

Collection of Vintage Black-and-White Plates

1970s, including a Fornasetti plate model number 116, “Eye of the Beholder”, made by Tema E. Variazioni, Milan, Italy, dia. 10”, and twelve black-and-white dessert plates with geometric designs, marked “Bloomingdale’s, Made in West Germany”, possibly Rosenthal, dia. 7-1/2”.

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

56 Ben Smith (American/Georgia, b. 1941)

“Figure with Red Sticks”, 1973

wood block print pencil-signed, titled, dated, numbered “9/55” and inscribed along lower right edge.

Glazed and framed.

sight 65-3/4” x 39-3/4”, framed 66” x 40”

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $1,000-$1,500

57

John Tarrell Scott (American/Louisiana, 1940-2007)

“Untitled”

painted metal sculpture h. 18-5/8”, w. 8-1/2”, d. 5-1/2”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$2,500-$4,000

57

58

George Bauer Dunbar (American/Louisiana, b. 1927)

“Untitled: Action Series”, ca. 1950-1960

paper collage with acrylic unsigned. Glazed and framed. 16” x 22-1/2”, framed 16-1/4” x 22-3/4”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,500-$2,500

58

Provenance:

60

John Tarrell Scott (American/Louisiana, 1940-2007)

“Untitled”, 1987 metal sculpture signed and dated on integral base. h. 12-3/4”, w. 6”, d. 14-1/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$2,000-$4,000

61

George Warren Rickey (American, 1907-2002)

“Untitled”, 1978

kinetic copper sculpture incised signature, date and inscribed “To Lin” on integral base. h. 7-1/4”, w. 11-1/2”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

62

David C. Roy (American/Connecticut, b. 1952)

“Duet”, 1994

kinetic sculpture of hardwood, plywood, bearings and string unnumbered from an edition of 150, approx. 2-1/2-3 hour movement, together with print-out for winding. h. 39”, w. 31”, d. 6”, additional space needed for weight

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

63 Jack Gates (American/Louisiana, b. 1946)

“Untitled”

carved wood and metal assemblage signed at bottom.

l. 120”

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $1,000-$1,500

64

Handmade Willow “Tree Chair”

comprising an assortment of small limbs and branches in upright form, the back continuing upward with a tall crest of twigs.

h. 66”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

65 Krishna Reddy (Indian/New York, 1925-2018)

“Untitled/’Demonstrators’ Two Figures”

bronze

unsigned, on an integral wooden plinth. h. 15-1/2”, w. 9”, d. 7”

Provenance: Private collection, Baton Rouge, Louisiana.

$1,000-$1,500

66 Zao Wou-Ki (Chinese/French, 1920-2013)

“Sans Titre, No. 59”, 1961

color lithograph on paper pencil-signed, dated and inscribed “E.A.” lower margin, and pencil-signed and titled “L/IX” en verso.

Glazed and framed. 25-1/2” x 20”, framed 30-1/4” x 23-1/2”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,200-$1,800

67 Zao Wou-Ki (Chinese/French, 1920-2013)

“Sans Titre, No. 53”, 1959

color lithograph on paper pencil-signed, dated, and numbered “30/140” lower margin, and Editions d’Art, L’Oeuvre, Gravee, Zurich (Paris) with artist, titled “L.III” en verso.

Matted, glazed and framed. 26” x 20”, framed 29” x 23-3/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,500-$2,500

68 Lin Emery (American/Louisiana, 1926-2021)

“Untitled”, ca. 1970

metal and composition on an integral wood base. h. 13”, w. 7-1/8”, d. 5-1/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$800-$1,200

Jesus Bautista Moroles (American/Texas, 1950-2015)

“Untitled”

carved granite unsigned, marked “910052” at bottom, on a white carved wood base.

sculpture h. 33-1/2”, w. 18-3/4”, d. 4-1/2”, base h. 8”, w. 22”, d. 8”

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $10,000-$15,000

70

Frank O. Gehry “Wiggle” Stool

ca. 1982, for vitra., corrugated cardboard edged with masonite, from the 1972 “Easy Edges” series, labeled “Design/Frank O. Gehry/vitra.”. h. 16”, w. 15-3/4”, d. 17”

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $1,500-$2,500

71

Lin Emery (American/Louisiana, 1926-2021)

Group of Three Maquettes

cardboard, wood, ink and paint one signed and dated “92” lower right. 16” x 20” to 28-1/2” x 22-1/2”

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $1,500-$2,500

72

Lin Emery (American/Louisiana, 1926-2021)

“Untitled”

aluminum kinetic sculpture h. 6”, w. 8”, d. 7-1/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $2,000-$4,000

details

Ralfonso Gschwend (Swiss, b. 1959)

“Dance with the Wind”, 2009

stainless steel kinetic sculpture cut-out signature and date applied to side of self-base, after the 2007 monumental wind sculpture created for the Beijing Olympics and now conserved by the city of Beijing, China. h. 18-5/8”, w. 7-3/4”, d. 7-3/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $10,000-$15,000

74

Large Lucite and Satin-Polished Aluminum Coffee Table

1960s, with dual X-form bases, the rectangular lucite top with rounded corners, probably a custom design for Lin Emery’s acclaimed New Orleans home.

h. 15”, w. 66”, d. 44”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

75 David Bates (American/Texas, b. 1952)

“Field of Flowers”, 2009

oil pastel on paper pencil-signed and dated lower right. Matted, glazed and framed.

8” x 12”, framed 12-1/2” x 16-1/2”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,500-$2,500

76

Large Clam Shell

with a layered exterior and a smooth interior with a darker center and whiter edges.

h. 10”, w. 26-1/4”, d. 16”

$1,200-$1,800

77

Large Carved Granite Obelisk in the Neoclassical Taste

20th century, the sides decorated with incised panels with rounded tops and cut lower corners, the corners resting on ballform feet.

h. 35-3/4”, w. 8”, d. 8”

$1,000-$1,500

76

78

Pair of Louis XV-Style Blanc-Peinte Bergeres

20th century, each with a padded shield-form back within a molded frame, joined by padded scrolling arms to the cushioned seat, raised on molded cabriole legs.

h. 37”, w. 28”, d. 23”

$1,800-$2,500

79

Contemporary Faux Shagreen Coffee Table

of rectangular form, each long side fitted with a working drawer and a faux drawer, raised on tapering square legs ending in stainless steel caps, all edges trimmed in stainless steel.

h. 18”, w. 54”, d. 33”

$1,400-$1,800

80

Suite of Nine Botanicals of Pressed Florals

2022, mainly wildflowers, including Pincushion Flower, Queen Anne’s Lace, Lavender, Wild Indigo, Cherry Blossom, Lenten Rose, Globe Amaranth, Phlox, and Freesia, each initialed “SW”, dated and titled lower right. All glazed and framed alike. each overall 15-1/4” x 12-1/4”

$1,200-$1,800

81

Weathered Bronze Fountain of a Naiad

20th century, the nude female figure of the lake nymph delicately balancing atop a rocky base, holding aloft a large shell, a turtle nipping at her feet. h. 64”, w. 28”, d. 28”

$2,000-$4,000

82

Seven-Piece Richard Frinier for Brown Jordan Florentine Pattern Dining Suite

comprised of six armchairs, four side chairs and a glass-top table, labeled, executed in aluminum, the table with a glass top supported by shaped legs joined by stretchers, h. 29-1/4”, w. 61”, d. 37”, the chairs after an iconic design by Mario Papperzini, each with a lattice back and seat, scroll arms and tubular legs joined by an overlapping demi-lune stretcher, including cushions for the seats, armchair h. 36-1/2”, w. 22-1/2”, d. 21”, side chair h. 36-1/2”, w. 22-1/2”, d. 21”.

$1,000-$1,500

85

83

Victor Issa (American, b. 1954)

“Awakening”, 2001

bronze cast signature, dated, numbered “AP1/6” and copyrightmarked along back of self-base, together with a copy of the certificate of authenticity signed by the artist.

h. 67”, w. 24”, d. 16”

Provenance: Purchased from the artist, 2014. $3,000-$5,000

84

Victor Issa (American, b. 1954)

“Bird Bath”

bronze cast signature, dated, numbered “10/12” and copyrightmarked along back of self-base, together with a copy of the certificate of authenticity signed by the artist.

h. 68”, w. 19”, d. 25”

Provenance: Purchased from the artist, 2010. $4,000-$7,000

85

Pair of Metal Tree Tubs in the Neoclassical Taste

the square tubs decorated with applied wreaths, the corners with cone-form finials, on circular feet.

h. 27-3/4”, w. 21-1/4”, d. 21-1/4”

$1,000-$1,500

Four-Piece Neoclassical-Style Iron Lounge Set

each lounge with a tilting adjustable back, the arms with seated lion supports. h. 20” to 36”, w. 24”, l. 61”, ext. l. 78-1/2”

$1,500-$2,500

87

Seven-Piece Neoclassical-Style Iron Garden Set

comprised of a circular travertine-top table, h. 30”, dia. 60”, and six armchairs, h. 36”, w. 20”, d. 22”, all with cast lion arm supports and padded seats.

$2,000-$4,000

88

comprised of a settee, h. 32-1/4”, w. 47-1/2”, d. 32”, a pair of lounge chairs, h. 29”, w. 24-1/2”, d. 33”, and a pair of ottomans, h. 14”, w. 25-1/2”, d. 24-1/2”, all with woven lattice backs and seats, open scroll arms and demi-lune stretchers, retains a fragmentary label.

$1,000-$1,500

88

89

labeled, comprised of a pair of chaise lounges and a serving cart, all executed in aluminum, the lounges with an adjustable woven lattice back and seat, scroll arms and tubular legs joined by overlapping demi-lune stretchers, one end fitted with wheels, h. 41”, w. 28”, l. 65-1/2”, extended l. 74-1/2”, the serving cart with three tiers fitted with glass tops and woven latticework side panels, h. 32-1/2”, w. 59”, d. 19-1/2”.

$1,000-$1,500

Five-Piece Richard Frinier for Brown Jordan Florentine Pattern Aluminum Patio Set

Three-Piece Richard Frinier for Brown JordanFlorentine Pattern Group

Rodrigue (American/Louisiana, 1944-2013)

“Petra’s Newspaper; Traditional Painting Series”, 1987

on canvas

lower right, signed, titled and dated en verso of canvas, and inscribed by the artist with a drawing of an oak tree en verso of backing

92

92

comprised of a pair of lounge chairs, h. 32”, w. 28”, d. 30-1/4”, seat h. 16-1/2”, and a matching ottoman, h. 16”, w. 23-1/2”, d. 23-1/2”, all executed in painted aluminum, the chairs with open arms, all pieces with scroll-adorned seat rails and shaped legs with flare feet, together with matching cushions.

$1,000-$1,500

ca. 1970-1980, the half-round top with an inset black glass panel, mounted to a cylindrical stainless steel base. h. 30-1/2”, w. 60”, d. 15” $2,000-$4,000

Three-Piece Brown Jordan “French Quarter” Pattern Seating Group

93

J. Wade Beam for Brueton Stainless Steel and Black Plate Glass Tea Console

94

in the “Savannah Collection” pattern, labeled, each cast chair with a rectilinear back centered by an oval metal mesh panel, with a slat seat with reeded rails, raised on tapering front legs, fitted and detachable seat and back cushions in gray upholstery, also with the maker’s label.

h. 38-1/2”, w. 18-1/2”, d. 23”, seat h. 19-1/2”

$3,000-$5,000

Orlando Diaz-Azcuy has earned degrees in architecture, landscape architecture and planning. Among others, he has designed for Steelcase, McGuire and HBF. He has been granted a number of awards in recognition for his designs, including Interiors Magazine’s Designer of the Year, Interior Design’s Hall of Fame, California Icon of Design and two honorary doctorates.

94

detail

Pair of Chinese Celadon Vases

now mounted as lamps, the hu-form vases with a crackled glaze, mounted on cove-molded giltwood bases.

h. 23”, dia. 7”

$1,200-$1,800

Suite of Ten Orlando Diaz-Azcuy for JANUS et Cie Aluminum Garden Chairs

95

96

Donegal Carpet

after a design by Voysey.

7’ 6” x 9’

$1,200-$1,800

97

Kiki Smith (American, b. 1954)

“Untitled”, 1998

mixed media including watercolor, wax and collage on paper signed and dated lower right. Float-mounted, matted, glazed and framed. 8-1/2” x 7”, framed 15-1/2” x 14”

$2,000-$4,000

Pair of French Art Deco Walnut Wing Chairs

first half 20th century, each with an upholstered back with a foliate-carved crest, the back joined to shaped wings extending to closed arms, the seat rail with a molded lower edge, and raised on cabriole legs, now upholstered in aubergine mohair or velvet.

h. 42-1/4”, w. 27”, d. 29”, seat h. 16”

$1,000-$1,500

Contemporary Silver-Gilt and Giltwood Chandelier

attributed to Sherle Wagner, the five-light chandelier with a fluted giltwood standard set with cornucopia-form arms terminating in reeded alabaster shades, the arms bound with giltwood reeding.

h. 22”, dia. 33”

$1,500-$2,500

100

Southeast Asian Carved and Painted Recumbent Lion

19th century, with an expressive face and a carved flowing mane and tail.

h. 8-1/2”, w. 6-1/2”, l. 17-1/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500 101

Collection of Eleven Early Pottery Figures

American, some possibly pre-Columbian, including male and female figures, equestrian figures, and gods, all on contemporary stands; together with a carved bone figure and a carved wooden figure, Latin American (thirteen total pieces).

h. 2” to 8-3/4”, w. 1” to 5-3/4”, d. 1” to 2-1/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

102

Large Chancay Pre-Columbian Standing Female Figure

possibly 1200-1450 A.D., Peru, with small hands and sculpted features, the mouth over-painted with a wider mouth, likely representing a whale shark, and with a decorative painted headband.

h. 23-3/4”, w. 13-1/2”, d. 4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

Pre-Columbian Pottery Rattle

350-1500 A.D., Colombia, the anthropomorphic figure of a female with pierced ear lobes, her hat and clothes with incised decoration.

h. 6”, w. 3-3/4”, d. 2-1/4”

Provenance: Luz Miriam, Toro Garrido, Arte Precolombino, Bogota, Colombia; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$800-$1,200

104

Seven Pottery Items

possibly pre-Columbian, including five heads, one molded with a bird catching a fish, a molded fragment and a cooking grill, two presented on contemporary stands.

h. 1-1/4” to 4”, w. 1-1/2” to 4-3/4”, d. 1-3/4” to 4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

105

Collection of Antique Bronze Objects

including two Thai Buddha’s, the larger example with an exhibition label from the University of Texas Museum, a figure of an older man carrying a smaller man on his shoulder, possibly Benin, Africa, and other various bronze objects (eight total pieces).

h. 1-1/2” to 8-3/4”, w. 3/4” to 6”, d. 3/4” to 3”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

Exhibited: Larger Buddha was exhibited at the University of Texas, Austin, Texas.

$1,000-$1,500

106

Four Chinese Han Dynasty (206 B.C.-220 A.D.) Pottery Figures

including a kneeling female, possibly a “longsleeve dancer”, presented on a contemporary acrylic stand, h. 10”, w. 5”, d. 6-1/2”; a standing tomb figure with well-executed details to the face and hair, remnants of paint remaining on the face and clothing, formerly fitted with arms, presented on a contemporary acrylic stand, h. 19-3/4”, w. 5”, d. 5”; a man in flowing robes, his hands concealed in his sleeves, with painted details to his hair and clothes, h. 19”, w. 5-1/2”, d. 3-3/4”; and a female equestrian figure wearing a hat, with remnants of painted details on the clothing and horse tack, on a rectangular base, h. 12-1/2”, w. 9”, d. 4”.

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

107

107

Pair of Art Deco-Style Parcel-Gilt Mahogany Club Chairs

contemporary, in the manner of Paul Follot, each with an upholstered wrap-around back, extending to closed arms fronted by tapering and reeded supports terminating in ringturned feet, fitted with a loose seat cushion, over an apron with a Greek-key-decorated bottom edge, each with a pair of loose accent pillows.

h. 36-1/2”, w. 39”, d. 38-1/2”

$1,200-$1,800

108

After Karel Appel (Dutch, 1921-2006)

“Big Mouse with Red Head”, 1977

pieced fabric applique signed and dated in ink lower right, with rods for display. 44” x 34-1/2”

Provenance: Private collection, Baton Rouge, Louisiana.

$2,000-$4,000

109 Beauford Delaney (American, 1901-1979)

“Untitled”, 1969 gouache on paper signed and dated lower right. Float-mounted, matted, glazed and framed. sheet 8-1/2” x 6-1/4”, framed 14-1/4” x 11-3/4”

$15,000-$25,000 109

Chinese Painted Wallpaper Panel

possibly 18th century, depicting Guanyin with her wishfulfilling wheel and a companion, the painted polychrome panel with various raised details, in a contemporary frame. h. 36”, w. 33”

$1,500-$2,500

111

labeled, each over-stuffed club chair with a tufted back joined to closed roll arms, fitted with a loose seat cushion and trimmed with brass tacks, the ottomans with a fixed cushion on a frame adorned with tacks, raised on turned legs. armchair h. 37-1/2”, w. 37”, d. 36-1/2”, seat h. 18-1/2”, ottoman h. 16-1/2”, w. 26-1/4”, d. 21-1/4”

$1,200-$1,800

112 Leonardo Nierman (Mexican, b. 1932)

“Bird of Paradise”

acrylic on masonite signed lower left, titled in Spanish and English en verso. Framed.

32” x 24”, framed 36” x 29”

Provenance: Private collection, Baton Rouge, Louisiana.

$2,000-$4,000

Pair of Hancock and Moore Leather “Armstrong” Chairs with Ottomans

113

Ralph Lauren Chesterfield-Style Sofa and Club Chair

labeled, each upholstered in supple brown leather with cloth cushions and adorned with decorative nails, the backs with loose cushions, the whole on tapering wooden feet, together with leather and cloth accent pillows.

sofa h. 33-1/4”, w. 85-3/4”, d. 39-1/2”, seat h. 19”; club chair h. 33”, w. 43-1/2”, d. 39-1/2”, seat h. 19-1/2”

$1,200-$1,800

114

Kalo Shop Sterling Silver Coffee Set

second quarter 20th century, Chicago, Illinois, including: a coffeepot, h. 11”, l. 10”; a cream jug, h. 6”, l. 5”; an open sugar bowl, h. 5-1/4”, w. 6-3/4”; and a tray, 20” x 12-1/4”; the hollowware of baluster form with stepped foot-rings and crested palmette-mounted handles, the coffeepot with gooseneck spout en suite and hinged, waisted lid with “cupcake” finial, the tray quarter lobed, no monograms. 109.62 total t. oz.

$2,000-$4,000

115

Joan Mitchell (American, 1926-1992)

“Sunflower VII”, 1972

etching with aquatint on Arches paper signed lower right, numbered “22/75” lower left, published by Maeght Editeur, Paris.

Float-mounted, matted, glazed and framed. sheet 8-1/2” x 6-1/2”, framed 14-1/4” x 11-3/4”

$4,000-$7,000

116

Suite of Six Henredon Ebonized Klismos Chairs

labeled, of traditional form, each with a concave tablet back over a splat, sabre-form flare legs and seats with a beige upholstered cushion.

h. 36”, w. 23-3/4”, d. 25-1/2”, seat h. 19”

$1,000-$1,500

117

James Coignard (American/Louisiana, 1925-2008)

“Sans Titre”

patinated bronze cast signature, numbered “2/8”, and with a “GUYOT” foundry stamp at back, on a carved wood presentation stand. overall h. 11-1/4”, w. 7-3/4”, d. 3-1/2”

Provenance: Private collection, Baton Rouge, Louisiana.

$1,000-$1,500

118 Chaim Gross (Austrian/New York, 1904-1991)

“Mother and Child”

patinated bronze cast signature, numbered “34/47”, and with artist stamp at back, on an integral wooden base.

h. 10”, w. 5-1/2”, d. 5-1/2”

Provenance: Private collection, Baton Rouge, Louisiana.

$1,500-$2,500

Seiler Ebonized Baby Grand Piano and Bench

model ED186, serial number IKOAG 0067, of traditional form, h. 41”, w. 59”, l. 75”, together with an adjustable leather-covered bench, h. 20”, w. 25”, d. 59”.

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$4,000-$7,000

120

Pair of Ralph Lauren Chromed Steel “Bel Air” Occasional Tables

labeled, of Directoire inspiration, each with an inset black glass rectilinear top, raised on legs with flare bases and paw feet, the legs and ends joined by X-form braces.

h. 28”, w. 34”, d. 24”

$1,000-$1,500

121

Sam Gilliam, Jr. (Mississippi/Washington, D.C., 1933-2022)

“Untitled: Abstraction”, 1969

watercolor on folded and creased paper signed and dated lower right. Matted, glazed and framed. 23-3/4” x 18”, framed 30-1/4” x 24”

Provenance: Fendrick Gallery, Georgetown, ca. 1975; Private collection, Baton Rouge, Louisiana.

Literature: “Sam Gilliam: Paintings, 1970-1975”, October 15 through November, 8, 1975, Fendrick Gallery, Washington, D.C.

$20,000-$40,000

In 1973, 1974 and 1975, Fendrick Gallery in Washington, D.C. held solo exhibitions of Sam Gilliam’s paintings. Born in Tupelo, Mississippi, Gilliam earned an MA in painting from the University of Louisville in 1961 before moving to Washington, D.C., where, as a young African American artist, he experienced first-hand the Civil Rights Movement. In the work offered here “Untitled: Abstraction”, Gilliam experimented with applying the watercolor to folded and creased paper. His innovative ideas of removing the canvas from the stretcher, and thus challenging the traditional concept of the picture frame, appear to have crystallized in the late 1960s and early 1970s.

122

Guido Faleschini for Pace, Suite of Ten “Tucroma” Armchairs

executed in chromed steel with leather straps and white boucle upholstery, with a padded back cushion joined to the seat by leather strapwork. h. 33-1/4”, w. 20-1/2”, d. 29-3/4”, seat h. 19”

The design was introduced by the Pace Collection in 1970. The firm discontinued business in 2001.

$2,000-$4,000

$5,000-$8,000 122122

123

Ellsworth Kelly (American/New York, 1923-2015)

“Orient Beach”, 1984 lithograph on Arches paper pencil-signed and numbered “8/16” lower right, from the “Saint Martin” series, published by Gemini G.E.L. Los Angeles. Float-mounted, glazed and framed. sheet 47” x 49”, framed 49” x 52-1/2”

124 Ellsworth Kelly (American/New York, 1923-2015)

“Red Curve”

lithograph in colors

pencil-signed and numbered “27/50” lower right, verso affixed with “Viart Corporation, New York, New York, Art Management” label, published by Gemini G.E.L. Los Angeles.

Float-mounted, glazed and framed.

43” x 34”, framed 44-3/4” x 35-1/2”

Provenance: Private collection, New Orleans, Louisiana. $6,000-$9,000

125

Contemporary Faux Granite Parson’s Table

with a faux granite-clad surface throughout, the top with a conforming flush apron and raised on flush-mounted square legs.

h. 29”, w. 42”, d. 42”

$1,200-$1,800

126

Contemporary Faux Granite Parson’s Table

with a faux granite-clad surface throughout, the top with a conforming flush apron, extending to accommodate two 22” leaves, and raised on flush-mounted square legs.

h. 29”, w. 42”, l. 42”, ext. l. 86”

$1,200-$1,800

127

Contemporary Faux Coral and Brushed Steel Chandelier

20th century, the four-light chandelier with four branches of enamel metal “coral” concealing sockets, supported on a brushed steel standard.

h. 35”, dia. 23”

$1,500-$2,500

Michael Vanderbyl for JANUS et Cie Five-Piece Dining Suite

in the “Azimuth” pattern, comprised of a glass-top table, h. 30”, w. 40”, d. 40”, and four side chairs, h. 32-1/4”, all of neoclassical inspiration, geometrically modeled in cast aluminum, the chair backs with X-splats, the table top with like decor, the seats with parallel slats, labeled “JANUS et Cie”, accompanied by seat and back cushions, similarly labeled.

$1,200-$1,800

129 Salvador Dali (Spanish, 1904-1989)

“Fire! Fire! Fire! - The Life of a Fireman”, 1971

hand-colored lithograph and collage pencil-signed lower right, and “Georgetown Graphics Art Gallery, Washington, D.C.” label with edition of 30/50 en verso. Matted, glazed and framed. 21” x 30”, framed 29” x 37”

Provenance: Georgetown Graphics Art Gallery, Washington, D.C.

$1,500-$2,500

Salvador Dali drew on his memories of the popular Currier & Ives by incorporating a miniature version of the 1854 “The Life of a Fireman” into his print. The thick white vertical lines represent water spraying from a hose, bright orange and yellow for the fire, and included a large moth drawn to the light and heat of the flames.

130

130

Pair of Cast Iron and Granite-Top Consoles

comprised of antique elements, of balcony form with an ornate central panel and presented in an old greenpainted surface.

h. 33-1/2”, w. 47-1/2”, d. 14”

$1,000-$1,500

131

in the Louis XIV style, the tall, arched backs upholstered in kilim print, joined to open arms with scroll ends, the seats upholstered in leather, raised on shaped legs with scroll feet, the legs joined by serpentine “H”-form stretchers.

h. 51-3/4”, w. 27-1/2”, d. 28”, seat h. 19”

$1,000-$1,500

132

Vintage Leather Chesterfield Sofa

ca. 1970s, of traditional form, in red leather, the tufted back and seat joined to closed arms with scroll ends.

h. 28-1/2”, w. 86”, d. 35-1/2”, seat h. 17-1/4”

$1,000-$1,500

Pair of Ralph Lauren Kilim Fabric and Leather Fauteuils

Southeast Asian Book with Lacquered Cover

19th century or earlier, the polychrome cover with various figures in a garden under a tree, the pages with carefully detailed hand-inked script in giltedged borders.

h. 11-3/4”, w. 8-1/4”, d. 1-1/2”

$1,000-$1,500

134

Interesting Tole-Painted and Parcel-Gilt Etagere

early 20th century, modeled as stylized faux bamboo in the Chinese Chippendale taste, the pagoda-style top affixed with large, round brass ball finials, fitted with plate glass shelves.

h. 76”, w. 23”, d. 19”

$1,000-$1,500

details

Massive Japanese Shibayama and Lacquer Dish

Meiji period (1868-1912), decorated with gold lacquer, inlaid mother-of-pearl and bone, with a scene of the thunder god Raiden pursuing three samurai, one arm clutching a red pillar, a red lightening bolt issuing from thunder clouds, the ground lacquered in a checkerboard pattern of red and black. h. 12-1/8”, dia. 35-3/8”

Provenance: Sotheby’s, New York, New York, April 11, 1986, lot 172.

$3,000-$5,000

comprised of a sheath table with a circular glass top, labeled, h. 29-1/2”, dia. 59-1/2”, and six armchairs in the chinoiserie taste, with medallion backs joined to shaped arms, the legs joined by box stretchers, the seats with pressed cane, h. 37”, w. 21-1/2”, d. 20”, seat h. 16-3/4”.

$1,500-$2,500

137

Ross Bleckner (American, b. 1949)

“Untitled - Flower”, 1993

watercolor, oil and wax on paper pencil-signed and numbered “75/100” en verso, numbered on backing, from the edition for Parkett 38.

Glazed and framed.

10” x 8”, framed 11-1/4” x 9-1/4”

$1,500-$2,500

136

McGuire Seven-Piece Rattan Dining Suite

138

McGuire Five-Piece Rattan and Glass Dining Suite

comprised of a circular table and a set of four armchairs, the glass top supported by clustered rattan rods in a hexagonal grouping, the chairs each with an “X” and circle-decorated splat, open arms, upholstered cushions and legs joined by box stretchers, the elements joined by rawhide straps, a seat cushion retaining a McGuire manufacturer’s label. table h. 28-3/4”, dia. 48”, chair h. 36-1/2”, w. 23”, d. 21”

$1,000-$1,500

139

McGuire Three-Piece Rattan Seating Group

comprised of a pair of lounge chairs and an ottoman, labeled “McGuire / San Francisco”, each retaining its original upholstery with production tags, the lounge chairs with curved backs with parallel rattan spindles joined to curved brackets wrapping to become the front legs, with a spindle gallery front apron, fitted with a loose seat and back cushion, h. 34”, w. 31”, d. 29-1/2”, seat h. 17”, and the ottoman with a like apron, h. 16-1/2”, w. 32-1/2”, d. 27”.

$1,000-$1,500

140

Large Patinated Bronze Figure of a Giraffe

20th century, the standing giraffe with its head cocked to one side, its spots molded into the surface.

h. 69-1/2”, w. 10”, l. 50”

$2,000-$4,000

142

141

Baker/Milling Road Provincial Louis XVI-Style Cherry Bureau Plat

the extending desk top with a molded edge, the fold-down central drawer opening to provide a flat work surface, flanked by paneled doors and raised on tapering and fluted legs, with a metal maker’s tag, “Milling Road, A Division of Baker Furniture”.

h. 30”, w. 68-3/4”, d. 29-7/8”

$1,500-$2,500

142

Painted Wooden Bowl

20th century, the hand-hewn wooden bowl with a painted center panel decorated with Native American pottery and cacti, fitted for hanging.

h. 6-1/4”, w. 34-1/4”

$1,200-$1,800

143

20th century, comprised of a circular table with a plate glass top, h. 29-1/2”, dia. 60”, and six side chairs, each with a ribbon-molded back, padded seat and back, and raised on cabriole legs, h. 39”, w. 20”, d. 19”.

