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New Orleans Auction galleries

OCTOBER 14-15, 2017


New Orleans Auction galleries

LOT 959 COVER: LOT 217 LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 25% Buyer’s Premium (3% Discount For Prompt Payments Made By Cash or Check)


ESTATES AUCTION:

OCTOBER 14-15, 2017 EXHIBITION: October 2-13, 2017 Monday - Friday, 9 a.m. - 5 p.m. Saturday, October 7, 10 a.m. - 4 p.m.

EVENING RECEPTION: Thursday, October 12, 2017, 5 - 7:30 p.m.

Session I

Saturday, October 14, 2017 Lots 1-614

10:00 - 11:00

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100

11:00 - 12:00

101

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200

12:00

-

1:00

201

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300

1:00

-

2:00

301

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400

2:00

-

3:00

401

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500

3:00

-

4:00

501

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614

Session II

Sunday, October 15, 2017 Lots 615-1149 10:00 - 11:00

615

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685

11:00 - 12:00

686

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759

12:00

-

1:00

760

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859

1:00

-

2:00

860

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959

2:00

-

3:00

960

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1059

3:00

-

3:45

1060

-

1149

333 St. Joseph Street

New Orleans, Louisiana 70130 Website: NewOrleansAuction.com

Email: Info@NewOrleansAuction.com

Tel: 504.566.1849 | Toll Free: 800.501.0277 Fax: 504.566.1851


Evening Reception Highlights

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| July 20, 2017

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1. Charlene and Wyatt Esteves 2. Chef Eric Labouchere and Lesley Nash 3. Brian Witherell and Greg Kowles 4. Muer Yang, Chong Xu, and Baby Victor Yang 5. Randy Swartz and Burke 6. Victoria Revels Restovic and Jelena James 7. Jeff and Judy Doussant 8. Don Hudson, Marilyn Alexander, Dale Dillard, Gerard McGovern, and Gilbert Rivieras 9. Debra and Louis Fournet, and Frankie Clesi


LET TER FROM THE CEO

What makes a home? Walls and a roof? No, a home is much more than a structure. It is a place where we can be ourselves, a place where we prepare ourselves for the world outside, a place to go when we need to feel safe. It is where we put our stuff; it is an expression of who we are and who we want to be; it is the place where our most treasured memories are made. Most importantly, it is where we live with the people we love, our families and our precious pets. “The ache for home lives in all of us, the safe place where we can go as we are and not be questioned.” Maya Angelou Our hearts go out to the thousands of people who have been impacted by hurricanes this summer, losing their homes and their possessions. So very much has been lost that cannot be replaced. Thousands have had their lives turned upside down and while we are incredibly saddened by the catastrophic devastation, we are also heartened by the outpouring of generosity and humanity. Our spirits were lifted to see the vast numbers of brave volunteers and early responders risk their lives to rescue those in need; to hear the stories and the gratitude of

people who received help, comfort and support; and we salute the legions who moved quickly to organize supplies, shelters, food and clothing. We are again reminded of the goodness of people. Over and over we heard, yes, we lost our home, but everyone is safe, proving again that our hearts do not lie within four walls, but with those we love. We will rebuild our neighborhoods and communities. We will move on into the future with optimism, wiser though from our experiences. For so many, new chapters will be written; the unfamiliar and alien will become home. Our prayers and good wishes are with you. As Swedish writer Henning Mankell said, “You can have more than one home. You carry your roots with you, and decide where they grow.” With love from the New Orleans Auction Galleries Team,


“The size of the auction or the item for sale doesn't change the importance of doing a good job. Every sale means something to somebody and that's what it is all about. If it's important to them, it has to be important to me.” — RANDOLPH HOLFORD

From a 2015 interview with the Houston Chronicle

New Orleans Auction Galleries is pleased to welcome back Randolph Holford as guest auctioneer for our October 14-15 Estates Auction. From livestock to Lalique, Holford has sold countless items over the past 40 years in the auction business. However, he is most recognized as the official auctioneer for the Houston Livestock Show and Rodeo, a position he has held since 1985. His legendary auction skills and distinctive style have raised millions for what has become one of the largest non-profit organizations in the United States.


New Orleans Auction Galleries is committed to supporting education in our community and beyond. As part of that commitment, we are pleased to announce that we are partnering with Houston-based non-profit To Educate All Children (TEACH) and world renowned jewelry designer Matthew Campbell Laurenza for our Fine Jewelry, Furs & Accessories auction on November 18. The sale will feature a unique jeweled box designed by Laurenza and 100% of the proceeds from this spectacular piece will benefit TEACH. We invite you to join us on November 18 to support TEACH's vision of ensuring that school is a safe, calm place of learning for every student.

- SAVE THE DATE -

Fine Jewelry, Furs & Accessories Auction

November 18, 2017 Accepting Consignments

To Educate All Children (TEACH) is a Houston-based non-profit organization founded in 2005 by Susan D. Sarofim and lifelong educator Mary Yenik. TEACH provides educators with intensive training in de-escalation and conflict resolution to promote calmer and more productive classrooms, to decrease disciplinary referrals and to improve student achievement.

Info@ToEducateAllChildren.org | (713) 300-1097

Tuesday, November 14, 2017, 6 p.m. River Oaks Country Club 1600 River Oaks Blvd., Houston, TX 77019

Carol & Mike Linn and DeeDee & Wallis Marsh 2017 Co-Chairs

Featuring Former NFL Quarterback Peyton Manning

For More Information About TEACH , Visit ToEducateAllChildren.org


LOT 378


Session I: October 14, 2017, 10:00 a.m., CDT Lots 1-614


1 French Provincial Polychrome and Marble-Top ThreeDrawer Stand early 20th century, the drawers slightly serpentine with in-carved panels and brass keyholes, raised on cabriole legs ending in scrolled toes. h. 31”, w. 19”, d. 15” $600‑$900 2 Louis XIV-Style Wood and Metal Strapwork Lantern mid-20th century, the five-light tapered and giltwoodtrimmed lantern with open molded side panels and a giltwood artichoke drop, hanging from scrolled metal strapwork. h. 43”, dia. 18” $700‑$1,000 2

3 Pair of Provincial Louis XV Fruitwood Fauteuils 18th century, each with a shaped and padded back, the arms carved with padded elbow rests, raised on carved cabriole legs, with pegged construction. h. 43” $700‑$1,000 4 Regence-Style Polychrome and Marble-Top Commode 18th century and later, the rounded rectangular marble top above a conforming case fitted with two long drawers, each tri-paneled, raised on shaped legs to scrolled toes. h. 34‑1/2”, w. 48”, d. 24” $800‑$1,200

3

1

2

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5 Pair of Louis XIV-Style Giltwood Sconces second quarter 20th century, probably Italian, the threelight sconces on quiver-form standards decorated with graduated bellflowers, the leaf-carved arms set with vaseform candle cups, the tops with acanthus-carved urns terminating in flame-form finials. h. 34”, w. 19‑1/4”, d. 14‑1/2” $1,400‑$1,800

7

6 French Empire-Style Terracotta Planter 20th century, probably Italian, on paw feet, with a basketweave-molded and flaring pot. h. 26”, dia. 31” $600‑$900 7 Patinated Metal Chandelier of Medieval Inspiration

5

the six-light chandelier with a pierced basket-form body with a lower scalloped and pierced trim, set with spikeform candle arms on molded strapwork supports. h. 36”, dia. 36‑1/2” $800‑$1,200 8 Three-Piece Wrought Iron and Strapwork Garden Set late 19th century, consisting of a bench, h. 35”, w. 48”, d. 22”, and two armchairs, h. 35”, w. 19”, d. 23”, each with scrolled arms and horizontal iron straps forming the back and seat. $700‑$1,000

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8

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10

10 Ann Cooper (American/Louisiana, 1935‑2005) “Kitchen Still Life” 9

9 Provincial Louis XV Fruitwood and Marble-Top Cabinet late 18th century, the slightly bowed top with a threequarter shaped gallery, above a conforming case fitted with two cupboard doors, each with foliate inlay, one side fitted with a lower drawer, raised on cabriole legs ending in sabots. h. 29‑1/2”, w, 20”, d. 12‑1/2” $600‑$900

oil on board signed lower right. Framed. 23‑1/4” x 47‑1/2” $1,000‑$1,500 11 Louis XV Fruitwood and Upholstered Chaise Longue 18th century and later, the padded and domed back joined by padded and shaped sides to the long cushioned seat, raised above a shaped foliate-carved apron on molded cabriole legs headed by floral capitals and ending in scrolled toes. h. 41‑1/2”, w. 35‑1/2”, l. 64” $600‑$900

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12 Louis XV-Style Fruitwood Stool late 19th century, the padded square top above a conforming shaped frieze centered by a shell to each side, raised on cabriole legs joined by a molded X-form stretcher and ending in hoof feet, upholstered in foliate-patterned needlework. h. 19”, w. 28‑1/2”, d. 28‑1/2” 11

4

$600‑$900


13 Continental Provincial Oak Armoire mid-19th century, the heavily molded cornice with projecting canted corners, above a conforming case fitted with two long doors, each inset with two shaped panels, flanked to either side by a paneled upright, raised on large bun feet. h. 97”, w. 83”, d. 30‑1/2” $1,500‑$2,500

14 Provincial Louis XV-Style Fruitwood and Oak DrawEnd Table early 20th century, the banded parquetry top with two like draw leaves, above a conforming scalloped frieze, raised on cabriole legs. h. 31”, w. 39”, l. 84”, ext. l. 115” $600‑$900

13

15 Suite of Four Provincial Louis XIV-Style Walnut Dining Chairs each with an upholstered seat and back, and raised on molded scroll legs joined by an H-form stretcher. h. 40‑1/2” $600‑$900

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16 17

16 French Provincial Fruitwood Panettiere 19th century, of traditional form, the shaped, domed and foliate-carved frieze with gilt finials and above a spindled case fitted with a central floral-carved door over a like-carved shaped frieze, raised on scrolled toes. h. 38”, w. 33‑1/2”, d. 18” $600‑$900

17 Provincial Regence Fruitwood Commode 18th century, the slightly bowed rectangular top above a conforming case fitted with two short drawers over two long drawers, all with carved decorative panels, raised on block feet. h. 31”, w. 46”, d. 23” Provenance: Bremermann Designs, New Orleans, Louisiana. $3,500‑$5,000

18 French Provincial Cherrywood Armoire mid-19th century, the domed and molded cornice above a conforming case fitted with two shaped panels, over a shaped apron, raised on scrolled toes. h. 110”, w. 70‑1/2”, d. 26‑1/2” $1,200‑$1,800

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19 Provincial Louis XV-Style Oak Console Table ca. 1900, the serpentine slate top over a conforming serpentine shell-carved apron, raised on cabriole legs. h. 34”, w. 50‑1/2”, d. 23‑1/4” $600‑$900 20 Collection of Four Botanical Illustrations by Alexandre Descubes (Mauritian, ca. 1850‑1920) each watercolor and pencil on paper, signed in ink “A. Descubes”, with annotations. Each float mounted and framed in matching contemporary frames. each sheet approximately 17” x 10” $1,000‑$1,500

20 one of four

20 two of four

21 Parcel-Gilt Wrought Iron and Marble-Top Console Table in the Louis XV taste, the Siena marble top with canted corners, over a conforming frieze in shell and scroll decor, to shaped legs joined by a concave stretcher with a foliate finial. h. 29‑3/4”, w. 35”, d. 13” $700‑$1,000

20 three of four

20 four of four

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21

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22 French Provincial Walnut Sofa ca. 1900, in the Louis XVI style, the padded back with a wreath- and foliate-carved crest, with open arms and raised on turned and fluted legs. h. 41”, w. 64”, d. 26” $1,200‑$1,800 23 French Provincial Fruitwood and Marble-Top Rafraichissoir late 18th century, the rounded square top with a marble surface with two inset beverage holders, above a conforming frieze fitted with a single drawer, joined to a lower shelf by cabriole legs continuing to splayed feet. h. 26‑3/4”, w. 19‑1/4”, d. 19‑1/4” $600‑$900

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24 French Provincial Fruitwood Buffet a Deux Corps mid-19th century, the molded and rounded cornice above two long cupboard doors, each inset with a shaped panel, the lower section of rounded rectangular form and fitted with two doors, each with like inset panels, over a scalloped apron, raised on shaped feet. h. 93”, w. 52‑3/4”, d. 25‑1/4” $1,500‑$2,500

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25 Provincial Regence-Style Fruitwood Commode the rectangular top with a shaped front, above a conforming case fitted with three long drawers over a shaped apron, raised on scrolled toes. h. 36‑1/2”, w. 49”, d. 25” $1,200‑$1,800 26 Two French Provincial Fruitwood Side Tables 18th century, each with a rectangular top above a conforming frieze, one fitted with a single side drawer, the other fitted with a single end drawer, raised on cabriole legs ending in shaped toes. h. 29‑1/4”, w. 36‑1/4”, d. 22‑1/2” and h. 29”, w. 37‑1/2”, d. 24‑1/2” $600‑$900

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27 Pair of Regence-Style Fruitwood Fauteuils 19th century, each with a double-domed and padded back joined by molded acanthine-carved arms to the padded seat, raised above a shell-carved apron on cabriole legs joined by a shaped X-form stretcher and ending in foliate toes, now upholstered in figural and foliate-patterned needlework. h. 46” $1,500‑$2,500

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28 Continental Provincial Walnut Kas 19th century, the heavily molded cornice above a case fitted with two long doors, each with shaped and deeply modeled geometric panels, above a single long drawer, the sides each with two diamondpatterned panels, raised on large bun feet. h. 101”, w. 81”, d. 29” $1,500‑$2,500

29 Pair of Provincial Louis XV-Style Fruitwood Club Chairs each with a domed and padded back joined by outscrolled arms and foliate-carved uprights to the cushioned seat, raised on cabriole legs headed by foliate carving and ending in scrolled toes. h. 40”

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$1,000‑$1,500

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30 Provincial Regence Fruitwood Commode late 18th century, the banded, rounded rectangular top above a bombe case fitted with three long drawers, all with three shaped panels, the sides also paneled, raised on scrolled toes. h. 34”, w. 52‑1/2”, d. 25‑1/2” $1,200‑$1,800

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32 French Provincial Fruitwood Farmhouse Table 31

the rectangular top above a conforming scalloped frieze fitted with a single end drawer, raised on cabriole legs. h. 30”, w. 31”, l. 70‑1/2” $600‑$900

31 French Provincial Fruitwood Single-Door Armoire

33 August Von Rentzell (German, 1810‑1891)

19th century, the molded, rounded rectangular cornice above a case fitted with a single door, inset with two shaped panels, raised on pointed toes. h. 82”, w. 42”, d. 25”

“Meeting at the Crossroads”

$800‑$1,200

oil on canvas signed lower right “A. Rentzell. p”, partial label en verso. Presented in a period giltwood and gesso frame. 27” x 38‑1/4” $2,000‑$4,000