$1,200-$1,800

144

attributed to Sherle Wagner, the domed backplates supporting reeded, cornucopiaform arms terminating in reeded alabaster shades, the backplates stamped “#555” and, indistinctly, “Made in Italy”. h. 22”, w. 7-1/2”, d. 6-3/4”

$1,200-$1,800

145

of Italian rococo inspiration, the serpentine top over a flush apron fitted with a single frieze drawer, raised on exaggerated cabriole legs ending in hoof feet.

h. 30”, w. 57-1/4”, d. 35-3/4”

$1,500-$2,500

Seven-Piece Cast Aluminum Garden Set

Pair of Silver-Gilt and Alabaster Sconces

Contemporary Leather-Clad Writing Desk

Gregory Crewdson (American, b. 1962)

“Production Still - Man in the Woods #2”, 2003

chromogenic print signed and dated lower right. Matted, glazed and framed. sight 12-1/4” x 16-3/4”, framed 23-1/2” x 26-1/4”

$1,500-$2,500

147

Unusual Pair of Regency-Style Mahogany Circular Ottomans

late 20th century, each with a padded cushion above a scrolling leaf-carved frame and raised on four turned legs.

h. 21”, dia. 22”

$1,000-$1,500

148

Contemporary Wrought Iron and Plate Glass Coffee Table

the rectangular frame with an inset plate glass top and mounted to square, straight legs with scrolled iron brackets, presented in a dappled gold-painted finish.

h. 17”, w. 47”, d. 26”

$1,000-$1,500

of neoclassical inspiration, with rectangular rolled backs, the arms with giltwood hand rests above up-scrolled, rope-twist arm supports resting on giltwood balls, with rope-twist, klismos-style front legs ending in giltwood hooved feet, both with padded backs and seats upholstered in silk plaid, the reverse with rope-twist crossed bars centered by a giltwood disc and backed with green textured velvet.

h. 35”, w. 22”, d. 23-1/2”; seat h. 18”, w. 19-1/2”-20-1/2”, d. 17”

Provenance: Private collection, New Orleans, Louisiana.

$1,500-$2,500

150

of traditional form, with a tufted seat and back joined to closed roll arms, adorned with brass tacks and supported on bun feet.

h. 29-1/2”, w. 80”, d. 31”

$1,000-$1,500

151

Thomas Demand (German, b. 1964)

“Bullion”, 2003

Lambda print in colors on glossy paper edition of 100, signed, numbered and dated, published by EN/OF Editions, Kleve, Germany; accompanied by a twelve-inch vinyl record by PanAmerican, entitled “Memorize”, consisting of four tracks. Matted, glazed and framed. sight 12” x 12”, framed 14-5/8” x 14-5/8”

$2,500-$4,000

Pair of William Switzer, Canada, Ebonized and Giltwood Armchairs

Edwardian-Style Green Leather Chesterfield Sofa

Biedermeier-Style Parcel-Ebonized Figured Birch Table

the oval top above a conforming apron fitted with a drawer, raised on a lyre-form pedestal on a concave base with carved paw feet.

h. 30-1/4”, w. 35”, d. 26”

$1,000-$1,500

153

Pair of Continental Polychrome Tub Chairs

20th century, each with a domed and padded back and sides with brass tack accents, joined by sloping sides to the padded seat, raised above a guilloche-carved apron on circular legs headed by a lotus capital and ending in toupie feet.

h. 34”, w. 24”, d. 21”

$1,200-$1,800

154

Pair of Gilt-Steel and Mirrored-Top Occasional Tables

in the Hollywood Regency style, each with an inset circular mirrored top on a tripodal base with a square column joined to shaped legs with flared pad feet.

h. 21-1/2”, dia. 20”

$2,000-$4,000

155

Gustave Mascart (French, 1834-1914)

“Place de la Republique”

oil on canvas signed lower right. Frame with artist plaque. 15” x 18”, framed 19” x 22”

$1,000-$1,500

156

Francois Gall (French, 1912-1987)

“Au Cafe Terrasse”

oil on canvas signed lower left, verso with “Wally Findlay Galleries” label. Period frame.

13-3/4” x 10-1/2”, framed 22” x 18-3/4”

Provenance: Wally Findlay Galleries, New York, New York; Private collection, Baton Rouge, Louisiana.

$3,000-$5,000

157

Lucien Neuquelman (French, 1909-1988)

“Promenade a ‘Oree du Bois”

oil on canvas signed lower left, verso with “Wally Findlay Galleries” label. Period frame.

15-1/2” x 18-1/2”, framed 21-1/4” x 24-1/4”

Provenance: Wally Findlay Galleries, New York, New York; Private collection, Baton Rouge, Louisiana.

$1,200-$1,800

158

Pair of Chinese Porcelain Vases

now mounted as lamps, the bottle-form vases with an emerald green glaze, now on acrylic bases.

h. 21-1/2”, dia. 8”

$1,200-$1,800

159

Continental Parcel-Gilt Sunburst Mirror

20th century, the carved giltwood “rays” emanating from the “sun” mirror, with a painted and molded surround.

dia. 44-1/2”

$1,500-$2,500

160

Pair of Chinese Porcelain Ginger Jars

now mounted as lamps, decorated with figures in boats and on islands, the sky with clouds and birds, all on a turquoise ground.

h. 23”, dia. 8-1/4”

$1,500-$2,500

161 Philip Taaffe (American, b. 1955)

“Untitled”, 2002

watercolor on paper pencil-signed and dated en verso. Float-mounted, glazed and framed. sheet 5” x 7”, framed 11-1/2” x 13-1/2”

$1,000-$1,500

Chinese Polychrome Figures of Three Immortals

20th century, one with a child, one with a staff and one with a flute, on pierced hardwood stands, two presented on a double carved hardwood table, and the third on a single hardwood table, the figures with impressed character marks. figure h. 26-1/2” to 27-1/2”, dia. 6-1/2” to 6-3/4”, stand h. 21” to 38-1/2”

$1,000-$1,500

Antique Heriz Carpet

Antique Kurd Runner

176

early 20th century, each with a domed and padded back joined to the padded seat by downswept, acanthinecarved and molded arms, raised on shaped, foliatecarved legs joined by an H-form stretcher and ending in in-scrolled toes.

h. 46”, w. 26-1/2”, d. 25”

$1,000-$1,500

177

Gustave Mascart (French, 1834-1914)

“Village by the Shore”

oil on canvas signed lower right. Framed.

19-1/2” x 25-1/2”, framed 28” x 34-1/2”

$1,200-$1,800

178 Eugene Galien-Laloue (French, 1854-1941)

“Landscape with a Farmstead”

oil on wood panel signed with pseudonym “L. Dupuy” lower left. Period frame.

9” x 11”, framed 14” x 16-1/2”

$1,000-$1,500

Pair of Regence-Style Fruitwood Fauteuils a la Reine

179

Pair of French Verdure Tapestries

20th century, machine-made, with upper and lower floral borders, each with hardware for display.

38” x 113”

$2,000-$4,000

180

Pair of Regence-Style Giltwood Fauteuils a la Reine

19th century, each with a slightly domed and padded back joined by ribbed downswept arms to the padded seat, raised on shaped and ribbed legs joined by a like H-form stretcher.

h. 45-1/4”, w. 26”, d. 24”

$1,500-$2,500

Pair of Louis XV-Style Oak Fauteuils

20th century, each with a slightly domed and padded back with brass tacks, joined to the padded seat by padded arms, raised above a shell-carved apron on cabriole legs joined by an X-form stretcher and ending in scrolled toes.

h. 42”, w. 25”, d. 23”

$1,200-$1,800

182

French Provincial Fruitwood Buffet a Deux Corps

19th century, the domed cornice surmounted by a floral and foliate carving, above the glazed and paneled frieze, over a case fitted with two glazed doors flanked to either side by projecting corners inset with curved glass panels, the sides glazed, the lower section fitted with two drawers over two paneled cupboard doors, all accented with carved floral and foliate accents, above a molded base on bun feet.

h. 100”, w. 60-1/2”, d. 22”

Provenance: Keil’s Antiques, New Orleans, Louisiana.

$2,500-$4,000

Louis XV-Style Two-Piece Mahogany Bedroom Suite

early 20th century, comprised of a high-back bed and a marbletop bedside commode, the bed with a shell-carved headboard crest over a shaped panel, the footboard with a floral- and foliate-carved panel, modified to queen size, h. 62”, inside w. 60”, l. 80”, outside w. 68-1/2”, l. 84-1/2”, and the bedside commode with a shaped marble top set into a molded edge, above a conforming case fitted with a single drawer over a cupboard with a carved front, raised on molded cabriole legs ending in scrolled toes, h. 33”, w. 16”, d. 14”

$1,200-$1,800

184

Suite of Eight Provincial Louis XV Walnut Chairs

18th century, each with a molded frame, padded seat and back, and raised on cabriole legs, pegged construction throughout.

h. 36-1/2”, w. 23”, d. 20”

$1,000-$1,500

185

Pair of Provincial Louis XV Walnut Fauteuils

18th century, with molded frames, padded seats and backs, and raised on cabriole legs, pegged construction throughout.

h. 37-1/2”, w. 26”, d. 22”

$1,000-$1,500

186

Pair of Provincial Louis XV Walnut Fauteuils

18th century, with molded frames, padded seats and backs, and raised on cabriole legs, pegged construction throughout.

h. 37-1/2”, w. 26”, d. 22”

$1,000-$1,500

Pair of Painted Plaster Bulls’ Heads

20th century, probably French, realistically molded with collars around their necks, in mottled gray and black.

h. 21”, w. 16-1/2”, d. 11-3/4”

$1,200-$1,800

188

German Sterling Silver Novelty Owl Cocktail Shaker

second half 20th century, in the form of a realistically detailed owl, its beak a faux spout fitted with a chained “stopper” with a frog on a lily pad, the head fitted with glass eyes detaching to reveal the detachable strainer.

h. 7-3/4”, w. 4-3/8”, d. 5”; 29.23 t. oz.

$4,000-$7,000

189

Twelve Silverplate Figural Dog Napkin Rings

contemporary, cast and assembled from vintage elements, with floral, foliate and grapevine rings, with various dog breeds (Scottie, bulldog, dachshund, retriever, French Terrier, etc.), including seven with other animals (butterfly, cat and rabbit) and others with bench, bone or water bowl.

l. 2-3/4” to 4-3/4”

$1,200-$1,800

190

Twelve Silverplate Figural Animal Napkin Rings

contemporary, cast and assembled from vintage elements, with floral, foliate and grapevine rings, with various animals including a turkey, frog, parakeet and turtle, rabbit, moose, squirrel, lamb, chickens, cats, sow and piglets and peacock,

l. 2-3/4” to 4”

$1,200-$1,800

191

191 Henry Schouten (Belgian, 1864/7-1927)

“Chickens and Roosters” oil on canvas signed lower left. Antique frame. 19-1/2” x 29-1/2”, framed 30” x 39-1/2”

$1,200-$1,800

192

Unusual French Provincial Walnut Buffet a Deux Corps

19th century, the upper case with curved ends and conforming shaped and raised panel doors, the complex base with a pair of central drawers, cabinets below and curved end doors.

h. 94”, w. 72”, d. 25”

$3,000-$5,000

French Provincial Oak Draw-End Table

19th century, the rectangular top with a pull-out leaf to each end, raised on double cup-and-cover legs joined by an X-form stretcher and ending in block feet.

h. 30-1/2”, w. 34”, l. 60”, ext. l. 113”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500 ' 194

Suite of Eight Carolean-Style Mahogany Side Chairs

late 19th century, each with a floral urn crest flanked to both sides by a cherub and acorn urn, above a caned back flanked by barley-twist uprights, the caned seat raised on barley-twist legs joined by an urn- and cherub-carved stretcher and ending in bulbous feet.

h. 48”, w. 19”, d. 18-1/2”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

195

195

Dutch School (19th Century)

“Mythological Scene: Diana and Actaeon”

“Mythological Scene”

pair of oils on wood panel each unsigned, with title on later label en verso. Framed alike. each 29” x 22-3/4”, framed 34” x 28”

$1,200-$1,800

19th century, each with a rectangular top above a case fitted with a single bi-paneled drawer over two cupboard doors, each inset with a grille panel with fabric backing, raised on molded bracket feet.

h. 35”, w. 40”, d. 14”

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $1,000-$1,500

196

Near Pair of Italian Fruitwood Cabinets

Italian Fruitwood Cabinet

19th century, the rectangular top with a carved edge, above a case fitted with three small drawers over a single central cupboard, all with carved geometric designs, raised on a stepped base.

h. 34”, w. 30”, d. 14-1/2”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,200-$1,800

197

198

Italian Neoclassical Inlaid Table/Desk

19th century, the top with a central inlaid chariot scene of a winged putto with attendants and a wide banded border, the front apron with an inlaid frieze flanked by two small drawers and a pull-out work slide below, raised on inlaid tapering square legs.

h. 30-1/2”, w. 38”, d. 32”

$1,000-$1,500

Venetian School (16th Century)

“Petrarch’s Laura”

oil on cradled wood panel unsigned. Carved wood frame. 14-3/8” x 11”, framed 25” x 21-5/8”

Provenance: Cornell Emery (born Hungary, 1882-1929, Larchmont, New York); Estate of Lin Emery, New Orleans, Louisiana. $5,000-$8,000

– PETRARCH, CANZONIERE, SONNET 148.

The identity of Laura, Petrarch’s muse, is shrouded in mystery and although she might be Laura de Noves, wife of Count Hughes de Sade, this has never been proven. Regardless of her identity, the humanist poet saw his unrequited love for the first time on 6 April (Good Friday) in 1327 at Easter mass in the church of Sainte-Claire d'Avignon; he thence spent three years in Avignon, writing sonnets in Laura’s name. Images of her vary, although all have in common the distinctive headdress, jewelry, and hair style.

patterned background against cerulean blue, in contrast to the almost gilded, shimmering image of Laura.

The painting has been in the collection of the famous Louisiana kinetic sculptor, Lin Emery, and was inherited from her father Cornell Emery (born Moshe Kornel Szollosy) who emigrated to the US from Hungary in 1904.

A successful businessman, art connoisseur and dealer, he was a significant donor to the Metropolitan Museum of Art, and Emery’s childhood home in Larchmont, New York was filled with art. In a 2006 interview with New Orleans Magazine, Emery remembers:

“My father, who died when I was a baby, had been a collector and I spent my childhood drawing things around the house. I never thought of it as being anything but what I liked to do.”

The partial Hungarian shipping or inventory label indicates that the panel was most likely brought to the US from Hungary by Mr. Emery on of his buying trips, the last of which may have taken place in 1924, where he visited Hungary amongst other countries. He would pass away not long after, in 1929.

The portrait in this catalogue closely resembles the image of Laura and Petrarch by an unknown artist whose style is closely related to Bartolomeo Veneto. The source of the portrait, conserved at the Ashmolean Museum, University of Oxford is a fifteenth-century Tuscan manuscript in which the subjects are depicted separately. In the Ashmolean example, Laura is seen with a laurel branch, an attribute to poetry. In our painting laurel leaves form a

This oil on wood panel is typical of the Venetian school of painting, with emphasis on color contrast and focus on texture and patterns. The subtly modeled figure of Laura with her pale complexion and golden hair, stands in stark contrast to the richly colored and patterned background. Unlike the classical harmonious portraits of Renaissance Florence and Rome which are formal and remote in their stoic grandeur, Venetian counterparts are almost treated as icons, shimmering with unnatural light and color, creating a more intimate, warm relationship with the viewer.

"Let the beautiful laurel grow so on the green bank, and let him who planted it, in the sweet shade, write lofty and joyful thoughts, to the sound of water."

Photo Credit: Ashmolean Museum, University of Oxford

Empire-Style Mahogany Center Table

20th century, the banded square top quarter-veneered and with canted corners, raised on double ebonized corner supports, headed by ormolu capitals, to a concave lower shelf, raised on canted block feet. h. 31", w. 37-1/4", d. 37-1/4"

$1,000-$1,500

200 Attributed to Luigi Ademollo (Italian, 1764-1849)

“Presentation of Christ at the Temple” and “Christ Teaching Elders in the Temple”

pair of watercolors and gouaches on paper unsigned.

Glazed and framed. 11-3/4” x 22-7/8”, framed 13-1/4” x 24-1/2”

Provenance: Cornell Emery (born Hungary, 18821929, Larchmont, New York); Estate of Lin Emery, New Orleans, Louisiana.

$5,000-$8,000

201

Follower of Peter Paul Rubens (Flemish, 1577-1640)

“The Elevation of the Cross”

oil on tin illegible label en verso. Framed.

24” x 17-1/2”, framed 28” x 21-3/4”

$1,200-$1,800

202

Circle of Joost Cornelisz Droochsloot (Dutch, 1586-1666)

“Christ Healing the Sick”

oil on cradled wood panel unsigned. Framed.

21” x 28”, framed 27” x 34”

Provenance: Private collection, New Orleans, Louisiana.

$5,000-$8,000

204 204 detail

203

Circle of Jan Wijnants (Dutch, ca. 1625-1684)

“Landscape with Travelers”

oil on canvas unsigned. Framed. 25-1/4” x 31”, framed 30” x 36”

Provenance: Private collection, New Orleans, Louisiana. $2,000-$4,000

204

Lucas van Leyden (Dutch, 1494-1533)

“Virgin and Child Seated Under a Tree”

etching on laid paper later impression, after the 1514 work, trimmed to platemark, d’Arenberg collector’s mark en verso (Lugt 567), several markings in graphite en verso: “83”, “B83”, “244”. Matted, glazed and framed. sheet 3-3/8” x 4-1/4”, framed 10” x 11”

Provenance: Ex Collection d’Arenberg, Brussels, Belgium; Private collection. $1,500-$2,500

Regence-Style Mahogany Settee

early 20th century, the padded rectangular back joined by downswept acanthine-carved arms to the scrolling hand rests, the padded seat raised on turned and block legs joined by a turned and foliate-carved front stretcher and ending in bun feet.

h. 44”, w. 42”, d. 26”

$1,200-$1,800

206

19th century, each with a padded rectangular back joined by fluted, downswept arms to scrolling foliate-carved hand rests, the padded seats raised on paneled, tapering square legs headed by a gadroon capital, joined by an H-form stretcher and ending in block feet, each upholstered in period tapestry in floral and avian patterns.

h. 46”, w. 27-1/2”, d. 25”

$1,200-$1,800

Pair of Large Louis XIV-Style Giltwood Fauteuils

207

Louis Georges Brillouin (French, 1817-1893)

“Troubadours Gathered in a Courtyard”

oil on canvas signed lower right. Framed.

13” x 9-1/2”, framed 23-1/2” x 20-1/4”

$1,000-$1,500

208 Henri Schafer (German/French, 1833-1916)

“Morlaix, Brittany”, 1878 “Rue de Bac, Rouen, Normandy”, 1890

pair of oils on canvas each signed lower right and dated right, and each signed and titled and “The Cooling Galleries, London” labels en verso. Framed alike.

12” x 10”, framed 17” x 15”

Provenance: The Cooling Galleries, London, England.

$1,000-$1,500

209

Franz Auguste Rezia (British/Italian, 1857-1906)

“Village Scenes”

pair of oils on board each signed lower left. Framed alike.

14” x 7”, framed 20” x 13”

Provenance: Keil’s Antiques, New Orleans, Louisiana.

$1,000-$1,500

210

Dutch Mahogany and Marquetry Bookcase

early 20th century, the rectangular breakfront top tri-sected and with elaborate floral urn inlays, above a conforming case fitted with a cove-molded frame above three glazed cupboard doors, all with marquetry frames, raised on a plinth base. h. 40”, w. 61-1/4”, d. 18”

$2,000-$4,000

209

Dutch Mahogany and Marquetry Bookcase

early 20th century, the rectangular breakfront top tri-sected and with elaborate floral urn inlays, above a conforming case fitted with a covemolded frame above three glazed cupboard doors, all with marquetry frames, raised on a plinth base. h. 40”, w. 61-1/4”, d. 18”

$2,000-$4,000

212

Gilt-Bronze Chandelier of Louis XVI Inspiration

20th century, the reeded body supported by a faceted vasiform standard, ornamented with leaves and terminating in a leaf-molded corona, the fluted and scrolled candle arms set with leafand sunflower-molded medallions, supporting reeded drip pans set with fluted candle cups. h. 29-1/2”, dia. 25”

Provenance: French Antique Shop, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

$2,500-$4,000

212

Pair of Fin-de-Siecle Porcelain Plaques

fourth quarter 19th century, one depicting a musketeer and the other a richly dressed woman in late 19th-century garb, each signed “J.B.”, in aesthetic giltwood frames. plaque h. 16-3/4”, w. 5-3/4”, overall h. 27”, w. 15-1/4”

$1,000-$1,500

Pair of French Marble and Gilt-Bronze Garniture Urns

ca. 1900, the neoclassical-style urns mounted with bronze swan’s-head handles framing pierced bowknots supporting swags of flowers, on acanthus-molded brass bases on marble plinths, set with gilt-bronze covers molded with acanthus leaves and artichoke-molded knops, each with cast inscription “541 BD” for the Vrai BD bronze foundry, Paris. h. 22-1/2”, w. 10”, d. 7”

$1,000-$1,500

French Bronze-Mounted Tortoiseshell Jewel Casket

fourth quarter 19th century, in the form of a miniature vitrine, the double-lobed cabinet with a bronze-trimmed, silk-lined hinged top fitted with glass, raised on gilt-bronze cabriole legs and a gilt-bronze skirt trimmed with scroll and rocaille work.

h. 6”, dia. 5”

Provenance: Brice Antiques, Memphis, Tennessee.

$1,000-$1,500

French Gilt-Bronze and Boullework Encrier

fourth quarter 19th century, in the Louis XIV taste, the bombe sides and pen holder decorated with boullework depicting birds and scrollwork, the corners with Egyptian monopodial feet, the ink pots with gilt-bronze covers set with artichokemolded knops on a scrolled ground.

h. 4”, w. 13”, d. 9-1/2”

$1,000-$1,500

French Belle Epoque Giltwood Mirror

fourth quarter 19th century, in the Louis XV taste, the molded surround set with a serpentine crest decorated with scrollwork, rocaille work and sprays of flowers, the upper corners with leafmolded scrollwork and the lower corners with rocaille work, set with a beveled mirror plate.

h. 62-1/2”, w. 36”

$1,200-$1,800

French Belle Epoque Bronze Dore-Mounted Tortoiseshell Jewelry Casket

fourth quarter 19th century, the bombe-form box set with scroll-molded corner mounts extending into scrolled feet, the cove-molded cover with bronze trim and a scroll-molded escutcheon, the skirt decorated with bronze dore cornucopias of flowers, the interior lined with fabric.

h. 7-1/2”, w. 11”, d. 7-3/4”

Provenance: Brice Antiques, Memphis, Tennessee.

$1,500-$2,500

219

Tiffany-Retailed Tortoiseshell and Bronze Bracket Clock

fourth quarter 19th century, New York, in the Louis XV taste, the tortoiseshell-veneered case decorated with bronze trim molded in rocaille and scrollwork, accented with flower heads, mounted with marked “Vincenti et Cie” French works, also marked “Tiffany & Co.”, the dial marked “Tiffany & Co., New York”.

h. 18-1/2”, w. 9-3/4”, d. 6”

$1,200-$1,800

220

French Tiffany-Retailed Bracket Clock

ca. 1900, in the Louis XVI taste, the mahogany-veneered and bronze-mounted clock with a mansard roof decorated with bronze finials, the dial set into a bronze plate with a molded cartouche, set with an enamel “Tiffany & Co.” cabochon, the case with scrolled bronze corner mounts flanking a shell in the skirt, the works marked “E.M.”.

h. 13”, w. 7-3/4”, d. 4-1/2”

$1,000-$1,500

Pair of French Fin-de-Siecle Giltwood Pier Mirrors

fourth quarter 19th century, in the rococo taste, with molded surrounds and serpentine crests, the pierced rocaille-carved crests flanked by scrolled pediments and trailing flowers, with laurel leaves on the corners, the lower edge with matching scrolled trim, set with beveled mirror plates.

h. 73”, w. 31”

$2,000-$4,000

French Bronze and Cut Crystal Chandelier

second half 20th century, the eight-light chandelier with a bronze frame and a cut glass standard, supporting eight candle arms set with cylindrical candle cups and matching drip pans, the upper portion decorated with three graduated tiers of drops, a spray of drops forming the corona.

h. 34”, dia. 21-1/4”

Provenance: Royal Antiques, New Orleans, Louisiana.

$1,200-$1,800

223

19th century, with a stamped label “Poirier Remon, Paris” the slightly bowed marble top with projecting canted corners, above a conforming bombe case fitted with a frieze drawer over two long paneled drawers, all with inlaid floral patterns, flanked by finely figured ormolu mounts, raised on splayed feet ending in sabots, the locks signed “P. H. Remon, Paris”. h. 35-1/2”, w. 62”, d. 21-1/2”

Provenance: Keil’s Antiques, New Orleans, Louisiana. $3,000-$5,000

224

Louis XV-Style Giltwood Window Bench

first half 20th century, finished on both sides with carved details, cabriole legs with shell knees, padded armrests and diamond-tufted seat. h. 27”, w. 45”, d. 21”

$1,000-$1,500

Fine Louis XV-Style Mahogany and Marble-Top Commode

French Giltwood Mirror in the Louis XV Taste

fourth quarter 19th century, with a gadrooned surround and beaded inner liner, the serpentine crest decorated with scrollwork, rocaille work and sprays of flowers.

h. 65”, w. 40-1/2”

$1,200-$1,800

226

225

226

French Gilt- and Silvered Bronze Casket

fourth quarter 19th century, in the baroque taste, the hinged cover with a central cabochon framed with scrollwork and winged angel heads, the body on scrolled feet supporting molded busts at each corner, the sides with more cabochons and scrollwork, the velvet-lined interior with a removable tray, with a spurious “Tiffany Studios New York” mark.

h. 6”, w. 8”, d. 7”

$1,000-$1,500

227

After Auguste Moreau (French, 1834-1917)

“Jeune Fille a l’Oiseau”

bronze and silvered bronze first quarter 20th century, cast signature along edge of selfbase, casting inscriptions “V” and “LU 8/” along back edge.

h. 24-1/2”, w. 12”, d. 12”

$1,200-$1,800

228

French Art Nouveau Haut-Relief Bronze Allegorical Depiction of Abundance

first quarter 20th century, the classically draped figure holding a bowl overflowing with coins.

h. 21-1/2”, w. 7-3/8”

$1,500-$2,500

229

Directoire Brass-Mounted Mahogany and Marble-Top Commode

early 19th century, the conforming top over a row of three side-byside drawers and two long drawers below, raised on turned legs ending in brass toes.

h. 36”, w. 50”, d. 24”

$1,200-$1,800

230

Handsome French Gilt-Bronze and Cut Glass Chandelier

second quarter 20th century, possibly Baccarat, in the baroque style, the six-light chandelier with a standard clad in molded glass, set with scrolled candle arms hung with cut glass prisms, the upper portion decorated with two graduated tiers of sprays of cut glass drops and unusual cut glass spheres.

h. 27”, dia. 24”

Provenance: Royal Antiques, New Orleans, Louisiana.

$1,000-$1,500

Louis XVI Painted and Parcel-Gilt Trumeau Mirror

fourth quarter 18th century, the upper tablet set with an oilon-canvas bucolic scene framed with a giltwood bowknot crest flanked with cone-form side finials and bellflower drops, the mirror plate with a giltwood surround decorated with a central urn, on a green-painted ground, set with a shallow beveled mirror plate.

h. 61-1/2”, w. 41”

$1,200-$1,800

232

Two French Beaux-Arts Onyx and Bronze Lamps

second quarter 20th century, the onyx spherules supporting triple brass candle arms and mounted with bronze ram’shead monopodia with hoof feet, on circular molded onyx bases with beaded bronze trim, mounted with shades and finials.

h. 27-1/2”, w. 14”, d. 10-1/4”

$1,000-$1,500

233

A. Secola (Italian, 19th/20th Century)

“In the Garden”

pair of oils on wood panel each signed lower right. Framed alike. each 18-1/2” x 12”, framed 23” x 16-3/4”

$2,000-$4,000

234

Impressive Cast Bronze and Porcelain Jewelry Casket

fourth quarter 19th century, mounted on all sides with marked KPM plaques framed with molded laurel leaves, the top front and reverse decorated with Arcadian views of couples in neoclassical dress, the sides with floral painting, the casket cover with corner anthemia on a diapered ground, and the body with corner molded colonnettes, the swag-molded base raised on molded bun feet.

h. 11”, w. 15”, d. 11-1/4”

$1,500-$2,500

233 234

235

French Sevres-Style Bronze-Mounted Porcelain Covered Urn

ca. 1900, decorated with an artist in 18th-century costume, painting a lady in a garden, the reverse with a view of a chateau, the base and cover decorated with raised gilt on a pink ground and dark green borders, set with scroll-molded bronze handles and fittings, with a Sevres-style overglaze blue mark, including crossed “L’s” and “France”.

h. 21-1/4”, w. 10-1/4”, d. 7”

$1,200-$1,800

236

French Sevres-Style Porcelain and Bronze Dore Urn

ca. 1900, the obverse decorated with a nymph catching a putto swinging on a flower, signed “Collinet”, and the reverse decorated with a garden with a fountain, the cover and base with mauve irises trimmed in raised gilt on a lustre ground, with molded gilt-bronze fittings, the handpainted overglaze blue mark with the pseudo-Sevres double L’s and “France”.

h. 29”, w. 12-1/2”, d. 7-3/4”

$1,200-$1,800

French Bronze Firescreen and Tool Set

first quarter 20th century, in the Louis XV style, the screen framed in pierced scrollwork, the center with a mount of pierced scrollwork supporting a putto, h. 36-1/2”, w. 29”, d. 8”, and the tool set with bronze flame finials, comprised of a stand on paw feet, tongs, log holder, shovel and hearth brush, all with bronze handles and steel standards, h. 33”, w. 10”, d. 11”.