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34 Hendrik Pieter Koekkoek (Dutch, 1843‑1895) “Landscape with Cottage, River and Bridge” oil on canvas signed lower left. Framed. 36‑1/4” x 46‑1/4” $10,000‑$15,000 35 Lammert Leire van der Tonge (Danish, 1871‑1937) “Mother and a Sleeping Child” oil on canvas laid on board signed lower left. Framed. 18” x 14‑1/2” $1,000‑$1,500

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36 Pair of Regence-Style Fruitwood Fauteuils a la Reine each with a tall padded back joined by reeded downswept arms to the padded seat, raised on ribbed S-form legs joined by an H-form stretcher and ending in in-scrolled toes. h. 45‑1/2” $700‑$1,000

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38 Louis XIV-Style Gilt-Bronze Chandelier ca. 1900, French, the nine-light chandelier supported on a scroll-molded frame terminating in molded oak leaves, the heavy scroll-molded arms set with leaf-molded drip pans and rocaille candle cups. h. 40”, dia. 24‑1/2” 36

$2,500‑$4,000

37 Regence Kingwood and Marble-Top Commode late 18th century, the bowed marble top with projecting corners, above a conforming case fitted with two short drawers over two long drawers, all triple banded and quarterveneered, the sides with herringbone veneers, raised on splayed legs. h. 35”, w. 51‑1/2”, d. 23‑1/2” $1,500‑$2,500

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39 French Gilt-Bronze and Ebonized Wood Encrier first quarter 20th century, of Renaissance inspiration, supported on rear paw feet and front bun feet, the lidded central compartment decorated with gilt-bronze piercing and a masque on an ebonized wood ground, molded inkpots on either side in front, candle sockets in the rear, flanking a pen tray with a pierced gallery back. h. 8‑3/4”, w. 16‑1/2”, d. 7‑1/4” $700‑$1,000

40 Louis XIV-Style Gilt-Bronze Torchere

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early 20th century, French, on a fluted standard supported by bellflower-molded scrolled supports terminating in goat’s heads, the upper urn and vase-form standard supporting a leaf-molded drip pan, electrified. h. 63”, dia. 17” $1,500‑$2,500

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41 Pair of Impressive Louis XIV-Style Gilt-Bronze Sconces fourth quarter 19th century, the three-light sconces with pierced backplates decorated with both male and female masques, the anthemion-molded crests flanked by laurel leaves, the leaf-molded arms terminating in reeded and scrollmolded drip pans and leaf-molded candle cups. h. 16‑3/4”, w. 13‑1/2”, d. 9” $700‑$1,000

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43 Pair of Louis XIV-Style Bronze and Glass Candelabra second quarter 20th century, on bronze bases with molded glass-clad standards, the four bronze candle cups set on the lower tier, hung with cutglass drops interspersed with smoke-colored drops and amber fruit drops. h. 30‑1/2”, dia. 14‑1/2” $600‑$900

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42 Regence-Style Fruitwood Settee early 20th century, the slightly domed and padded rectangular back joined by molded downswept arms to the padded seat, raised above a shaped shell-carved apron on cabriole legs headed by acanthine carving and ending in hoof feet. h. 47”, w. 47”, d. 23‑1/2” $600‑$900

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44 French Baroque-Style Gilt-Bronze Chandelier second quarter 20th century, the eight-light chandelier on an urn-form standard set with Athena masques and a pinecone drop, supporting a baluster mounted with pierced scrolls and winged angel heads, the paneled and scrolled arms set with beaded drip pans. h. 31”, dia. 31‑1/2” $800‑$1,200

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47 Pair of Louis XIV-Style Gilt-Bronze Sconces second quarter 20th century, possibly American, the threelight sconces in the manner of E. F. Caldwell, with serpentine molded backplates terminating in molded tassels and leafmolded, scrolled candle arms decorated with lion’s heads, set with hexagonal drip pans and candle cups with inset scrollwork. h. 26”, w. 17‑3/4”, d. 11” $1,500‑$2,500

45

45 French Giltwood Mirror first quarter 20th century, in the Louis XIV style, the outer edge lined with segmented mirror glass, the scroll-molded surround with a serpentine crest with a pierced leaf-molded finial, the sides trimmed with molded scrollwork and bellflowers. h. 67‑1/4”, w. 43”

47

$1,000‑$1,500

46 Regence-Style Fruitwood and Marble-Top Commode 19th century, the shaped marble top above a conforming bombe case fitted with two short drawers over two long drawers, all banded and with decorative panels and hardware, raised on bracket feet ending in sabots. h. 33‑1/2”, w. 47‑1/2”, d. 22‑1/2” $2,500‑$4,000

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48 Louis XIV-Style Bronze Cartel Clock fourth quarter 19th century, French, of inverted bombe form with bracketed corners, set with pinecone finials on the crest, oak leaf swags hanging beneath the dial, set with velvet-backed grillwork side panels and an acanthus-molded base. h. 25‑1/2”, w. 13‑1/2”, d. 7‑3/4” $600‑$900

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50 Unusual Carved and Red-Painted Billiard Table Light first quarter 20th century, the ten-light chandelier of Louis XIV inspiration, of trestle-form with a vasiform standard supported by carved dolphins, the reliefcarved base set with shell arm holders. h. 28‑1/2”, w. 50‑1/2”, d. 24” $1,500‑$2,500

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49 French Gilt-Bronze Mantel Clock fourth quarter 19th century, in the Louis XIV style, the gilt-bronze case cast by Parisian bronzier Ferdinand Barbedienne, the clocks mounted in a fluted case, flanked by pierced, scrolled brackets decorated with leaves and berries, the covered urn with a knop depicting grapes, hung with swags of laurel leaves and berries, the enamel dial marked “F. Barbedienne, A Paris”. h. 20‑1/4”, w. 13‑1/2”, d. 8‑1/2” $2,000‑$4,000

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51 Ormolu-Mounted and Marquetry-Inlaid Kingwood and Marble-Top Commode early 20th century, in the Louis XV style, with three conforming curved drawers, cast brass hardware and shaped legs. h. 34”, w. 31”, d. 15” $600‑$900

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52 French Giltwood Chandelier mid-20th century, of Louis XIV inspiration, the twelvelight chandelier with a tapered standard, leaf-carved and set with baluster-turned and reeded upper portions, the scrolled candle arms with gilt-metal leaves and terminating in turned drip pans and carved candle cups. h. 34‑1/2”, dia. 34” $1,200‑$1,800 53 French Giltwood Chandelier mid-20th century, of Louis XIV inspiration, the twelvelight chandelier with a tapered standard, leaf-carved and set with baluster-turned and reeded upper portions, the scrolled candle arms with gilt-metal leaves, and terminating in turned drip pans and carved candle cups. h. 34‑1/2”, dia. 34” $1,200‑$1,800

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54 Pair of Louis XIV-Style Marble and Gilt-Bronze Cassolettes fourth quarter 19th century, on marble bases, the bodies supported on hoof-footed legs terminating in ram’s heads, set with swags of flowers, the domed marble covers can be inverted to reveal carefully cast gilt-bronze candle holders. h. 11”, dia. 4”

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$600‑$900 55 Pair of French Bronze and Crystal Sconces first quarter 20th century, in the Louis XIV style, the twolight sconces with flat backplates and shaped sides, set with scrolled candle arms mounted with molded candle cups and drip pans, and heart-form crystal finials at the top, hung with swags of drops. h. 18‑1/4”, w. 9‑3/4”, d. 5‑1/4” $600‑$900

56 Louis XIV-Style Brass and Crystal Chandelier second quarter 20th century, French, the twenty-threelight chandelier with a brass frame set with turned brass candle cups and drip pans, with glass spires on the next tier, hung with multiple cut glass prisms. h. 61”, dia. 30” $1,500‑$2,500

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57 Antique Tabriz Carpet 9’ x 12’ 2” $3,000‑$5,000 58 Turkish Angora Oushak Carpet

61 Turkish Angora Oushak Carpet 9’ 1” x 11’ 10” $900‑$1,200 62 Agra Serapi Runner

9’ 8” x 13’ 10”

2’ 6” x 21’ 8”

$1,200‑$1,800

$600‑$900 Illustrated Online

59 Antique Mahal Carpet 8’ 10” x 11’ 5” $2,500‑$4,000 60 Semi-Antique Pictorial Tabriz Carpet 10’ x 13’ 11” $1,500‑$2,500

63 Chinese Silk Tabriz Carpet 9’ 2” x 12’ $1,500‑$2,500 64 Turkish Angora Oushak Carpet 10’ 1” x 13’ 8” $1,200‑$1,800 64

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65 Semi-Antique Sarouk Carpet 9’ x 12’ $1,200‑$1,800 66 Fine Agra Sultanabad Carpet

68 Semi-Antique Mashad Carpet 8’ 4” x 11’ 8” $800‑$1,200

9’ 1” x 11’ 10”

69 Laristan Sultanabad Runner

$1,800‑$2,500

2’ 8” x 22’ 2”

67 Bamboo Silk Bakshaish Carpet

$800‑$1,200

9’ x 11’ 7”

70 Antique Kerman Carpet

$800‑$1,200

10’ x 14’ 6” $4,000‑$7,000

69

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73 Two Renaissance-Style Stone and Metal Libation Cups fourth quarter 19th century, Continental, one example with a gilt-bronze base set with a mottled russet cup, probably agate, h. 4”, dia. 3‑3/4”, and the other with a silver filigree foot set with malachite and other “jewels”, with a stone stem and mottled amber cup, possibly agate, h. 4‑3/4”, dia. 3‑1/2”. $1,200‑$1,800 74 Fine Continental Framed Embroidery of St. Joseph fourth quarter 19th century, dense cross-stitch rendered in wool, cotton and silk threads on a finely woven backing, the saint holding his attribute of white flowers signifying fidelity and purity, all edged in brown linen. Glazed and framed. sight 34” x 28” 72

$500‑$800

71 Russian Painted Wood and Brass Traveling Triptych fourth quarter 19th century, with images of Our Lady of Fatima on each side, in a brass traveling case. h. 4‑1/2”, open w. 11‑3/4”, closed w. 3‑3/4” $700‑$1,000 72 Fine and Exceptional Group of Four Ecclesiastical Goldwork Embroidery Panels of the Four Evangelists ca. 1800, densely worked with gold and silver thread and bullion, gold broad plate, and wrapped silk thread, over a felt padding in areas, on a hand-woven linen foundation, the Saints Matthew, Mark, Luke and John with halos of lustrous seed pearls, each evangelist depicted seated before an open volume of his gospel, attribute by his side, all within a rich acanthine and floral border each 12‑1/4” x 9‑1/4” $2,000‑$4,000

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75 Italian Parcel-Gilt Alabaster Statue of Our Lady of Guadalupe 19th century, the statue depicted holding a baby, held aloft by three angels, about to be borne up to heaven, in a glass-sided carved mahogany case in the Baroque fashion. h. 17‑1/2”, w. 8‑3/4”, d. 5” $1,200‑$1,800 76 Carved and Painted Statue of Our Lady of Guadalupe 19th century, possibly Russian, on a mirrored base, the polychrome-painted figure poised to stab a serpent underfoot. h. 16”, w. 7”, d. 5‑3/4” $1,800‑$2,500 77 Continental Oak Cradle mid-19th century, in the Gothic taste, the cradle of angled rectangular form, the sides and ends paneled and pierced in various Gothic motifs, supported by two crocket-form end supports to splayed feet. h. 60‑1/2”, w. 46‑1/2”, d. 26” $600‑$900

77

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78 Italian Walnut Desk and Savonarola Chair the desk, 19th century, fitted with a side superstructure with a short drawer over a cupboard, and two short drawers, both tiers galleried, the rectangular top with an inset leather surface and three-quarter gallery above a single long gadroon-carved drawer over a single cupboard to one side, with an arched panel and cluster-column front, raised on cluster-column supports to runner bases on bun feet, h. 47”, w. 39”, d. 23”; the chair, 18th century, of Savonarola form, the carved triangular back flanked by masque finials, joined by downswept arms to the cushioned wooden seat, raised on a curule-form base. $600‑$900

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79 Continental Oak Coffer 17th century, the paneled and domed lid hinged and opening to a void interior, the front paneled and with arch carving, raised on shaped feet retaining its period crab-form lock and key. h. 23‑1/2”, w. 48‑1/2”, d. 23‑1/2” $600‑$900

79

80 After Andrea del Verrocchio (Italian, 1435‑1488) “Equestrian Statue of Bartolomeo Colleoni”, fourth quarter 19th century patinated bronze unsigned, a small-scale variant of the sculpture of the Venetian Captain General now conserved in the Campo Santi Giovanni e Paolo in Venice, on a rectangular black onyx and green marble plinth. overall h. 22‑1/4”, w. 13‑1/2”, d. 8‑1/2” $1,000‑$1,500

26

80


83

83 Unusual Pair of Wood and Marble Plaques in the Grotesque Style ca. 1800, the intricately carved parcel-gilt frames of intertwined salamanders, game birds, grapes and pears, in a fanciful “nature morte” theme, one polished marble plaque decorated with a bird eating berries off a branch, and the other with a helmet and shield on a ground of autumn foliage, on hand-wrought iron hangers. h. 11”, w. 14”, d. 2‑1/4” Provenance: The Flatt Collection.

81

$1,400‑$1,800

81 Italian Carved Giltwood Vitrine Cabinet early 20th century, of canted rectangular form, with a molded foliate-carved crest over a glazed front and two glazed side doors, over a foliate- and lion-masquecarved frieze, raised on large scrolling supports ending in foliate scrolled toes. h. 77”, w. 49”, d. 24” $2,000‑$4,000 82 Continental Walnut and Fruitwood Coffer late 17th century, the rectangular top opening to a void interior, above a conforming case with a bi-paneled front centered by a shield carving, the sides paneled and with iron handles, raised on paw feet. h. 22”, w. 62‑1/2”, d. 21” $600‑$900

84

84 Pair of Italian Pine and Mirrored Occasional Tables partially composed of antique elements, the square mirrored top within an annulated frame, raised on a single pedestal, composed of the inverted capitals of a baldachin column, still retaining traces of paint. h. 24”, w. 24‑1/2”, d. 24‑1/2” $600‑$900 82

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85 Two Pairs of Italian Altar Sticks first quarter 19th century, including a pair of gilded examples on leaf-carved paw feet, the turned and carved standards decorated with acanthus leaves and reeding, and supporting pricket-form gilt tole crownform candle holders, h. 24‑1/2”, dia. 7”, together with a pair of sticks with remnants of silver gilding, on scrolled feet, with carved urns in the standards, and set with gilt tole pricket candle holders, h. 21‑3/4”, dia. 7‑3/4”. $700‑$1,000 86 Italian Giltwood Sidechair

85

19th century, in the Baroque taste, the padded rectangular back surmounted by a pierced crest centered by a masque flanked by swags and scrolling patterns, the padded seat raised above a deep carved frieze and raised on sphinx-form supports to runner feet. h. 51‑1/4” $1,000‑$1,500

87

87 Pair of Impruneta Terracotta Garden Figures of Seated Lions 20th century, Italian, each figure modeled seated on a plinth, and marked with a partial “REF” stamp and the number “18”. h. 24‑1/2”, w. 10”, d. 13‑1/2” 86

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$700‑$1,000


88 Pair of Monumental Carved Giltwood Altar Sticks ca. 1800, Italian, on scrolled feet, the lower standards carved with acanthus leaves and set with acorn drops supporting the tapered upper portions, decorated with molded swags and sanded panels, with acanthus-carved capitals and pierced tole arcade drip pans. h. 60‑3/4”, dia. 14‑1/2” $1,000‑$1,500 89 Two Pairs of French Brass Altar Sticks 20th century, each on tripartite bases, the smaller examples with ball-and-claw feet framing angel heads, h. 16‑1/2”, dia. 6”, and the larger examples with paw feet framing molded flowers, h. 25‑1/2”, dia. 7”, each with a turned standard terminating in a candle holder set with a pricket support. $600‑$900 90 Baroque-Style Giltwood Mirror ca. 1900, Spanish or Italian, the ogee surround carved with bold overlapping leaves and cabochons, the mirror plate lined with delicately molded reed turning. h. 44‑1/4”, w. 39”

90

$1,000‑$1,500

88

89

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93

93 Pair of Italian Baroque-Style Carved Giltwood Candelabra

91

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

91 Interesting Venetian Parcel-Gilt and Ebonized Hanging Vitrine Cabinet 18th century, the arched top ornamented with a crown and foliate motifs, the front fitted with a glazed door flanked by foliate sprays and floral scenes, the interior containing seven Chinese carved wood panels of various sizes, each in the Suzhou style. h. 64”, w. 45”, d. 4‑1/2” $2,000‑$4,000

92 Italian Giltwood and Marble-Top Tabouret early 20th century, in the Baroque taste, the inset circular marble top above a molded frieze, raised on three foliate-carved legs headed by floral block carving and ending in foliate paw feet. h. 21”, dia. 20” $800‑$1,200

92

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95

94

94 Pair of Italian Giltwood Altar Sticks ca. 1800, of large size and in the Baroque taste, the tripartite bases on paw feet and carved with acanthus leaves, supporting the standards carved with urns and vasiform elements, decorated with acanthus leaves and stippling, the tops with tole drip pans. h. 29‑1/2”, dia. 6‑3/4” $800‑$1,200 96

95 Iberian Provincial Oak Side Table early 19th century, the rectangular top above a recessed frieze fitted with two drawers, raised on lyre-form end supports joined by scrolling iron stretchers and ending in shaped toes. h. 32”, w. 47‑1/4”, d. 25‑1/2” $1,000‑$1,500

96 Two Pairs of Italian Carved and Gilded/SilverGilded Altar Sticks first quarter 19th century, including a pair of gilded examples on scrolled feet, the standards carved with leaves, diapering and pineapples and terminating in tole pricket candle holders, h. 27”, dia. 5‑1/2”, together with a pair of silver-gilt examples with leaf-carved bases and baluster-form standards carved with leaves and terminating in tole pricket candle holders, h. 22”, dia. 6”. $600‑$900

97

97 Iron and Marble Conservatory Table of Spanish guard room form, the thick rectangular marble top with a molded edge, and raised on scrolling supports joined by like stretchers and ending in shaped toes. h. 31‑1/2”, w. 82‑1/2”, d. 36‑1/2” $1,500‑$2,500

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98 French Patinated Bronze of “Saint-Jean-Baptiste” first half 20th century, after Jules Lafrance (French, 1841‑1881), cast inscription “Lafrance/Roma/1878” on self-base. h. 36”, w. 15”, d. 15‑1/2” $1,000‑$1,500 99 Continental Fruitwood Music Stool 19th century, in the Grotto taste, the shell-form seat with rotating adjustable height, raised on three molded legs ending in paw feet on a tripartite base. h. 25” $700‑$1,000

98

101

99

100 Spanish Provincial Mahogany Guard Room Table 18th century, of traditional form, the banded rectangular top raised on hinged angled legs joined by scrolling iron stretchers, the stretchers able to unscrew to break down the table. h. 32”, w. 45”, d. 30” $800‑$1,200

101 Pair of Italian Parcel-Silver-Gilt Sconces fourth quarter 19th century, in the Baroque style, on circular backplates, the scrolled arms carved with leaves and scrollwork and set with leaf-carved pricket candle cups. h. 21”, w. 10‑3/4”, d. 16‑1/4” 100

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$600‑$900


102 Pair of Italian Carved and Pickled Wood Pedestals 20th century, each depicting three putti, the top putto supporting a carved shell with a flattened display surface. h. 50”, w. 20”, d. 16” $3,000‑$5,000

103 Continental Verdigris Patinated Bronze of Eros 20th century, the mischievous god of love holding his empty bow. h. 50‑1/2, w. 23‑1/4”, d. 22” $1,000‑$1,500

102

104 Italian Polychromed and Fruitwood Cassone 18th century, the rectangular top centered by a shield and opening to a void interior, above a paneled case, the front with a painted Venetian canal scene, raised on bracket feet. h. 24‑1/2”, w. 65”, d. 22‑1/4” $1,000‑$1,500 103

104

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105 Italian Carved Marble Console Table ca. 1900, the thick shaped and molded deck mounted to two bracket-form marble pedestals. h. 24”, w. 48”, d. 17” $1,000‑$1,500 106 Italian Baroque Carved, Painted and Parcel-Gilt Plaque first quarter 18th century, with a central masque set against a field of boldly carved scrollwork, the edges carved with ogee molding. h. 20”, w. 28” 105

$600‑$900

106

107

107 Pair of Italian Provincial Painted and Silver Gilt Mirrors mid-18th century, possibly composed of architectural elements, the surrounds carved with scroll and rocaille work, the crests with integral bracket shelves, set with antique mirror glass. h. 32‑1/2”, w. 18‑1/2” $600‑$900 108 Painted and Parcel-Gilt Terracotta Liturgical Bracket fourth quarter 19th century, Continental, with a leafmolded base, Gothic fret-molded decoration, and a fretpierced skirt, all painted gray with parcel-gilt highlights. h. 26”, w. 29”, d. 13‑1/2” $700‑$1,000

108

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111

110 Italian Marble Fountain-Form Centerpiece 109

109 Carved Limestone Garden Figure of Pan ca. 1900, the nature god in his guise as champion of rustic music, playing the flute. h. 36”, w. 12”, d. 17” $1,000‑$1,500

ca. 1900, on a baluster-turned standard, set with three graduated bowls decorated with carved and pierced edges, the leaf-carved cup-form finial probably intended to hold a pineapple. h. 23‑3/4”, dia. 13‑3/4” $800‑$1,200 111 Pair of Silver Gilt and Faux Marbre Wooden Garnitures fourth quarter 19th century, Italian, on faux painted Siena marble bases, the Baroque-style vasiform handled urns carved with acanthus leaves, beading and egg-and-dart molding, with scrolled handles. h. 22”, w. 17”, d. 6” $700‑$1,000

112

112 Pair of Italian Baroque-Style Silver-Gilt Wall Sconces fourth quarter 19th century, on lotus-carved circular backplates, the scrolled arms carved with pierced acanthus leaves terminating in lotus-carved drip pans and reeded urn-form candle cups. h. 13‑3/4”, d. 15” 110

$700‑$1,000

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113 Adrian Ludwig Richter (German, 1803‑1884) “Flight into Egypt”, 1841 oil on canvas signed and dated lower right, “Konigl Gemaldegalerie, Dresden, 1911” stamp en verso. Framed. 28” x 40‑1/2” Provenance: Konigl Gemaldegalerie, Dresden, Germany, 1911; Private collection, Edmonton (Alberta) Canada, 1943; Private collection, Baton Rouge, Louisiana. $3,000‑$5,000

113

115 Italian School (Fourth Quarter 17th/First Quarter 18th Century) “The Apple of Redemption Presented to Mary and the Infant Jesus” oil on linen unsigned. Framed. 57” x 40‑1/2” $1,800‑$2,500

114 Style of Raphael Sanzio (Second Half 19th Century)

114

“The Mount of Transfiguration” oil on canvas unsigned, stretcher inscribed “Raphael”. Framed. 32‑1/4” x 39‑1/2” $3,000‑$5,000

36

115


116 After Raphael (Raffaello Sanzio, Italian, 1483‑1520) “Madonna della Sedia”, ca. 1900 oil on canvas unsigned. Presented in an antique gessoed and carved giltwood frame. 15‑3/4” x 15‑1/2” $1,000‑$1,500 117 Mexican School (19th Century) “St. Anthony of Padua”, “Bishop” and “San Miguel” three oils on tin all unsigned. All Framed. two 14” x 10”, one 11‑1/4” x 8‑1/4” $1,000‑$1,500

116

117 one of three

117 two of three

118

118 Greek Orthodox Icon 19th century, depicting St. John the Evangelist and his scribe St. Prochoros in the caves of Patmos, tempera and gold paint on wood panel, with applied metal elements, faint inscription upper left, the young scribe’s name above his head, with the Evangelist’s sacred attribute of an eagle at left. 14” x 12‑3/4” $700‑$1,000 117 three of three

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120 Dutch Mahogany and Marquetry Bookcase late 19th century, in the Georgian taste, the molded cornice with projecting corners, above a conforming frieze and two astragal-glazed doors, the lower section fitted with a single drawer over two paneled cupboard doors, raised on tapering square legs joined by a shaped X-form stretcher and ending in bun feet, the whole richly inlaid in scrolling foliate, floral and avian patterns. h. 88”, w. 32‑1/2”, d. 17” $1,000‑$1,500

119

119 Dutch Neoclassical Mahogany and Marquetry Cheval Mirror mid-19th century, the paneled triangular crest above a rectangular mirror plate within an inlaid frame, raised on columnar supports to splayed feet ending in caps, the whole richly inlaid in scrolling foliate and floral panels. h. 77‑1/2”, w. 33‑1/4” $700‑$1,000

120

121 Dutch-Style Floral Marquetry-Inlaid Mahogany Bedstead late 19th century, with an arched headboard and footboard, and shaped and inlaid rails. h. 48”, inside w. 56”, l. 74”, outside w. 59”, l. 80” $600‑$900

121

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122 Dutch Neoclassical Mahogany and Marquetry Cabinet mid-19th century, the molded cornice with projecting canted corners, above a conforming case fitted with a frieze drawer over two long cupboard doors, flanked to either side by a freestanding ormolu-mounted column, raised on tapering square feet, the whole richly inlaid in scrolling foliate, avian and flowering urn patterns. h. 69‑1/2”, w. 44‑1/2”, d. 19” $1,000‑$1,500

124

124 Continental Porcelain and Patinated Metal Chandelier second quarter 20th century, the nine-light bell-form chandelier with tulip-form porcelain candle cups and encrusted flowers, decorated with patinated metal grape leaves and vines. h. 21”, dia. 22” $700‑$1,000

122

123 Jean Capeinick (Belgian, 1838‑1890) “Still Life of Roses, Morning Glories, Chrysanthemums and Other Flowers” oil on panel signed lower right. Framed. 18‑1/2” x 13‑1/2” $1,000‑$1,500

123

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125 Pair of Baroque-Style Oak Fauteuils each with a tall padded and domed back joined by outswept scrolling arms to the padded seat, raised on cabriole legs headed by foliate carving joined by a shaped stretcher and ending in hoof feet. h. 50” $800‑$1,200

127

127 Unusual German Porcelain-Mounted Giltwood Mirror 125

126 Dutch Oak and Marquetry Bureau 19th century, the rectangular top above a slant front, opening to a storage well and various drawers and cubbyholes, over two short drawers and two graduated long drawers, raised on bun feet, the whole richly inlaid in floral, foliate and avian marquetry patterns. h. 37”, w. 33‑1/2”, d. 17‑1/2”

mid-19th century, in the Baroque style, the giltwood surround with bold rocaille and scrollwork, silver gilt molded flowers, leaves and birds, and hand-painted porcelain plaques with pink and green trim, and decorated with landscapes and scattered flowers. h. 58”, w. 33” $2,500‑$4,000

$1,000‑$1,500

128

128 Bohemian Cut and Enameled Overlay Glass Chandelier second quarter 20th century, the six-light chandelier with a baluster-form standard, scrolled candle arms and scalloped drip pans set with matching candle cups, all plated white and cut-to-clear, and enameled with scattered polychrome flowers, hung with cut glass drops. h. 22”, dia. 21” 126

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$800‑$1,200


132 Flemish-Style Mahogany Stool early 20th century, the padded rectangular top above a conforming foliate shell-carved frieze, raised on paneled tapering square legs headed by foliate capitals, joined by curule-form stretchers and ending in tapering square feet. h. 18”, w. 25‑1/4”, d. 18” $600‑$900

132 129

129 Dutch Walnut Cupboard mid-19th century, the molded and double-domed cornice above two doors, each inset with a shaped, highly figured panel, the lower section fitted with two short drawers over a single long drawer and two long bombe drawers, the whole raised on block feet. h. 94”, w. 62‑1/2”, d. 22” $1,000‑$1,500 130 Dutch Walnut Bombe Commode late 18th century, the shaped top banded and quarterveneered, above a bombe case fitted with three graduated long drawers, raised on large ball-and-claw feet. h. 33‑1/2”, w. 45”, d. 22‑1/2”

131

$1,000‑$1,500 131 Pair of Bronze-Mounted Porcelain Garniture Vases fourth quarter 19th century, Continental, on scroll-molded bronze bases, the vases hand-painted with birds in trees and scattered flowers, the matching covers set with molded dogform finials. h. 18”, w. 6”, d. 5‑1/2” $1,500‑$2,500

130

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133 Flemish-Style Fruitwood Settee fourth quarter 19th century, the triple-domed and padded back joined by reeded, downswept, acanthinecarved arms to the padded seat, raised on S-scroll legs joined by an undulating stretcher and ending in in-scrolled acanthine toes, the front and back both with a tasseled fabric swag with four custom coordinating pillows, all in Coraggio silk damasks. h. 49”, w. 75”, d. 29” $1,000‑$1,500 134 Pair of Large Polished Bronze Andirons and Fender fourth quarter 19th century, Continental, in the Renaissance style, resting on Pegasus-form feet, flanking lion’s heads grasping rings, the molded, turned and pierced standards decorated with crowns and stylized plants, beneath scrolled flame finials, with hooks on the front of the andirons supporting the twisted fender. h. 36‑1/2”, w. 44”, d. 7”

135

$2,500‑$4,000 135 Italian School (Second Half 19th Century) “Still Life with Flowers and Fountains” oil on canvas unsigned. Framed. 29‑1/4” x 39‑1/4” $1,500‑$2,500