Provenance: Keil’s Antiques, New Orleans, Louisiana.

$1,000-$1,500

238

Louis XV-Style Kingwood Vitrine

early 20th century, the stepped top above a case fitted with a single door, the upper section glazed, the lower part featuring a painted courtly scene in the manner of Vernis Martin, the sides en suite, raised on splayed legs ending in sabots. h. 66-1/2”, w. 23-1/2”, d. 14”

$1,000-$1,500

Pair of Louis XV-Style Giltwood and Marble-Top Consoles

mid-20th century, the serpentine white marble top with a molded edge, above a conforming floral- and foliate-carved apron, raised on cabriole legs ending in leaf-carved French toes. h. 30-1/2”, w. 16”, d. 10-1/2”

$1,500-$2,500

241 French Gilt-Metal and Cut Glass Chandelier

second half 20th century, the eighteen-light chandelier with a scrolled metal frame set with candles having cut glass drip pans on three levels, hung with swags of cut glass beads and drops, the upper portion decorated to match, the top with a spray of cut glass drops and swags.

h. 38”, dia. 31”

Provenance: Royal Antiques, New Orleans, Louisiana.

$1,200-$1,800

240

French Belle Epoque Giltwood Cushion Mirror

fourth quarter 19th century, in the rococo taste, decorated with a central cabochon-mounted cartouche flanked by cherubs, supported on scrollwork and decorated with flower heads, the “cushions” with egg-and-dart giltwood surrounds, set with beveled mirror panels, the corners with carved giltwood leaves and flowers.

h. 79”, w. 39”

$2,500-$4,000

French Marble, Bronze and Cut Glass Oil Lamp

fourth quarter 19th century, now mounted as a lamp, the white marble base in the form of a fluted column section, mounted with gilt-bronze floral swagging, the cut glass font mounted to the base on bronze dore et patine fittings decorated with gilt grapes and patinated acanthus leaves.

h. 34-1/2”, dia. 6-1/2”

$1,000-$1,500

243

Pair of Louis XV-Style Giltwood Fauteuils

19th century, each with a shaped and padded back surmounted by a foliate crest, joined by padded scrolling arms to the padded seat, raised above a foliate apron on molded cabriole legs ending in foliate scrolled toes, now upholstered in period floral tapestry.

h. 37”, w. 27”, d. 21”

$1,500-$2,500

early 20th century, the top quarter-veneered and with a central inlaid foliate and floral panel, within a brass banding, hinged and opening to a baize-lined interior, raised above a shaped apron on cabriole legs ending in sabots.

h. 30”, w. 29”, d. 30”

$1,000-$1,500

early 20th century, the banded rectangular superstructure fitted with two drawers, over an ogee-molded drop front opening to a leather-inset writing surface and small drawers, raised on a shaped frieze drawer on cabriole legs ending in scrolled toes.

h. 42”, w. 33-1/2”, d. 21”

$1,000-$1,500

244

Louis XV-Style Kingwood Games Table

245 Louis XV-Style Rosewood and Burlwood Lady’s Desk

Fine Aubusson Tapestry

early 19th century, the central motif of a lush flower-laden urn, with ribbon and floral posy border, now with a decorative support cornice for display.

50” x 116”

Provenance: The Antiquity Ltd. by Kyle Griffith Interiors, Memphis, Tennessee.

$2,000-$4,000

French Giltwood Trumeau Mirror in the Belle Epoque Style

20th century, the oval panel with an oil-on-canvas depiction of a shepherd and shepherdess, flanked by sprays of flowers, the arched top mirror plate with a wreath-form crest supporting swags of flowers, the outside surround with carved laurel leaves and berries, set with a beveled mirror plate.

h. 86”, w. 34-1/2”

$1,200-$1,800

247

20th century, each with a rectangular top with a concave front, above a conforming case fitted with a dentillated frieze drawer over two banded drawers and a like cupboard opening to two pull-out shelves, raised on cabriole legs ending in sabots.

h. 43”, w. 16”, d. 15-1/4”

Provenance: Castle Antiques & Design, North Hollywood, California.

$1,200-$1,800

early 20th century, the banded and quarterveneered top above a case fitted with a parquetryinlaid drop front, opening to a mirrored interior, over a like-inlaid drawer, raised on cabriole legs ending in sabots.

h. 44-1/2”, w 18-1/2”, d. 15”

$1,200-$1,800

Louis XV-Style Kingwood Secretaire Cabinet

Pair of Louis XV-Style Kingwood and Marble-Top Petite Cabinets

250

Pair of Louis XV-Style Kingwood, Rosewood and Marble-Top Commodes

early 20th century, each with a shaped and bowed marble top above a conforming bombe case fitted with two drawers, each banded and with parquetry veneers, raised on sabre legs ending in sabots.

h. 32”, w. 27-1/2”, d. 14-3/4”

$1,200-$1,800

251

Louis XV-Style Inlaid Mahogany Vitrine

early 20th century, the bowed and stepped top above a conforming case fitted with a single glazed door, the upper section with a floral inlay, the sides en suite, raised on cabriole legs ending in sabots.

h. 56”, w. 28-1/2”, d. 15-1/2”

$1,200-$1,800

French Gilt-Bronze, Rock Crystal and Crystal Chandelier

second quarter 20th century, in the Louis XVI style, possibly Baccarat, the ten-light chandelier with a gilt-bronze frame set with scrolled candle arms hung with rock crystal and crystal drops, the cylindrical candle sockets fitted with glass drip pans, the upper portion with a spray of glass drops.

h. 33”, dia. 28”

$1,200-$1,800

French Fin-de-Siecle Giltwood Overmantel Mirror

fourth quarter 19th century, in the Louis XVI taste, the giltwood surround with crossetted corners and set with a pierced bowknot crest, decorated with corner medallions and lined with a ribbon-bound reed, the beveled mirror plate lined with beading.

h. 62-1/2”, w. 37-1/2”

$1,200-$1,800

fourth quarter 19th century, the rococo-style candelabra with inverted pear-form marble bodies and bases carved with fluting, set with scroll- and rocaille-molded handles and necks, supporting pierced and scrolled candle arms set with candle cups molded with swags, and flower-molded drip pans, raised on scrolled bronze feet.

h. 31”, dia. 9”

$1,000-$1,500

Pair of French Fin-de-Siecle Gilt-Bronze and Marble Candelabra

255

19th century and later, each with a serpentine marble top over a conforming scroll- and foliate-carved apron centered by a cartouche, raised on cabriole legs, formerly a center table.

h. 28-1/2”, w. 48-1/2”, d. 16-1/2”

$1,800-$2,500

255

256

ca. 1900, the serpentine marble top over a conforming floralcarved apron, raised on cabriole legs joined by a stretcher and centered by shell, floral and foliate carving.

h. 32-1/4”, w. 63-1/2”, d. 18”

$2,000-$4,000

Pair of Louis XV-Style Giltwood and Marble-Top Consoles

Louis XV-Style Giltwood and Marble-Top Console Table

Near Pair of Louis XV-Style Ormolu-Mounted Kingwood and Marble-Top Vitrines

first half 20th century, each with a rectangular gray marble top with a beveled edge, above a case fitted with beveled glass doors and sides, plate glass shelves, a mirrored back and lighted interior.

h. 68-1/4”, w. 43-1/2”, d. 16-1/2”; h. 68-1/4”, w. 43-1/2”, d. 16-1/4”

$1,200-$1,800

258

Louis XV-Style Gilt-Bronze-Mounted and Inlaid Kingwood Tall Case Clock

19th century, of bombe form, the door with an ormolumounted seated maiden above an inlaid figure of mixed woods, the base inlaid with foliate motifs, the time and strike movement with porcelain chapters.

h. 92-1/2”, w. 23”, d. 13”

$4,000-$7,000

259

259

Constant Joseph Brochart (French, 1816-1899)

“Allegory of Abundance”

“Allegory of Deceit”

pair of oval pastels on paper each signed mid right. Both glazed and presented in matching frames. sight 31” x 25”, framed 39” x 33”

Provenance: Doyle New York, October 31, 2018, lot 59. $1,000-$1,500

early 20th century, each with a bowed marble top with projecting rounded corners, above a bombe case fitted with two long drawers, each banded and inlaid with a floral spray, the sides inlaid en suite, raised on splayed legs ending in sabots. h. 36”, w. 44”, d. 20-1/2”

$2,500-$4,000

260

Pair of Louis XV-Style Kingwood and Marble-Top Commodes

261

20th century, of rectangular form with scrollwork aprons and legs, presented with a gold wash surface.

h. 22”, w. 60”, d. 33-1/2”

$1,000-$1,500

261

262

Pair of Contemporary Overstuffed Sofas

manufactured by Henredon and bearing the retailer’s label “Wilson-Babb, Inc. Memphis, TN, Finest in Bench-Made Upholstery”, each with an arched back, scrolled arms, three back cushions and three seat cushions, all covered in beige mohair.

h. 39”, w. 84”, d. 38”

$1,000-$1,500

French Wrought Iron and Plate Glass Coffee Table

263

Prosper Ferey (French, 19th Century)

“Pastoral Scenes with Shepherd and Shepherdess”

pair of oval oils on wood panel each signed “Ferey” Both framed alike.

20-3/4” x 31”, framed 36” x 41”

Provenance: Brice Antiques & Interiors, Memphis, Tennesee.

$1,200-$1,800

French Giltwood Trumeau Mirror in the Neoclassical Taste

first quarter 20th century, the upper tablet decorated with an oval print of a couple in 18th-century dress eating grapes, framed with swags of fruit and flowers secured with a bowknot, the corners with medallions, the beveled mirror plate framed with a ribbon-wrapped reed.

h. 54”, w. 32-1/2”

$1,000-$1,500

Pair of French Louis XVI-Style Bronze Sconces

mid-20th century, the quiver-form backplates mounted with urn-form finials, decorated with swags of laurel leaves, set with fluted and scrolled arms with molded acanthus leaves, set with leaf-molded candle cups and fluted drip pans, mounted with shades.

h. 25”, w. 13”, d. 7-3/4”

Provenance: Mark Hampton, New York, New York; Private collection, New Orleans, Louisiana.

$1,200-$1,800

Pair of Louis XVI-Style Mahogany Bergeres avec Oreilles

late 19th century, each with a padded and domed back surmounted by a floral basket crest, joined by shaped and padded sides and padded arms to the cushioned seat, raised on stop-fluted, tapering circular legs headed by a floral capital and ending in toupie feet.

h. 44-1/2”, w. 30”, d. 23”

Provenance: Moss Antiques, Inc., New Orleans, Louisiana.

$1,000-$1,500

267

early 20th century, the elongated octagonal top with an inlaid foliate band surrounding a marble center, raised above a likeinlaid frieze on splayed legs headed by ormolu ram’s heads and ending in sabots.

h. 20-1/2”, w. 30-1/4”, d. 22-1/2”

$1,000-$1,500

268

19th century, the shaped and undulating marble top above a conforming case fitted with three drawers inlaid with a single urn issuing floral sprays, the sides inlaid en suite, raised on slightly splayed legs ending in sabots.

h. 35-1/2”, w. 33”, d. 17”

$1,500-$2,500

Louis XVI-Style Kingwood and Marble-Top Occasional Table

Regence-Style Kingwood and Marble-Top Commode

Louis XV-Style Kingwood Bureau Cylindre

early 20th century, the rectangular top within a three-quarter pierced brass gallery, above a roll top opening to a pull-out writing surface and three small drawers, over a single long drawer, raised on cabriole legs ending in sabots, the whole richly inlaid with floral patterns.

h. 30”, w. 29-1/2”, d. 21”

$1,200-$1,800

270

Napoleon III Giltwood Overmantel Mirror

third quarter 19th century, in the Louis XV taste, the crest with a rocaille surround mounted with a pierced finial flanked by sprays of flowers, the sides wrapped with flowering vines, the base decorated with carved scrollwork.

h. 59”, dia. 48”

$1,200-$1,800

fourth quarter 19th century, the porcelain bases decorated with panels of mandarin figures and mounted with lion’s-head ring pulls, set with leaf-molded candle branches mounted with molded candle cups and drip pans, raised on bronze bases. h. 24”, w. 13-1/2”, d. 8-1/4”

Provenance: Keil’s Antiques, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

$1,500-$2,500

272

9’ x 12’

$1,000-$1,500

271

271

Pair of Franco-Chinese Gilt-Bronze and Rose Canton Candelabra

Turkish Angora Oushak Carpet

277 278

277 William Frank (Continental School, Late 19th Century)

“Woman with a Masquerade Mask” oil on canvas signed “Wm. Frank” mid left. Framed. 20” x 16”, framed 28” x 24”

$1,000-$1,500

278 Regence-Style Ebonized and Marble-Top Commode

the shaped marble top above a conforming bombe case fitted with two long drawers, raised on splayed legs ending in sabots, the whole accented with ormolu mounts and millwork. h. 34”, w. 59”, d. 24”

$2,500-$4,000

French Beaux-Arts Bronze and Marble Urn-Form Lamp

second quarter 20th century, the white-veined dark green marble body set with masque-molded bronze handles and bands of scrollwork and flowers hung with floral swags, the marble base set with a panel of bas-relief fringed swagging and beading, raised on leaf-molded toupie feet and mounted with a shade.

h. 34-1/2”, w. 15-1/2”

$1,000-$1,500

French Belle Epoque Patinated Metal and Majolica Jardiniere

fourth quarter 19th century, modeled as a pair of standing putti supporting the oval majolica bowl, with a pierced rim, cobalt exterior and turquoise interior, the sides decorated with baroque masques and swags of fruit, the bottom with a grapemolded pendant finial, with a removable metal liner.

h. 11-1/4”, w. 16-3/4”, d. 8-1/2”

$1,000-$1,500

Unusual French Restauration Polished Bronze Jardiniere

second quarter 19th century, the rectangular jardiniere with commode fronted center panels, the corners raised on paw feet, the sides decorated with panels set with mounts depicting a caduceus framed with arabesque scrollwork, the side panels with braziers and arabesque scrollwork.

h. 10”, w. 18-3/4”, d. 10-3/4”

$1,000-$1,500

Maison Jansen Mahogany Dining Table

20th century, the oval top within a brass banding, opening to accommodate two 20” leaves, above a conforming paneled frieze, raised on fluted, tapering circular legs with ormolu accents and ending in brass caps, stamped “Maison Jansen”. h. 30”, w. 42-1/2”, l. 68”, ext. l. 108”

Provenance: Florian Papp Inc., New York, New York. $4,000-$7,000

20th century, consisting of two armchairs and six side chairs, each with a padded domed back surmounted by a floral crest, the armchairs with padded acanthine-carved arms, all with padded seats raised on fluted, tapering circular legs headed by floral block capitals and ending in toupie feet.

h. 43”, w. 25”, d. 41”

$1,500-$2,500

283

20th century, each with a D-form marble top with a projecting center section, above a case fitted with a drawer over a paneled cupboard door with swag carving, flanked to either side by two open, rounded shelves, the whole raised on toupie feet. h. 42-1/2”, w. 59”, d. 22”

$1,000-$1,500

283

Suite of Eight Louis XVI-Style Mahogany Dining Chairs

284

Pair of Louis XVI-Style Walnut and Marble-Top Cabinets

first quarter 20th century, the screen decorated with a central cartouche framed with swagging, the panel with a brazier framed with laurel wreathing, h. 35-1/2”, w. 54-1/2”, the fire tool stand with a bowknot-pierced handle, together with tongs, a log holder, a poker and a hearth brush with flameform bronze handles and steel standard, h. 28-1/2”, w. 9-1/4”, d. 9-1/2”.

Provenance: Cedric DuPont Antiques, West Palm Beach, Florida.

$1,000-$1,500 286

Unusual Louis XV-Style Wool and Cotton Aubusson Carpet

20th century, painstakingly composed of crocheted chainstitched cords applied to foundation, all backed in canvas. 10’ x 13’

$1,000-$1,500

287

Napoleon III Giltwood Mirror of Renaissance Inspiration

third quarter 19th century, the oval beveled mirror plate with a ribbon-bound laurel leaf surround, set against a giltwood frame decorated with medallions and carved vines, the arched crest decorated with a pair of lovebirds supporting a carved torch and quiver framed with trailing flowers. h. 57”, w. 35-1/2”

$1,200-$1,800

French Bronze Firescreen and Tools in the Neoclassical Taste

288

third quarter 19th century, in the manner of Ferdinand Barbedienne, the Neo-Grec covered urns with guillochemolded, silvered-bronze bodies, decorated with classical profile roundels and with bronze dore swags of flowers, the beaded and molded covers with silvered lovebirds on dore nests ornamented with flowers, the fluted bases molded with acanthus leaves and decorated with a laurel and berry wreath.

h. 17-1/2”, w. 13”, d. 10”

$2,500-$4,000

Napoleon III Fruitwood Sofa Table

late 19th century, in the Louis XVI taste, the rectangular top with an inlaid brass banding surrounding an inlaid and pierced brass panel, featuring an urn among scrolling foliate patterns, with a rounded drop leaf to either end, above a frieze fitted with a long drawer, raised on fluted, tapering circular legs joined by an urn-centered X-form stretcher and ending in toupie feet.

h. 29”, w. 29”, d. 21-1/2”, ext. w. 38”

$1,000-$1,500

Exceptional Pair of Napoleon III Bronze Dore and SilverGilt Covered Urns

290

After Paul Dubois (French, 1829-1905)

“Allegorical Figures of Spring and Autumn”

bronze first quarter 20th century, each with incised signature along edge of self-base. each h. 13”, w. 4-7/8”, d. 4”

$1,000-$1,500

291

After Eugene-Antoine Aizelin (French, 1821-1902)

“The Muse Erato with a Cithara”

bronze ca. 1900, cast signature along proper right side of drapery. h. 11-1/2”, w. 6”, d. 12-1/2”

$1,000-$1,500

290

292

Italian Mahogany and Exotic Woods Commode

the demi-lune top with a decorative foliate band, above a conforming case fitted with two long drawers centered by an elaborate floral basket inlay, the sides paneled and inlaid en suite, raised on tapering square legs ending in ormolu caps. h. 37”, w. 58-1/2”, d. 25-1/2”

$2,000-$4,000

291

Pair of French Gilt-Bronze-Mounted Marble Vasiform Garnitures

ca. 1900, the pink- and gray-veined marble garnitures mounted with bronze handles in the form of putti playing panpipes, and decorated with swags of oak leaves, the bronze scroll-molded necks supporting domed covers with bronze artichoke-form finials, the cove-molded marble bases with fluted bronze supports set with acanthus leaves.

h. 22-1/2”, w. 10”, d. 5-3/4”

$1,500-$2,500

294

Italian Gilt-Bronze and Marble Pedestal in the Neoclassical Taste

ca. 1900, composed of pink- and gray-veined white marble, the standard set with a gilt-bronze Corinthian capital, the bottom mounted with a guilloche-molded bezel, the stepped base set with gadrooned bronze trim.

h. 49”, w. 13-1/2”, d. 13-1/2”

$1,000-$1,500

late 19th century, the circular marble top inset into a ropecarved frame and above a like-carved frieze with pendant floral garlands, raised on fluted, tapering circular legs headed by a garland capital.

h. 31”, dia. 29”

$1,000-$1,500 293

295 Louis XVI-Style Giltwood and Marble-Top Center Table

French Gilt-Bronze Lute-Form Hanging Clock

ca. 1900, mounted with clockworks set with a dial painted with swags of roses, a winged putto floating on one side, and a spray of roses secured with a “fabric” loop on the other.

h. 15”, w. 5-1/2”, d. 3”

$1,000-$1,500

297

Louis XIV-Style Gilt-Bronze Cartel Clock

fourth quarter 19th century, French, after a 1750 example by Jacques Caffieri, the base decorated with Cupid and Psyche, the upper portion with Cupid driving a chariot, a sunburst behind him, the works marked “E. Deux, Paris”.

h. 28-1/2”, w. 14-1/2”, d. 4-1/2”

$3,000-$5,000

298

Louis XVI-Style Mahogany and Marble-Top Center Table

early 20th century, in the manner of Francois Linke, the circular Rouge de France marble top within an ormolu band and above a conforming frieze with masques and foliate mounts, raised on fluted, tapering circular legs joined by an X-form stretcher and ending in toupie feet.

h. 30-1/2”, dia. 35-1/4”

$1,500-$2,500

fourth quarter 19th century, now mounted as lamps, the red griotte neoclassical-style urns set with gilt-bronze fluted necks and pierced bronze handles decorated with molded leaves, supported by acanthus-molded bronze bases on marble plinths, mounted with shades.

h. 32-1/4”, w. 15”, d. 12”

$1,200-$1,800

299

301

French Bronze of a Seated Classical Female Figure

ca. 1900, cast inscription “Cannrath Sept” along back edge of chair.

h. 11-1/2”, w. 11-1/2”, d. 6”

$1,000-$1,500

300

300

Handsome French Restauration Gilt-Bronze Clock

second quarter 19th century, the central clock case decorated with angels flanking an oil lamp, a classical maiden to one side and a lyre on a curule footstool on the other, the base decorated with a procession of putti, one being drawn in a chariot and fanned with palm fronds by a winged putto, mounted with a silk-string suspension movement.

h. 16-3/4”, w. 12”, d. 4-1/4”

$1,200-$1,800

Pair of French Gilded Age Marble and Gilt-Bronze Garniture Urns

first quarter 20th century, after the ca. 1560/3 bronze by Germain Pilon (French, 1530-1590) created to support the urn containing the ashes of King Henri II (1519-1591) and now conserved in the Louvre, Paris, cast signature along back edge of self-base, on a conforming black plinth. overall h. 30”, w. 12-1/2”, d. 12-1/2”

$1,200-$1,800

304

fourth quarter 19th century, each with a coronal standard above a domed circular base with square projections, decorated with figures of wyverns separated by female masques, the whole surmounted by a parcel-silvered dish with openwork rim and decorated with rinceau scrolls and mascarons, centering a figural finial of a vulture and serpent.

h. 10-1/4”, dia. 7-1/4”

$1,000-$1,500

302

303

fourth quarter 19th century, in the Renaissance Revival taste, each molded with a mother and children in classical dress, poised in a garden, framed with pierced gilt scrollwork accented with silver-gilt shells and cabochons, the edges decorated with silver-gilt pierced scrollwork trim.

dia. 17”

$1,000-$1,500

302

French Bronze of “Monument Funeraire du Coeur de Henri II, dit ‘Les Trois Graces’”

Pair of French Gilt-Bronze and Silver-Gilt Plaques

Pair of Continental Renaissance Revival Bronze Tazze

305

After Emile Louis Picault ((French, 1833-1915) Bronze Tazza “In the Gardens of Orpheus”

fourth quarter 19th century, tazza supported on paw feet, cast signature and inscribed “Salon 1867” lower left, inscribed “Courses de Bernay 1883” along rim h. 4-3/8”, dia. 18-5/8”

$1,500-$2,500

306

third quarter 20th century, the six-light chandelier in the Empire style, possibly Baccarat, the inverted bell-form cut glass body mounted with engine-turned bronze fittings set with leaf-molded candle arms, the sockets set with cut glass prism rings, suspended on molded bronze chains from a matching gilt-bronze and cut glass corona. h. 32”, dia. 26-1/2”

$1,500-$2,500

French Gilt-Bronze and Cut Glass Chandelier

307

mid-20th century, in the Empire taste, set with semicircular plant containers ornamented with giltwood acanthus leaves, the tall backplates terminating in classical masques and trimmed with ribbon-bound reeding, painted with bellflowers, the centers with oval giltwood plaques of putti. h. 38”, w. 9-1/4”, d. 5”

$1,200-$1,800

307

308

Pair of French Belle Epoque Molded Bronze Figural Candlesticks

fourth quarter 19th century, now mounted as lamps, decorated, respectively, with a satyr and his companion, each holding a cornucopia supporting bronze sockets, the circular bases on scrolled feet modeled with acanthus leaves.

h. 28-1/2”, dia. 6-1/2”

$1,500-$2,500

Pair of Unusual French Parcel-Gilt Hanging Jardinieres

309

Louis XVI-Style Mahogany Window Seat

20th century, the padded long seat flanked to either side by a padded oval end within a molded ribbon-carved frame, raised on fluted, tapering circular legs ending in turned peg feet. h. 29”, w. 54”, d. 16-3/4”

$1,000-$1,500

310

KPM-Style Porcelain Plaque

fourth quarter 19th century, German, the carefully painted plaque depicting the “Vestal Virgin” after Angelica Kauffman (Swiss, 1741-1807), in a contemporary giltwood frame. plaque h. 8-1/2”, w. 6”, overall h. 15”, w. 13”

$1,000-$1,500

311

311

Louis XVI-Style Mahogany and Marble-Top Writing Table

early 20th century, the inset rectangular marble top within a molded and ormolu beaded frame over a conforming frieze with decorative ormolu mounts, raised on fluted, tapering circular legs ending in toupie feet.

h. 31”, w. 47”, d. 25-1/4”

$1,000-$1,500

312

Empire-Style Marble and Gilt-Bronze Pedestal

early 20th century, the circular marble top raised on three guilloche-modeled supports to a like lower shelf, raised on splayed legs ending in paw feet.

h. 47-1/2”, dia. 12”

$1,000-$1,500

Pair of French Belle Epoque Marble and Gilt-Bronze Garnitures

fourth quarter 19th century, now mounted as lamps, the brazier-form garnitures composed of mauve, gray and white mottled marble, the fluted marble bodies on monopodial legs set with satyr masques and hoof feet, and coiled serpents in the center, the sides decorated with swags of grapes, the domed covers fitted into pierced rims, mounted with shades.

h. 32”, dia. 18”

$1,500-$2,500

Louis XVI-Style Fruitwood Writing Table

20th century, the rectangular top with an inset leather writing surface, above a frieze fitted with two drawers, raised on lineincised, tapering square legs ending in brass caps and casters. h. 29-1/2”, w. 42”, d. 26”

$1,000-$1,500

314

314

French Napoleonic Marble and Bronze Clock

fourth quarter 19th century, in the Empire taste, the mauve-veined pink marble body with a patinated bronze figure of Napoleon standing adjacent to the clock works, the marble block decorated with gilt-bronze mounts and capped with a patinated bronze eagle on a marble domed top.

h. 16”, w. 10-3/4”, d. 6”

$1,000-$1,500

315

first quarter 19th century, now mounted as lamps, the bronze patine figure of “Victory” supporting gilt-bronze flowermolded wreaths set with leaf-molded cornucopia-form candle branches terminating in candle sockets with flowermolded rims, the figures resting on drum-form bases on square plinths, mounted with shades.

h. 34-1/2”, dia. 17-1/4”

$1,000-$1,500

Empire-Style Ormolu-Mounted Mahogany Bibliotheque

early 20th century, with three beveled glass doors, a cast eagle above the center door, flat pilasters with female portrait busts at the tops separating each door, and raised on cast brass paw feet.

h. 69”, w. 65”, d. 17”

$1,200-$1,800

316

Pair of French Bronze Dore et Patine Figural Candelabra

317

323

Pair of Contemporary Glazed Terracotta Floor Vases

with white and gray glazes, and mottled areas of the exposed terracotta body. h. 36-1/2”, dia. 11-1/2”

$1,200-$1,800

323

324

Continental Neoclassical Polychrome Commode

19th century, possibly Baltic, the rectangular top above a conforming case fitted with three long drawers, above an arch-galleried apron, raised on tapering square legs. h. 34”, w. 47”, d. 23”

$2,000-$4,000

324

325

Continental Neoclassical Polychrome Commode

19th century, possibly Baltic, the rectangular top above a conforming case fitted with three long drawers, above an archgalleried apron, raised on tapering square legs. h. 34”, w. 47”, d. 23”

$2,000-$4,000

326

326

Pair of Empire Blanc-Peinte and Parcel-Gilt Fauteuils

ca. 1805, both stamped “H. Jacob” and “JME”, the rectangular backs and seats within gilt flower-head-carved surrounds, the columnar arm supports and legs with gilt leaf-tip-carved collars and cuffs, on gilt ball feet, now upholstered in plaid silk taffeta, the backs in checked silk taffeta.

h. 35-3/4”

Provenance: Important European Furniture, Works of Art, Ceramics and Carpets: Including Property from The Estate of Mollie Wilmot, Christie’s, New York, Sale 1235, May 21, 2003, lot 226; Private collection, New Orleans, Louisiana.

$2,000-$4,000

327

Pair of French Carved Wood and Metal Lamps

second quarter 20th century, of Louis XV inspiration, the urnform lamps set with leaf-carved handles and draped with carved swags over laurel leaves, the necks set with molded metal trim, set on turned bases and mounted with shades.

h. 23”, dia. 16”

Provenance: Soniat House Antiques, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

$1,500-$2,500

327

328

328

Italian Giltwood and Plate Glass Coffee Table

naturalistically carved with branch and leaf ornamentation throughout, the top fitted with an inset plate glass.

h. 17-3/4”, w. 51”, d. 31”

$2,500-$4,000 329

Pair of Italian Carved, Painted and Parcel-Gilt Wooden Sconces

third quarter 20th century, decorated with carved wooden monkeys in 18th-century costume, sitting cross-legged under palm trees, on leaf-carved brackets supporting gilt scrolled candle branches set with turned giltwood candle sockets and leaf-carved and painted drip pans.

h. 24-1/2”, w. 11-1/2”, d. 6”

$1,200-$1,800

Italian Painted and Parcel-Gilt Mirror

ca. 1900, in the Venetian Rococo taste, with three vertical mirror plates, the painted frame decorated with flowers on a celadon ground, the crest and mirror plate surrounds lined with gilt scrollwork and pierced, polychrome-painted flowers, the lower edges with painted scrolled feet. h. 71”, w. 46”

$1,500-$2,500

331

After Louis Pisani (Italian, 18th/19th Century)

“Jeodora la Frascatana”

oil on canvas unsigned, inscribed en verso, “Jeodora la Frascatana - a custom of the Frascati a copy made from a modern original by Louis Pisani”, “L. Pisani and Co’s Picture Gallery Borgo Ognissanti H 3433 Florence”.