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134

133


136 Baroque-Style Brass and Ebonized Wood Mirror fourth quarter 19th century, Dutch or Flemish, of “cushion” form, trimmed with ebonized ripple molding, set with pierced brass appliques and flower-molded brass bolection trim, set with a beveled mirror plate. h. 50”, w. 41‑1/4” $600‑$900 137 Dutch School (19th Century) “Oval Still Life of Flowers in a Classical Vase” oil on canvas unsigned. Presented in a conforming frame. 40‑7/8” x 32” $1,500‑$2,500

137

138 Monumental Ebonized, Parcel-Gilt and Faux Marbre Credenza late 19th century, Continental, the narrow, rectangular, inset faux marbre top with canted sides over a conforming faux tortoise frieze, over four glazed cupboard doors opening to a shelved fabric-lined interior, separated by gilt lion-carved uprights, the whole raised on gilt paw feet. h. 50‑1/2”, w. 124”, d. 17” $1,800‑$2,500 136

138

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139 Dutch Chinoiserie Polychrome Display Cabinet late 19th century, the domed, shaped and molded crest above two astragal-glazed doors and like sides, opening to a shelved interior, the lower bombe section fitted with two short drawers over two long drawers, raised on bracket feet, the whole with gilt accents in the chinoiserie manner. h. 85‑1/2”, w. 86”, d. 20” $2,000‑$4,000

140 Continental Mahogany Blackamoor Fauteuil a la Reine 19th century, with a tall arched and padded back joined by exuberantly carved arm supports in the form of blackamoor figures, recumbent children at the arm tops, the legs joined by curved stretchers with a central turned finial. h. 50” $2,500‑$4,000 139

141 Pair of Germanic Brass-Mounted Drinking Horns first quarter 20th century, now mounted as lamps, on molded, domed bases, the horns capped with leaf-molded brass bezels. overall h. 33‑1/2”, w. 16‑1/4” $600‑$900

140

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141


142

142 Pair of Continental Silverplated Andirons ca. 1900, in the Baroque taste, the turned and molded standards raised on bold scroll feet centered by a satyr masque, the turnings with masques and panels of incised anthemia, the ball finials with molded leaves. h. 29”, w. 11‑1/2”, d. 11”

143

144 Early Spanish Carved Fruitwood Farmhouse Table

$800‑$1,200 143 Dutch Baroque-Style Silver-Gilt and Ebonized Mirror

17th/18th century, the plank top with a molded edge and carved frieze mounted to a base fitted with three drawers along one side, and raised on boldly turned and carved legs joined by an “H”-form stretcher. h. 32”, w. 78”, d. 35”

ca. 1900, with a rose-molded surround, the mirror-inset inner frame decorated with pierced and scrolled panels and ebonized trim, the silver-gilt pediment crest with flowers, scrollwork and acanthus leaves. h. 83”, w. 39”

$1,800‑$2,500

$1,500‑$2,500

144

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145 Continental Walnut Cabinet partially composed of antique elements, the rectangular banded top above a conforming case fitted with a foliate scroll-carved frieze over two cupboard doors, each paneled, above two doors with like-carved fronts, raised on bun feet. h. 37”, w. 55”, d. 27‑1/2” $800‑$1,200

145

147 Continental Provincial Mahogany Side Table early 20th century, the banded rectangular top above a conforming frieze fitted with a single drawer, raised on barley-twist legs joined by a like H-form stretcher with finial accents and ending in block and bun feet. h. 28‑1/2”, w. 38”, d. 28‑3/4” $700‑$1,000

146

146 Black Forest-Style Carved Wood Humidor 20th century, depicting a dog resting on its front paws, the head hinged. h. 10‑1/2”, w. 5‑3/4”, d. 6‑1/2” $600‑$900

147

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148 Dutch Walnut Secretary 19th century and later, the molded double-domed cornice above two doors, each inset with two oysterveneered panels, opening to an interior fitted with a central compartment surrounded by various drawers and cubbyholes, the lower section fitted with a slant front opening to an inset leather surface, a storage well and a variety of drawers and cubbyholes, over a central recessed kneehole, flanked to either side by a bank of four graduated drawers, raised on ogee bracket feet. h. 89”, w. 50”, d. 22” $3,000‑$5,000

149

149 Pair of Renaissance-Style Patinated Bronze Andirons fourth quarter 19th century, French, on scrolled feet supporting putti, framing molded medallions, the baluster-form standards decorated with female pawfooted monopodia masques and molded fleurs-de-lis, with flame finials. h. 40”, w. 17”, d. 28” $1,500‑$2,500

150

150 Continental Carved Mahogany Mirror fourth quarter 19th century, the Rococo-style mirror with a pierced frame carved with scrollwork and flowerheads, and decorated with roundels of Chinese Ch’ing period blue and white porcelain. h. 39”, w. 32‑1/2” $600‑$900 148

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151

152

151 Italian School (Fourth Quarter 17th/First Quarter 18th Century) “Portrait of a Gentleman in a Ruff Collar, Possibly after a Portrait by Marco Bigio (act. 1523‑1550)” oil on canvas unsigned, inscribed upper right, the stretchers with two partially effaced mid-20th-century handwritten labels and a “Santini Bros., Inc./Lot 129/002” label. Framed. 45” x 34” Provenance: Private Collection of Dr. Arthur D. Little (1863‑1935), Brookline, Massachusetts; Santini Brothers Inc., Brooklyn, New York, ca. 1960 $1,000‑$1,500 152 Italian School (Possibly Venice, 16th Century) “Portrait of a Bearded Gentleman, Seated, Holding a Book in One Hand” oil on canvas Framed. 41” x 33” $1,000‑$1,500 153

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153 Circle of Giovanni Bernardo Carbone (Italian, 1614‑1683) “Portrait of a Gentle Lady in Mourning, Seated in a Bargello Chair” oil on canvas unsigned. Presented in a 19th-century giltwood frame. 47‑7/8” x 39” Provenance: Herbie Oakes Collection, Houston, Texas. $4,000‑$7,000 Giovanni Bernardo Carbone (sometimes spelled Carboni) was an Italian painter from Genoa, who studied under Giovanni Andrea de Ferrari, a pupil of Anthony van Dyck. While Ferrari preferred religious scenes, which he perfected in the form of altarpieces, Carbone’s forte was portraiture - of all the Genoese artists, his work is the most closely allied to van Dyck’s portraits from the 1630s, which were strongly influenced by the Venetian colorists. After a year-long sojourn in Venice, van Dyck established himself as a prolific portraitist in Genoa from 1621‑1627, painting the wealthy with a grandeur that combined the Flemish penchant for detailed refinery and expressive hand and facial gestures/expressions with the color and subtle modeling of Titian. Van Dyck’s presence in Genoa opened a tremendous door of opportunity in the decades that followed for the young Carbone; there was abundant demand for the growing mercantile class to ennoble themselves since the city was both the capital and center of maritime trade in the Liguria region. The painting offered here is strongly suggestive of the portraiture Carbone executed in the manner of van Dyck for the Genoese gentry, and closely resembles the physiognomy, dress and execution of two well-known portraits by van Dyck - “Dorothy, Lady Dacre” (1633) in the British Burger Collection (now housed in the Denver Art Museum), and “Lady with a Rose” in the Isabella Stewart Gardner Museum in Boston. Like the aforementioned portraits, the imposing presence of the sitter is depicted in three-quarters view from below, so that the viewer is forced to look upward in admiration at the social position she wields. Even in mourning, she is larger than life, occupying two-thirds of the picture plane with the same voluminous black taffeta gown and diaphanous silk hairpiece as the other two portraits. In all three works, the fabric cascades downward onto the viewer with the weight of their prestige. In Carbone’s portrait, the fine modeling of the face, detailed lace rebato - a lighter version of the ruff collar - black pearls and elongated expressive hands (another van Dyckian convention) that touch the breast and finger the embroidered handkerchief all bespeak of the sitter’s position within a prominent family. In addition to the rich, imported fabrics and pearls, perhaps the most telling example of her mercantile wealth is the stunning Bargello patterned chair in which she sits with its prominently displayed gilt brass/bronze floral rivets and architectonic finials. The fine Bargello needlepoint, characterized by colorful geometric patterns, is believed to have originated in Hungary, and was imported into Italy in the 17th century. One of the earliest known examples of the Hungarian point, a set of upholstered armchairs conserved at the Bargello Museum in Florence, bears a striking resemblance to the chair pictured here. The “Lady in Mourning’s” identity, though unknown, is very much embedded in the fabric of Genoese portraiture tradition.

154

154 Attributed to Caspar Netscher (German, 1639‑1684) “Maiden Seated Before a Still Life of Fruit, a Landscape in the Distance” oil on canvas inscribed “C. Netscher/fecit” and dated “1674” lower right. Framed. 25‑1/2” x 30” $10,000‑$15,000 Caspar Netscher, a German-born artist, assimilated the character of the 17th-century Dutch genre style of his master, Gerard Terborch, into portraiture, characterized by sumptuous dress and settings. Following his apprenticeship with Terborch, Netscher journeyed to Italy, studying the lighting and composition of Renaissance and Baroque masterpieces, which he incorporated into his work through the use of lighting and the diagonal composition. Through the synthesis of these two genres and styles, Netscher was able to introduce a distinctly international style to the Northern Netherlands through his adept handling of costly silks and brocades, as is evidenced in the portrait offered here. The blue taffeta and white silk fringed in lace are dramatically thrust upward in a dazzling array of textures rendered through the bravura of chiaroscuro. The finery of the woman’s dress, as it ensconces her bosom, are a still life in itself, mirroring one of the rare melons at her feet. Both are exotic beauties for the taking of the affluent connoisseurs who patronized Netscher, making him one of the most prolific Dutch artists of his time. His works are conserved worldwide in major museums, such as the National Gallery, London; Amsterdam Museum; Uffizi, Florence; and the Staatliche Museen, Berlin.

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155 details

156 Good Nicholas I Russian Silver Tray 155

155 Rare Pair of Early 18th-Century Hungarian Silver Altar Sticks dated 1720, by Henricus Goldner, Sopron, each with a baluster standard raised on a tripartite scroll base and surmounted by a drip-pan and pricket, the whole richly ornamented with repousse and chased scrolls, flowers and volutes, inscribed around the baluster base “Ioan[nes] Adam Gansel : Philo[sophiae] & Med[icinae] Doctor : Quis Legavit Ad. 1720”. h. 32‑1/2”, w. 13‑1/4”; weighted

1844, assayer Dmitri Tverskoy, St. Petersburg, by Johan Fredrik Falck, retailed by Nicholls & Plinke, 84 zolotnik (.875) silver, of serpentine-sided rectangular form, the molded rim with addorsed scrolls at the sides and corners, with acanthus-mounted rococo stirrup handles, monogrammed “HJW”. 21‑3/4” x 14‑3/8”; 77.42 t. oz. $1,200‑$1,800

Literature: Judt H. Kolba, Hungarian Silver: The Nicolas M. Salgo Collection (London: Thomas Heneage, 1997), p. 88, item 76c. $9,000‑$12,000 This handsome pair of altar sticks, along with two others, were commissioned in 1720 by Dr. Joan Adam Gansel for St. Michael’s Church in Sopron, Hungary. They were sold by the church in 1860 to Trausdorf Church in Burgenland, Austria, where they remained until 1969. They were acquired in 1980 by Nicolas M. Salgo (1914‑2005), Hungarian-born builder of the Watergate Complex and Reagan’s Ambassador to Hungary who, while in service as the latter, began to amass what would come to be regarded as the finest collection of Hungarian silver in private hands. After his death, much of his collection was retained by the Salgo Trust for Education, with some items - including the present lot - sold for the benefit of the trust.

50

156 +detail


158

157 Two Dutch Silver Serving Pieces

158 Three-Piece German Silver Table Garniture

second standard (.833) silver, including a ladle, hallmarked 1892, with rococo handle and detachable hinged straining screen, l. 13”, and a pierced berry spoon, hallmarked 1910, with figural windmill finial, l. 9‑7/8”. 10.10 total t. oz.

first quarter 20th century, by P. Bruckmann & Soehne, Heilbronn, retailed by Eugen Marcus, Berlin, .800 silver, in the rococo taste, comprising one large jardiniere, 14‑1/2” x 8‑1/2”, and two smaller ones, 10‑3/4” x 6‑1/4”, each of oval form decorated with an embossed, shaped rococo band centering cartouches mantled with oak branches and bulrushes, with stirrup handles and four scrolling feet en suite, fitted with the original conforming gilt-metal liners with ring handles. 34.63 total t. oz. (excluding liners)

$600‑$900

$1,400‑$1,800

159 Continental Silverplate Jardiniere fourth quarter 19th century, of oval form with stepped ends, decorated with gadroons quartered by elaborate scroll cartouches which extend to form the feet, with “flat twist” rim and detachable conforming liner, monogrammed on the cartouches “SH”, conjoined. h. 4‑3/4”, l. 24‑1/2”, w. 14‑3/4” $600‑$900

157

159

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160

160 German Four-Piece Silver Tea Set

162 Pair of Italian Silver Candelabra

first quarter 20th century, .800 silver, including a coffeepot, h. 9‑1/2”, a teapot, h. 8‑1/4”, a covered sugar bowl, h. 6”, and a cream jug, h. 5‑3/8”, each of lobed pear form and decorated with embossed floral swags and cartouches of frolicking putti, with rocaille-crested handles and feet. 71.76 total t. oz.

third quarter 20th century, by IMA Guerci & C., Alessandria, .800 silver, each with a bulbous standard above a steeply domed base decorated with applied fruit swags and raised on four acanthus crested feet, surmounted by four elaborate acanthus scroll arms surrounding a short baluster standard, each terminating in a fluted bell-form nozzle with circular drip pan. h. 17‑1/4”, w. 12‑1/2”, base dia. 5‑1/4”; 114.73 total t. oz.

$1,000‑$1,500

$2,000‑$4,000

161

161 Pair of Austrian Silver-Mounted Glass Claret Jugs fourth quarter 19th century, by Alexander Sturm, Vienna, each with a glass ovoid body cut with spiral flutes and wheel-engraved rococo cartouches, the neck mounted in a .800 silver collar (retaining traces of gilt) with rococo scroll handle, “duck’s beak” spout and hinged, domed lid with flammiform finial. h. 9‑1/4”, dia. 4‑1/2” $600‑$900

52

162


163 Pair of Buccellati Sterling Silver Bowls/ Candlestands late 20th century, each in the form of a fivepetaled flower, which may be inverted for use as a footed bowl or domed candlestand. h. 2‑7/8”, dia. 3‑5/8”; 9.61 total t. oz. $600‑$900

163

164 Continental Silverplate Meat Dome and Platter first quarter 20th century, of lobed oval form, decorated with repousse rococo cartouches and ring handle, above a conforming well-and-tree platter with hot water reservoir. overall h. 15‑3/4”, l. 25‑1/2”, w. 16‑3/4” $1,500‑$2,500

164

165 Three-Piece Spanish Silver Desk Garniture fourth quarter 20th century, .915 silver, including a quartz clock in a cenotaph-shaped case with eagle crest and beside a figure of Bacchus, all on a plinth base decorated with applied neoclassical motifs and raised on four rocaille feet, h. 9‑1/2”, w. 7‑3/4”, and a pair of candlesticks with figural putto standards en suite, h. 8”. clock weighted; candlesticks 19.86 total t. oz. $800‑$1,200

165

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166

166 Copper-Plated Red Toile Fabric late 18th century, probably French, depicting William Penn’s treaty with the Indians, in a classical-style wooden frame. h. 27‑1/2”, w. 35‑3/4” $1,500‑$2,500

167

At least three versions existed, according to Winterthur Museum curator Florence Montgomery in Printed Textiles. 167 Louis XV-Style Polychrome Fauteuil late 19th century, the padded and domed back surmounted by a floral crest and joined by padded ribbed arms to the cushioned seat, raised on cabriole legs headed by a floral capital and ending in foliate toes. h. 36” Provenance: Joan Rivers, from her Manhattan penthouse apartment. $800‑$1,200 168 French Consulate Period Giltwood Mirror late 18th century, with unusually crisp molded details, the surround with key-pierced upper and lower mirror-inset sides and decorated with grapes and roses, the pierced scroll-molded crest with a basket of flowers in the center, flanked by grapes and bunches of flowers. h. 49”, w. 19‑3/4” $1,500‑$2,500

168

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169 Louis XV/XVI-Style Ormolu-Mounted Kingwood and Marble-Top Commode second quarter 20th century, having a shaped white marble top, the base with parquetryinlaid sides, the drawers with a central inlaid floral spray, raised on cabriole legs with cast bronze paw feet. h. 34”, w. 52‑1/2”, d. 22” $1,000‑$1,500 170 Impressive Pair of Carl Thieme Porcelain Covered Urns on Bases 1901‑1914, Potschappel, Germany, marked by Carl Thieme’s Saxonian Porcelain Company, with hand-painted and encrusted flowers, the urns with fluted bases, the obverses with hand-painted scenes, framed with pairs of putti adorning crowned shields with swags of flowers, and with vine-form handles, the covers decorated with putti supporting cartouches with pierced crowns, on rocaille-molded bases with putti and encrusted flowers, marked with an “SB, Dresden” in underglaze blue. h. 35‑1/2”, w. 14” Provenance: Private collection, Louisiana. $2,500‑$4,000

170

169

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173 Louis XV-Style Painted and Parcel-Gilt Trumeau Mirror fourth quarter 19th century, French, with an olive green ground, the mirror plate and upper tablet set with a scroll and rocaille work surround, the top with an oil-on-canvas depiction of family in early 18th-century costume in a garden. h. 64”, w. 48‑1/2” $1,400‑$1,800

172

171 Four-Piece Louis XVI-Style Giltwood Parlor Suite late 19th century, consisting of a settee, h. 39”, w. 49‑1/2”, d. 23”, a fauteuil, h. 37‑1/2”, and a pair of sidechairs, h. 36”, all with padded medallion backs and like seats raised on fluted tapering circular legs headed by floral block capitals and ending in pad feet, all upholstered in period floral-patterned tapestry. $700‑$1,000 172 Louis XV/XVI-Style Giltwood and Marble-Top Occasional Table early 20th century, the inset circular marble top above a conforming pierced foliate frieze, joined to a caned lower shelf by molded supports headed by floral and acanthine capitals and ending in scrolled toes on pegs. h. 31”, dia. 19‑1/2”

173

$1,000‑$1,500

171

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176 Louis XV-Style Kingwood and Marble-Top Console Table early 19th century, the shaped marble top above a conforming frieze with lattice-incised panels and centered by a foliate shield, raised on scrolling legs headed by foliate carving and ending in scrolled toes. h. 35”, w. 52‑1/2”, d. 22” $700‑$1,000

175

174 Louis XV-Style Polychrome Sofa ca. 1900, the molded crest centered by floral and leaf carving, extending to closed arms, with serpentine apron and cabriole legs. h. 42‑1/2”, w. 88”, d. 32” $800‑$1,200 175 French Gilt-Bronze Chandelier mid-20th century, in the Rococo Revival style, the twelvelight chandelier decorated with fruit and flower mounts, and supporting a leaf-molded standard with flowers on stems and set with six leaf-molded arms, each with a pair of flower-molded candle cups with leaf-molded drip pans. h. 34”, dia. 26”

176

$700‑$1,000

174

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179

177

177 Louis XV/XVI-Style Giltwood Fauteuil the padded rectangular back surmounted by a shield and floral crest, joined by padded arms to the like seat, raised on cabriole legs ending in foliate scrolled toes, upholstered in pastoral-themed tapestry. h. 39” $600‑$900

180

178 Circle of Jean-Baptiste Greuze (French, 1725‑1805) “Jeune Fille au Bonnet Blanc”, 1769 oil on canvas dated and inscribed “J. B. Greuze” lower right. Presented in an elaborate Charles X gesso and gilt carved frame with a pierced beribboned crest. 17‑3/4” x 15” Provenance: Mac Maison, New Orleans, Louisiana. $7,000‑$10,000 179 French Giltwood Overmantel Mirror fourth quarter 19th century, of Louis XV inspiration, with an arched crest, the surround lined with a bolection molding, the molded crest decorated with a shell, flanked by trailing flowers, the upper corners with scrollwork and flowerheads, set with a beveled mirror plate. h. 73‑1/4”, w. 45‑1/2” $1,500‑$2,500 180 French Bronze and Crystal Chandelier second quarter 20th century, the four-light chandelier with a molded glass interior spire, decorated with molded leaves on ribbon-bound reeding with pierced “keys” supporting drip pans and candle cups, hung with cut glass prisms. h. 28‑1/2”, dia. 18” $1,000‑$1,500

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178


181 Louis XV-Style Kingwood Vitrine Table early 20th century, the square top with projecting canted corners and an inset beveled glazed panel, hinged and opening to a fabric-lined interior, above a brass-inlaid frieze, raised on slender cabriole legs ending in sabots. h. 30”, w. 15‑1/2”, d. 15‑1/2” $600‑$900

182

183

184 Atelier Le Tallec Porcelain Covered Tureen

181

182 Atelier Le Tallec Porcelain Covered Sauce Tureen and Stand

ca. 1984, French, in the Sevres style, hand-painted with panels of polychrome birds on a bleu-de-roi ground with raised gilt scrollwork, with a gold and white artichoke knop, with the hand-painted “Le Tallec” mark, including date letter, “RM” and the decorator’s initials, “JN”. h. 8‑3/4”, w. 11”, d. 6‑1/2” $700‑$1,000

ca. 1971, Limoges, after a Sevres Louis XV example, richly decorated with raised gilt, hand-painted flowers and bleu-deroi borders with gilt vines, with a Le Tallec hand-painted mark, a “1971” date mark and painter’s initials, “SHF”. h. 9‑1/2”, w. 13‑1/2”, d. 8‑3/4” $700‑$1,000 183 Pair of Franco-Bohemian Porcelain Sauce Tureens mid-19th century, in the Rococo Revival style, decorated with hand-painted floral panels on a cobalt ground, trimmed with raised gilt scrollwork, on integral underplates. h. 5‑1/2”, w. 8‑3/4”, d. 5‑1/2” $500‑$800 184

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185 Pair of Louis XV-Style Giltwood Stools mid-19th century, each with a padded and rounded square top above a molded floralcarved apron, raised on cabriole legs ending in foliate scrolled toes, upholstered in period floral tapestry. h. 17”, w. 22”, d. 20” $1,500‑$2,500

185

186 French School (Second Half 18th Century) “Portrait of a Princess from the House of Bourbon, possibly Marie Josephine Louise of Savoy (wife to Louis XVIII) or Madame Elisabeth (sister of King Louis XVI) oil on canvas unsigned, titled en verso “M S/J [?] soeur du Dauphin”. Framed. 16” x 12‑3/4” $1,800‑$2,500

186

187 Pair of French Rococo-Style Giltwood Mirrors ca. 1900, the serpentine sides molded with flowers and rocaille work, the fluted edges and scattered flowerheads decorated with bright gilt against a matte ground. h. 30”, w. 26” $600‑$900

187

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188

189

188 French Marble and Gilt-Bronze Lamp ca. 1900, in the Louis XV style, the pear-shaped Siena marble and bronze base mounted with pierced bronze leaf moldings, the sides mounted with swan’s-head handles supporting swags of flowers and bowknots, with a pierced bronze cap. overall h. 24‑3/4”, w. 8”, d. 6” $800‑$1,200

189 Pair of Louis XVI-Style Polychrome Fauteuils mid-19th century, each with a padded medallion back surmounted by a floral ribband crest and joined by padded arms to the padded seat, raised on stop-fluted tapering circular legs ending in toupie feet. h. 37‑1/2” $700‑$1,000

190 Antique French Handwoven Wool Tapestry 3’ 10” x 8’ 7” $1,500‑$2,500

190

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191 Louis XVI-Style Gilt-Bronze Chandelier first quarter 20th century, French, the fourlight chandelier with a quiver-form standard terminating in a flame finial, the twisted arms with ram’s-head finials and birds in scrollwork supporting swags of fruit, set with leaf-molded and reeded candle cups, supported on a cap decorated with bowknots. h. 35”, dia. 12‑1/2” $800‑$1,200

192 Louis XV-Style Fruitwood Bureau Plat 20th century, the shaped rectangular top with an inset gilt-tooled leather surface and within an ormolu band with corner accents, above a conforming frieze fitted with three faux drawers to either side, raised on cabriole legs ending in sabots. h. 29”, w. 54”, d. 30”

191

194

$1,500‑$2,500

193 Louis XV-Style Fruitwood Settee 20th century, the domed and padded back surmounted by a shell and foliate crest, joined by padded scrolling arms to the tri-cushioned seat, raised on molded cabriole legs headed by bellflower carving and ending in scrolled toes. h. 44‑1/2”, w. 69”, d. 28” $600‑$900

192

194 Sevres-Style Porcelain and Bronze Garniture Urn ca. 1900, French, on a bronze base, the urn hand-painted with a courting scene, the couple dressed in 18th-century costume, the body with cobalt-ground porcelain with raised gilt scrollwork, unsigned. h. 30‑1/2”, w. 6‑1/4”, d. 6‑1/4” $600‑$900

62

193


195

196

195 Continental Kingwood Desk mid-19th century, the shaped rectangular top triple-banded and with an inset leather writing surface, all within an ormolu gadroon edging, above a conforming frieze fitted with a central drawer flanked to either side by a short drawer over a deeper drawer, all with scrolling foliate inlay, raised on cabriole legs. h. 30”, w. 46‑1/2”, d. 25‑3/4” $1,500‑$2,500 196 Sevres-Style Porcelain Table Box first quarter 20th century, probably Limoges, with bombe sides and a brass-fitted, domed cover, decorated with an 18th-century-style hand-painted interior scene signed “Henry” and trimmed with raised gilt, the sides with hand-painted landscape panels framed with raised gilt, a spurious “Sevres” mark on the base. h. 3‑3/4”, w. 12‑1/4”, d. 6‑3/4”

197

$800‑$1,200 197 Louis XVI-Style Kingwood Vitrine Table early 20th century, the rounded rectangular top within an annulated ormolu band and inset with a glazed panel, hinged and opening to a velvet-lined interior, above a conforming frieze with applied scrolling foliate ormolu panels, raised on paneled tapering circular legs ending in lotus-form caps. h. 32‑1/2”, w. 38‑1/2”, d. 23” $800‑$1,200 198 Louis XV Giltwood Mirror third quarter 19th century, with a finger-molded, rocaillecarved surround, the crest decorated with a pierced ornament, flanked by scrollwork and flowerheads, on scrolled feet. h. 48”, w. 28” $700‑$1,000

198

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199 202

199 Louis XV-Style Gilt-Bronze Hanging Lantern second quarter 20th century, the four-light tapered lantern framed with molded scrollwork and set with glass sides, supported by flower-molded chains. h. 31”, dia. 15‑1/2” $1,500‑$2,500 200 Pair of Rococo-Style Bronze Two-Light Sconces mid-20th century, French, on rocaille-molded backplates set with Chinoiserie figures, the arms pierced and set with rocaille- and leaf-molded candle cups, electrified. h. 21”, w. 13‑1/2”, d. 5” 200

$600‑$900 201 Pair of French Gilt-Bronze Sconces mid-20th century, in the Louis XV style, the three-light sconces on rocaille-molded and pierced backplates, set with vigorously scrolled, leaf-molded arms set with matching candle cups and drip pans. h. 27‑1/2”, w. 18‑1/2”, d. 9‑1/2” $700‑$1,000 202 French Gilt-Bronze Chandelier mid-20th century, in the Rococo Revival style, the twelvelight chandelier decorated with molded flowers, and supporting a leaf-molded standard set with poppies on stems, with six leaf-molded candle cups and leaf-molded drip pans hung with prisms. h. 30”, dia. 25”

201

64

$700‑$1,000


203 Louis XV-Style Giltwood Console Table mid-19th century, the shaped marble top with a molded edge, above a conforming pierced, scrolling foliate frieze, raised on foliate-carved scrolling legs joined by a foliate shield apron and ending in scrolling peg feet. h. 40‑1/2”, w. 49”, d. 21” $2,000‑$4,000 204 Pair of Louis XV/XVI-Style Giltwood Fauteuils 20th century, each with a padded domed back surmounted by a pierced ribband crest, joined by padded arms to the like seat, raised on molded legs headed by foliate carving and ending in toupie feet. h. 39‑1/2” $600‑$900

203

205 204

205 Pair of French Gilt-Bronze Sconces mid-20th century, in the Louis XV style, the three-light sconces on rocaille-molded and pierced backplates, set with vigorously scrolled, leaf-molded arms set with matching candle cups and drip pans. h. 27‑1/2”, w. 18‑1/2”, d. 9‑1/2” $700‑$1,000 206 Louis XV/XVI-Style Kingwood and Marble-Top Cabinet early 20th century, the shaped rectangular marble top above a conforming case fitted with two long doors, each banded and with diamond-patterned parquetry veneers, the sides en suite, raised on cabriole feet ending in sabots. h. 60”, w. 44”, d. 18‑1/2” $600‑$900

206

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207 Louis XV/XVI Kingwood and Marble-Top Commode 18th century, the breakfront marble top above a conforming case fitted with three frieze drawers with guilloche inlay, over two long drawers, both with musical and floral spray inlays, raised on cabriole legs ending in sabots, signed “J. B. Saunier” on the commode, under the marble top. h. 33”, w. 50”, d. 24” $1,500‑$2,500 208 Pair of Louis XV/XVI-Style Fruitwood and Marble-Top Commodes each with a bowed oval marble top with a three-quarter pierced brass gallery, above a conforming case fitted with two short drawers, with decorative banding, raised on splayed legs ending in sabots. h. 28”, w. 24”, d. 16”