Framed.

37” x 29”, framed 47” x 37”

$1,500-$2,500

the backless stools with X-form frames with guilloche carving and foliate- and scroll-carved caps, the junctions of the legs with leonine-carved masques, the legs with paw feet, fitted with a green and black tooled leather sling seat.

h. 25”, w. 29”, d. 19”, seat h. 14-3/8”

$1,500-$2,500

Patinated Metal and Glass Chandelier

third quarter 20th century, the ten-light chandelier with a patinated metal body and an outer ring supporting scrolled candle arms and glass bead-lined scrolls supporting drops, the bead-lined curved upper frame terminating in a profusion of various glass drops and swags of prisms.

h. 37-1/2”, dia. 32-1/2”

$1,200-$1,800

Pair of Italian Renaissance-Style Carved Walnut Savonarola Chairs

334

334

Pair of Italian Renaissance-Style Exuberantly Carved Walnut Chairs

late 19th century, each with a tall back centered by a cartouche and carved crest, beneath a lion’s-head crest and flanked by carved allegorical figures, the shaped plank seat supported by a pair of carved caryatids on paw feet. h. 49-1/4”, w. 19-1/2”, d. 20”

$1,000-$1,500

335

335

Large Italian “L’Antica di Deruta” Majolica Plaque

20th century, decorated in the baroque taste, the central panel depicting Leda and the Swan, against a field of Pan figures, dragons and scrollwork, in a blue and yellow palette. w. 26”, l. 33-1/4”

Provenance: Private collection, Dallas, Texas. $1,000-$1,500

336

Pair of Dutch Colonial Teak “Burgomaster” Chairs

19th century, both with U-form crest rail and arms on baluster-turned supports with figural head finials, the floral pierced medallion splat above a circular caned seat with molded edge and raised on six acanthus-headed cabriole legs joined by scrolling rails and ballturned stretchers, on paw feet. h. 35-1/2”, w. 31-1/2”, d. 24”, seat h. 18-3/4”, interior dia. 21”

Provenance: Private collection, Dallas, Texas. $1,500-$2,500

early 20th century, in the Renaissance taste, the rectangular top above a gadroon-carved, ogee-molded frieze centered by a masque, one side fitted with a drawer, raised on foliate urn-form legs headed by an Ionic capital, joined by an H-form stretcher and ending in foliate scrolled toes.

h. 29”, w. 60”, d.

$1,000-$1,500

Continental Walnut Library Table

339

Suite of Eight Flemish-Style Elm Dining Chairs

consisting of two armchairs and six side chairs, each with a tall, padded and domed back, the armchairs with scrolling arms, with padded seats raised on shaped legs joined by a like H-form stretcher, ending in in-scrolled toes, all with coordinating fabric back and seat covers.

h. 46”, w. 23”, d. 23”

$2,000-$4,000 340

Four-Panel Walnut and Tapestry Screen in the Renaissance Taste

first quarter 20th century, the tapestry panels worked with various figures from the Renaissance on lush backgrounds with draped canopies, monopodia and rich fruit displays, the screen with corner medallions and coved bases.

overall h. 74-1/2”, w. 72”

$1,500-$2,500

Bronze and Glass Lantern in the Gothic Taste

the three-light lantern with a hexagonal bronze frame set with arched and beveled glass panels, the crest with pierced oak leaves and leaf-molded finials, the lower portion decorated with Gothic piercing, supported on a bronze frame.

h. 29-3/4”, dia. 10”

Provenance: Royal Antiques, New Orleans, Louisiana.

$1,000-$1,500

341

the serpentine top with a molded edge, above a conforming case fitted with four long drawers, above a molded base, raised on bun feet, the back bearing the maker’s label.

h. 39-1/2”, w. 50”, d. 27-1/2”

$2,000-$4,000

342

the serpentine top with a molded edge, above a conforming case fitted with four long drawers, above a molded base, raised on bun feet, the back bearing the maker’s label.

h. 39-1/2”, w. 50”, d. 27-1/2”

$2,000-$4,000

341

343

Alfonso Marina Mahogany and Fruitwood Commode

342 Alfonso Marina Mahogany and Fruitwood Commode

344 Dutch School (17th Century)

“Mediterranean Harbor Scene with Figures”, 1696 oil on canvas signed “Storck” and dated lower right. Framed. 23” x 34”, framed 31” x 41-1/2” $3,000-$5,000

344

345

Rare Roman Patinated Bronze-Mounted Giltwood and Porphyry Gueridon

ca. 1770-1780, the gueridon with a period circular porphyryclad stone top, each of the four legs capped with a patinated bronze bust in the neoclassical taste, the lower fluted giltwood ring raised on four molded patinated bronze feet.

h. 32”, dia. 24”

Provenance: Private collection, Dallas, Texas. $3,000-$5,000

detail

347

346

Pair of Italian Marble Pedestals in the Baroque Taste

ca. 1900, the rosso antico marble octagonal top set into a rosso and white mottled spiral-reeded standard, set with a bronze Corinthian capital, on an octagonal base.

h. 47-1/2”, dia. 11-1/2”

$1,200-$1,800

347

Pair of Italian Baroque Parcel-Gilt Column Sections

ca. 1700, now mounted as lamps, spiral-carved and decorated with gilded grapes and grape leaves, mounted on acrylic bases.

h. 25-1/2”, dia. 7”

$1,000-$1,500

20th century, the rounded rectangular marble top within a rectangular frame with shield-carved corners, above a conforming dentillated frieze with pendant foliate medallions, raised on paneled tapering square legs joined by an urncentered X-form stretcher and ending in molded foliate feet. h. 31-1/2”, w. 63-3/4”, d. 32-1/2”

$3,000-$5,000

Italian Giltwood, Creme-Peinte and Marble-Top Center Table

detail

349

349

Pair of Italian Carved and Parcel-Gilt Bracket Shelves

20th century, in the baroque taste, of large scale, each with a serpentine giltwood edge, the deep shelf support carved with leafy scrollwork, supporting laurel swags on a green-painted ground, with a leaf-carved lower finial, fitted for hanging.

h. 17”, w. 31-1/2”, d. 10”

$1,500-$2,500

350

350

Pair of Italian Giltwood Urns in the Baroque Taste

19th century, now mounted as lamps, the reeded urns mounted with scrolled handles ornamented with carved flower heads and leaves, raised on carved bases and mounted with shades.

h. 23-3/4”, w. 14”, d. 9”

$1,000-$1,500

351

Venetian Polychrome Secretary Bookcase

ca. 1800 and later, in two parts, the shaped crest over a pair of arched doors opening to reveal an interior fitted with shelves, niches and a band of drawers, over a base with a slant lid opening to form a writing surface backed by a serpentine row of drawers and door, fitted with a bank of three serpentine drawers, the pine case painted throughout with floral and foliate decor, the door panels depicting figures in a piazza.

h. 87-3/4”, w. 44-1/2”, d. 23”

$2,000-$4,000

352

Italian Polychrome Petite Commode

18th century, the molded, concave top above a conforming case fitted with three long drawers, all with intricate scrolling foliate patterns, raised on a molded base to block feet.

h. 31-3/4”, w. 27”, d. 18”

$1,500-$2,500

353

French Bronze and Crystal Chandelier

third quarter 19th century, in the rococo taste, the nine-light chandelier with a reeded bronze frame ornamented with molded leaves, set with leaf-molded prism rings and matching candle sockets, the frames hung with cut crystal drops and ornamented with cut glass vases of flowers, the corona with sprays of cut glass drops.

h. 34”, dia. 28”

Provenance: Royal Antiques, New Orleans, Louisiana.

$1,200-$1,800

354

Large Italian Rococo-Style Mirror

labeled LaBarge and also labeled Maitland-Smith, the “Ferretti” model, of symmetrical baroque form in antiqued gold-toned finish, adorned with foliate and scroll carving.

h. 88”, w. 47”

$1,000-$1,500

352

Italian Neoclassical-Style Marble Fountain

mid-20th century, composed of gray-veined white marble, with a bracket-form base, a leaf-carved front and flower medallions on the sides, supporting a shell-carved basin.

h. 29-1/2”, w. 25”, d. 16”

$1,000-$1,500

355 357

Venetian Polychrome Bombe Secretary

20th century, the upper case with a tall, arched and molded facade fitted with a mirror above a single door opening to a fitted interior, the base with a slant lid and fitted interior over four drawers.

h. 80”, w. 44”, d. 22”

$1,200-$1,800

357

Italian Carved and Painted Altar Figure of a Bishop

ca. 1900, the polychrome-decorated figure standing and with a serene gaze, his staff in one hand, the lower edge of his robe carved with embroidery, on a pedestal with an aperture for prayers, a brass-mounted container still intact.

h. 33-1/2”, w. 12-1/2”, d. 8-3/4”

$1,400-$1,800

356

Large Dutch Burl Walnut Bibliotheque

19th century, the molded triple-arched cornice with shellcarved cartouches, above a pair of conforming glazed doors opening to three scalloped shelves, the bombe-form base fitted with three graduated long drawers. h. 96”, w. 74”, d. 20”

$4,000-$7,000

Pair of Italian Giltwood Mirrors

ca. 1900, in the Northern Italian rococo taste, framed with giltwood scrollwork and rocaille work, the crest with an opening framed with scrollwork and leaves.

h. 30-1/2”, w. 21”

$1,000-$1,500

360

Italian Parcel-Ebonized and Burlwood Secretary Bookcase

ca. 1900, in the rococo taste, in two parts, the upper section with an arched crest over a shaped mirrored panel, the single door fitted with a foliate- and scroll-etched mirror plate, flanked by serpentine sides, on a base with a slant lid opening to reveal a fitted interior, narrow serpentine drawers at its outside corners, over a pair of serpentine doors, raised on cabriole legs.

h. 82-1/2”, w. 43”, d. 20”

$3,000-$5,000

361

Carved and Painted Wood Figure of a Monkey

first quarter 20th century, possibly Venetian, dressed in a blue smock and giltwood kerchief, sitting contemplatively, poised on a rocky outcropping, raised on a carved wood base with a molded surround.

h. 25-3/4”, w. 10-3/4”, d. 11-1/4”

$1,000-$1,500

362

second half 20th century, with a lobed oval, beveled central panel, framed with engraved scrollwork, the serpentine sides framed with hand-blown gilt-spangled glass and with inset engraved mirror panels.

h. 38-3/4” , w. 51”

$1,200-$1,800

late 18th/early 19th century, the double-bowed, banded and quarter-veneered top above a conforming case fitted with three long drawers, all banded, raised on bracket feet.

h. 30”, w. 43”, d. 23”

$2,500-$4,000

Italian Cut, Engraved and Gilt-Spangled Venetian Mirror

363 Italian Walnut Commode

detail

first quarter 20th century, the six-light chandelier in the Empire taste, the body with molded matching primary and upper rings, hung with strands of cut glass drops, concealing six interior sockets, the bottom with a faceted spherical glass finial.

h. 32-1/2”, dia. 20”

$1,000-$1,500

early 19th century, the concave top rail over an open leafand vine-carved giltwood panel, the open arms on shaped supports, joined to a bowed front seat rail, on tapering square legs with ball feet.

h. 36-1/4”, w. 22”, d. 17-3/4”

$1,200-$1,800

French Glass and Brass-Metal-Plated Chandelier

Pair of Neoclassical Parcel-Gilt Fruitwood Armchairs

366

Italian Neoclassical-Style Polychrome Bookcase

20th century, the upper case in three sections, the open central section with an arched top and flanked by wire-grille doors on each side, the base fitted with three cabinets.

h. 85-1/2”, w. 70”, d. 12”

$1,000-$1,500

American Cast Iron Garden Figure of Jesus Christ

first quarter 19th century, the standing figure holding lilies, a symbol of everlasting life, raised on a plinth with an old painted surface, the verso stamped “N. SERF / MANU,F NY”.

h. 33-1/2”, w. 10-1/2”, d. 9-1/2”

$1,200-$1,800

367

366

the rectilinear slate top inlaid with a variety of marbles and stones, with a central fan inlay surrounded by scrolls, anthemia and geometric figures, on a double-pedestal cast stone base, each modeled as a pair of winged griffins with paw feet. h. 31-1/4”, w. 47-1/2”, d. 32”

$2,000-$4,000

Pietra Dura and Cast Stone Table in the Renaissance Taste

369

Pair of Marble Obelisks in the Neoclassical Taste

20th century, composed of rosa antico marble with white marble cove-molded bases and trim.

h. 28”, w. 5-1/4”, d. 5-1/4”

$1,000-$1,500

370

Attributed to Emanuel Gottlieb Leutze (German/New York, 1816-1868)

“Conquistadors on Horseback at Dusk”

oil on canvas

unsigned and “McCaughen & Burr, St. Louis” label and label identifying artist en verso.

Framed.

13” x 19”, framed 20” x 26-1/2”

Provenance: McCaughen & Burr, Inc., St. Louis, Missouri.

$1,000-$1,500

381

Diamond and Sapphire Brooch

platinum, the brooch mounted with round-cut treated sapphires weighing approximately 3.05 carats in total and baguette- and round brilliant-cut diamonds weighing approximately 5.15 carats in total, approximate color H-I-J and approximate clarity VS1-SI1. size 1-1/4” x 2-1/2”, total weight 22.8 grams

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $1,500-$2,500

382

Diamond and Sapphire Brooch

platinum, the brooch mounted with round-cut treated sapphires weighing approximately 3.67 carats in total and round brilliant-cut and European-cut diamonds weighing approximately 3.17 carats in total, approximate color G-H-I and approximate clarity VS2-SI1. size 1” x 2-1/2”, total weight 9.7 grams

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $1,200-$1,800

383

Beautiful, Large Diamond Cascading Brooch

platinum, the brooch mounted with pear-, marquise-, baguette- and round brilliant-cut diamonds weighing approximately 16.20 carats in total, approximate color G-H-I and approximate clarity VVS2-VS2. size 2-1/8” x 3-3/4”, total weight 56.8 grams

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $3,000-$5,000

384

Pair of Diamond Ear Clips

platinum, the clip-back earrings mounted with marquise-, baguette- and round brilliant-cut diamonds weighing approximately 4.20 carats in total. l. 1-3/4”, total weight 19.7 grams

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $1,400-$1,800

385

Ruby and Diamond Bracelet

platinum, the bracelet mounted with square-cut treated rubies weighing approximately 4.90 carats in total and round brilliantcut and baguette-cut diamonds weighing approximately 8.20 carats in total. w. 9/16”, l. 7”, total weight 43.2 grams

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $2,500-$4,000

386

18k yellow gold, the bracelet composed of fan-shaped segments mounted with round-cut treated rubies weighing approximately 4.55 carats in total and round brilliant-cut diamonds weighing approximately 2.60 carats in total, stamped “Chanteloupe Paris”, together with the original Chanteloupe box. w. 1”, l. 7-1/4”, total weight 93.5 grams

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $2,000-$4,000

387

Diamond Bracelet

18k yellow gold, the bracelet in the form of “leaves”, mounted with single-cut diamonds weighing approximately 1.80 carats in total. w. 5/8”, l. 7”, total weight 78.3 grams

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $1,800-$2,500

388

388

Gold Bead Necklace

18k yellow gold, the necklace composed of 11.80 mm brushed gold beads. l. 18”, total weight 57.0 grams

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $1,400-$1,800

389

Gold Bracelet

14k yellow gold, the bracelet designed with a “bark” texture, stamped “14K Z&F”. w. 1/2”, l. 7-1/4”, total weight 36.3 grams

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $1,200-$1,800

Chanteloup, Paris, Retro Ruby and Diamond Bracelet

392

390

Vintage Hermes, Paris, Black Box Calf “Kelly” Bag

1969, the flap brass-monogrammed “LEB”, for Lin Emery Braselman, the forward strap stamped “Hermes/Paris” and blind-stamped “Y”, with lock and clochette all stamped “002”, the leather-lined interior with two forward slip pockets and an opposing long slip pocket, all bottle-green suede-lined, resting on four abbreviated cone feet.

overall h. 12”, w. 11-1/2”, d. 4-3/4”; handle drop: 3-1/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,500-$2,500

391

Collection of Six Hermes, Paris, Silk Scarves

including “Quai aux Fleurs”, issued 1952, designed by Hugo Grygkar, 33” x 34”, “Aux Pays des Epices”, issued 2001, designed by Annie Faivre, 34” x 34”, “Axis Mundi (detail)”, issued 1999, designed by Christine Henry, 34” x 34”, “Belle Epoque”, issued 1967, designed by Rena Dumas, 34” x 34”, “Alphabet 3”, issued 1990, designed by Annie Faivre, 34” x 34”, and “Sangles”, issued 1985, designed by Joachim Metz, 34” x 34”.

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

392 Hermes, Paris, Black Leather “Massai” Shoulder Bag

2005, the buckled shoulder strap with brushed gold hardware and dual zipper closure, the shoulder strap and a center leather tag at the zippers’ juncture gilt-stamped “Hermes/Paris/Made in France”, the herringbone linen-lined interior with a zippered pocket, the tab blind-stamped “Q”, “I” within a box and “12”, includes an associated dust bag. h. 17-3/4”, w. 13-1/4”, d, 2”, strap drop: 11”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$800-$1,200

393

Four Pocket Watches

14k yellow gold, including a blue enamel and European-cut diamond pocket watch, with an approximate total diamond weight of 0.25 carats and measuring approximately 1” in diameter, an Elgin pocket watch measuring approximately 1-3/4” in diameter, a Waltham pocket watch measuring approximately 1-1/2” in diameter and a Hamilton pocket watch measuring approximately 1-3/4” in diameter. total weight 174.3 grams

Provenance: Estate of Lin Emery, New Orleans, Louisiana. $1,400-$1,800

394

Patek Philippe Calatrava Wristwatch

18k yellow gold, the manual wind watch with silvered dial stamped “Patek Philippe Geneve”, the case measuring 33.00 mm in diameter, movement #785285, reference #2588, with a black lizard strap. l. 6-1/4” to 8”, total weight 36.4 grams

$5,000-$8,000

395

Pair of Diamond Dangle Earrings

14k yellow gold/sterling silver, the earrings mounted with round brilliant-cut and polki diamonds weighing approximately 2.56 carats in total. l. 2”, total weight 13.3 grams

$1,000-$1,500

396

Diamond, Turquoise and Emerald Butterfly Pendant/ Brooch

14k yellow gold/sterling silver, the butterfly accented with cabochon-cut turquoise weighing approximately 3.71 carats in total, the body mounted with an emerald-cut emerald weighing approximately 0.31 carats and the eyes mounted with round-cut rubies weighing approximately 0.002 carats in total, the whole accented with round brilliant-cut diamonds weighing approximately 3.17 carats in total. size 2-3/8” x 1-1/4”, total weight 10.8 grams

$1,200-$1,800

397

Coral, Ruby and Diamond Pendant/Brooch

14k yellow gold/sterling silver, the body of the insect mounted with an oval coral cabochon weighing approximately 8.38 carats, the wings and eyes mounted with round-cut rubies weighing approximately 0.99 carats in total and the whole accented with round brilliant-cut diamonds weighing approximately 0.51 carats in total. size 1-5/8” x 1-1/4”, total weight 8.7 grams

$1,000-$1,500

396

398

Amethyst, Diamond and Onyx Brooch

14k yellow gold/sterling silver, the brooch mounted with a pearcut amethyst weighing approximately 12.92 carats, accented with round brilliant-cut diamonds weighing approximately 2.37 carats in total, all draped over a black onyx bar. size 2” x 7/8”, total weight 11.4 grams

$1,400-$1,800

399

Unusual Diamond, Pearl and Enamel Cocktail Ring

14k yellow gold, the ring mounted with a white cultured pearl framed by two enamel peacocks, their tails mounted with round brilliant-cut diamonds weighing approximately 1.10 carats in total. size 8-1/4, total weight 10.6 grams

$1,800-$2,500

402

400

Diamond, Emerald and South Sea Pearl Necklace

18k white gold, the necklace composed of graduated white pearls with a good luster, ranging in size from approximately 13.10 mm to 17.00 mm, finished with a gold clasp mounted with a marquise-cut emerald weighing approximately 0.05 carats and round brilliant-cut diamonds weighing approximately 0.11 carats in total. l. 33”, total weight 220.3 grams

$2,000-$4,000

401

Pair of Diamond and Pearl Earrings

14k white gold, the pierced clip-back earrings mounted with round brilliant-cut and baguette-cut diamonds weighing approximately 2.20 carats in total, accented with a dangling 8.30 mm cultured pearl. l. 1-1/4”, total weight 11.9 grams

Provenance: Private collection, New Orleans, Louisiana. $1,200-$1,800

402

Diamond and South Sea Pearl Necklace

18k yellow gold, the necklace composed of graduated white pearls with a good luster, ranging in size from approximately 12.90 mm to 16.30 mm, finished with an openwork bead clasp mounted with round brilliant-cut diamonds weighing approximately 0.18 carats in total. l. 18”, total weight 117.3 grams

$1,800-$2,500

403

Diamond Bracelet

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 0.30 carats in total. inside circumference 6-1/2”, total weight 4.5 grams

$1,000-$1,500

404

Free-form Diamond Brooch

14k yellow gold/sterling silver, the brooch mounted with roundcut white, brown and black diamonds weighing approximately 5.70 carats in total. size 1-3/8” x 7/8”, total weight 11.4 grams

$1,000-$1,500

405 Diamond Bracelet

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 0.50 carats in total. inside circumference 6-3/8”, total weight 5.5 grams

$1,000-$1,500

406 Diamond Pendant Necklace

14k yellow gold, the necklace mounted with a dog tag-style pendant set with round brilliant-cut diamonds weighing approximately 1.16 carats in total, l. 1-1/4”, suspended from an 18” long oval-link chain. total weight 7.3 grams

$1,200-$1,800

407

Diamond Bracelet

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 1.00 carat in total. inside circumference 6-5/8”, total weight 4.9 grams

$1,000-$1,500

408

Diamond Cocktail Ring

14k yellow gold, the large openwork ring mounted with round brilliant-cut and baguette-cut diamonds weighing approximately 2.41 carats in total. size 6-1/2, total weight 9.3 grams

$1,500-$2,500

409 Diamond Bracelet

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 1.05 carats in total. inside circumference 6-3/8”, total weight 5.4 grams

$1,400-$1,800

410

Diamond Bracelet

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 0.80 carats in total. inside circumference 6-1/4”, total weight 3.9 grams

$1,000-$1,500

411

Diamond Engagement Ring

14k yellow/white gold, the ring mounted with a round brilliantcut diamond weighing 4.02 carats, color L and clarity I1, GIA report #2221488481. size 5-3/4, total weight 3.8 grams

$15,000-$25,000

412

Emerald-Cut Diamond Bracelet

18k white gold, the bracelet mounted with emerald-cut diamonds weighing approximately 10.85 carats in total, approximate color F-G-H and clarity VS2-SI3. l. 7”, total weight 15.4 grams

$10,000-$15,000

413

Emerald-Cut Diamond Eternity Ring

18k white gold, the ring mounted with emerald-cut diamonds weighing approximately 6.37 carats in total, approximate color H-I-J and approximate clarity VS2-SI3. size 6-1/4, total weight 4.6 grams

$9,000-$12,000

414 Diamond Ring

platinum, the ring mounted with a cushion-cut diamond weighing 1.50 carats, color L and clarity VS1, GIA report #2175297936, accented on the sides with single-cut diamonds weighing approximately 0.08 carats in total. size 6, total weight 3.5 grams

$2,000-$4,000

415 Diamond Pendant Necklace

14k white gold, the necklace mounted with a fixed pendant mounted with an Asscher-cut and baguette-cut diamonds weighing approximately 0.50 carats in total. adjustable l. 16”, 17”, 18”, total weight 1.8 grams

$1,200-$1,800

416

Pair of Diamond Earrings

14k white gold, the earrings mounted with baguette-cut diamonds weighing approximately 0.75 carats in total. l. 5/16”, total weight 1.7 grams

$1,400-$1,800

417

Pair of Sapphire and Diamond Earrings

14k white gold, the pierced, clip-back earrings mounted with oval-cut treated sapphires weighing approximately 3.00 carats in total, accented with round brilliant-cut diamonds weighing approximately 1.68 carats in total. l. 1”, total weight 6.2 grams

Provenance: Private collection, New Orleans, Louisiana.

$2,000-$4,000

418

Pair of Black Opal and Diamond Earrings

14k yellow gold, the earrings mounted with black opal doublets weighing approximately 2.66 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.32 carats in total. l. 1”, total weight 2.9 grams

$1,000-$1,500

419

Black Opal and Diamond Pendant Necklace

14k yellow gold, the necklace mounted with a fixed pendant set with a black opal doublet weighing approximately 1.59 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.16 carats in total. adjustable l. 16-3/4” and 18-1/2”, total weight 2.7 grams

$1,000-$1,500

420

Black Opal and Diamond Ring

14k yellow gold, the ring mounted with a black opal doublet weighing approximately 1.76 carats, accented by round brilliant-cut diamonds weighing approximately 0.17 carats in total. size 7, total weight 3.1 grams

$1,000-$1,500

421

Emerald and Diamond Ring

18k white gold, the ring mounted with an emerald-cut treated emerald weighing approximately 0.90 carats, accented by round brilliant-cut and baguette-cut diamonds weighing approximately 1.21 carats in total. size 6-1/4, total weight 5.3 grams

$2,000-$4,000

422

Convertible Emerald and Diamond Necklace/Bracelet

platinum, the necklace breaking down into four bracelets, allowing them to be connected to form necklaces in various sizes, composed of round polished emerald beads measuring approximately 4.50 mm to 6.40 mm in diameter, accented with rose-cut and round brilliant-cut diamonds weighing approximately 3.28 carats in total. four bracelets, l. 7”, overall necklace l. 29”, total weight 42.4 grams

Provenance: Private collection, New Orleans, Louisiana. $1,800-$2,500

423

Emerald and Diamond Ring

14k white gold, the ring mounted with oval-cut treated emeralds weighing approximately 1.20 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.84 carats in total. size 6-3/4, total weight 3.9 grams

$1,800-$2,500

431

424 425 426

427

424

“Diamonds-by-the-Yard” Necklace

14k white gold, the necklace mounted with round brilliant-cut diamonds weighing approximately 2.40 carats in total. l. 18”, total weight 4.9 grams

$2,500-$4,000

425

Pair of Diamond Stud Earrings

14k white gold, the earrings mounted with round brilliantcut diamonds weighing approximately 3.00 carats in total, approximate color H-I-J and approximate clarity VS2-SI2. total weight 1.5 grams

$14,000-$18,000

426

Diamond Eternity Ring

platinum, the ring mounted with round brilliant-cut diamonds weighing approximately 4.78 carats in total, approximate color H-I-J and approximate clarity VS2-SI3. size 5, total weight 5.9 grams

$4,500-$7,000

427 Diamond Necklace

14k white gold, the necklace mounted with round brilliant-cut diamonds weighing approximately 4.02 carats in total. l. 16”, total weight 13.5 grams

$2,500-$4,000

428

Diamond Tennis Bracelet

14k white gold, the bracelet mounted with round brilliantcut diamonds weighing approximately 12.70 carats in total, approximate color H-I-J and approximate clarity VS2-I1. l. 7”, total weight 13.4 grams

$12,000-$14,000

429

Pair of Diamond Stud Earrings

14k white gold, the earrings mounted with round brilliant-cut diamonds weighing approximately 0.50 carats in total. l. 1/2”, total weight 1.9 grams

$1,000-$1,500

430

Diamond Ring

18k white gold, the ring mounted with oval-, marquise-, pearand baguette-cut diamonds weighing approximately 1.33 carats in total. size 7, total weight 2.5 grams

$1,800-$2,500

431

Diamond Heart Pendant Necklace

18k white gold, the necklace mounted with a fixed heartcut diamond pendant weighing approximately 0.50 carats, approximate color F-G-H and clarity SI3. adjustable l. 16”, 17”, 18”, total weight 2.0 grams

$1,200-$1,800

432

Pair of Diamond Dangle Earrings

14k white gold, the earrings mounted with pear-, marquise-, baguette- and round brilliant-cut diamonds weighing approximately 2.60 carats in total, approximate color H-I-J and approximate clarity VS1-SI1. l. 1”, total weight 3.7 grams

Provenance: Private collection, New Orleans, Louisiana.

$1,400-$1,800

Unusual Sicilian Painted Mirror in the Etruscan Taste

fourth quarter 19th century, Italian, with a hipped crest and cruciform corners, painted with delicate arabesque scrollwork, anthemia, winged angel’s heads and swans on a black ground, the corners and top of the mirror plate decorated with pierced scrollwork painted with dragon heads.

h. 52”, w. 40”

Provenance: Lucullus Antiques, New Orleans, Louisiana; Collection of Rosemary James, New Orleans, Louisiana.

$1,200-$1,800

Pair of Enameled Metal Sconces of Etruscan Inspiration

second quarter 20th century, French, the pierced backplates with panels of painted urns framed with green swags, the crests with lattice-pierced baskets, the lunette-form arms set with tulip-form candle sockets.

h. 21-1/2”, w. 12-1/2”, d. 4-3/4”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

20th century, after the ca. 200 BCE marble sculpture excavated on the island of Samothrace and now conserved at the Louvre, Paris, on a black marble plinth.

h. 17”, w. 12”, d. 10”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

20th century, after the ca. 100 BCE partial sculpture excavated in 1872 in the ancient Roman settlement of Satala (in modernday Turkey) and conserved at the British Museum, London, possibly a representation of Anahit the Armenian equivalent of the Greek goddess, with a separate iron presentation stand. sculpture h. 14”, w. 10”, d. 10”, stand h. 21”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

435

French Patinated Bronze of the Nike of Samothrace

436

Patinated Bronze Head of “The Satala Aphrodite”

435

437

437

George Bauer Dunbar (American/Louisiana, b. 1927)

“Sanctuary”

gold leaf over red clay on an integral black marble plinth. h. 23-1/2”, w. 17”, d. 6-1/4”

Provenance: Commissioned for Faulkner House, New Orleans, Louisiana; Collection of Rosemary James, New Orleans, Louisiana.