207

$700‑$1,000 209 Luis Jimenez y Aranda (Spanish, 1845‑1928) “La Costurera”, 1891 oil on wood panel signed, dated and localized “PARIS”. Framed. 14” x 10‑1/2” $2,000‑$4,000

208

210 Louis XV-Style Gilt-Bronze Hanging Lantern second quarter 20th century, the four-light tapered lantern framed with molded scrollwork and set with glass sides, supported by flower-molded chains. h. 31”, dia. 15‑1/2” $1,500‑$2,500

209

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210


211 Pair of Louis XV-Style Polychrome and Parcel-Gilt Bergeres early 20th century, of generous proportions, each with an arched and padded back and carved and molded arm fronts, the seat frame gracefully scalloped and raised on cabriole legs. h. 36” $2,000‑$4,000

211

212 Large Giltwood and Marble-Top Side Table mid-19th century, in the Louis XV style, the marble top with a bowed front, above a conforming shaped frieze with floral and foliate scroll carving, raised on monumental cabriole legs headed by foliate shields and ending in scrolled toes. h. 38”, w. 67”, d. 35” $1,500‑$2,500 212

213 Chinese Export Porcelain Armorial Punch Jug second quarter 18th century, the globular body with slightly tapering neck and earform handle, decorated to the exterior in the famille rose palette with an armorial crest and three baskets full of blossoming flowers, the neck having a floral border with butterflies and dragonflies. h. 12”, w. 9” $1,400‑$1,800 214 Italian Giltwood Mirror 19th century, in the Baroque style, the pierced and carved frame with conjoining scrollwork and shells, and presented with a broadly beveled plate glass mirror. h. 46", w. 32"

213

$700‑$1000

214

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215 Continental School (First Quarter 20th Century) “Fete Galante” oil on canvas unsigned. Framed. 73” x 59” $2,500‑$4,000 This fine panel recalls 18th-century vogue for Chinese-inspired works that flourished well into the early 1900s. Europeans were fascinated with the exoticism of the “Orient”, with the fine porcelain, silk, textiles and spices that flooded ports with the expansion of trade in the East in the late 17th/early 18th century through the Swedish East India Companies. China, in the imagination of Europeans, was combined with Turkey, Japan and India, a collective primitive other that dazzled and afforded a fantastic reprieve from the mores and strictures of the West. The influx of Chinese goods coalesced with the Rococo style, characterized by exuberant scrollwork and stylized sea-shell decoration couched in scenes of leisure and pleasure with gardens and courting couples (called fetegalantes) its archetypical subject. Marvels from the orient fueled the imaginative decadence of the genre that also flourished in the decorative arts and interior design, creating an abundant demand for Chinoiserie wallpaper, panels and screens, similar to the example offered here. 215

216

216 French Vert Patricia Marble Fireplace Surround ca. 1900, in the Louis XV style, the shaped deck with a molded edge and deeply carved stretcher. h. 44‑1/2”, w. 68”, d. 17”, opening h. 35”, w. 49” $8,000‑$12,000

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217

217 Italian School (Fourth Quarter 18th Century) “The Kingdom of Flora” monumental oil on canvas unsigned. Unframed. 116‑1/2” x 72‑3/4” $8,000‑$12,000

217 detail

217 detail

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218 Onofrio Boua (Italian, Second Half 17th Century) “Natura Morta con Fiori” oil on canvas signed in Latin “Honufrius. Boua. F” lower left. Framed 37‑1/8” x 27‑3/8” $5,000‑$8,000

218

220

219 J. Clement (American, Fourth Quarter 19th Century) “Still Life of Flowers in a Pottery Jar” oil on canvas signed lower right “J. Clement”. Framed. 26” x 21” $1,000‑$1,500 220 Pair of French Patinated Bronze and Marble Candelabra second quarter 19th century, the six-light candelabra on tripartite bases with tapered Siena marble standards set in scrolled feet, with Egyptian capitals at the top, with candle cups and drip pans molded with lotus leaves, mounted as lamps with shades. overall h. 43”, dia. 11‑1/2” 219

70

$700‑$1,000


221 Superb Signed Louis-Philippe Mantel Clock second quarter 19th century, composed of gilt and patinated bronze, and featuring a figure of Psyche and Cupid leaning against the clock case, decorated with a mount of two clasping hands below the dial, and a carefully detailed mount with two kissing putti and lovebirds on the lower portion, signed “Deniere Fab. de Bronziere”. h. 16”, w. 11‑3/4” Maison Deniere was founded in 1804. Examples of their work are represented in the Frick Collection, New York, among other institutions. $1,000‑$1,500 222 Restauration Patinated Bronze and Marble Clock second quarter 19th century, depicting Hermes resting against the clock and bearing the infant Dionysus, on a molded bronze base above a siena marble plinth, the clock face set with enamel numerals, on an ebonized wooden base. h. 20‑1/2”, w. 11‑1/4”, d. 7‑1/4” $1,200‑$1,800 223 Pair of Restauration-Style Bronze Dore et Patine Lamps third quarter 20th century, French, the two-light lamps with column-form standards supported by a round plinth with a square base, on beaded bun feet and fitted with engine-turned gilt-bronze trim. h. 29‑1/2”, w. 5”, d. 5”

221

222

224 Directoire-Style Ebonized and Parcel-Gilt Fauteuil early 20th century, the foliate-carved rail above a paneled crest and a pierced fan and urn-form splat, joined by paneled and padded arms to the cushioned and caned seat, raised above a gilt foliate apron on fluted tapering circular legs ending in toupie feet. h. 37” $600‑$900

$1,000‑$1,500

224 223

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225

225 Pair of French Empire-Style Bronze Dore et Patine Sconces fourth quarter 19th century, the five-light sconces on pierced backplates decorated with lyres, set with leaf-molded circular arm holders, mounted with molded and pierced patinated arms with leafmolded candle cups. h. 15‑1/2”, w. 15‑1/2”, d. 12” 227

$700‑$1,000 226 Directoire-Style Polychrome Settee

227 Louis XVI Parcel-Gilt Trumeau Mirror

19th century, the padded rectangular back surmounted by a decoratively carved frieze, joined by padded closed arms to the cushioned seat, raised on paneled square legs ending in shaped toes. h. 39‑1/2”, w. 75‑1/2”, d. 27”

ca. 1800, with a beaded, cove-molded and giltwood surround, the upper panel set with an oil on canvas depicting Cupid and Venus being drawn about a formal garden in a cart. h. 59‑1/2”, w. 31” $700‑$1,000

$2,000‑$4,000

72

226


228 Paris Porcelain Neoclassical Garniture Urn second quarter 19th century, the base with a polychrome courting couple on the front and tooled Gothic arches on the sides, the primary scene depicting a queen with her child and attendant, guarded by a centurion, overlooking the Bay of Naples, set with carefully molded handles, the back with tooled flowers and scrollwork. h. 22”, w. 9‑3/4”, d. 6‑1/4” $800‑$1,200 229 Pair of Restauration-Style Mahogany Fauteuils late 19th century, each with a paneled crest above a padded square back, joined by downswept arms to the padded seat, raised on sabre legs, upholstered in Napoleonic bee and laurel wreath-patterned needlework. h. 40‑1/2”

230

228

$600‑$900 230 Pair of French Painted Tole Table Lamps mid-20th century, the column-form lamps decorated with gilt on a red ground, the bases with battle implements and medallions, the columns with painted, fluted and flaring capitals. h. 23‑3/4”, w. 6”, d. 6” $600‑$900

229

231 Empire-Style Mahogany Settee mid-19th century, the padded rectangular back surmounted by a paneled crest and urn-form finials to each end, joined by paneled arms and polychrome swan uprights to the cushioned seat, raised above a paneled apron on block feet. h. 47”, w. 76”, d. 32” $1,000‑$1,500

231

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232 Empire-Style Gilt-Bronze, Marble and Glass Occasional Table the circular glass top centered by a finial and raised on three supports joined by double-ring stretchers and to three splayed legs ending in paw feet on a concave tripartite marble base. h. 26”, dia. 22” $1,000‑$1,500

232

234 Pair of Empire-Style Mahogany Bergeres early 20th century, each with a paneled and turreted crest over a padded back, joined by downswept arms to the cushioned seat, raised on ring-turned circular legs, the whole with ormolu mounts. h. 37” 233

$700‑$1,000

233 Pair of French Restauration Gilt-Bronze Candelabra second quarter 19th century, on tripartite bases set with paw feet, supporting the tapered standards, reeded and molded with anthemia and leaf-molded capitals, the lotus leaf-molded cornucopia-form arms terminating in leaf-molded candle cups set with beaded bobeches and reeded drip pans. h. 28‑1/2”, w. 11”, d. 10” $2,000‑$4,000

234

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235 Louis-Philippe Figured Mahogany Writing Desk late 19th century, the upper section with a bank of six small drawers, the base with a protruding writing surface above two drawers in the front frieze, raised on tapering square legs. h. 37”, w. 45”, d. 22” $600‑$900 236 Restauration Walnut and Marble-Top Commode mid-19th century, the rounded rectangular marble top above a conforming case fitted with an ogeemolded frieze drawer over three long drawers, all with finely matched veneers, raised on block feet. h. 38‑1/2”, w. 49”, d. 22” 235

$600‑$900 237 Pair of French Restauration Tole-Peinte Vases second quarter 19th century, of flaring form, on molded paw feet mounted on rectangular bases, decorated with colored decoupaged figures, scenes of a boar hunt and a harbor scene. h. 9‑1/4”, w. 5‑1/2”, d. 5‑1/2” $800‑$1,200 238 Two French Giltwood Barometers

236

237

including a Directoire barometer, ca. 1800, with a hand-painted dial set into an octagonal cove-molded frame, terminating in a pierced crest decorated with a globe, sprays of flowers and various trophies, indistinctly signed, h. 31”, w. 18‑1/4”, and a Louis XVI-style stick barometer, fourth quarter 19th century, carved with laurel and acanthus leaves, the dial painted with laurel leaves, h. 34‑3/4”, w. 8‑3/4”. $600‑$900

238

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240

239

239 Empire-Style Mahogany and Marble-Top Gueridon fourth quarter 19th century, the circular marble top above a conforming frieze, raised on tapering square supports headed by ebonized maiden’s-head capitals and ending in ebonized feet on a concave square base on casters. h. 30‑1/2”, dia. 23‑1/2” $1,000‑$1,500 240 Pair of Monumental Marble and Gilt-Bronze Candelabra

241 After Jacques-Edouard Gatteaux (French, 1788‑1881) “Napoleon et le Soleil d’Austerlitz”, first quarter 20th century patinated bronze relief medallion cast signature along lower edge, integral hook for display. dia. 17‑1/2” $600‑$900

fourth quarter 19th century, French, in the Baroque taste, with urn-form verde antique marble bodies, supported by hoof-footed monopodia terminating in satyr heads, molded, pierced and scrolled candle arms set with leaf-molded drip pans and set with swirl-molded candle cups, with pierced upturned flourishes of flowers, signed by bronzier Thiebaut Freres, Paris. h. 32”, dia. 16”

242 Suite of Eight Empire-Style Gilt-Bronze-Mounted Mahogany Chairs

$3,000‑$5,000

$2,500‑$4,000

242

76

241

each with foliate and ribbon mounts, full-figured Sphinxes at the hips, and parcel-gilt moldings. h. 35‑3/4”


243 Empire-Style Parcel-Gilt Trumeau Mirror first quarter 20th century, French, with a fluted giltwood surround, the upper oil on canvas depicting a woman in an Empire dress picking a basket of flowers, a chateau in the background. h. 51‑1/2”, w. 28‑1/2” $1,000‑$1,500 244

244 Empire-Style Ormolu-Mounted Mahogany Desk and Chair 20th century, the desk with a rectangular top with an inset leather writing surface, above a conforming frieze fitted with two central drawers flanked to either side by an open shelf and ormolu griffin uprights, raised on paneled tapering square legs ending in brass caps, h. 32‑1/2”, w. 60”, d. 30‑1/2”, and the conforming Empirestyle chair with a padded rectangular back joined by padded arms and ormolu griffin uprights to the padded seat, raised on tapering square legs ending in brass caps, h. 40‑1/2”. $1,000‑$1,500

245

245 Pair of Empire-Style Polychrome, Faux Marbre and Mirrored Center Tables 19th century, the circular mirrored tops centered by an incised starburst, above a conforming foliate-carved frieze, raised on shaped supports headed by Egyptian figures and ending in hairy hoof feet on a concave faux marbre tripartite base. h. 29”, dia. 30” $5,000‑$8,000 246 Sevres-Style Porcelain Table Box first quarter 20th century, probably Limoges, the cover with a hand-painted scene of Napoleon’s Battle of Wagram, signed “Guy”, trimmed with raised gilt sprays of laurel leaves with an “H” insignia, marked “Chateau de Longpre” on the base. h. 5”, w. 11‑1/2”, d. 7‑1/2” $700‑$1,000

243

246

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249 Louis-Philippe Giltwood Mirror third quarter 19th century, the ogee surround molded with egg-and-dart decoration, the crest with a pierced shell flanked by trailing flowers and scrollwork. h. 71”, w. 42‑1/2” $700‑$1,000

247 pair

247 Pair of French Brass and Jasperware Sconces first quarter 20th century, the two-light sconces on delicately pierced lyre-form backplates mounted with Jasperware neoclassical roundels with a green ground, set with pairs of scrolled candle arms terminating in drip pans trimmed in “fringe” and candle cups with beaded swagging. h. 24”, w. 12”, d. 4‑1/2” $1,000‑$1,500

249

250 Pair of Restauration Fruitwood Tub Chairs second quarter 19th century, each with a curved crest above a lyre-form splat, joined by downswept scrolling arms to the padded seat, raised on sabre legs. h. 33‑1/2” $600‑$900

248

248 Pair of French Neo-Grec Gilt-Bronze Candelabra third quarter 19th century, the six-light candelabra cast by bronzier Ferdinand Barbedienne and signed “F. Barbedienne” on the socle of the bust of Cybele on the lower standard, the white marble bases supporting paw feet with leopard’s-head crests and molded anthemia in the spaces between them, set with candle arms molded as oil lamps, and egg-and-dart-molded candle sockets. h. 13”, dia. 28‑3/4” $2,500‑$4,000

78

250


251 Pair of Directoire Gilt-Bronze Candelabra fourth quarter 18th century, the three-light candelabra with cupids on footstools, grasping the standards, set with leafmolded and engine-turned candle cups and drip pans, all resting on engine-turned column-form bases. h. 15‑3/4”, w. 7”, d. 3‑1/2” $1,800‑$2,500

253

253 Parcel-Gilt Candle Holder fourth quarter 19th century, carved with a Greek sphinx, on a giltwood base and mounted with a giltwood candle holder. h. 21”, w. 7‑3/4”, l. 16‑1/4” $600‑$900

251

252 Empire-Style Brass and Marble-Top Gueridon 19th century, the circular ochre marble top within a brass band, joined to a smaller lower shelf by shaped supports headed by ringed ram’s masques and ending in hairy paw feet. h. 26‑1/2”, dia. 24‑1/2” $2,000‑$4,000

254

254 Empire-Style Polychrome Occasional Table 19th century, the rounded top raised on a support in the form of a seated sphinx with gilt drape, to a socle base. h. 27”, w. 24”, d. 21‑1/2” 252

$1,000‑$1,500

79


257 Pair of Empire-Style Opaline Glass and Gilt-Bronze Lamps second quarter 20th century, French, the rectangular glass bases on leaf-molded bronze trim, supporting glass vases set with bronze swan-form handles and fluted bronze feet. h. 21‑1/2”, dia. 7” $1,500‑$2,500

255

255 Pair of French Empire Bronze Dore et Patine and Marble Candelabra first quarter 19th century, the two-light candelabra on marble bases set with bronze plinths supporting the bronze patine caryatid-form standards, with leaf-molded candle cups mounted on their heads, the removable leaf-molded candle branches set with engine-turned candle sockets. h. 17‑1/4”, w. 8‑3/4”, d. 3‑1/4”

257

$600‑$900 256 Empire-Style Gilt-Bronze and Marble-Top Gueridon

258 Pair of French Gilt-Bronze and Marble-Top Classical Side Tables

20th century, the circular marble top within a molded banding and joined to a circular marble stretcher by shaped supports headed by a ring capital, joined by a lower triangular stretcher and ending in paw feet. h. 27”, dia. 24”

19th century and later, each with a circular white marble top mounted to a standard depicting a cloaked maiden, the base with putti playing horns and resting on paw feet. h. 25‑1/2”, dia. 16” $1,000‑$1,500

$1,500‑$2,500

80

256

258


259

260

261

259 Empire-Style Bronze and Frosted Glass Chandelier second quarter 20th century, French, the frosted glass pan terminating in a bronze artichoke finial, set with eight cornucopia-form molded candle arms, hung from the laurel-molded corona, decorated with a crest of pierced, molded anthemia. h. 32”, dia. 25” $900‑$1,200 260 Pair of Empire-Style Cut Glass and Bronze Urn-Form Lamps second quarter 20th century, possibly Baccarat, raised on leaf-molded bronze feet, the leaf-cut urns and bases mounted with molded bronze handles. h. 27‑1/2”, w. 8‑1/4”, d. 6‑1/4” $1,200‑$1,800 261 Engraved Giltwood Mirror of Rococo Inspiration mid-19th century, French, with a gadrooned surround, the mirror-inset side panels engraved with leaves and set with molded giltwood, the pierced crest with an anthemion field of scrollwork and flowerheads. h. 63”, w. 40” $800‑$1,200 262 Pair of Restauration-Style Silvered Bronze Torcheres second quarter 20th century, on tripartite bases decorated with paw feet framing winged angel heads, the baluster-molded standards set into fluted, tapered elements, and decorated with laurel and acanthus leaves terminating in egg-and-dart candle cups, electrified. h. 70”, dia. 13” $3,000‑$5,000

262

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263 French Silvered Bronze and Opaline Glass Chandelier second quarter 19th century, the opaline standard decorated with mounts of swagged fringe and set with scrolled acanthus-molded arms terminating in pierced drip pans and molded candle cups, electrified. h. 27‑1/2”, dia. 25” $1,500‑$2,500 264 Pair of Sevres Cabinet Plates ca. 1802‑1809, French, each with a hand-painted border of flowers on a cobalt ground, and a center decorated with a gilt medallion with a laurel wreath, bearing the redstenciled “Sevres” mark used during the Consulate and early Napoleonic periods. dia. 9‑1/2” $600‑$900

263

265 Empire-Style Gilt-Bronze-Mounted Mahogany and Marble-Top Server fourth quarter 19th century, the rectangular marble top above a conforming case fitted with a leather-inset slide over two central Pacific cloth-lined cutlery drawers, over two grilled paneled cupboard doors, flanked to either side by four graduated short drawers, flanked and divided by ormolu-mounted columnar uprights, raised on a plinth base, the whole accented with ormolu mounts in the Empire taste. h. 39‑1/2”, w. 92”, d. 21” Provenance: Manheim Galleries, New Orleans, Louisiana, 1980s; Estate of Cheryl Barousse Frischhertz, New Orleans, Louisiana. $2,000‑$4,000

264

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265


266

266 Pair of Neo-Grec-Style Faux Porphyry-Painted Wooden Urns decorated with a band of painted anthemia and scrollwork on a black ground, the remainder of the urns painted to resemble porphyry. h. 22”, dia. 10”

267

$600‑$900 267 Empire Premier Marble and Bronze Dore et Patine Figural Mantel Clock first quarter 19th century, French, the rosso antico marble case decorated with a large gilt mount beneath a figure of the blind Homer carrying a young boy, mounted with a silk-string suspension movement marked “GD”, beneath a helmet and wreath symbolizing war and peace. h. 23”, w. 14‑3/4”, d. 5‑1/2” $1,800‑$2,500 268 Pair of French Restauration Gilt- and Patinated Bronze Candelabra the seven-light candelabra now mounted as two-light lamps, on scrolled bases decorated with molded anthemia and paw feet, the reeded column-form standards set in leaf-molded fittings and terminating in leaf-molded capitals, set with acanthus-molded arms with lotus-molded candle cups. h. 43‑1/2”, dia. 13‑1/2” $1,000‑$1,500

268

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271 269

269 detail

269 Empire-Style Mahogany and Burl Wood Secretaire a Abattant early 20th century, the triangular crest above a case fitted with a frieze drawer over a drop front opening to a variety of drawers and cubbyholes, flanked to either side by bulbous ebonized columns, over two cupboard doors, raised on block feet, the whole with ebonized accents. h. 67”, w. 38”, d. 21” $1,000‑$1,500 270 Impressive Napoleon III Marble and Bronze Dore et Patine Clock third quarter 19th century, French, the clock with a black marble base resting on gilt-bronze scrolled feet, decorated with a patinated bronze figure of Antoninus Pius, promoter of peace and education, resting on and around monuments with various gilt-bronze ornamentation. h. 34”, w. 24”, d. 8‑1/4” $2,500‑$4,000 271 French Empire-Style Gilt-Bronze and Tole Chandelier the eight-light chandelier with a green tole body set with a central flame finial, molded cornucopia-form bronze arms and an artichoke-form pendant finial, with molded bronze chains supporting it from a bronze canopy with pierced anthemia. h. 36”, dia. 27” $1,000‑$1,500

84

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273 272

272 Unusual Pair of French Bronze and Marble Candelabra

275 Pair of Empire-Style Bronze Candelabra

fourth quarter 19th century, in the Empire style, the four-light candelabra on Portoro marble bases with winged eagle monopodia supporting urn-form bodies, with central gilt-bronze tulip-form candle cups and feather-molded and gilded candle cups on the eagle’s heads. h. 19‑1/4”, dia. 9”

third quarter 19th century, French, now mounted as lamps, on engine-turned drum-form bases, with patinated bronze winged angel figures perched on balls, supporting molded cornucopia-form candle arms decorated with pierced anthemia and medallions. h. 25” and 33‑1/2”, dia. 10”

$800‑$1,200 273 Pair of Handsome Bronze Dore et Patine Sconces

274

$600‑$900 276 Empire-Style Mahogany Vitrine

20th century, French, in the Empire style, the lion’s head backplates grasping the serpent-form candle arms, set with faceted candle cups. h. 6”, w. 9‑1/2”, d. 6‑1/2”

early 20th century, of demi-lune form, the molded crest above an ormoluapplied frieze over a single glazed door and glazed sides, joined by columnar uprights to a lower shelf, raised on ormolu paw feet. h. 65‑1/2”, w. 27‑1/2”, d. 15‑1/4”

$800‑$1,200

$1,000‑$1,500

274 Empire-Style Mahogany and Marble-Top Occasional Table early 20th century, the circular marble top within a pierced brass band, raised on ormolu garlandentwined double-column supports to a concave tripartite stretcher to splayed feet. h. 30”, dia. 14” $600‑$900

275

276

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279

277

277 Antique Bidjar Runner 3’ x 20’ 1” $1,000‑$1,500

278 Turkish Heriz Serapi Carpet 12’ x 19’ $2,500‑$4,000

279 Antique Heriz Serapi Carpet 11’ 9” x 10’ 1” $3,000‑$5,000 278

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280

282

280 Turkish Angora Oushak Carpet 11’ 10” x 14’ 10” $1,500‑$2,500

281 Heriz Carpet 11’ x 8’ 2” $2,500‑$4,000

282 Fine Agra Serapi Carpet 8’ 9” x 11’ 10” $1,500‑$2,500

281

87


283 Turkish Angora Oushak Carpet 8’ x 9’ 10” $700‑$1,000

284 Early Twentieth-Century Mohtasham Kashan Carpet 9’ 1” x 13’ 11” Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. $2,000‑$4,000

285 Turkish Angora Oushak Carpet 8’ 2” x 10’ $700‑$1,000

284

283

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285


286

288

286 Antique Heriz Carpet 7’ 10” x 11’ $1,800‑$2,500

287 Qum Silk Carpet 3’ 4” x 5’ 3” $1,000‑$1,500

288 Feraghan Sarouk Carpet 9’ x 11’ 10” $1,800‑$2,500

287

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289

289 Suite of Four Georgian-Style Polychrome Sidechairs

290 Henri II-Style Polychrome Buffet a Deux Corps

20th century, each with a domed crest over a pierced and interlacing foliate-carved back, the padded seat raised on cabriole legs headed by scrolling acanthine carving and ending in hairy paw feet. h. 38”

early 20th century, the molded and domed cornice surmounted by a shell crest and over a central glazed cabinet flanked to either side by a lower paneled cupboard, joined by a paneled and galleried back and turned uprights to a lower section fitted with three drawers over three recessed cupboard doors, flanked and divided by fluted and ribbed uprights, raised on bun feet, the whole accented with scrolling foliate accents. h. 106”, w. 70‑1/2”, d. 23‑1/2”

$600‑$900

$1,800‑$2,500 291 Contemporary Polychrome Settee in the Jacobean taste, the tall paneled back with carved geometric designs, joined by scrolling arms to the padded seat, raised on turned and block legs joined by stretchers and ending in bun feet. h. 55”, w. 58‑1/2”, d. 24‑1/2” $800‑$1,200

291 290

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294

292

292 Chinese Blue, White and Copper Red Porcelain Dish possibly Yongzheng period (1722‑1735), of circular form with deep cavetto, decorated to the interior and exterior with a dense scrolling foliate design in underglaze blue, interspersed with blossoming flowerheads in copper red, the base with a six-character Yongzheng mark in underglaze blue within double concentric bands, having Sidney L. Moss and Mr. and Mrs. Robert Piccus Collection labels. h. 3‑1/2”, dia. 16‑1/4” $3,000‑$5,000

293 Henri II Oak Cabinet late 19th century, the broken triangular pediment above a foliate and military trophee-carved frieze, over two doors, each with a glazed upper section and a lower carved panel, over a long drawer with lion’s head pull, raised on block feet. h. 87”, w. 57‑1/2”, d. 19” $800‑$1,200 294 Jacobean-Style Oak Draw-Leaf Table ca. 1900, the segmented and paneled top raised on turned legs joined by an H-form stretcher, each end fitted with a draw leaf. h. 31‑1/2”, w. 43”, l. 91”, ext. l. 139” $1,800‑$2,500 295 Jacobean-Style Oak Chest 18th century, the banded rectangular top above a conforming case fitted with four long drawers, all with molded fronts, raised on bun feet. h. 39‑1/2”, w. 39‑1/2”, d. 23‑1/2” $600‑$900

293

295

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296 British School (Fourth Quarter 16th/First Quarter 17th Century) “Portrait of Mary Stuart, Queen of Scots (1542‑1587)” oil on panel unsigned. Framed. 21‑1/2” x 17‑1/2” $3,000‑$5,000 Mary Stuart reigned over Scotland from 1542 to1567. She acceded to the throne at six days of age and was forced to abdicate in favor of her one-year-old son James VI after she was suspected of commissioning the murder of her husband and cousin Lord Darnley with her lover Lord Bothwell. With claims to the English throne as well as being the greatgranddaughter of Henry VII, Mary tried unsuccessfully to overthrow another cousin, the Protestant Queen Elizabeth I. For eighteen years, Elizabeth had her imprisoned in various castles and manors in the interior of England, as Mary tried to orchestrate multiple escapes and assassination plots on Elizabeth’s life. Mary was eventually executed in 1586 after being implicated in her last attempted coup, the Babbington plot. For the majority of her incarceration (1570‑1584), she was housed at Sheffield Castle under the strict tutelage of George Talbott. Her captivity, however, was befitting of a queen, and she was issued servants, six-course meals, riding time, even commissioned portraits. One of the last known portraits of Mary was painted by Queen Elizabeth’s court painter Nicholas Hilliard at Sheffield Castle in 1578. The modest miniature executed with extraordinary bravura would live on in infamy, exceeding Mary for nearly a half century. Following her execution, numerous apocryphal images, known as the “Sheffield portraits”, were inspired by the Hilliard one under her son’s reign. The painting offered here is a fine example of a “Sheffield portrait”, as it portrays the bust of Mary in threequarter profile as a matron in her thirties wearing the classic atifet hairpiece - a romantic adaptation of the French hood that Mary popularized in the latter half of the 16th century. Two other similar “Sheffield portraits” are conserved in the Scottish National Portrait Gallery in Edinburgh and the State Hermitage Museum in St. Petersburg.