$7,000-$10,000

438

438

Pair of Louis XV-Style Polychrome Fauteuils

each with a padded square back surmounted by a shell and foliate crest, joined to the padded seat by like arms, raised above a like-carved apron on cabriole legs ending in foliate scrolled toes.

h. 39”, w. 25”, d. 21”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,400-$1,800

439

Unusual Italian Giltwood Mirror in the Rococo Taste

fourth quarter 19th century, the side panels reverse cut with flowers and spheres, the crest with an oval frame with pierced scrollwork, the surround molded with flowers and shells, and the corners decorated with molded anthemia.

h. 42”, w. 25-1/2”

Provenance: Uptowner Antiques, New Orleans, Louisiana; Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

440

Pair of Italian Giltwood Sconces

third quarter 20th century, in the Louis XV taste, the backplates carved to resemble a bunch of leaves, the scrolled candle branches ornamented with carved leaves and set with pierced, leaf-carved drip pans and inverted bell-form candle cups.

h. 26-1/2”, w. 9-3/4”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

441

Henri Jacques Delpy (French, 1877-1957)

“Boating at Sunset”

oil on wood panel signed lower left. Framed.

15-3/4” x 24”, framed 23” x 33”

442 441

443

Pair of Plaster Plaques of Fruit Compotes

third quarter 19th century, the centers decorated with compotes of pineapples, grapes, peaches and other fruit, on pedestal bases, with raised frames and corner medallions. h. 33”, w. 22-3/4”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,500-$2,500

442

Henri Jacques Delpy (French, 1877-1957)

“River Landscape with Figure on a Country Path”

oil on canvas signed lower right, and French canvas stamp en verso. Framed.

11” x 16”, framed 15” x 20”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

444

Louis XVI-Style Fruitwood Box Settee

late 19th century, the padded back and arms within a molded frame with foliate corner accents, above a cushioned seat, raised on fluted, tapering circular legs headed by floral block capitals and ending in toupie feet. h. 36”, w. 68”, d. 27-1/2”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,200-$1,800

445

Louis XVI-Style Oak Commode

early 20th century, the shaped and slightly bowed top above a conforming case fitted with three drawers, all with medallioncarved escutcheons issuing floral garlands, the sides paneled, raised on fluted, tapering square legs. h. 36”, w. 33”, d. 15-1/4”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

446

Italian School (18th Century)

“Landscape with a View of a Castello”

oil on canvas

Framed.

27-1/2” x 39”, framed 31” x 43”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,500-$2,500

early 20th century, the padded rectangular back surmounted by a foliate shell crest, and joined by padded sides and outscrolled arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes.

h. 43”, w. 33”, d. 24”

Provenance: Uptowner Antiques, New Orleans, Louisiana; Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

20th century, carved and painted and fitted with glass eyes, one playing the violin, another playing maracas and the other leading the band, on contemporary mountings.

h. 15-1/2”, w. 6-1/2” to 8-1/2”, d. 6-1/4” to 7-1/4”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

447 Louis XV-Style Polychrome Bergere avec Oreilles

447

448

Three Latin American Carved Wood Musical Cherubs

Swedish Painted Mirror in the Neoclassical Taste

fourth quarter 19th century, the molded frame with floriform corner medallions, and set with a crest decorated with a putto supporting an oval neoclassical profile medallion, framed with swags of flowers, the base with a central satyr masque framed with floral swags and drops.

h. 68”, w. 32-1/2”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,500-$2,500

450

Carved and Painted Wood Chandelier

20th century, the five-light chandelier in the neoclassical taste, with a turned and leaf-carved standard supporting five scrolled candle arms decorated with pierced scrollwork, each fluted candle cup supported by a carved cherub, mounted with shades.

h. 42”, dia. 35”

Provenance: Uptowner Antiques, New Orleans, Louisiana; Collection of Rosemary James, New Orleans, Louisiana.

Literature: Kerri McCaffety, The Chandelier Through the Centuries</P> (Duluth, GA: Savoy House, 2006), p. 129.

$1,200-$1,800

450

451

William Woodward (American/Louisiana, 1859-1939)

“Old Home of William Woodward, 223 St. Philip Street, New Orleans”

oil on board unsigned, and pencil inscribed and titled, and “From the Collection of Dr. and Mrs. James W. Nelson, Gonzales, Louisiana” label en verso. Framed.

8-1/2” x 13-1/2”, framed 9-3/4” x 15”

Provenance: Descended in the family of the artist to Carl Ellsworth Woodward, New Orleans, Louisiana, William Woodward’s son; Dr. and Mrs. James W. Nelson, Gonzales, Louisiana, 1971 to 1987.

Exhibited: “The Woodwards: Painters, Printers, Teachers”, The Historic New Orleans Collection, Jan. 10-May 12, 1979.

$10,000-$15,000

In 1884, Tulane University's first president William Preston Johnson invited William Woodward to establish the art and architecture programs. Woodward would remain at Tulane for his entire teaching career of nearly 40 years, retiring in 1923 to Mississippi. During his tenure at the university, Woodward lived in various residences in New Orleans that he would often document in his work. 451

452

452

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

“Three Graces”

charcoal on paper signed lower right. Matted, glazed and framed. sight 38” x 29”, framed 53” x 42”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$3,000-$5,000

453

453

American Patinated Bronze of “Greeting the Dawn”

20th century, on a round white marble base. h. 29”, dia. 10”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

454

English Painted Mirror in the Adam Taste

fourth quarter 19th century, the crest depicting a reeded urn of flowers, the sides with carved drapery secured with carved scrollwork, the base with sheaves of wheat secured with a bowknot and carved with a flower head.

h. 47-3/4”, w. 25”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

455

Continental Neoclassical Mahogany Commode

19th century, the rectangular top centered by an inlaid patera and with decorative banding and canted corners, above a conforming case fitted with four long drawers, all with patera inlays and corner accents, the sides inlaid en suite, raised on tapering square legs.

h. 35-1/2”, w. 38-1/2”, d. 21-1/2”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,500-$2,500

454 455

457

456

Dutch Marquetry-Inlaid Mahogany Dressing Stand

second half 19th century, inlaid with scratch-detailed and sand-shaded flowers and leaves, the base with a cylinder top concealing a drawer and compartments, the top set with a mirror on two obelisk-form supports.

h. 35-1/2”, w. 16-1/2”, d. 12-1/2”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

457

Dutch Mahogany Side Table

19th century, the rectangular top above a frieze fitted with a single drawer, joined by a mirrored back and square supports to a shell- and foliateinlaid plinth base.

h. 30-1/2”, w. 33-1/2”, d. 16”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,200-$1,800

458

19th century, each with a tapering rectangular back featuring an inlaid bow and floral basket, the padded seat raised on floral-inlaid sabre legs.

h. 36”, w. 18”, d. 17”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

Pair of Dutch Mahogany and Marquetry Side Chairs

19th century, the rounded crest ending in scrolled hand rests and above two vasiform splats, the shaped and padded seat above a deep apron, raised on cabriole legs ending in pad feet, the whole with inlaid floral and foliate accents. h. 32”, w. 29-1/2”, d. 25”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

459

460

Italian Giltwood Mirror in the Florentine Rococo Taste

first quarter 20th century, the pierced crest decorated with scrollwork, rocaille work and flower heads, the side “drapes” with pierced scrollwork and flower heads, and the ogeemolded surround with raised scrollwork. h. 59”, w. 39-1/2”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

460

Dutch Mahogany and Marquetry Corner Chair

461

461 Italian School (20th Century)

“Venetian Canal Scene”

oil on canvas signed lower right “D. Martini”. Framed. 24” x 36”, framed 38” x 50”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

462

462

Large Composition Plaque in the Neoclassical Taste

mid-20th century, composed of various Roman ruins, including the Coliseum, the Roman Forum and a column. h. 39-1/2”, w. 57”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

Pair of Corinthian Column-Form Architectural Fragments

20th century, now mounted as floor lamps, the gray-painted fluted columns resting on square bases, mounted with shades. h. 66-1/2”, dia. 18-3/4”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,400-$1,800

464

Four-Piece Louis XVI-Style Polychrome Parlor Suite

late18th century, consisting of two fauteuils, h. 37”, w. 23”, d. 21”, and two side chairs, h. 35”, w. 20”, d. 19”, each with a padded medallion back within a molded frame, the fauteuils with padded scrolling arms, all with padded seats raised on fluted, tapering circular legs ending in pad feet on casters.

Provenance: Bremermann Designs, New Orleans, Louisiana; Collection of Rosemary James, New Orleans, Louisiana.

$1,400-$1,800

465

465

Suite of Six Louis XVI-Style Polychrome Side Chairs

19th century, each with a padded medallion back within a carved frame, the padded seat raised on stop-fluted, tapering circular legs ending in toupie feet.

h. 35”, w. 17”, d. 17”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

466

White-Painted Pier Mirror in the Rococo Taste

20th century, the arched crest decorated with a central shell and various war trophies, including flags and spears, the surround carved with bas-relief scrollwork and swags of flower heads, the bottom with rocaille work.

h. 66-1/2”, w. 34”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,200-$1,800

467

Oushak Carpet

5’ 6” x 8’

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

467

468 Oushak Carpet

5’ 8” x 8’

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

469

Sultanabad Carpet

3’

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

470 Oushak Carpet

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

471

Oushak Carpet

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,500-$2,500

472

Robert Fowler, R.W.S., R.I. (British, 1853-1926)

“Flora”

oil on canvas signed lower right. Framed.

20” x 12”, framed 24” x 16-3/8”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,200-$1,800

473

Pair of Louis XVI-Style Polychrome and Quartz-Top Side Tables

each with a concave quartz top with projecting canted corners, above a conforming cartouche-carved frieze, raised on fluted, tapering circular legs headed by a foliate capital and ending in peg feet.

h. 33-1/2”, w. 44-1/2”, d. 14”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,200-$1,800

472

474

474

Blanc-Peinte Metal Floor Lamp of Neoclassical Inspiration

the tubular standard decorated with a leaf-trimmed lyre, supported on leaf-trimmed cabriole legs terminating in hoof feet, mounted with a whip-stitched coolie shade. h. 65-1/2”, dia. 22”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

475

475

Louis XVI-Style Fruitwood Semainier

20th century, the rectangular top with rounded corners, above a conforming case fitted with seven drawers, each paneled, raised on fluted, tapering circular legs. h. 54-1/4”, w. 31-1/2”, d. 15”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

476

Louis XVI-Style Fruitwood Commode

19th century, the banded rectangular top with turreted corners, above a conforming case fitted with two short drawers over two graduated long drawers, raised on toupie feet. h. 33-1/4”, w. 37”, d. 21”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,200-$1,800

476

477

After Pompeo Girolamo Batoni (Italian, 1708-1787)

“St. Mary Magdalene in the Wilderness” oil on canvas Framed. 27” x 40”, framed 33-1/2” x 46”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,200-$1,800

477

479

478

478

first quarter 20th century, in the Louis XVI taste, the surround decorated with a ribbon-wrapped reed and a beaded outer edge, with a pierced bowknot and ribbon crest, the plaster molded top panel decorated with an oval plaque of frolicking putti supported on swags of flowers.

h. 56”, w. 30-1/2”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,200-$1,800

479

early 20th century, the shaped marble top above a conforming case fitted with seven drawers, each banded and with herringbone veneers, raised on cabriole legs ending in sabots. h. 43”, w. 18”, d. 12-1/2”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

French Painted Trumeau Mirror

Louis XV-Style Kingwood and Marble-Top Semainier

15’ 9” x 18’ 10”

$5,000-$8,000

481

Empire-Style Mahogany Secretaire a Abattant

19th century, the rectangular top above a conforming case fitted with a frieze drawer over a drop front, opening to reveal an inset leather writing surface and a variety of drawers and cubbyholes, over two cupboard doors, flanked to both sides by an ormolu-mounted upright, raised on turreted feet. h. 56-1/2”, w. 38-1/2”, d. 18”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,200-$1,800

Carpet

19th century, the domed crest above a scrolling foliate-carved frieze above a padded back, joined by acanthine-carved arms on scrolling supports to the padded seat, raised on foliatecarved sabre legs ending in scrolled toes. h. 38”, w. 21”, d. 22”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,500-$2,500

482

483 detail

19th century, the circular top centered by an inlaid depiction of Aesop’s fable of the Lion and the Mouse, surrounded by panels with inlaid musical and floral motifs, raised above a swag-inlaid frieze on tapering circular legs ending in brass caps. h. 28”, dia. 43-1/2”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,500-$2,500

482

Empire-Style Polychrome Fauteuil

483

Continental Rosewood and Fruitwood Center Table

484

Pair of Giltwood Finials

possibly 18th century, now mounted as lamps, turned and decorated with carved beading, on square bases, mounted with shades.

h. 21-1/4”, dia. 11-1/4”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500 485 Louis-Philippe Walnut Commode

mid-19th century, the banded rectangular top above a conforming case fitted with a frieze drawer over three long drawers, all with finely figured veneers, raised on block feet.

h. 34-1/2”, w. 47”, d. 22”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,500-$2,500

492

Turkish Angora Oushak Carpet

10’

$1,500-$2,500

493

Turkish Angora Oushak Carpet

9’

$1,200-$1,800

494

Turkish Angora Oushak Runner

2’

x

$1,000-$1,500

495

ca. 1800, New York, the swell-front top with a string-inlaid border, above a row of four drawers and four cabinets below, raised on slender, tapering square legs, bearing an old Sotheby’s sticker on the back.

h. 40”, w. 70”, d. 28”

$2,000-$4,000

495

496

first quarter 19th century, Boston, the rolled crest rail with four framed and inset figured mahogany panels, the arms gracefully scrolled and supported by a turned post, raised on carved legs ending in hairy paw feet, covered in a classical Greek-key striped fabric.

h. 34”, w. 71”, d. 23”

$1,000-$1,500

American Federal Flame Mahogany Sideboard

American Classical Mahogany Scroll-Arm Sofa

497

497

American Late Classical Mahogany Dining Table

mid-19th century, possibly by Joseph Meeks & Sons, New York, the circular top opening to accommodate five leaves of various widths, supported by a shaped octagonal pedestal on a base with Gothic trefoil feet, the top with a pair of drop legs at each end for stability when extended.

h. 30”, dia. 49”, ext. l. 114”

$1,000-$1,500

498

American Late Classical Mahogany and Marble-Top Sideboard

second quarter 19th century, possibly by Anthony Quervelle, Philadelphia, the center section with a central mirror flanked by turned columns and scrolling returns with fruit, above side banks with a single drawer above a curved cabinet, raised on carved paw feet.

h. 59-1/2”, w. 72”, d. 24”

$1,500-$2,500

499

William Aiken Walker (American/South Carolina, 1839-1921)

“Cabin Scene with the Family” oil on board signed lower left.

Framed.

6” x 12”, framed 7-1/4” x 13-1/4”

$5,000-$8,000

500

William Aiken Walker (American/South Carolina, 1839-1921)

“Fruit Vendor, Port of New Orleans” “Cotton Pickers in the Field”

two oils on copper plates signed lower right and left, respectively; latter with “Morton’s Auction, New Orleans” label en verso. Unframed and framed, respectively.

12” x 12” and 10” x 10”, framed 15-1/2” x 15”

Provenance: Morton’s Auction, New Orleans, Louisiana.

$3,000-$5,000

501

William Aiken Walker (American/South Carolina, 1839-1921)

“Miss Kiley, Fruit Vendor, Port of New Orleans”

“Smoking a Pipe, Bales of Cotton”

two oils on board signed lower left and lower right, respectively; latter pencil-titled en verso, and each with a “Taylor Clark, Baton Rouge, LA” label en verso.

Framed alike.

8” x 4”, framed 14-1/4” x 10-1/4”

Provenance: Taylor Clark Gallery, Baton Rouge, Louisiana.

$4,000-$7,000

American Rococo Revival Laminated Rosewood Recamier

mid-19th century, attributed to John H. Belter, in the pattern commonly referred to as “Rosalie”, having a fruit- and floralcarved crest and scrolled details, raised on cabriole legs.

h. 37-1/2”, w. 39”, d. 38”

$1,000-$1,500

503

Two American Rococo Revival Laminated Rosewood Chairs

third quarter 19th century, attributed to John H. Belter, in the pattern commonly referred to as “Rosalie”, one a side chair, h. 37”, w. 18-1/2”, d. 18”, and the other a bustle chair, h. 35-1/2”, w. 22”, d. 20”, each with a fruit- and floral-carved crest above a padded back and seat, raised on cabriole legs.

$1,000-$1,500

504

American Rococo Revival Laminated Rosewood and Marble-Top Center Table

third quarter 19th century, attributed to J. & J. W. Meeks, New York, the conforming tortoise-form marble top resting on a pierced and carved rim with intricate scrollwork and flower carvings, mounted to four turned standards and conjoined scrolled legs.

h. 26-1/4”, w. 44-1/2”, d. 28-1/2” h. 26-1/4”, w. 44-1/2”, d. 28-1/2”

$2,000-$4,000

503

505

William Aiken Walker (American/South Carolina, 1839-1921)

“Cotton Picker in the Field” oil on board signed lower left. Framed.

8-1/4” x 4-1/4”, framed 10-3/4” x 6-3/4”

$2,000-$4,000

506

William Aiken Walker (American/South Carolina, 1839-1921)

“In the Cotton Field” “Resting on Cotton Bales, Port of New Orleans”

two oils on board signed lower right and left, respectively. Matted and framed alike. each 7-1/2” x 3-1/2”, framed 13-1/2” x 9-1/2”

$4,000-$7,000

505

American Gothic Revival Rosewood Secretary Bookcase

third quarter 19th century, New York, the top with a broad overhanging crown molding, above a pair of glazed doors with Gothic tops and three drawers below, the base with a fold-open desk section above a pair of framed and paneled doors with similar Gothic grillwork.

h. 94”, w. 50”, d. 24-1/2”

$1,200-$1,800

508

Pair of American Gothic Revival Rosewood Hall Chairs

third quarter 19th century, each with a pierced and carved back, turned finials and a floral needlepoint seat.

h. 44”, w. 18”, d. 19”

$1,000-$1,500

508

509

509

third quarter 19th century, attributed to Charles Baudouine, New York, the shaped top with conforming Rosso Imperiale marble, with a pierced and carved fretwork rim supported by turned columns and griffin-form buttresses, mounted to a platform base with four outstretched legs.

h. 32”, w. 48”, d. 32”

$2,500-$4,000

510

third quarter 19th century, with an arched, pierced and carved crest above a long mirror flanked by shaped shelves to each side, the base with a marble shelf and drawer below.

h. 93”, w. 52”, d. 16”

$1,000-$1,500

American Rococo Revival Rosewood and Marble-Top Center Table

American Rococo Revival Walnut and Marble-Top Etagere

detail

511

511

Pair of American Victorian “Fern” Pattern Cast Iron Garden Benches

fourth quarter 19th century, Philadelphia, the backs molded with pierced ferns and a pair of lozenges, the arms and cabriole legs decorated to match, the seats with pierced scrollwork.

h. 35”, w. 56-1/4”, d. 21”

$1,200-$1,800

512

fourth quarter 19th century, Philadelphia, the backs and arms decorated with pierced ferns and lozenges, the cabriole legs set with fern-pattern lower side panels, the seats with pierced scrollwork.

h. 33-1/4”, w. 23-1/2”, d. 21”

$1,200-$1,800

513

ca. 1900, with curved backs and arms molded with pierced ferns, the cabriole legs set with lower side panels of fern piercing, the seats with scrollwork piercing.

h. 29”, w. 23-1/4”, d. 21-1/2”

$1,000-$1,500

Pair of American “Fern” Pattern Cast Iron Garden Chairs

Pair of American “Fern” Pattern Cast Iron Garden Chairs

Pair of Victorian-Style Cast Iron Garden Urns on Pedestals

20th century, the campana-form urns decorated with eggand-dart rims and reeded bases, the sides with molded leaves and flowers, and the tapered pedestals decorated with panels of scrollwork and flower heads.

h. 41”, dia. 18”

$1,200-$1,800

515

E. Howard & Co. “No. 6” Figure 8 Banjo Clock

third quarter 19th century, Boston, Massachusetts, in a walnut case with a rococo-carved crest and skirt, and a molded door surround, the dial marked “E. Howard & Co., Boston”.

h. 57”, w. 19”, d. 6”

$3,000-$5,000

516

Howard & Davis “No. 3” Banjo Clock

third quarter 19th century, Boston, Massachusetts, in a rosewoodgrained painted case, the dial signed “Howard & Davis, Boston”, the interior base with three early repair labels.

h. 38”, w. 15-1/2”, d. 3-3/4”

$1,000-$1,500

517

Howard & Davis Banjo “No. 5” Clock

third quarter 19th century, Boston, in a mahogany case with a square bottom, the dial marked “Howard & Davis, Boston”. h. 29”, w. 10”, d. 3-1/2”

$1,000-$1,500

518

Howard & Davis “No. 3” Banjo Clock

third quarter 19th century, Boston, Massachusetts, in a cherry case, the dial with an ogee-molded surround. h. 37-1/2”, w. 15-1/2”, d. 3-3/4”

$1,000-$1,500

517

519

519

Alexander Keszthelyi (American, 1874-1953)

“Portrait of a Woman in a Black Hat”

oil on canvas signed lower right. Framed. 32” x 24”, framed 41” x 32-1/2” $1,000-$1,500

American Late Classical Revival Mahogany Table

late 19th century, the circular top with a gadroon-carved edge and mounted to an acanthus-carved standard with four outstretched legs ending in paw feet.

h. 30-1/2”, dia. 54”

$1,000-$1,500

521

Gorham “Shamrock V” Sterling Silver Flatware Set

the pattern designed in 1931 by Barton Pickering Jenks (1870-1941), Providence, Rhode Island, including six ninepiece place settings, with an additional twenty-one place pieces and eleven serving pieces, presented in a fitted, Pacific cloth-lined wooden case with lift top and single drawer, 5-3/4” x 14-3/4” x 11-1/2”.

86 pieces plus case 99.12 total t. oz. (weighable silver)

$2,000-$4,000

522

Gorham “Sovereign” Sterling Silver Flatware Set

the pattern designed in 1941 by James Russell Price (19071974), Providence, Rhode Island, including a dozen sevenpiece place settings with an additional fourteen place pieces and four serving pieces, in a fitted, Pacific cloth-lined wooden case, 3-1/2” x 17” x 11-1/2”.

102 pieces plus case 126.39 total t. oz. (weighable silver)

$1,500-$2,500

523

523

Gorham”Lily of the Valley” Sterling Silver Flatware Set

the pattern designed in 1950 by James Russell Price (1907-1974), Providence, Rhode Island, including a dozen nine-piece place settings (eleven pieces lacking) and thirteen place pieces, no monograms, presented in a fitted, Pacific cloth-lined, faux rosewood case with lift top and two drawers, 9-1/2” x 19” x 12-3/4”. 110 pieces plus case 98.95 total t. oz. (weighable silver)

Provenance: Private collection, New Orleans, Louisiana. $2,000-$4,000

524

Gorham “Strasbourg” Sterling Silver Tea Set

1960, Providence, Rhode Island, including: a coffeepot, h. 9-1/2”, l. 8-1/2”; a teapot, h. 8”, l. 8-1/2”; a covered sugar bowl, h. 5-1/4”, w. 5-3/4”; a cream jug, h. 4-1/2”, l. 4-1/2”; and a waste bowl, h. 3-1/2”, dia. 4”. 74.68 total t. oz. $1,800-$2,500

527

525

526

525

Rosewood-Veneered Banjo Clock in the Late Classical Taste

second quarter 19th century, New England, with a silvered dial and unusual fret-carved solid wood side arms, the case lined with turned and carved trim, the base with an oval brass-lined window for viewing the pendulum, with an integral tower bracket.

h. 39”, w. 10-3/4”, d. 4-1/2”

$1,000-$1,500

526

Ithaca Regulator “No. 1” Clock

fourth quarter 19th century, Ithaca, New York, in a handsome walnut case in the Renaissance Revival style, the case ornamented with carved oak leaves, cabochons and anthemia, the pierced swan’s crest decorated with a carved bust, set with two dials, the lower dial marked “HB Horton’s Patent, April 18th, 1865, August 28, 1816, Ithaca Calendar Clock Co., Ithaca, NY”, the base pierced with a pendulum viewing window framed with carved oak leaves.

h. 48”, w. 19”, d. 6-1/2”

$1,200-$1,800

527

“Gale Model 1” Perpetual Calendar Clock

post-1871, Connecticut, in a rosewood wall case marked “Gale’s Patent, Feb. 14th, 1871”, with time, day, date and moon phase dials, the interior with a “Welch, Spring & Co.” original label. h. 30-1/2”, w. 16-3/4”, d. 4-1/2”

$1,000-$1,500

528

Seth Thomas “No. 5” Office Calendar Clock

ca. 1875-1886, Connecticut, in a modern Gothic-style walnut case decorated with burl walnut veneer and incising, with an arched crest and matching finials, set with side colonettes, the dial marked “ST” and the calendar dial marked “Patented, Feb 15, 1876”.

h. 47”, w. 24”, d. 7-3/4”

An identical clock is in the collection of the U.S. Senate.

$2,000-$4,000

529

second quarter 20th century, with laurel and berry backs and pierced scrollwork seats, the arms molded as griffins, with wings under the seat, on cabriole legs. h. 29”, w. 39-1/2”, d. 25”

$1,200-$1,800

529

530

first quarter 20th century, with laurel-molded backs and winged griffin-form arms terminating in cabriole legs and paw feet, the seats with pierced scrollwork. h. 28-1/4”, w. 26-3/4”, d. 22”

$1,000-$1,500

Pair of American “Laurel and Berry” Pattern Cast Iron Garden Benches

Pair of American “Laurel and Berry” Pattern Cast Iron Garden Chairs

532

531

Pair of American Fiske Cast Iron Garden Urns on Pedestals

fourth quarter 19th century, New York, in the Aesthetic taste, with pierced handles molded with leaves, terminating in medallions, the rims decorated with molded anthemia, on conical and fluted bases supported on iron plinths, signed “Fiske” in raised letters, on paneled pedestals with ogeemolded bases.

h. 55”, w. 32”, dia. 26”

$1,500-$2,500

532

Set of Four Cast Iron Garden Urns in the Classical Taste

ca. 1900, the campana-form urns with beaded rims and decorated with molded masques supporting laurel swags, the sides set with handles, the reeded lower bodies and conical bases over square plinths.

h. 17”, dia. 15-1/2”

$1,000-$1,500

1833-1842, Brower Brothers, the ovoid body with waisted collar and integral spout, with acanthus-mounted arched reeded handle and knopped circular foot, decorated with milled palmette and floral banding, monogrammed “VL”. h. 13”, l. 9”, dia. 5-3/4”, 39.95 t. oz. $2,000-$4,000

The firm of S. & B. Brower of Albany, New York, established their New Orleans branch at 17 Camp Street in 1833. Brothers Sidney (often erroneously given as Samuel) and Baldwin Brower were born in New York to Anthony Post Brower and his wife Louisa Gardiner on December 18, 1806 and December 25, 1810, respectively. There is no record of their apprenticeship or training, but it is to be noted that their maternal uncles were the talented silversmiths Sidney (1787-1827) and Baldwin Gardiner (1791-1868) of the celebrated Philadelphia firm of Fletcher & Gardiner. The Mid-Atlantic neoclassical influence is readily apparent in the present lot, which appealed to the “American” immigrants to New Orleans which arrived in great number between the Battle of New Orleans and the Civil War. Sidney Brower died on January 26, 1836, and the firm was reorganized in 1842 as B. Brower & Co. with another brother George Clinton Brower (1816-1864), by which time the company was no longer a manufacturer, but primarily an importer and retailer of fancy goods. Baldwin Brower died (on a visit to Palermo, Sicily) on February 15, 1845, and his interest in the company was retained by his widow Elizabeth Barker Brower and (later) her second husband, William T. VanZandt until its dissolution in 1855. A pair of pitchers, each nearly identical to the present lot, was exhibited at the seminal 1980 “Crescent City Silver” exhibition at the Historic New Orleans Collection and LSU Anglo-American Art Museum, and again in 1997 at Longue Vue House and Gardens, New Orleans, Louisiana.

Good Late Classical New Orleans Coin Silver Water Pitcher

Rare 1812 New Orleans City Ordinance Banning Slave Gatherings

dated November 2, 1812, manuscript in French text on Super Royal sheet, prohibiting the “sports and dances of the slaves of the city, the suburbs & circumjacent places, which have hitherto been tolerated by virtue of the Ordinances of Police . . . are expressly prohibited for the time to come ; ; all slaves found gathered together, either on a Sunday, or on any other day of the week, for the purpose of the aforesaid sports and dances, or for any other purpose whatsoever, except the case of funeral processions, shall be apprehended by the commissaries of police . . . and shall be committed to jail” [translation from the English version of the ordinance as published in the Louisiana State Gazette November 12, 1812], signed by mayor Nicholas Girod (17511840) and recorder Pierre Francois Missonnet (ca. 17501833), matted, glazed and presented in a narrow giltwood frame.

sheet 27.5 cm x 20.5 cm (10-1/2” x 8”); framed 17-1/4” x 14”

$1,000-$1,500 534 534 detail

This document ordains the repeal of the Sunday slave gatherings - a long-respected law and tradition in New Orleans - held at historic Congo Square from 1812 until they were reinstated in 1817. The history of these gatherings dates to Louisiana’s 18th-century colonial period, and article five of the French Code Noir , which exempted slaves from forced labor on Sundays and religious holidays. “On those Free days, which shortly came to include Saturday afternoons as well, slaves began to hire themselves out for wages or take their surplus products - not only foodstuffs and cash crops they had grown on their plots, but also gleanings of nuts and berries from the woods as well as fish and game from the swamps - into the town and sell them, much as local Indians had been doing since the city was founded in 1718. And with their proceeds they could buy many of their own necessities, including articles of clothing.” (Jerah Johnson, “New Orleans’s Congo Square: An Urban Setting for Early AfroAmerican Culture Formation”, Louisiana History: Journal of the Louisiana Historical Association , vol. 32, no. 2, Spring, 1991, p. 122.

This market, known in the 18th century as the Place des Negres (though a significant Native American presence was also at the market), was situated at the end of Orleans Street at the limit of the city (corresponding now to Rampart Street) at the projecting barricade known as the Orleans Bastion. It remained there in 1792 when Governor Carondelet reinforced the city’s barricade and erected Fort Ferdinand at the old Orleans Bastion, moving only slightly into the foot of the fort’s gorge. It expanded from marketplace to gathering place for enslaved persons to socialize and engage in dances and games of their heritage, primarily Congolese, hence its later name. In the first years of the 19th century, Spain retroceded the colony to

France (both countries lax in formalizing the transfer), which was finally sold to the United States in 1803. Now under the control of the United States, the old French Code Noir was no longer in force, but the tradition of these Sunday gatherings was codified by city ordinance. It is generally reported that it was the New Orleans Conseil de Ville ordinance of October 15, 1817 that established the Sunday gatherings, but it was actually an ordinance five years earlier, on February 15, 1812, article 7, with identical wording to the 1817 ordinance (in which it is article 6): “The meeting of slaves for the purpose of dancing or amusing themselves in any other manner may take place on Sundays only until sundown, and only in the places which shall be designated by the Mayor” and proscribing ten to twenty-five lashes for violation of the ordinance.

The ordinance of the present lot very specifically repealing article 7 of the 1812 ordinance does not appear in the records of Conseil de Ville , nor does any likely motivation for it. It was likely a confluence of events, among them the beginning of the War of 1812 (an assault on New Orleans was proposed by Admiral Sir John Borlase Warren as early as November 1812), fear of slave alliance with Native Americans (some of whom months earlier had conducted a siege at Fort Wayne and assisted the British in the victory at Queenston Heights), and a more pragmatic consideration of the impending demolition of Fort Ferdinand (bids for which appear in the Louisiana Gazette alongside the publication of this repeal ordinance). The ordinance ordained that it be “published by bear of drum and inserted in the usual newspapers, that all persons may have due notice thereof”, so it is possible that the current document was a contemporaneous copy for public notice, but as there is no extant copy in the archives of the Conseil de Ville, it may also be the original which has somehow survived.

535

535

Richard Clague (French/New Orleans, 1821-1873)

“Louisiana Bayou at Dusk”

oil on canvas

Initialed “R.C.” lower left.

Period gilt and stenciled framed.

10” x 14”, framed 20-1/2” x 24-1/2”

Provenance: Sold in these Galleries, May 16, 1998, lot # 407

Literature: Toledano, Roulhac, “Richard Clague, 1921-1873)”, exhibition catalogue, New Orleans Museum of Art, 1974.

$50,000-$80,000

Richard Clague, Jr. was born in Paris and baptized at the St. Louis Cathedral in the French Quarter. His French father made his fortune in shipping, and his mother Marie-DelphineJustine de la Roche was a French Creole born in New Orleans. Consequently, throughout his lifetime, Clague traveled with ease between France and Louisiana.

As an artist, Clague was academically trained in Europe, and became recognized as bringing the French Barbizon tradition of landscape painting to south Louisiana. The French tradition dictates painting outdoors in nature, a method known as “plein aire”, to accurately represent the landscape and times of the day. Instead of the Barbizon forests, Clague focused on the bayous, farms, fishermen’s cabins and waterways of south Louisiana.

In “Louisiana Bayou at Dusk”, Clague captured the dramatic and colorful moment of the sun setting over the bayou. As night falls, a cabin nestled among the Spanish moss draped cypress trees and small boats docked by the shore can be seen.

537

Attributed to Norton Bush (American/California, 1834-1894)

“On the Magdalena, South America”

oil on canvas

unsigned; pencil-titled and inscribed en verso.

Framed.

17-3/4” x 26-1/2”, framed 21-1/2” x 30-1/4”

$3,000-$5,000

537

538 George Hetzel (American, 1826-1899)

“Woodland Stream”

oil on canvas signed lower left.

Framed.

22” x 36”, framed 26-1/2” x 40-1/4”

$2,000-$4,000

538

539

539

Alexander John Drysdale (American/Louisiana, 1870-1934)

“At Sunset, Louisiana Bayou”

oil wash on board signed lower right. Matted, glazed and framed. sight 13-1/4” x 25-1/2”, framed 21-1/2” x 34”

$2,000-$4,000

540 Alexander John Drysdale (American/Louisiana, 1870-1934)

“Live Oak in Louisiana Bayou”, 1922

oil wash on board signed and dated lower right. Matted, glazed and framed. sight 8-1/2” x 28-3/4”, framed 15” x 36”

$1,500-$2,500

Ithaca Parlor “No. 3-1/2” Calendar Clock

post-1865, New York, with a black upper dial and a glass calendar dial, marked “H. B. Horton’s Patents, April 18th, 1865 August 28, 1866, Ithaca, NY”, with a cut and engraved crystal pendulum inset, the handsome rosewood case decorated with ebonized carved trim and colonettes.

h. 20-1/2”, w. 10-1/4”, d. 5-1/4”

$1,000-$1,500

542

Ansonia “Excelsior” Crystal Regulator

ca. 1904, New York, the bronze baroque-style case set with beveled glass, the domed top with pierced scrollwork, delicate colonettes at the corners supported on pierced scrolls, terminating in paw feet, the works with an exposed escapement and a dial marked “Ansonia Clock Co. Patented”.

h. 19-1/2”, w. 10-1/2”, d. 9”

$1,000-$1,500

French Tiffany-Retailed Bronze-Framed Crystal Regulator

ca. 1900, the gilt-bronze-framed beveled glass case set with signed Japy Freres works, the dial marked “Tiffany & Co., France”, and with a mercury-filled bronze and glass pendulum.

h. 9”, w. 6”, d. 5-1/4”

$1,000-$1,500

544

Signed Gilt-Brass, Gilt-Metal and Crystal Aesthetic Inkstand

fourth quarter 19th century, New York, decorated with panels of scrollwork on a stippled ground, the inkstand with a built-in metal scale with weights, a pair of lidded cut crystal inkpots and stamp box, pen tray with associated mother-of-pearl pens, letter opener and a lower drawer, retaining a rich, original gilt surface, signed, in numerous places, “Creamer, N.Y.” and “Pat.”.

h. 5”, w. 10”, d. 7-1/2”

$1,000-$1,500

545

Rare American Rococo Revival Giltwood Overmantel Mirror

mid-19th century, the outside surround decorated with rocaille work and a pierced, scrolled crest with a central shell, the scrollwork draped with morning glory vines, the lower edge scroll-molded and flanked by carved scroll and rocaille work corners.

h. 76”, w. 46”

$1,000-$1,500

546

American Rococo Revival Rosewood and Marble-Top Center Table

third quarter 19th century, the shaped white marble top above a conforming carved rim supported by cabriole legs joined by a stretcher with a central finial.

h. 30”, w. 46-1/2”, d. 29”

$1,000-$1,500

the pattern designed in 1888 by Florentin Antoine Heller (18391904), Providence, Rhode Island, including a dozen nine-piece place settings, with an additional six place pieces and five serving pieces, most monogrammed “BFJ”, presented in a fitted, Pacific cloth-lined, cream-colored faux leather case with zippered top, 3-1/4” x 21-1/2” x 12-3/4”. 119 pieces plus case 134.53 total t. oz.

$3,500-$5,000

Good Tiffany & Co. Gilded Age Sterling Silver Fruit Bowl-onStand

1892-1901, New York, New York, with an oval bowl with pierced and everted sides decorated with engraved flowers and scrolls and an applied floral rim, presented on a conforming lobed stand, decorated en suite, each piece monogrammed “ACT”.

overall h. 4-3/4”, l. 14-1/4”, w. 12”; 79.81 total t. oz.

$3,000-$5,000

Gorham “Versailles” Sterling Silver Flatware Set

ca. 1865-1870, New York, in the manner of Pottier & Stymus or a competitor of equal rank, the case with a central pedestal with an inlaid and incise-carved face, the case with a central door with an inlaid trophy panel and flanked by arched panels with leaf, ribbon and vine inlays, the segmented and fluted columns with Ionic capitals, the door opening to reveal a birdseye maple interior.

h. 52”, w. 56-1/4”, d. 21-1/2”

$1,200-$1,800

American Late Classical Revival Mahogany Round Dining Table

late 19th century, the circular top with a carved and molded edge, and mounted to a large split pedestal with acanthus-leaf carvings and four outstretched legs ending in paw feet, the top opening to accommodate five 12” leaves.

h. 29-1/2”, dia. 57”, ext. l. 117”

Provenance: Stan Levy Imports, Inc. Antiques, New Orleans, Louisiana.

$1,200-$1,800

American Renaissance Revival Inlaid Rosewood Cabinet

551

551

Dean Cornwell (American, 1892-1960)

“The Assassin”

pair of oils on board one signed lower right and the other lower left. Framed alike. each 38-1/2” x 14-1/2”, framed 44” x 19”

$15,000-$25,000

552

American Walnut Occasional Table

third quarter 19th century, the circular top with a carved edge, on a Classical Revival vasiform pedestal with foliate carving, joined to a tripodal base, each leg capped by a carved dog’s head extending to end in paw feet. h. 31”, dia. 22”

$1,000-$1,500

553

553

Pair of Victorian-Style Cast Iron Garden Benches

each with an arched back in foliate decor with a central fan with like ornament, closed arms and dished slat seat.

h. 34”, w. 52”, d. 19-1/2”

$1,000-$1,500

554

Pair of American Victorian Cast Iron Garden Urns on Pedestals

ca. 1900, with beaded rims and scroll-molded sides, set with scrolled handles, the bases molded with acanthus leaves and supported on pylon-form pedestals, decorated with panels of scrollwork and raised on ogee-molded bases.

h. 47-1/2”, w. 27”, dia. 21”

$1,000-$1,500

ca. 1900, the serpentine back molded with pierced ferns, set with cabriole legs with lower side panels decorated to match, the seats pierced in an arching grid.

h. 29-3/4”, w. 43”, d. 18”

$1,000-$1,500

in production from mid-19th century into the 20th century, Philadelphia, the arms decorated with scrollwork and roses, the seats pierced in a geometric grid, on molded cabriole legs with pierced skirts.

h. 34”, w. 21-1/2”, d. 20”

$1,000-$1,500

555

American “Fern” Pattern Cast Iron Garden Bench

556

Pair of American “Lyre & Rose” Pattern Cast Iron Garden Chairs

555

oil wash on board signed lower left. Matted, glazed and framed. sight 9-1/2” x 19-1/2”, framed 16-3/4” x 26”

$1,000-$1,500

557

558

fourth quarter 19th century, made in the mid-Atlantic states, the two dogs in a lifelike pose, one standing and wagging its tail and the other seated, looking over its back, on a cast iron plinth. h. 32”, w. 15-1/2”, l. 37”

$1,800-$2,500

558

559

oil on canvas signed lower right. Framed. 28” x 36”, framed 31-3/4” x 39-1/2”

$2,500-$4,000

559

557 Alexander John Drysdale (American/Louisiana, 1870-1934)

“Cypress and Live Oak Trees in Louisiana Bayou”

Robert Wesley Amick (American, 1879-1969)

“The White Stallion”

Rare American Cast Iron Garden Figure of Two Hounds

560

“Angola Hoers”, 1938

silver gelatin print laid on cardboard signed and dated lower right, titled, dated, marked “065A” and with a “Stephen Cohen Photography, Los Angeles, California” label en verso.

Unframed. sheet 16” x 20”

Provenance: Stephen Cohen Photography, Los Angeles, California.

$1,000-$1,500

557

561

“Country Cottage”

silver gelatin print later printing, signed and dated “1938” lower right, pencil-inscribed en verso “Robert L. Winans PN458” lower right and “032B/458” and with title upper left. Unframed. sheet 11” x 14”

$1,200-$1,800

Theodore Fonville Winans (American/Louisiana, 1911-1992)

Theodore Fonville Winans (American/Louisiana, 1911-1992)

French Cast Iron Figural Fountain

19th century, possibly by Salin Fondeur, with two tiers, the upper with a tazza-form bowl supported by a putto perched on an octagonal lower bowl supported by an hourglass-form pedestal with foliate decoration, above a paneled octagonal base.

h. 85-1/2”, w. 44”, d. 44”

$2,000-$4,000

563

Pair of Cast Stone Garden Urns on Metal Pedestals

mid-20th century and later, the urns decorated with bas-relief neoclassical panels and ram’s-head handles supported on “Atlas” figures, stamped “Pinellas Cast Stone”, the patinated metal bases decorated with raised panels.

h. 47-1/2”, w. 15”, d. 15”

$1,200-$1,800

ca. 1850-1900, New York, possibly by James Beebe, in the Rococo Revival style, with a pierced arch back with a crest decorated with roses and rocaille work, a pierced skirt decorated with scrollwork and a pierced scrollwork seat, on cabriole legs. h. 37”, w. 61-1/2”, d. 16-3/4”

$1,000-$1,500

566

565

early 20th century, the bases labeled “The Kramer Bros, Fdy Co, Dayton, O”, each in four parts, the bowl with a flared rim and mounted to a square platform base.

h. 29”, dia. 27”

$1,000-$1,500

564

565

Asian Ebonized Rosewood and Marble-Top Occasional Table

ca. 1900, the inset circular marble top within a shaped frame, on a columnar tripodal base, the column with figural and foliate carving. h. 34-1/2”, dia. 33”

$1,000-$1,500

564

American “White House Rose Garden” Pattern Cast Iron Bench

Pair of American Cast Iron Garden Urns

576

575

early 20th century, the shaped marble top above a conforming bombe case fitted with four long drawers, flanked to both sides by acanthine-carved uprights, raised on splayed legs ending in scrolled toes, with a shaped and broadly beveled mirror above. h. 104”, w. 53”, d. 22”

Provenance: Inessa Stewart’s Antiques, Baton Rouge, Louisiana.

$1,000-$1,500

576 Belgian School (19th/20th Century)

“View of Town with a Boy Fishing on a Canal”

oil on canvas

illegibly signed lower right.

Framed.

22-3/4” x 34”, framed 28-1/2” x 41”

$1,000-$1,500

Louis XV-Style Mahogany and Marble-Top Dresser

577

577

Louis XVI-Style Giltwood Settee

late 19th century, of diminutive proportions, the padded and tufted back bisected and surmounted by a floral and scrolling foliate crest, joined by rounded and tufted padded arms to the padded seat, raised above a shaped en suite apron on molded cabriole legs ending in scrolled toes.

h. 31”, w. 41-1/2”, d. 22”

$1,000-$1,500

578

French Giltwood Mirror in the Louis XV Taste

first quarter 20th century, the surround decorated with cabochon-mounted rocaille work and scrollwork, and the crest with a bouquet of roses on a pierced rocaille work panel.

h. 36-1/4”, w. 16-1/2”

$1,200-$1,800

579

French Fin-de-Siecle Giltwood Mirror

fourth quarter 19th century, in the Louis XV taste, the giltwood surround decorated with carved rocaille work, leaves and flower heads, the pierced crest with scrollwork and sprays of flowers, the bottom carved with a shell and flowers.

h. 39”, w. 23-1/2”

$1,000-$1,500

French Verdure Tapestry

mid-19th century. 52” x 107”

$2,000-$4,000

581

Transitional Louis XV/XVI-Style Kingwood and Marble-Top Commode

early 20th century, the slightly bowed Breche d’Alep marble top above a conforming case fitted with three long drawers, all banded and with herringbone inlays, raised on splayed feet ending in sabots.

h. 35”, w. 51”, d. 22”

$1,500-$2,500

582

Louis XV-Style Kingwood and Marble-Top Petite Commode

early 20th century, the slightly bowed marble top above a conforming case fitted with five drawers, all banded and herringbone veneered, raised on splayed legs ending in sabots. h. 39-1/4”, w. 24”, d. 15-1/2”

$1,000-$1,500

582

583

Pair of French Belle Epoque Marble and Bronze Potpourri Urns

fourth quarter 19th century, now mounted as lamps, the rouge and green mottled marble urns set with pierced bronze covers and ram’s-head handles supporting swags of flowers, the conical feet with bronze trim on square bases, now with ebonized wooden plinths, mounted with shades. h. 32”, dia. 17-1/2”

$1,200-$1,800

583

584

Two Similar Transitional Louis XV/XVI-Style Kingwood and Marble-Top Commodes

each with a slightly bowed marble top above a conforming case fitted with three long drawers, all banded and quarter veneered, raised on cabriole legs ending in sabots.

h. 36-1/2”, w. 38”, d. 18”

$1,500-$2,500 585

Unusual Gilt-Bronze, Giltwood and Glass Mirror/Jewel Cabinet

in the Louis XV style, the giltwood mirror frame mounted with a gilt-bronze surround, decorated with pierced scrollwork, rocaille work and sprays of flowers, set with a beveled mirror plate, the mirror hinged and opening to reveal a shallow velvetlined case.

h. 28”, w. 18”, d. 4”

$1,000-$1,500

585

586

Pair of Louis XV-Style Giltwood Fauteuils

late 19th century, each with a shaped and padded back surmounted by a foliate shield crest, joined by padded outscrolled arms to the padded seat, raised on cabriole legs ending in foliate scrolled toes.

h. 42”, w. 28”, d. 23”

$1,000-$1,500

587

Louis XV-Style Kingwood and Marble-Top Commode

19th century, the shaped marble top above a conforming bombe case fitted with two long drawers, each with two floralinlaid panels, the sides inlaid en suite, raised on splayed legs ending in sabots.

h. 35”, w. 46”, d. 21”

$1,800-$2,500

588

Pair of French Neoclassical-Style Bronze-Mounted Marble Urns

fourth quarter 19th century, now mounted as lamps, the rouge griotte marble urns with swan’s-head handles and a bowknot supporting gardening trophies, the conical, leafmolded bronze feet resting on faux marbre wooden bases, mounted with shades.

h. 29”, dia. 18-1/2”

$1,500-$2,500

589

fourth quarter 19th century, possibly architectural elements, the walnut panels carved with leaves and scrollwork in the Renaissance Revival style, and set with mottled rosso antico marble panels. h. 64-3/4”, w. 13-1/4” “ $1,500-$2,500

590

Johann Hans Beckmann (German, 1809-1882)

“The Stag Hunt”

oil on canvas signed lower left, verso with “Barrie A. Wright, New York, New York” label.

Frame with artist plaque. 28-1/2” x 42”, framed 38” x 51-5/8”

$3,000-$5,000

Pair of Unusual French Carved Walnut and Marble Panels

589

19th century, the rounded rectangular marble top above a conforming case fitted with three long drawers, all banded and inlaid with a floral garland, raised on splayed legs ending in sabots.

h. 37”, w. 39-1/2”, d. 18”

$1,500-$2,500

591

592

ca. 1920-1936, Limoges, France, transfer printed with pheasants and flowers, the set including ten dinner plates, dia. 9-3/4”, nine salad plates, dia. 7-1/2”, seven bread-and-butter plates, dia. 6-1/2”, ten ramekins, h. 1-1/2”, dia. 4-1/4”, two demitasse cups, h. 2”, thirteen demitasse saucers, dia. 4-3/4”, and a celery dish, w. 5-1/2”, l. 9”.

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

592 detail

Transitional Louis XV/XVI-Style Kingwood and Marble-Top Commode

Theodore Haviland Eden/Blois Pattern Porcelain Partial Dinner Service

593

Near Pair of Louis XV-Style Kingwood and Satinwood Drop-Leaf Occasional Tables

20th century, each with a quarter-veneered, scrolling foliateinlaid top with a like-inlaid, shaped leaf to each side, raised on cabriole legs ending in sabots.

h. 29-3/4”, w. 21-1/2”, d. 21-1/2”, ext. l. 42-1/2”

$1,500-$2,500

594

Near Pair of Louis XV-Style Kingwood and Satinwood Drop-Leaf Occasional Tables

20th century, each with a quarter-veneered, scrolling foliateinlaid top with a like-inlaid, shaped leaf to each side, raised on cabriole legs ending in sabots.

h. 29-3/4”, w. 21-1/2”, d. 21-1/2”, ext. l. 42-1/2”

$1,500-$2,500

595

Napoleon III Marquetry Window Seat

late 19th century, the shaped and padded seat flanked to each end by a tufted and padded ovoid arm within a molded bow-carved frame, raised above a foliate-carved frieze with pendant urns, on fluted, tapering circular legs ending in toupie feet.

h. 29”, w. 53”, d. 20”

$1,000-$1,500

Louis XV-Style Mahogany Bed

early 20th century, the headboard with a foliate-carved crest over shaped panels, the serpentine footboard with a leaf- and rose-carved top rail over a central convex, foliate-carved panel, modified to queen size.

h. 54”, inside w. 60”, l. 80”, outside w. 63-1/2”, l. 84”

$1,200-$1,800

597

Pair of Louis XV-Style Mahogany and Marble-Top Bedside Cupboards

early 20th century, each with a shaped marble top above a bombe case fitted with a single drawer over a cupboard, raised on molded cabriole legs ending in scrolled feet. h. 33”, w. 16-1/2”, d. 13”

$1,000-$1,500

597

French Beaux-Arts Bronze and Marble Floor Lamp

first quarter 19th century, the rope-twist standard supporting a morning glory-form mount set with four electrified candles, ornamented with a pierced cylindrical mount, the mottled brown and white marble base carved in the form of a column section decorated with swagging and raised on bronze griffinform feet, mounted with a shade.

h. 75”, dia. 18”

$1,000-$1,500

598

599

Pair of French Gilt-Bronze and Onyx Garniture Urns

ca. 1900, mounted with peacock-head handles, the onyx urns decorated with gilt-bronze swagging and domed covers decorated with laurel leaves and urn-form knops with flare finials, the feet with copper-washed accents on stepped onyx bases with copper-washed bas-relief plaques.

h. 12-1/2”, w. 6-1/2”, d. 4”

$1,000-$1,500

Louis XVI-Style Mahogany and Marble-Top Dresser

early 20th century, the upper portion with a tilting beveled mirror with flower basket cartouche, mounted to the base with a pair of glove boxes, over a conforming inset marble top, fitted with a pair of cabinets below, opening to sliding shelves.

h. 86-1/2”, w. 49”, d. 23-1/2”

$1,000-$1,500

Pair of French Gilt-Bronze and Crystal Candelabra

first quarter 20th century, in the Louis XIV style, the ninelight candelabra with leaf- and scroll-molded bronze standards supporting two tiers of scrolled candle branches set with leaf-molded candle cups and beaded bobeches, over bronze prism rings hung with cut glass drops, the branches hung with swags of prisms and larger cut glass drops, the top with a spear-point cut glass finial, electrified.

h. 32”, dia. 14”

$1,500-$2,500

602

Pair of Louis XVI-Style Giltwood Fauteuils

early 20th century, each with a padded medallion back surmounted by a floral crest and within a ribbon-carved frame, joined by padded acanthine-carved arms to the padded seat, raised on fluted, tapering circular legs ending in toupie feet.

h. 38”, w. 24”, d. 19”

$1,500-$2,500

603

603

French Bronze and Cut Glass Chandelier

mid-20th century, in the baroque taste, the twelve-light chandelier with a bronze frame set with pairs of scrolled candle arms alternating with molded glass finials, the upper portion with two graduated sprays of drops, the interior with four lights set into molded holders, beneath a spray of drops.

h. 35-1/2”, dia. 24-1/2”

Provenance: Royal Antiques, New Orleans, Louisiana.

$1,000-$1,500

604

Pair of Transitional Louis XV/XVI-Style Bergeres

ca. 1900, each with a molded back with a ribbon-carved crest, closed arms terminating in leaf-carved ends, bowed seat rail and fluted trumpet legs, upholstered in cut velvet, with loose seat cushions and matching pillows.

h. 42-3/4”, w. 30”, d. 29”

$1,500-$2,500

605

Karl Hartmann (German, 1861-1927)

“May Day Maiden”, 1883

oil on canvas signed and dated “1883” lower left, and “S. R. Fuller, Decorative Picture Frame Maker, London” label en verso. Framed.

24” x 20”, framed 31-1/2” x 27-1/4”

$2,500-$4,000

606

French Beaux-Arts Gilt-Bronze and Onyx Floor Lamp

second quarter 20th century, the green onyx tripartite base set with gilt-bronze lions supporting a vasiform base molded with prancing fauns, set with a bronze standard with a running vine of laurel leaves wrapped around it, mounted with a shade.

h. 71”, dia. 17”

$1,000-$1,500

607

607

Pair of French Onyx and Gilt-Bronze Lamps

second quarter 20th century, the turned green and brown onyx bodies ornamented with bronze swagging and supporting peacock-molded and scrolled feet, resting on bronze tripartite bases set with pierced bronze scrollwork, mounted with shades.

h. 34”, dia. 15-3/4”

$1,000-$1,500

608

French Belle Epoque Giltwood Low Screen

ca. 1900, in the Louis XVI taste, the three-panel screen with a beaded surround and a pierced crest on the center section with a bowknot flanked by sprays of flowers, the lower edge with carved and pierced swagging, the tapestry panels depicting a Bacchanalian celebration.

h. 41”, w. 54-1/2”

$1,000-$1,500

609

Transitional Louis XV/XVI-Style Kingwood and Marble-Top Commode

20th century, the breakfront marble top above a conforming case fitted with three long drawers, all with three-quarterveneered panels, the sides quarter-veneered and paneled, raised on cabriole feet ending in sabots.

h. 35”, w. 49-1/2”, d. 25-1/2”

Provenance: Waldorf Astoria Hotel, New York, New York.

$2,000-$4,000

Pair of Belle Epoque-Style Patinated Metal Figural Candelabra

each five-light candelabrum having a standard modeled as a draped classical female child wearing a floral wreath in her hair, and supporting scrolled candle branches molded with leaves, set with cabochon-molded candle cups and leaf-molded drip pans, electrified.

h. 41”, dia. 14-1/2”

$1,500-$2,500

611

Louis-Robert Carrier-Belleuse (French, 1848-1913)

“Jeune Femme a sa Lecture”

carved marble first quarter 20th century, incised signature along back edge.

h. 20-1/2”, w. 23”, d. 8”

$1,000-$1,500

612

Professor Libero Gremigni (Italian, 19th Century)

“The Water Carrier”

carved marble and alabaster incised signature along front of self-base.

h. 28”, w. 7-1/2”, d. 7-1/2”

$1,200-$1,800

611

613

613

Louis-Philippe Three-Piece Alabaster Clock Set

second quarter 19th century, the portico clock decorated with scrolled leaf carving and flowers, with Doric columns supporting the dentillated cornice, the dial set into a leafmolded gilt-bronze bezel, h. 23-3/4”, w. 12-1/4”, d. 8”, and the pair of garniture urns with carved bodies set with leaf-carved pierced handles and raised on drum-form bases, h. 20”, w. 7-1/4”, d. 4-1/4”.

$1,200-$1,800

612

Pair of Italian Gilt-Bronze-Mounted Onyx Pedestals

first quarter 20th century, in the neoclassical taste, the octagonal bases set with quiver-form standards set into laurel-molded bezels, the standards with acanthus-molded lower mounts and bronze-fluted capitals set with bellflowers supporting square tops.

h. 50-1/2”, w. 13-3/4”, d. 13-3/4”

Provenance: Keil’s Antiques, New Orleans, Louisiana.

$1,200-$1,800

615

615

French Gilt-Bronze and Onyx Figural Clock

fourth quarter 19th century, in the Neo-Grec taste, decorated with a figure of the Goddess Pomona lounging in a klismos chair, the bronze-trimmed onyx base with fluted and rounded sides, mounted with signed Japy Freres works, with an exposed escapement.

h. 20-1/2”, w. 15-3/4”, d. 7-3/4”

$1,200-$1,800

616

After Henri-Etienne Dumaige (French, 1830-1888)

“Pair of Classical Maidens”

bronze

first quarter 20th century, both with laurel-leaf wreaths, one leaning against a tree trunk, the other with a floral garland, each with incised signature and dated “1871” along side of selfbase, one marked “19884” and the other “19885” along edge. each h. 14-1/2”, w. 8-1/2”, d. 4-1/2”

$1,200-$1,800

617

617

Pair of Louis XVI-Style Beechwood Bergeres

early 20th century, the frames finely carved, the backs slightly curved, each with a reversible seat cushion, raised on spiralturned legs.

h. 41”, w. 26-1/2”, d. 25”

$1,000-$1,500

618

Mother-of-Pearl and Gilt Composition Jewelry Casket

of bombe form, set on gilt composition shell-form feet and gilt trim, the sides and cover decorated with mother-of-pearl parquetry, the lid hinged.

h. 9-1/4”, w. 13-3/4”, d. 10-1/4”

$1,000-$1,500

618

619

Louis XV-Style Kingwood and Marble-Top Side Table

late 19th century, the shaped marble top above a conforming case fitted with a small central masquefronted drawer, flanked to both sides by a parquetryveneered drawer, raised on cabriole legs headed by ormolu mounts and ending in sabots.

h. 34”, w. 51”, d. 21”

$1,500-$2,500

619

620

620

20th century, Limoges, France, including twelve dinner plates, dia. 10-3/4”, a coffeepot, h. 6-3/4”, w. 8”, twelve demitasse cups, h. 3”, and twelve demitasse saucers, dia. 4-3/4”, each piece marked.

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

621

Pair of George III-Style Gilt-Bronze Candlesticks

fourth quarter 19th century, now mounted as lamps, on domed bases with inverted pear-form standards, molded with shells, rocaille work, scrollwork and swags of flowers, set with matching bobeches, both stamped illegibly underneath and one example incised “COURAN”, fitted with ecru silk shades. h. 23”, dia. 8-1/4”

Provenance: The Collection of Arne Schlesch Sothebyís, New York, Sale 7440, April 5, 2000, lot 128; Private collection, New Orleans, Louisiana.

$1,000-$1,500

Raynaud et Cie Ceralene “Anneau d’Or” Porcelain Partial Dinner Service

622

622

French Louis XIV-Style Bronze and Crystal Chandelier

second half 20th century, the twenty-two-light chandelier with a scrolled bronze frame, set with twelve scrolled candle arms terminating in turned candle sockets and molded drip pans, the arms and drip pans hung with cut glass prisms, the upper portion with six prism-hung downturned lights, the interior with four additional light sockets.

h. 38”, dia. 28”

$1,000-$1,500

623

Pair of Austrian Cut Glass and Bronze Centerpiece Bowls

mid-20th century, in the Louis XVI taste, the oval diamondpoint-cut glass bowls supported on fluted bronze legs terminating in molded anthemia, joined by scrolled cross stretchers with a molded medallion in the center, the bronze stands stamped “Made in Austria”.

h. 7-1/4”, w. 11-1/4”, d. 9”

$1,000-$1,500

623

624

of large proportions, the padded and domed back within a guilloche-carved frame, joined by like-carved arms to the padded seat, raised on molded circular legs ending in foliate feet.

h. 42-1/2”

Provenance: Private collection, New Orleans, Louisiana.

$1,000-$1,500

Louis XVI-Style Fruitwood Fauteuil

625

Robert Magnus Chevalier (French/British, 19th Century)

“The Grand Canal with View of Doge’s Palace, Venice”, 1878

oil on canvas signed and dated lower right. Framed.

24” x 36”, framed 30” x 41”

$1,000-$1,500

626

Louis-Philippe Parcel-Giltwood Barometer

mid-19th century, the circular dial marked “Bunten Quai Pelletier 30, Paris, 1846”, the upper support carved with a pierced giltwood bowknot and tassels, the bottom with carved leaves and a pineapple pendant finial.

h. 36-1/2”, dia. 17-1/4”

$1,500-$2,500

627

629

627

Pair of Russian Malachite and Gilt-Bronze Candlesticks

second quarter 19th century, the bronze candle cups and bobeches, standards and bases trimmed in the Gothic Revival taste, the malachite bases and standards decorated with carefully detailed and molded oak leaves.

h. 10-1/4”, dia. 4”

$1,400-$1,800

628

Louis XVI-Style Giltwood Mirror

first quarter 20th century, the rectangular mirror having a surround decorated with a ribbon-bound reed, the crest with an urn set with cascades of drapery terminating in medallions, supporting pierced laurel side arms, the base with an unusual carved triangular fan and laurel leaf drops.

h. 54”, w. 24-1/2”

$1,200-$1,800

629

French Neoclassical-Style Metal and Glass Chandelier

second quarter 20th century, the scrolled metal frame lined with glass beads and set with molded glass drip pans hung with colorless amber drops, the frame hung with swags of faceted prisms, the upper portion hung with swags of beaded chains, and the frame and corona accented with sprays of colorless and amber drops.

h. 31”, dia. 23”

Provenance: Royal Antiques, New Orleans, Louisiana.

$1,000-$1,500

ca. 1900, of baroque inspiration, composed of rose- and grayveined marble, the standards mounted with composite giltbronze capitals supporting octagonal tops, the bottoms set into bronze bezels on marble bases.

h. 47”, dia. 13-1/2”

$1,000-$1,500

631

fourth quarter 19th century, in the Louis XV taste, the grayveined, tan marble urns mounted with scroll-molded and giltbronze handles and “covers” with bronze pineapple finials, the sides with mounts depicting winged cartouches, set on reverse serpentine stepped marble bases, raised on engine-turned feet.

h. 14”, w. 7-3/4”, d. 5”

$1,000-$1,500

Pair of Italian Gilt-Bronze and Marble Pedestals

Pair of French Bronze-Mounted Marble Garniture Urns

632

632

Kirsch (German, 19th Century)

“Artist’s Studio”, 1843

oil on canvas signed and dated lower mid right. Framed. 23-1/2” x 29”, framed 29-1/2” x 35” $4,000-$7,000

633

Art Nouveau Patinated Metal and Marble Newel Post Lamp

ca. 1900, after Auguste Moreau (French, 1834-1917), depicting a young woman in flowing Art Nouveau dress, cast signature “Aug. Moreau”, on a carved red griotte marble base, fitted with a frosted glass flame-form shade. h. 40”, dia. 10”

$1,200-$1,800

Napoleon III Ebonized Parlor Cabinet

mid-19th century, the D-form top with a projecting center section, above a conforming case fitted with a central cupboard door with intricate line inlay and foliate patterns, flanked to either side by a rounded, glazed cabinet, opening to a shelved interior, raised on a plinth base.

h. 40”, w. 62”, d. 16-3/4”

$1,000-$1,500

Napoleon III Burlwood, Ebonized and Marble-Top Secretaire

early 20th century, the rectangular marble top within an ormolu band, above a case fitted with a single drawer over a drop front, opening to small drawers and a writing surface, over three drawers, raised on toupie feet, the whole with scrolling foliate inlays and decorative ormolu mounts.

h. 54”, w. 26”, d. 14”

$1,200-$1,800

Italian Ebonized Occasional Table

19th century, in the Renaissance taste, the rectangular top with a molded edge and richly accented with bone-inlaid “tortoise” panels and interlacing inlaid line patterns, above a likedecorated frieze fitted with a single drawer, raised on square legs headed by a molded capital, joined by a box stretcher and ending in bun feet.

h. 25-1/4”, w. 25”, d. 17-1/4”

Provenance: Cedric DuPont Antiques, West Palm Beach, Florida.

$1,500-$2,500

637

Italian Ebonized Settee

19th century, in the Renaissance taste, the triple backs all surmounted by scrolling acanthine carving over panels featuring inlaid figures in Renaissance garb surrounded by various inlaid patterns, joined by turned and block arms to the padded seat, raised on turned and block legs joined by shaped stretchers and ending in toupie feet.

h. 48”, w. 58”, d. 21-1/2”

$1,200-$1,800

638

Giovanni Sceto (Italian, ca. 1869-1895)

“Louis-Napoleon, Prince Imperial”

carved Carrara marble the only child of Napoleon III as a young man, incised signature at back, on a black marble socle base. h. 24”, w. 17”, d. 10”

$2,500-$4,000

638

639

Napoleon III Bronze Dore and Crystal Cave a Liqueur

third quarter 19th century, in the Renaissance Revival taste, possibly Baccarat, the case trimmed with anthemia, sunflowers, ivy and scalloping, and resting on square feet and set with beveled glass, the gilt-bronze lift-out frame with four liqueur bottles and sixteen liqueur glasses, wheel-engraved with flowers and honeycomb cutting.

h. 11-1/4”, w. 14”, d. 12”

$1,500-$2,500

Good Napoleon III Burl and Ebonized Work Table

mid-19th century, with a brass-bound, hinged, rectangular top, banded and with a finely inlaid central cartouche, opening to a storage interior, above a burl paneled frieze, raised on tapering circular legs joined by an H-form stretcher and ending in toupie feet on casters, the lock signed “VveP. Sormani & Fils, Paris 10, r. Charlot”.

h. 30”, w. 24-1/4”, d. 16”

$1,200-$1,800

641

Pair of Patinated Metal Sconces in the Rococo Taste

mid-20th century, the rocaille-molded backplates supporting putti, one playing a lute and the other a flute, with scrolled, leafmolded candle arms set with molded sockets, mounted with cut glass shades. h. 12-3/4”, w. 8-1/2”, d. 6-1/2”

$1,000-$1,500

642

After Eugene-Antoine Aizelin (French, 1821-1902)

“Mignon”

bronze

ca. 1900, titled at front, incised signature, dated “1880” and with a “Barbedienne, Fondeur Paris’ foundry inscription along back edge h. 32”, w. 13”, d. 18”

$2,500-$4,000

642

643

After Henri Honore Ple (French, 1853-1922)

“Maternite”

bronze

ca. 1900, cast signature along front, a “Raingo Freres” foundry mark along proper right edge. h. 33-1/2”, w. 17-1/2”, d. 11”

$2,000-$4,000

644

644

After Hippolyte Francois Moreau (French, 1832-1927)

“Chant de l’Alouette - Song of the Lark”

bronze

ca. 1900, cast signature “M. Moreau” along side of self-base, titled on plaque at front, after the ca. 1890 bronze awarded a medal at the Paris Salon.

h. 30”, w. 12”, d. 12”

Provenance: 305 Shop Antiques, New Orleans, Louisiana.

$2,000-$4,000

Erard Bird’s-Eye Maple and Parcel-Gilt Pedal Harp

mid-19th century, the pillar with Gothic-style decoration and inset maple veneers, the crown with molded reliefs of medieval figures surmounted by arcading, having a double-action mechanism with seven pedals, the brass plate engraved “Erard 13 Rue du Mail, Paris”.

h. 70-1/2”, w. 38”, d. 19”

A similar Erard harp is in the collection of the Victoria & Albert Museum, London, England.

$1,500-$2,500

Empire-Style Ormolu-Mounted Mahogany Bibliotheque

early 20th century, having a central glazed door flanked by figured mahogany veneered doors to each side, adorned with ormolu mounts, raised on tapering square legs.

h. 70”, w. 79”, d. 17”

$1,000-$1,500

second quarter 19th century, the vasiform bases decorated with engine turning, each supporting a winged putto holding a wreath in one hand and a scrolled candle branch in the other, with molded gilt-bronze candle cups and drip pans and central floral-molded finials.

h. 19”, dia. 18-3/4”

$1,000-$1,500

648

649

ca. 1900, the clock with works signed “CH. Hour, France”, mounted with a bust of Napoleon and flanked by engineturned bronze inkpots, the Siena marble body carved with a pen holder and mounted with bronze trim.

h. 7-1/2”, w. 8”, d. 3-1/2”

$1,000-$1,500

647

648

mid-20th century, the green ring-form body set with masquedecorated lyres alternating with trumpet-form candle holders decorated with gilt leaves, suspended from a corona with gilt feathers from rod-form chains.

h. 35-1/2”, dia. 30-1/2”

$1,500-$2,500

647

Pair of French Restauration Gilt- and Patinated Bronze Candelabra

French Tole Chandelier in the Neoclassical Taste

Empire-Style Marble and Bronze Clock-Mounted Encrier

XVI-Style Ormolu-Mounted Bed and Armoire

early 20th century, the bed with an arched headboard and central gilt-bronze wreath, the posts with bronze pineapple finials, the footboard with bronze ribbon-and-swag mounts, h. 58”, inside w. 60”, l. 81”, outside w. 63”, l. 85”, together with an arnoire with a molded cornice with a central domed section flanked to both ends by an ormolu acorn finial, above a wreathapplied frieze over two doors, each inset with a beveled mirror, the whole accented with ormolu mounts and raised on toupie feet, h. 94”, w. 59”, d. 22”.

$2,000-$4,000

653

651

second quarter 19th century, the cluster-column marble standards set with unusual cabochon-molded capitals supporting leaf-molded, scrolled and pierced candle branches, terminating in inverted bell-form candlecups richly molded with flowers and shells, with matching bobeches and drip pans, the standard in acanthus-molded mounts on fluted, tapering bases set into wreaths of gilt-bronze ribbon-bound laurel leaves.

h. 32”, dia. 14-1/2”

$1,000-$1,500

652

second quarter 19th century, in the Rococo Revival taste, the molded surrounds with an outer edge of rocaille work, the pierced crests with classical busts framed with pierced scrollwork, the bottoms with scrollwork framing cabochons, and the beveled mirror plates lined with cabochons, scrollwork and flower heads.

h. 67-1/2”, w. 41-1/2”

$1,800-$2,500

653

19th century, the backswept crest above a rounded back terminating in scrolled hand rests, the padded seat raised on shaped legs ending in ormolu paw feet, the whole accented with ormolu mounts.

h. 30-1/2”, w. 23-1/2”, d. 19”

$1,000-$1,500

Pair of Impressive Louis-Philippe Marble and Gilt-Bronze Candelabra

Pair of Large Louis-Philippe Giltwood Mirrors

Empire Ormolu-Mounted Mahogany Tub Chair

Louis-Philippe Rosewood Barometer

mid-19th century, the case with a leaf-carved crest framed in scrollwork with matching carving on the base and above the dial, framed with an acanthus-molded gilt-bronze bezel, the throat set with a thermometer. h. 37-1/2”, w. 12”

$1,000-$1,500

Henry Pember Smith (American, 1854-1907)

“View of Venice”

oil on canvas signed lower left, verso with “Alexander Kahan, New York, New York” gallery label. Framed.

35” x 25”, framed 46” x 36”

Provenance: Alexander Kahan Fine Arts, Ltd., New York, New York; Dallas Auction Gallery, September 14, 2016, lot 275.

$1,500-$2,500

655

656

Suite of Eight Fruitwood Armchairs

in the Directoire taste, each with a backswept crest above a padded back, joined to the padded seat by like arms on spiralribbed uprights, raised on fluted, tapering circular legs ending in toupie feet.

h. 40”, w. 26”, d. 20”

$2,000-$4,000

657

Classical Revival Pietra Dura and Parcel-Gilt Center Table

the rectilinear top inlaid with a variety of marble in scroll and geometric patterns, above a pair of pedestals, each modeled as paired Neo-Grec winged figural supports with paw feet, and joined by a turned, lobed and foliate-carved stretcher.

h. 35”, w. 59”, d. 27-1/4”

$2,000-$4,000

detail

fourth quarter 19th century, composed of black marble and rusticated red griotte marble, decorated with incised hieroglyphs and various Egyptian devices, the pylon-form clock supporting a patinated bronze sphinx, the movement with an exposed escapement, h. 15”, w. 15-1/2”, d. 7-1/4”, the obelisks decorated to match, h. 20-1/2”, w. 7”, d. 4”.

$1,200-$1,800

659

Empire-Style Ebonized, Parcel-Gilt and Marble-Top Center Table

the paneled, circular specimen marble top centered by a floriform design surrounded by sunburst geometric inlaid panels, raised on a fluted, waisted and foliate-carved standard to three monopodal lion masques on a tripartite concave base.

h. 32”, dia. 43-1/4”

$2,000-$4,000

French Egyptian Revival Marble and Bronze Three-Piece Clock Set

660

660

Group of Nine Grand Tour Terracotta Souvenirs

late 19th/early 20th century, European, after Attic pottery, in the form of amphorae, ewers and lekythos, painted and detailed with sgraffito decoration.

h. 5” to 7”, w. 3” to 3-3/4”

$1,200-$1,800

660 detail

661

Pair of French Bronze Dore-Mounted Marble Campana-Form Urns

fourth quarter 19th century, with “Dancing Hours” bronze mounts on the body, over reeding, mounted with molded bronze handles and pierced scrollwork, the fluted, tapered bronze supports resting on stepped marble bases decorated with gilt-bronze mounts and laurelmolded trim.

h. 15-1/2”, dia. 8-1/2”

$1,200-$1,800

662

662

French Restauration Clock by Bronzier Deniere, Paris

second quarter 19th century, composed of red griotte marble and bronze dore et patine, the clock mounted with a patinated bronze figure of the goddess Flora, leaning on a clock set with a bronze dore dial marked “Deniere a Paris”, the works marked by Deniere and clockmaker Honore Pons (French, 1773-1851), the top mounted with a bronze dore wreath, book and scroll, h. 26”, w. 18-1/2”, d. 7-1/2”, and the matching candelabra with columnform standards set with bronze dore leaf-molded drip pans set with cylindrical candle sockets, h. 28-1/2”, dia. 11”.

$3,000-$5,000

663

Pair of Italian Gilt-Bronze and Marble Pedestals

fourth quarter 19th century, the rosso antico marble pedestals with pierced gilt-bronze capitals of Byzantine inspiration, the bases of the standards set into egg-and-dart-molded bezels, set on cove-molded, stepped bases.

h. 42-1/2”, w. 13”, d. 13”

Provenance: Moss Antiques, Inc., New Orleans, Louisiana.

$1,000-$1,500

664

Jacob (French, b. 1846)

“The Courtship”

oil on canvas signed lower right. Framed. 22” x 15-3/4”, framed 33” x 26-1/2”

$1,500-$2,500

665

Napoleon III Ebonized and Boulle Cabinet

mid-19th century, the molded cornice above a case fitted with two doors, each with an upper glazed section and a lower boulle panel, raised on ormolu-mounted toupie feet, the whole with boulle accents. h. 70-1/2”, w. 42-1/2”, d. 15-3/4”

Provenance: Mattis Antiques, St. Louis, Missouri.

$1,200-$1,800

Napoleon III Ebonized and Boulle Vitrine Cabinet

mid-19th century, the gadroon-molded cornice above a case fitted with two long doors, the upper section paneled, the lower section inset with a boulle panel, raised on toupie feet, the whole accented with ormolu mounts and inserts.

h. 86-1/2”, w. 51”, d. 18”

Provenance: Mattis Antiques, St. Louis, Missouri.

$1,500-$2,500

667

Napoleon III Ebonized and Boulle Center Table

mid-19th century, the “turtle”-form top with a glass overlay and within a patterned ormolu frame, above a conforming frame centered by an applied female masque, raised on cabriole legs headed by espagnolettes and ending in sabots, the whole richly accented with boulle panels.

h. 30”, w. 51”, d. 31-1/2”

$1,800-$2,500

667

668

French Patinated Bronze Centerpiece

fourth quarter 19th century, in the neoclassical taste, the oval-form centerpiece decorated with deeply molded neoclassical figures, the handles decorated with trumpeting juvenile Pan gods flanked by pierced serpents, on a covemolded base fluted and trimmed with molded laurel leaves. h. 14-1/4”, w. 15”, d. 12-1/2”

$1,000-$1,500

Napoleon III Ebonized and Boulle Secretaire

mid-19th century, the superstructure with a domed cornice and two end ormolu urn finials, above two domed cupboard doors and two small drawers, the bowed top above a conforming frieze fitted with a pull-out writing slide and a single drawer, raised on cabriole legs headed by espagnolettes and ending in sabots, the whole richly accented with intricate boulle panels.

h. 59”, w. 33”, d. 22”

$1,200-$1,800

670

Napoleon III Ebonized and Boulle Vitrine

mid-19th century, the domed crest with side ormolu urns above a case fitted with a medallion-centered frieze over a single glazed door, opening to a shelved interior, over a single drawer, raised on turreted feet, the whole richly accented with boulle panels.

h. 89”, w. 44”, d. 20-1/2”

$1,500-$2,500

671

Napoleon III Ebonized and Boulle Occasional Table

mid-19th century, the shaped rectangular top with projecting canted corners, above a concave frieze fitted with a single drawer, raised on slender cabriole legs ending in sabots, the whole accented with boulle panels.

h. 30”, w. 17-1/4”, d. 12-1/4”

$1,000-$1,500

672

Pair of Belle Epoque Gilt-Bronze and Marble Lamps

fourth quarter 19th century, the brass standard on a covemolded, circular red griotte marble base decorated with guilloche-molded bronze panels, supporting vertical scrolls decorated with molded flowers, set with scrollwork and acanthus leaves, mounted with shades.

h. 27”, dia. 16”

$1,200-$1,800

673

Napoleon III Ebonized and Marble-Top Parlor Cabinet

mid-19th century, the shaped marble top within a floral-incised brass frame, above a conforming case fitted with a single cupboard door, the whole accented with intricately interlacing brass patterns, raised on low bracket feet.

h. 43-1/4”, w. 43”, d. 18-1/2”

$1,000-$1,500

672

674

Pair of Napoleon III-Style Kingwood and Ebonized Jardiniere Tables

mid-19th century, each with an ovoid top with removable banded and floral-inlaid panel, removing to a metal liner, above a floral-inlaid frieze, raised on shaped supports to a concave lower shelf to splayed legs ending in sabots.

h. 31”, w. 19”, d. 13-1/2”

$1,000-$1,500

675

Max Albert Carlier (Belgian, 1872-1938)

“Mother Cat and Kittens Playing”, ca. 1935

oil on canvas signed lower left, a “Campo & Campo” seal on stretcher, dated on brass artist plaque on frame. Framed.

31-1/2” x 24”, framed 39-1/4” x 31-1/2”

$4,000-$7,000

676

Gilt-Bronze and Cut Crystal Chandelier

second quarter 20th century, in the Louis XIV style, the nine-light chandelier with a bronze frame set with scrolled candle arms and hung with a profusion of cut glass drops, the upper portion with a corona formed from two graduated sprays of cut glass drops.

h. 30-1/2”, dia. 20”

Provenance: Royal Antiques, New Orleans, Louisiana.

$1,000-$1,500

677

Pair of Monumental French Belle Epoque Gilt-Bronze Sconces

fourth quarter 19th century, the bodies decorated with neoclassical busts and swags of flowers, the bases with trailing oak leaves and tassels “hanging” from the bowknot upper supports, the scrolled candle branches decorated with leaves and set with reeded and swag-molded candle cups and fluted drip pans.

h. 40”, w. 23”, d. 12”

$1,200-$1,800

678

Transitional Louis XV/XVI Giltwood Wing Chair

the back with a floral-carved crest and canted wings extending to closed arms with leaf- and scroll-carved ends, bowed guillochecarved seat rail and fluted legs, upholstered in leopard print velvet with a loose seat cushion and matching cylindrical bolster.

h. 43-1/4”, w. 27”, d. 24”, seat h. 20-3/4”

$1,500-$2,500

677

676

679

Wrought Iron, Cast Brass and Marble-Top Console with Mirror

early 20th century, in the manner of Oscar Bach, the conforming Egyptian marble top on a frame with pierced scrollwork, and cabriole legs with pierced scrollwork resembling peacock feathers, the stretcher mounted with baroque scrollwork set with a basket of flowers, the mirror with like decoration.

console h. 33”, w. 33”, d. 13”, mirror h. 38”, w. 20-1/2”

$1,000-$1,500

680

Large Chinese Carved and Gilt-Washed Plaque

20th century, decorated with a profusion of carefully carved flowers, including lotus flowers, roses, crysanthemums and hollyhocks.

h. 37-1/2”, w. 28”

$1,000-$1,500

679

681

681

French Belle Epoque Bronze and Steel Stand

fourth quarter 19th century, the bronze top molded in bas-relief with a laurel wreath and scrollwork, above a scroll-molded steel tripod base decorated with molded bronze lotus blossoms and leaves and steel scrollwork.

h. 34-1/2”, dia. 15-1/4”

$1,200-$1,800

682

Art Nouveau Carved and Parcel-Gilt Mirror

ca. 1900, carved with lily pads, flowers and buds, the stems looping over the mirror plate and “wrapped” around the frame.

h. 46”, w. 33” h. 46”, w. 33”

$1,000-$1,500

683

French Egyptian Revival Gilt-Bronze Table Lamp

first quarter 20th century, the gilt-bronze figure of a maiden in Egyptian costume, after Paul-Lucien Bessin (French, active early 20th century), the base stamped by the Louchet/Ciseleur Foundry in Paris, decorated with the Egyptian winged sun, set with a patinated metal shade decorated with glass jewels and brass strapwork.

h. 16-3/4”, w. 6-3/4”, d. 5-1/2”

$1,000-$1,500

684

After Pierre le Faguays (French, 1892-1962)

“Diana, as the Huntress”, 20th century

patinated bronze cast signature along edge of self-base, on a black marble plinth. overall h. 19-1/2”, w. 6-3/4”, d. 6-1/4”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$1,000-$1,500

685 Jean Beraud (French, 1849-1935)

“La Parisienne”

oil on wood panel signed lower mid-right, and auction stickers and “TOILES a PEINDRE & COULEURS FINES MOIRINAT PARIS 184 Faubourg Saint Honore” stamp en verso. Framed.

9” x 6-1/4”, framed 10-3/4” x 8”

Provenance: Sold at Piguet Hotel des Ventes, Geneve, March 11, 2009, lot 1206.

$10,000-$15,000

685

686

Paul Cesar Helleu (French, 1859-1927)

“Girl Seated at Fireplace”

charcoal, pencil, red and white chalk on paper signed lower left. Matted, glazed and framed. 26-3/4” x 20-1/2”, framed 36” x 29”

Provenance: W. Scott Thurber Fine Arts, Chicago, Illinois, 1913; thence by descent in the family.

$8,000-$12,000

687

19th century, the solid mahogany top with rounded corners and a reeded leading edge, and mounted to three turned standards, each with Queen Anne-form outstretched legs, opening to accommodate two 20-1/2” leaves. h. 29-1/4”, w. 45”, l. 104-3/4”, ext. l. 145-3/4”

$1,000-$1,500

687

688

consisting of two armchairs and eight side chairs, each with a shaped and earred crest above a pierced and interlacing splat, the arms with outswept ribbed hand rests, all with padded seats raised on chamfered square legs joined by an H-form stretcher.

h. 38”, w. 26”, d. 18”

$1,000-$1,500

George III-Style Mahogany Triple-Pedestal Dining Table

Suite of Ten George III-Style Mahogany Dining Chairs

689

689

French Gilt-Metal and Glass Chandelier

third quarter 20th century, the six-light chandelier frame lined with glass beading and hung with strands of prisms, the scrolled candle arms supporting molded prism rings and the upper portion lined with strands of drops, accented with a spherical cut glass pendant finial. h. 34”, dia. 20-1/2”

Provenance: Royal Antiques, New Orleans, Louisiana.

$1,000-$1,500

690

Partial Service of Cut Crystal Stemware

with strawberry-cut bowls and faceted stems with notched edges, the service comprised of twelve water goblets, h. 7-3/4”, eleven champagne coupes, h. 5-3/4”, ten white wine glasses, h. 6-1/2”, ten claret glasses, h. 5-1/2”, and twelve cordial glasses, h. 4”.

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

690

691

Pair of Early George III Sterling Silver Candlesticks

hallmarked London, 1761-1762, by William Cafe, each in the form of a Corinthian column, above a domed square base decorated with rococo ovolo and fluted banding, surmounted by a detachable square bobeche, engraved on the bobeche and base with the crest of Freshfield of Moor Place, Betchfield, Surrey. h. 12-3/4”, w. 5-1/8”; weighted

$1,500-$2,500

691

Pair of Italian Giltwood Mirrored Brackets

second quarter 20th century, labeled by Fratelli Paoletti, the serpentine giltwood shelves supporting oval beaded mirrors on carved acanthus leaves, the elaborate crests with acanthus leaves supporting pagoda-form hoods set with cascades of giltwood flowers.

h. 40”, w. 15-1/2”, d. 6”

$1,200-$1,800

693

early 20th century, consisting of two armchairs, h. 38”, w. 26”, d. 22”, and six side chairs, h. 38”, w. 24”, d. 20”, each with a foliatecarved crest rail and pierced, carved splat, serpentine slip seat and raised on cabriole legs ending in ball-and-claw feet.

$1,000-$1,500

692

Suite of Eight George III-Style Mahogany Dining Chairs

Fine Regency Mahogany Breakfront Secretary

first quarter 19th century, the projecting center section with an arched and molded top with a line-inlaid frieze and a pair of astragal-glazed doors below, the base fitted with a central pull-out desk section, flanked by drawers and cabinets below, the side sections of similar form, raised on line-inlaid tapering square legs. h. 107”, w. 106”, d. 24”

Provenance: From the Estate of Edward Hull Crump, Jr., Memphis, Tennessee.

$5,000-$8,000

Baccarat Gilt-Bronze and Crystal Chandelier

late 19th/early 20th century, French, the twenty-four-light chandelier with a cast bronze stem and frame retaining some residual gilt, the cast canopy supporting arms hung with spears, teardrop prisms and beaded swags, over four tiers with six lights each, the bobeches hung with drops and prisms, some molded glass prisms, signed “Baccarat” in raised letters, externally wired and electrified.

h. 43-1/4”, dia. 37-1/2”

$3,500-$5,000

696

Suite of Four Hancock and Moore Leather and Mahogany Armchairs

in the George II style, each with a tufted, shaped back joined to open arms curving to a tufted and bowed seat rail, on cabriole front legs with pad feet.

h. 38-1/2”, w. 22-1/2”, d. 25-1/2”, seat h. 18-1/2”

$1,000-$1,500

in the George II style, each with a tufted, shaped back joined to open arms curving to a tufted and bowed seat rail, on cabriole front legs with pad feet.

h. 38-1/2”, w. 22-1/2”, d. 25-1/2”, seat h. 18-1/2”

$1,000-$1,500

697

second quarter 19th century, the top with a wide banded edge and mounted to turned pedestals with reeded outstretched legs ending in cast paw feet with casters, opening to accommodate two 18-1/4” leaves.

h. 28-1/2”, w. 51-1/2”, l. 94”, ext. l. 130-1/2”

$1,200-$1,800

697

Suite of Four Hancock and Moore Leather and Mahogany Armchairs

698 Regency Mahogany Triple-Pedestal Dining Table

699

699

Robert Carver (British, 1730-1791)

“Classical Landscape with Figures by a Stream, Ruins in the Background”

oil on canvas signed lower right. Framed.

36” x 50”, framed 43-1/4” x 57-1/2”

Provenance: Private collection, Baton Rouge, Louisiana. $15,000-$25,000

700

George II Burr Walnut and Giltwood Mirror

second quarter 18th century, English, the carved giltwood swan’s-neck pediment framing a basket-of-flowers finial, the lower edge scrolled and with crossetted corners and the mirror plate lined with a carved giltwood trim, all in a field of burr walnut veneer.

h. 59-1/2”, w. 31-1/4”

$1,000-$1,500

701

George III-Style Mahogany Linen Press

19th century, the broken swan’s-neck pediment above a banded frieze, over two doors, each paneled and banded, opening to pull-out shelves, the lower section fitted with two short drawers over two graduated long drawers, all banded, raised on bracket feet, the upper right proper drawer stamped “Edwards & Roberts”. h. 95”, w. 59”, d. 23-1/2”

Provenance: Keil’s Antiques, New Orleans, Louisiana. $2,000-$4,000

702

Suite of Ten George III-Style Mahogany Dining Chairs

early 20th century, consisting of a pair of armchairs, h. 43-1/2”, w. 28”, d. 22”, and eight side chairs, h. 42-1/2”, w. 24”, d. 19”, all with pierced and carved splats, floral and ribbon carved posts, serpentine seats and raised on cabriole legs ending in ball-and-claw feet.

$1,000-$1,500

703

703

George III-Style Mahogany Dining Table

branded “Stickley”, the banded top with rounded, crimped corners, opening to accommodate four 12” leaves, raised on two pedestals, each with a foliate-carved urn-form standard to three splayed, like-carved legs ending in brass hairy paws on casters.

h. 29-1/2”, w. 46”, l. 72”, ext. l. 120”

$1,200-$1,800

704

George III Mahogany Silver Table

fourth quarter 18th century, the dished rectangular top with crimped corners, above a conforming frieze fitted with a single drawer, raised on cabriole legs ending in pointed pad feet.

h. 28”, w. 30”, d. 19-1/4”

$1,000-$1,500

705

Pair of Chinese Blue and White Ginger Jars

decorated with leaping fish, water lilies and hyacinths, the bases and covers with scrolled panels.

h. 15-1/2”, dia. 7-1/4”

$1,000-$1,500

706

706

Pair of Chinese Blue and White Ginger Jars

decorated with flying dragons swirling in the clouds, the bases and domed covers with scrolled panels.

h. 15”, dia. 7”

$1,000-$1,500

707

George III-Style Carved Mahogany and Marble-Top Slab Table

20th century, the thick, rectangular Egyptian marble top above a molded frame and carved frieze, raised on cabriole legs ending in hairy paw feet, the inside apron bearing a metal tag, “Shaw Furniture Co., Cambridge, Mass. U8347”.

h. 35”, w. 49”, d. 23”

$1,400-$1,800

707

708

Pair of Chinese Blue and White Ginger Jars

now mounted as lamps, decorated with a procession of mandarin figures, one riding a “dragon”, the domed covers with trees and flowers.

h. 26-1/2”, dia. 8”

$1,200-$1,800

708

709

709

Pair of Chinese Blue and White Porcelain Ginger Jars

painted with birds and peonies, the shoulders mounted with molded foo-dog masques, the domed covers with flowers and blue foo-dog knops.

h. 22-1/2”, dia. 9-1/4”

$1,200-$1,800

710

Pair of Chinese Blue and White Ginger Jars

19th century, decorated with birds in peonies and prunus branches, the shoulders set with molded foo dog masques, the molded covers with blue-glazed seated foo dog knops.

h. 17-1/2”, dia. 7-3/4”

$1,200-$1,800

710

711

Unusual Pair of Queen Anne-Style Mahogany Slender Wing Chairs

early 20th century, each with a tall, padded back, out-curved armrests, reversible down cushion and raised on cabriole legs.

h. 50”, w. 27”, d. 20”

$1,000-$1,500

Continental Maple and Burlwood Secretary

18th century, the molded and double-domed cornice above a conforming case fitted with two mirrored doors, opening to an arrangement of fourteen drawers centering a central cupboard door, all banded, the lower section fitted with a slant front opening to an inset baize writing surface and a variety of drawers and cubbyholes, with two short drawers and three long drawers below, all banded, the whole raised on bun feet.

h. 77”, w. 43-1/4”, d. 20”

$1,000-$1,500

Napoleon III Mahogany Fall-Front Desk

third quarter 19th century, constructed of well-figured veneers, with a fold-out top opening to reveal an inset tooled leather writing surface backed by niches and drawers, the lid with a mechanism to extend the work surface and release the drawer locks when opened, over a band of three drawers and double pedestal supports, each with a bank of three drawers and a plinth base, veneered and finished on all four sides.

h. 33-1/4”, w. 51-3/4”, d. 25-3/4”

$1,200-$1,800

714

714

Pair of Giltwood and Faux Crocodile Leather Wing Chairs

in the Georgian Chippendale style, each with an arched back joined to shaped wings extending to rolled arms, the seat with a loose cushion, raised on cabriole legs with ball-and-claw feet.

h. 47”, w. 40”, d. 33”

$1,800-$2,500

715

George III-Style Mahogany Wardrobe

early 20th century, the molded and gadroon-carved cornice above a case fitted with two long doors, faced as two paneled doors over two banks of three graduated short drawers, raised on tall bracket feet.

h. 83”, w. 56-1/2”, d. 25”

$1,500-$2,500

7016

717

716

Late George III-Style Mahogany Sideboard

early 20th century, the cross-banded top over a case with two bands of three drawers, each pair of drawers flanked by carved laurel wreaths over tapering paneled legs with foliate-carved tops and stepped feet.

h. 33-1/4”, w. 66-3/4”, d. 27-3/4”

$1,000-$1,500

Donald Ayres (British, b. 1936)

“Fox Hounds”

oil on canvas signed lower left. Framed.

24” x 36”, framed 31” x 43”

$1,500-$2,500

718

718

Henry Schouten (Belgian, 1864/7-1927)

“On the Scent” pair of oils on canvas each signed lower left. Framed alike. 24” x 15-3/4”, framed 31-1/2” x 23-1/2” $3,000-$5,000

719

first half 20th century, possibly French, realistically molded, its head cocked to one side and set with glass eyes. h. 22”, w. 10-1/2”

$1,200-$1,800

Molded and Painted Plaster Horse’s Head

720

720

George Miller (British, 20th Century)

“Huntsman on Horseback with Groom and Dogs”

oil on canvas signed lower right.

Framed. 24” x 36”, framed 32-1/4” x 44-1/2”

$4,000-$7,000

721

George III Mahogany Sideboard

early 19th century, the rectangular top above a case fitted with a central drawer flanked to either side by a deep cellarette drawer, raised on tapering square legs ending in spade feet. h. 36”, w. 60”, d. 21-1/2”

$1,000-$1,500

722

the rounded rectangular top with a kingwood banded and molded edge, opening to accommodate two 20-1/2” leaves, raised on three pedestals, each with a turned vasiform standard to four splayed and molded legs ending in brass paws on casters.

h. 30”, w. 48”, l. 121”, ext. l. 162”

$2,000-$4,000

722

723

consisting of two armchairs and twelve side chairs, each with a shaped, shell-carved crest above a foliate-carved vasiform splat, the armchairs with outscrolled arms, all with padded seats raised on cabriole legs headed by scrolls and ending in balland-claw feet.

h. 42”, w. 22”, d. 18”

$2,000-$4,000

George III Mahogany Triple-Pedestal Dining Table

Suite of Fourteen George II-Style Mahogany Dining Chairs

Pair of Chinese Export Mille Fleur Garniture Vases

fourth quarter 19th century, now mounted as lamps, decorated in the famille rose palette, with panels of flowers, birds and insects on both the obverse and the reverse, against a mille fleur ground, with pierced and gilded salamander handles, on wooden bases and mounted with shades.

h. 25”, w. 13-1/2”, d. 10-1/2”

Provenance: Keil’s Antiques, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

$1,000-$1,500

725

Pair of George II Walnut Chairs in the Chippendale Taste

mid-18th century, English or Irish, exuberantly carved in the rococo style, with foliate and shell carving throughout, the shaped backs with an intricately carved ribbon splat, the compass seats retaining the period slip seat frames with rose head nails, one seat retaining antique brocade upholstery, raised on cabriole legs with cabochon and shell carving at their tops and ending in ball-and-claw feet.

h. 42”, w. 22-3/4”, d. 21-1/2”

Provenance: By repute, the present chairs were part of a larger suite of chairs brought to the states by a German immigrant family in the mid-20th century. The other six chairs are believed to have been in the Northeastern U.S.

$1,000-$1,500

724

725

726

Queen Anne-Style Ebonized Corner Cabinet

19th century, in the chinoiserie taste, the bowed and molded cornice above a conforming case fitted with two doors, each richly gilt-decorated in figural chinoiserie scenes, opening to a shaped, shelved interior, on a molded base.

h. 36”, w. 24”, d. 16”

$1,000-$1,500

728

729

George III-Style Mahogany Chest-on-Chest

19th century, the serpentine, foliate-carved crest above a conforming case fitted with three short drawers over three graduated long drawers, the lower section fitted with a baizelined brushing slide over four long graduated drawers, all flanked to both sides by canted, stop-fluted pilasters with acanthine capitals, raised on large ball-and-claw feet.

h. 77”, w. 43”, d. 21-1/2”

$3,000-$5,000

727

727

Italian Painted and Parcel-Gilt Mirror

20th century, in the Venetian rococo taste, the surround decorated with painted chinoiserie on a Chinese red ground, the edges trimmed in carved scroll and rocaille work, the crest with a central carved shell.

h. 45-1/2”, w. 28”

$1,200-$1,800

728

Pair of Georgian-Style Giltwood Brackets

20th century, probably English, the pierced rocaille-carved shelves supported by opposing phoenix birds perched on pierced scrollwork, flower heads and acanthus leaves.

h. 12-1/4”, w. 9-1/2”, d. 7-1/4”

$1,000-$1,500

730

fourth quarter 19th century, the Japanese ginger jar bases decorated in the imari palette and set into a wreath of acanthus leaves, the necks with leaf-molded trim and bronze fittings molded with anthemia, on bronze bases and mounted with shades.

h. 27-1/2”, dia. 14”

$1,000-$1,500

730

731

Impressive English Mahogany Banquet Table

mid-19th century, in the maner of Gillows, having six large turned and reeded legs, carved top and leaves, opening to accommodate seven leaves.

h. 30”, w. 65”, l. 60”, ext. l. 218”

$1,800-$2,500

Pair of Franco-Japanese Bronze-Mounted Imari Lamps

732

Assembled Pair of Chinese Qing Dynasty Blue and White Moon Flasks

19th century, each with pierced salamanders on the shoulders, one with a central panel of scenes and the other with objects, against a ground of painted peonies and leaves, with upper and lower lancetdecorated borders.

h. 10-1/4”, w. 7-1/4”, d. 2-1/4”

$1,000-$1,500

732

733

Pair of Handsome English Giltwood Mirrors

ca. 1900, in the rococo taste, the oval mirror plates set into giltwood surrounds, decorated with rocaille and scrollwork, the central crests with canopies and laurel leaves, supported on tall scrollwork, the lower portions carved to match.

h. 41-1/2”, w. 17”

$1,500-$2,500

733

734

Pair of Victorian Mahogany Pedestal Cupboards

late 19th century, each with a stepped top above a fluted and patera-carved frieze, above a conforming case fitted with a single foliate-carved drawer over a cupboard, paneled and inset with a foliate oval panel within a fluted frame, raised on a plinth base.

h. 40-1/4”, w. 22-3/4”, d. 22-3/4”

$1,500-$2,500

735

735

Thomas F. Burn (British, Mid-19th Century)

“Fisherman and His Family at the Shore”, 1881 “Women Sorting Fish with Their Family by the Shore”

pair of oils on canvas former signed and dated lower right, and latter signed lower left.

Glazed and framed alike. 10” x 8”, framed 20-1/2” x 18-1/2”

$1,000-$1,500

George III-Style Mahogany Dining Table

early 20th century, attributed to W. & J. Sloane, New York, the rectangular top with canted corners, opening to accommodate eight 12” leaves, above an undulate-carved frieze raised on double, tapering square legs headed by foliate capitals, paneled and with bellflower carving to block feet.

h. 30”, w. 60”, l. 62”, ext. l. 158”

Originally purchased en suite with the server, pair of pedestal cabinets, vitrine and eight chairs.

$1,500-$2,500

Suite of Eight George III-Style Mahogany Dining Chairs

19th century, attributed to W. & J. Sloane, New York, possibly Irish, consisting of two armchairs and six side chairs, each with a foliate-carved crest above an inverted pierced fan-form back, the armchairs with outswept, foliate-scrolled arms, all with padded seats raised on cabriole legs headed by acanthine carving and ending in paw feet.

h. 40”, w. 24”, d. 20”

Originally purchased en suite with the server, vitrine, pair of pedestal cabinets and dining table.

$1,500-$2,500

Chippendale-Style Mahogany Vitrine

early 20th century, with a carved overhanging cornice above a pair of shaped, glazed doors, mounted to a table base with a carved apron frieze and relief-carved legs, bearing a celluloid label by W. & J. Sloane, New York.

h. 77-1/2”, w. 60”, d. 17-1/2”

Originally purchased en suite with the server, dining table, pair of pedestal cabinets and eight chairs.

$1,200-$1,800

739

739

Fine Pair of Mahogany Pedestal Cabinets

early 20th century, in the Georgian taste, attributed to W. & J. Sloane, New York, each with a platform top, carved moldings and a single drawer over a shaped door, the drawer locks engraved “Secure 2 Lever, W. & J. Sloane”. h. 45”, w. 25”, d. 21”

Originally purchased en suite with the dining table, server, eight chairs and vitrine.

$1,500-$2,500

740

English Mahogany Server

early 20th century, attributed to W. & J. Sloane, New York, the rectangular breakfront top with projecting canted corners, above a conforming case fitted with a central drawer over an acanthine-carved cupboard, flanked to both sides by three short concave drawers, raised on block feet fronted by acanthine scrolls, the drawer locks engraved “Secure 2 Lever, W. & J. Sloane”. h. 37”, w. 55-1/2”, d. 23-1/2”

Originally purchased en suite with the dining table, vitrine, pair of pedestal cabinets and eight chairs.

$1,000-$1,500

741

William P. Sherlock (British, 1780-1821)

“The Welsh Hills”

oil on canvas signed lower right. Framed. 26” x 36”, framed 36” x 47”

$3,000-$5,000

741

742

Oak and Ash Two-Part Welsh Dresser

early 19th century, the associated top with throughmortised ends and plate rails, the base with three side-by-side drawers over a central scalloped opening flanked by cabinets to each side.

h. 70-1/2”, w. 59-1/2”, w. 17”

$1,000-$1,500

743

George III Mahogany Chest

late 18th century, the rectangular top above a conforming case fitted with four graduated long drawers, raised on bracket feet.

h. 33”, w. 32-1/2”, d. 19-1/2”

$1,500-$2,500

744

George III Mahogany Chest

late 18th century, the rectangular top above a conforming case fitted with two short drawers over three graduated long drawers, all banded, raised on bracket feet.

h. 33-1/2”, w. 35-1/2”, d. 19”

$1,500-$2,500

745

Kangxi period (1661-1722), decorated with warriors on horseback, the foot and shoulder decorated with floral medallions on a diapered ground.

h. 17-1/2”, dia. 6-1/4”

$1,500-$2,500

743

Handsome Chinese Famille Verte Baluster Vase

746

William IV Mahogany Server

mid-19th century, the brass rail with urn finials, above a D-form top, over a conforming frieze fitted with two drawers, each inlaid with ebonized stringing, raised on ring-turned, tapering circular legs ending in tall toupie feet.

h. 54”, w. 59-1/2”, d. 30”

$1,000-$1,500

746

747

Pair of English Giltwood Mirrors in the Adam Style

first quarter 20th century, the coved surrounds with gadrooned edges set with urn-form finials and scrollwork, supporting swags of bellflowers, the lower portion with ram’s heads and bellflower drops framed with scrollwork.

h. 41”, w. 34-1/2”

$1,500-$2,500

748

George III-Style Mahogany Sideboard

early 20th century, the undulating D-form top with a foliate ribbon-inlaid band, above a conforming case fitted with a central cutlery drawer flanked to one side by a deep drawer and to the other by a cupboard, all richly inlaid with scrolling floral and foliate patterns, raised on tapering square legs ending in spade feet.

h. 35-1/2”, w. 72”, d. 25-1/2”

$2,000-$4,000

749

Pair of George III-Style Mahogany Stands/Pedestals

each with an octagonal top with a Chinese Chippendale-style fretwork gallery over a shaped, pierced and carved standard joined to a tripodal base with cabriole legs ending in pad feet.

h. 50-1/2”, w. 12”, d. 12”

$1,200-$1,800

750

Nancy Corzine Ebonized and Parcel-Gilt Bench

of neoclassical form with tall, fluted scroll ends, raised on lobed and fluted trumpet legs, the seat with a loose cushion, upholstered in striped cut velvet, labeled, “Nancy Corzine Furniture”.

h. 32”, w. 62”, d. 22-1/2”, seat h. 22-3/4”

$1,500-$2,500

751

French Patinated Bronze and Crystal Chandelier

third quarter 20th century, of baroque inspiration, the twelvelight chandelier with a standard clad with vasiform cut crystal, set with curved candle arms terminating in inverted bell-form candle cups and scalloped drip pans, the arms hung with large cut glass prisms, the upper section set with two tiers of cut glass drops.

h. 31”, dia. 25-1/2”

Provenance: Royal Antiques, New Orleans, Louisiana.

$1,000-$1,500

752 Jean Baptiste Coene (Belgian, 1805-1850)

“Pastoral Scene”

oil on wood panel signed lower right. Framed.

17” x 26”, framed 24-1/2” x 33-1/2”

$3,000-$5,000

751

753

George Clarkson Stanfield (British, 1828-1878)

“Braubach on the Rhine”

oil on canvas unsigned, and labels with artist and title en verso. Framed.

20” x 30”, framed 28” x 37-1/2”

$1,500-$2,500

754

Interesting Gothic Revival Mahogany Vitrine

early 20th century, the upper portion with a central glazed door and lighted ends, the interior back with carved linen fold panels, the exterior with Gothic tracery, the base with Gothic grillwork and a central front door, and the side ends with additional doors.

h. 50”, w. 31-1/2”, d. 20-1/2”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

755

755

After Henry Wallis (British, 1830-1916)

“A Despatch from Trebizond”

oil on canvas fourth quarter 19th century, after the painting by Wallis exhibited at the Royal Academy of 1873 as #977, a “George Rowney & Co., London” supplier’s stamp en verso. Framed.

12” x 18”, framed 16-1/2” x 22-1/2”

$1,000-$1,500

756

Continental Gilt-Bronze and Molded Glass Five-Light Chandelier

first quarter 20th century, supported on a rococo molded chain, the ball-form standard set with reeded arms holding shades formed as lavender-shaded grape clusters, the shade holders molded with fleurs-de-lis.

h. 34-1/2”, dia. 22-1/2”

Provenance: Royal Antiques, New Orleans, Louisiana.

$1,000-$1,500

757

Pair of Chinese Cloisonne Vases

20th century, now mounted as lamps, the bodies decorated with peonies and ho-ho birds on a cobalt ground, the necks and bases with peonies and scrollwork, on pierced wooden bases, mounted with shades.

h. 32-1/2”, dia. 16”

$1,000-$1,500

756

758

758

Victorian Mahogany Campaign Desk

19th century, the brass-bound rectangular top opening to letter holders in the inside top and a variety of lidded compartments and lift-out trays, the central one lifting to an easeled back, the whole raised on turned, tapering circular legs ending in toupie feet.

h. 29-1/2”, w. 36”, d. 23-3/4”

$1,000-$1,500

759 Louis Robbe (Belgian, 1806-1887)

“Cows and Sheep Grazing by a Stream”

oil on canvas signed lower left. Framed. 13-1/2” x 21”, framed 22-1/2” x 30” $2,000-$4,000

758

760 Henry Maidment (British, 1841-1912)

“Cattle by the Duck Pond” oil on canvas signed lower right and label with artist and title en verso. Framed. 20” x 30”, framed 28” x 38” $1,500-$2,500

760

761

Anglo-Indian Rosewood Tilt-Top Center Table

late 19th/early 20th century, in the rococo taste, the circular top with an open-carved apron, raised on a base with a leaf-carved central vasiform pedestal flanked by four legs with like carving and terminating in a carved mythological figure’s winged heads with paw feet.

h. 28-3/4”, dia. 46”

$2,000-$4,000

762

Pair of Victorian Silverplate Reticulated Fruit Stands

third quarter 19th century, each with a deep, octagonally paneled bowl, with everted rim with realistic grapevine edge, the panels with openwork scrolls, within a grapevine calyx and raised above a grapevine standard to a serpentine-lobed circular base with scroll cartouches and grape clusters.

h. 13-1/2”, dia. 11-1/4”

$1,000-$1,500

763

Large Elkington Silverplate Candelabrum Centerpiece

1853, Birmingham, with a twining grapevine standard above a waisted cylindrical base raised on three robust acanthus scroll feet with apron en suite, surmounted by a smaller twining grapevine base surrounded by five scrolling arms, the arms ending in candle nozzles with drip-pan and detachable bobeche, the central standard surmounted by a fruit basket, the whole decorated with realistic grape clusters and leaves.

h. 29-3/4”, w. 20”, base w. 12-1/4”

$1,000-$1,500

ARTIST INDEX

ARTIST, LOT NUMBER

Ademollo, Luigi (attributed to), 200

Aizelin, Eugene-Antoine (after), 291, 642

Alexander, John, 90 Allen, Jere Hardy, 24

Amick, Robert Wesley, 559

Appel, Karel (after), 108

Ayres, Donald, 717 Barron, Errol, 43

Bates, David, 75

Batoni, Pompeo Girolamo (after), 477

Beckmann, Johann Hans, 590 Belgian School, 576

Beraud, Jean, 685

Bleckner, Ross, 137

Borgerding, David, 27

Brillouin, Louis George, 207 Brochart, Constant Joseph, 259

Buck, William Henry, 536 Burn, Thomas F., 735

Bush, Norton (attributed to), 537 Calas, Terrington, 26

Carlier, Max Albert, 675 Carrier-Belleuse, Louis-Robert, 611 Carver, Robert, 699

Chevalier, Robert Magnus, 625 Clague, Richard, 535 Coene, Jean Baptiste, 752

Coignard, James, 117

Cooke, Anita, 42

Cornwell, Dean, 551

Crewdson, Gregory, 146

Cundin, Jose-Maria, 13-15

Dali, Salvador, 129

Delaney, Beauford, 109 Delpy, Henri Jacques, 441, 442

Demand, Thomas, 151

Droochsloot, Joost Cornelisz (circle of), 202 Drysdale, Alexander John, 539, 540, 557

Dubois, Paul (after), 290

Dumaige, Henri-Etienne (after), 616

Dunbar, George Bauer, 28, 29, 34, 35, 58, 437 Dureau, George Valentine, 452 Dutch School, 195, 344

Emery, Lin, 11, 68, 71, 72 Eppler, Jim, 25 Ferey, Prosper, 263 Flynn, James, 31

Fowler, R.W.S., R.I., Robert, 472 Frank, William, 277 Friedeberg, Pedro, 9 Galien-Laloue, Eugene, 178 Gall, Francois, 156 Gates, Jack, 63 Gilliam, Jr., Sam, 121 Gordy, Robert, 12 Greenberg, JoAnn, 5, 6 Gremigni, Professor Libero, 612 Gross, Chaim, 118

Gschwend, Ralfonso, 73 Gunning, Simon, 40, 44, 45 Hare, Dennis, 21 Hartmann, Karl, 605

Helleu, Paul Cesar, 686 Henry, John Raymond, 23 Hetzel, George, 538 Issa, Victor, 83, 84 Italian School, 446, 461 Jacob, Stephen, 664 Johnson, Richard, 22 Jordy, Lisa ‘Tinka’, 7 Kazantsev, Alexei, 36 Kelly, Ellsworth, 123, 124 Keszthelyi, Alexander, 519 Kirsch, 632 Kohlmeyer, Ida Rittenberg, 18, 19, 41, 59 le Faguays, Pierre (after), 684 Leutze, Emanuel Gottlieb (attributed to), 370 Maidment, Henry, 760 Mascart, Gustave, 155, 177 Miller, George, 720 Mitchell, Joan, 115

Moreau, Auguste (after), 227

Moreau, Hippolyte Francois (after), 644

Morgan, Jr., Elemore Madison, 16, 17

Moroles, Jesus Bautista, 69

Neuquelman, Lucien, 157

Nierman, Leonardo, 112

Picault, Emile Louis (after), 305

Pilon, Germain (after), 302

Pisani, Louis (after), 331

Ple, Henri Honore (after), 643

Reddy, Krishna, 65

Rezia, Franz Auguste, 209

Rickey, George Warren, 61

Robbe, Louis, 759

Rodrigue, George, 91

Roy, David C., 62

Rubens, Peter Paul (follower of), 201 Sceto, Giovanni, 638 Schafer, Henri, 208

Schmidt, George, 8 Schouten, Henry, 191, 718

Scott, John Tarrell, 57, 60 Secola, A., 233

Sherlock, William P., 741

Silverman, Arthur, 46, 47

Smith, Ben, 56

Smith, Henry Pember, 655 Smith, Kiki, 97

Stanfield, George Clarkson, 753

Taaffe, Philip, 161

van Leyden, Lucas, 204

Venetian School, 199 Villa, Mario, 1-4

Walker, William Aiken, 499-501, 505, 506

Wallis, Henry (after), 755

Whiteman, Edward, 37

Wijnants, Jan (circle of), 203

Winans, Theodore Fonville, 560, 561 Woodward, William, 451 Wou-Ki, Zao, 66, 67 Zuniga, Francisco, 10

New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere.

Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist.

School of / Follower of: In our qualified opinion, a work by a follower of the artist.

Circle of: In our qualified opinion, a work of the period of the artist and showing his or her influence.

Studio of: In our qualified opinion, a work possibly associated with the studio of the artist and showing his or her influence.

Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period.

After: In our qualified opinion, a copy of a known work by the artist.

Signed: In our qualified opinion, has the signature which is that of the artist.

Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist.

Dated: In our qualified opinion, is so dated and was executed on or around that date.

Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

The Artist’s Name: In our qualified opinion, a work by the artist.

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 reg isters 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, Buy er’s Premium, expenses, and any taxes or other charges;

• A “ Lot ” is specific item of property offered for sale at Auction; The “Re serve” is defined in Section 3 below;

• The “ Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot;

• The “ Seller ” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot;

• The “ Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer.

(d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction

(a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER.

(i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.”

(ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose.

(iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale.

(iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED.

(v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership.

(vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a).

(b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

(c). Catalogue and other descriptions.

(i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others.

(ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot.

(iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price.

(iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material.

(d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that:

(i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot;

(ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere;

(iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot;

(iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and

(v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction

(a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements:

(i) A Bidder must complete and sign the attached registration form and provide identification to NOAG;

(ii) NOAG may require the production of bank or other financial references or any other additional information;

(iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment

(iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and

(v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below).

(b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion.

(c). Absentee bids / Telephone bids.

(i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”).

(ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If suc cessfully contacted, the Bidder shall then be afforded the op portunity 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 Tele phone 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), and for bids placed though online bidding partners LiveAuctioneers and Invaluable consisting of a 28% premium of the Hammer Price (with no discount regardless of the method of payment), up to and including a Hammer Price of $200,000; and 12% of the amount by which the Lot’s Hammer Price exceeds $200,000; and

(iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form.

(b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer.

(c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card.

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

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

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction.

(g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law):

(i) to charge outstanding amounts to the Buyer’s credit card;

(ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law);

(iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law;

(iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer;

(v) to cancel the sale;

(vi) to resell the property publicly or privately on such terms as we shall think fit;

(vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer;

(viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer;

(ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs;

(x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids;

(xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.

(h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved.

(i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright

The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. Severability

If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. Data Collection

In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. Law and Jurisdiction

The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

New Orleans Auction Galleries

333 Saint Joseph Street, New Orleans, LA 70130 | 504-566-1849 | Fax: 504-566-1851 | info@neworleansauction.com

/ TELEPHONE BID FORM

Name (Please Print):

Resale

City:

Telephones: Work

E-mail Address:

Date:

State

Louisiana

State: ____________ ZIP:

Home (______)______________ Fax (______)_______________

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.

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MasterCard

Expiration Date:

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 12% 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%. Note that LiveAuctioneers and Invaluable bidders are subject to a 28% Buyer’s Premium with no discount regardless of payment method. 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.

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

Tessa Steinkamp Director of Auctions

Susan D. Sarofim CEO

Jelena Restovic James Director of Fine Art

Michele Carolla Fine Art Specialist

Ireys Bowman General Consignments

Greg S. Kowles General Consignments

Thomas Halverson American Furniture Specialist

Kim Lemon Director of Fine Jewelry

Cedric Roberts | Sean Ranson Bennie Amos | Emmitt Kendrick, Jr. Gerald Hampton | Juanita Bazile Sol Carter | Theadrow Mark Jermaine Hargrove

Denise Haik Office Administration

Tessa Steinkamp, LA #1265 Taylor Eichenwald, LA #1922 Michael DeGeorge, LA #1774

Ellen McKenzie English & Continental Furniture Ira Savoie Independent Certified Gemologist Appraiser

Charles C. Cage Silver Specialist & Office Manager

Taylor Eichenwald Assistant Director

Burke Designer

Christa Ougel Photographer & Graphic Designer

AUCTIONEERS

ADMINISTRATION & GRAPHICS

OPERATIONS

Grace Connors Manager of Online Auctions

Amelia Schussler Creative Director

Sylvia Burn Client Services & Office Administration