296

297 William and Mary Walnut and Oak Highboy partially comprised of antique elements, the ogee-molded rectangular cornice above a conforming case fitted with two short drawers over three graduated long drawers, all banded, raised on a stand of trumpet supports joined by a shaped box stretcher and ending in bun feet. h. 55”, w. 37‑1/2”, d. 22” $600‑$900

297

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298 299

298 William and Mary-Style Mahogany Side Table 19th century, the rectangular top with a carved and molded edge, above a conforming frieze fitted with a single drawer, raised on trumpet legs joined by a shaped finial-centered X-form stretcher and ending in bun feet. h. 28‑1/2”, w. 41‑1/2”, d. 22‑1/4” $800‑$1,200 299 William and Mary-Style Mahogany, Walnut and Elm Side Table 20th century, the rectangular top banded and centered by a star inlay and with decorative oyster veneers on a burled field, over an arched frieze raised on bulbous turned and tapering supports joined by a shaped stretcher and ending in bun feet. h. 32, w. 54‑1/4”, d. 28‑1/4” $1,000‑$1,500 300 William and Mary Walnut and Oak Highboy 18th century, the molded cornice over three graduated long drawers, the lower section fitted with a central drawer flanked to either side by a short deep drawer, all drawers with herringbone banding, raised on trumpet legs joined by a shaped box stretcher and ending in bun feet. h. 62”, w. 40‑3/4”, d. 22‑1/2” $600‑$900 300

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302

302 George II-Style Giltwood Mirror

301

301 Queen Anne Walnut Chest-on-Chest 18th century, the molded cornice above three short drawers over three graduated long drawers, the lower section fitted with three graduated long drawers, all with herringbone banding, raised on bun feet. h. 69‑1/4”, w. 39‑3/4”, d. 23” $1,200‑$1,800

second half 19th century, English, the bell-form mirror with a rocaille surround, set with three molded candle branches and a rococo scrollwork crest decorated with a phoenix. h. 47”, w. 33” $1,800‑$2,500 303 Georgian-Style Fruitwood Cabinet-on-Stand the rectangular top above a case fitted with two doors, each inset with a panel with a painted avian scene, raised on a stand with a shaped apron on cabriole legs ending in ball-and-claw feet. h. 56”, w. 39‑1/2”, d. 19‑3/4” $700‑$1,000

304 Arthur Fitzwilliam Tait (British/American, 1819‑1905) “Various Fowl in a Park Setting” oil on panel signed lower center. Framed. 11‑3/4” x 9‑3/4” $1,500‑$2,500 303

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305

306

305 Unusual George III-Style Burl Walnut Lowboy

307 Two George III-Style Mahogany Stools

19th century, the shaped top with a molded edge, above two rows of three drawers, raised on carved cabriole legs ending in ball-and-claw feet. h. 30‑1/2”, w. 33”, d. 21”

19th century, with padded seats, the larger example overupholstered, the smaller with a slip-in seat, both raised on cabriole legs ending in ball-and-claw feet. larger h. 19”, w. 44”, d. 20”, smaller h. 18”, w. 20‑1/2”, d. 16”

$800‑$1,200

$600‑$900

306 George III Mahogany Triple-Top Games Table fourth quarter 18th century, the rectangular top with turreted corners, hinged and opening to a larger surface, and further opening to a baize-lined gaming surface with recessed compartments for gaming pieces, above a conforming frieze fitted with a single small drawer, raised on tapering circular legs headed by decorative carving and ending in pad feet. h. 29”, w. 33”, d. 16” 307

$1,500‑$2,500

308 George III Oak Dresser 19th century, the banded rectangular top with canted corners, above a case fitted with two central cupboard doors flanked to either side by three drawers, over two long drawers, all banded, raised on ogee-molded bracket feet on casters. h. 40‑1/2”, w. 79”, d. 23” $600‑$900

308

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309 Pair of George III-Style Mahogany Wing Chairs early 20th century, the slightly domed and tufted back joined by shaped sides and outscrolled padded arms to the cushioned seat, raised on chamfered square legs joined by an H-form stretcher. h. 43” $600‑$900

310 Pair of Chinese Export Porcelain Roosters

309

first half 20th century, the mirrored pair modeled standing with one leg raised on a naturalistically styled base, painted in the famille rose palette with red crest and unglazed beak and legs. h. 15‑3/4”, w. 9‑3/4” $1,500‑$2,500

311 Chinese Famille Rose Porcelain Vase and Cover with Yongzheng mark but later, of elongated baluster form with slightly splayed foot and everted neck, the body decorated with opposing panels depicting courtly scenes, the surround densely decorated with floral designs, with a key border to the foot and floral border to the neck, the domed cover with peachform finial, the base with apocryphal sixcharacter Yongzheng mark in underglaze blue. h. 20‑1/2”, w. 8”

310

$600‑$900

312 Chinese Famille Verte Porcelain Plate second half 19th century, of circular form with slightly everted lip, painted to the center with various auspicious symbols and scholarly objects, within a cell diaper border interspersed with five cartouches containing individual motifs. dia. 8‑1/4” $600‑$900

311

968

312


313 George III-Style Mahogany Breakfront late 19th century, the broken swan’s-neck pediment above a conforming Greek-key-carved frieze with drop pendant spindles, over four astragal-glazed doors, the lower section with a serpentine front and fitted with three drawers over four paneled cupboard doors, all banded, raised on a conforming plinth base. h. 82”, w. 67”, d. 21‑1/2” $1,200‑$1,800 314 Georgian-Style Walnut and Burl Walnut Fold-Over Console/Dining Table early 20th century, the rectangular top with a shaped front, above a conforming frieze centered by foliate carving, each end fitted with a drawer, raised on cabriole legs headed by foliate carving and ending in scrolled foliate-carved feet. h. 31”, w. 60‑1/2”, closed d. 21‑1/2” $700‑$1,000 315 George III Walnut Kneehole Desk fourth quarter 18th century, the rectangular top banded and quarter-veneered, above a case fitted with a long frieze drawer over two banks of three graduated short drawers, flanking a recessed kneehole cupboard, all with decorative banding, raised on bracket feet. h. 30”, w. 35‑1/2”, d. 20‑1/2” $800‑$1,200

313

316 Attributed to Thomas Rowlandson (British, 1756‑1827) “On the Character of Young Roscius”, ca. 1805 hand-colored engraving unsigned. Matted, glazed and framed. sight 6” x 17‑1/2” $1,000‑$1,500

316

314

315

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317 Erskine Nicol (British, 1825‑1904) “Caught in the Act”, 1849 oil on canvas signed and dated lower left, inscribed en verso “E. Nicol R.A.”. Framed. 16‑3/4” x 20‑7/8” $2,000‑$4,000 318 George III Oak Secretary fourth quarter 18th century, the molded rectangular cornice above two astragal-glazed doors, the lower section fitted with a banded slant front opening to an interior fitted with a central mahogany cupboard and a variety of drawers and cubbyholes, over four graduated long drawers, raised on bracket feet. h. 83”, w. 37‑1/2”, d. 20”

317

$700‑$1,000 319 Pair of Georgian-Style Rosewood and Mahogany Corner Shelves fourth quarter 19th century, English, the serpentine bases set with tambour covered compartments, flanked by marquetry inlay, with tapered, pierced scrollwork supporting the backs behind the shelves. h. 33‑1/4”, w. 8‑3/4”, d. 8‑3/4” $700‑$1,000

319

318

98


320 George III Mahogany Serpentine Chest late 18th century, the top quarter-veneered and centered by an ovoid panel, above a conforming case fitted with three graduated long drawers, raised on splayed bracket feet. h. 37‑1/2”, w. 42‑1/2”, d. 22‑1/2” $1,500‑$2,500

320

321 George III-Style Mahogany Dining Table 19th century, consisting of two D-ends, a drop-leaf center section and two 21‑1/2” leaves, all with a reeded edge, raised on three pedestals, each with a baluster-form standard to four splayed and reeded legs ending in brass caps and casters. h. 28‑1/2”, w. 48”, l. 93”, ext. l. 136” $600‑$900

322 Suite of Eight George III-Style Mahogany Dining Chairs 20th century, in the Hepplewhite taste, consisting of two armchairs and six sidechairs, each with a shieldform back with wheat-carved splats, the padded seats raised on tapering square legs ending in spade feet. h. 39‑1/2”

321

$1,000‑$1,500

322

99


323

323 Follower of Antonio David (Italian, 1698‑1750) “Prince Charles Edward Stuart, ‘Bonnie Prince Charlie’ (1720‑1788)”, ca. 1730‑1745 oil on canvas unsigned, painted after the original commissioned in Rome in 1732 by his father, James, son of the exiled Stuart King James II and VII. Framed. 28‑1/2” x 24” $1,500‑$2,500

100

Charles Edward Stuart, known by the sobriquet Bonnie Prince Charlie, grew up in exile in Rome with his father, James Francis Edward Stuart, the heir apparent to James II and VI, King of England, Ireland and Scotland. James was exiled as an infant after King James was deposed in the Glorious Revolution of 1668, and his older Protestant half-sister Mary II and her husband William III of Orange were declared Queen and King. Despite two attempted coups d’etat in 1715 and 1745, neither father nor son was able to reclaim the throne, and remained in Rome. In 1729, James Stuart commissioned the Jacobite (Catholic) court artist Antonio David to paint portraits of his sons Charles and Henry. As the eldest, and heir apparent should the Catholic faction be restored, there was great demand for copies of the young hopeful monarch, Bonnie Prince Charlie. David and his workshop executed several copies, making it difficult to discern the” original”. The Scottish National Gallery has a 1732 portrait also by David that matches the exact measurements of the one offered here, and the National Portrait Gallery in London has a slightly smaller 1729 one from the studio of David. The “copy” in the Blairs Museum was brought to Scotland in the early 18th century from Abbe Peter Grant, and another, painted by the circle of David and gifted (by repute) by King James and Maria Sobieska, recently sold at Lyon & Turnbull in London for $63,000. Numerous as the copies are, period works, such as these, are highly coveted rarities at auction.


324

324 Studio of Sir Joshua Reynolds, P.R.A. (British, 1723‑1792) “Portrait of William, Lord Pulteney”, 1760s oil on canvas unsigned. In an antique gilt-washed carved wood frame. 36” x 26‑3/4” Provenance: M. Knoedler and Company, New York, New York; A prominent Garden District collection, New Orleans, Louisiana; thence by descent. Exhibited: Dallas Museum of Fine Arts “Four Centuries of European Painting”, October 6, 1951‑January 13, 1952, no. 21.

The sitter of this portrait, William Pulteney, was from an illustrious political family and, before his untimely death from fever, there were expectations that he would surpass his relatives in position and glory. Before the age of 30, Pulteney had twice been a Member of Parliament, achieved the rank of Lieutenant-Colonel in the British Army, was named a Lord of the Bedchamber, and was the Aide de Camp to King George III. It is documented that the prodigious Sir Joshua Reynolds was commissioned to paint several portraits of the young man, including one where he is posed with his beloved hunting dog. A portrait of Pulteney by Reynolds is conserved at the Cincinnati Art Museum in Ohio.

Literature: Dallas Museum of Fine Arts Exhibition Catalogue “Four Centuries of European Painting”, October 6, 1951‑January 13, 1952, illustrated no. 21; “Four Centuries of Painting in Museum’s Fair Exhibit”. Dallas Morning News. September 21, 1951, p. II-7; Graves, Algernon and Cronin, William Vine. A History of the Works of Sir Joshua Reynolds, P.R.A. London: Henry Graves and Co., 1899. pp 775 and 776. $8,000‑$12,000

101


325 Impressive Mahogany Extension Table in the Chinese Chippendale Taste 20th century, the rectangular top with a molded edge and blind fretwork apron, and mounted to a base with chamfered blind fretwork legs joined by a molded stretcher, with one additional 24" leaf. h. 30”, w. 48”, l. 96” $1,500‑$2,500

325

326 Suite of Ten Carved Mahogany Dining Chairs 20th century, in the Chinese Chippendale taste, consisting of two armchairs and eight sidechairs, the pierced and carved backs with pagoda-form crests and raised on pierced cluster-column legs, with blind fretwork backplates. h. 43” $1,500‑$2,500

326

327 George III Mahogany Secretary Bookcase fourth quarter 18th century, the molded cornice above two astragal-glazed doors, opening to a fabric-lined interior, the lower section fitted with a drop-front drawer opening to an inset leather writing surface and a variety of drawers and cubbyholes, over three graduated long drawers, raised on splayed feet. h. 85‑1/2”, w. 42”, d. 19‑1/4” $1,200‑$1,800

327

102


328 George II Sterling Silver Punch Bowl hallmarked London, 1759‑1760, by William Cripps (1715‑1767; free 1738), the bucket-shaped bowl with molded “Monteith” rim and decorated with repousse rococo scrolls and acanthus fronds, with applied stirrupringed Bacchic-masque handles and raised on a domed foot ring en suite. h. 8”, dia. 12‑1/2”; 88.38 t. oz. $4,000‑$7,000

328 detail

328

329 George II Sterling Silver Warwick Cruet Frame hallmarked London, 1755‑56, by Samuel Wood (1704‑1794; free 1730/31), of traditional cinquefoil form raised on four double “S”-scroll legs and union shell feet, with five circular molded receptacles faced by a rococo cartouche, all surrounding a central baluster standard with acanthus-crested stirrup-ring handle, fitted with one large, h. 6‑1/2”, and two small, h. 5‑1/4”, baluster-form casters, all with intricately pierced caps and vasiform finials, and two glass cruet bottles cut in a fluted lozenge pattern with cylindrical sterling caps with domed tops, the frame cartouche engraved with the arms of Dundas impaling Hawkins. overall h. 9”, w. 7‑1/2”, d. 7”; 41.97 total t. oz. (excluding glass bottles)

329 detail

329

$1,800‑$2,500 330 George III Sterling Silver Salver hallmarked London, 1789‑1790, by Robert Sharp (ca. 1733‑1803; free 1757), of circular form with reeded rim and raised on four bracket feet, engraved with a band of alternating scrolls and paterae, the center with a cartouche en suite and engraved with unhatched arms “a crescent, on a chief dovetailed three roundels”. dia. 15”; 53.35 t. oz.

330 detail

$3,000‑$5,000 331 Good George III Sterling Silver Cake Basket hallmarked London, 1781‑1782, probably John Buckett, of oval form with wavy rim, decorated with pierced scrollwork panels below a band of paterae and laurel swags on a reticulated ground, accented throughout with beaded banding, with conforming swing handle and oval foot ring en suite. h. 4” (11” with handle), l. 13‑1/2”, w. 11”; 26.75 t. oz.

330

$2,500‑$4,000 331

103


332 332 detail

332 Rare Pair of George III Sterling Silver Salvers hallmarked London, 1781‑1782, by John Schofield (fl. 1776‑1799), each circular with beaded rim and raised on four shell bracket feet, the plateau engraved with the arms of Grimston of Grimston Garth quartering seven others. dia. 14”; 81.93 total t. oz. Most references of the landed gentry make note that the Grimston arms bore an astounding forty quarterings; among them on these arms are Goodmanham, Collam, Flynton, Thwaite and Dunsmore. $7,000‑$10,000 333 detail

333 Fine Regency Sterling Silver and Old Sheffield Plate Meat Dome and Platter the well-and-tree platter and figural finial both sterling silver and hallmarked 1818‑1819, the platter Sheffield, by Kirkby, Waterhouse & Co., the finial Edinburgh, by William & Patrick Cunningham II, the dome and base both Old Sheffield Plate, decorated with gadrooned banding quartered by floral rococo motifs, raised on four robust acanthus-crested lion’s paw feet, the dome engraved with the arms of Cathcart of Knockdolian, Ayrshire, the figural finial in the form of the Cathcart crest (a dexter hand couped and grasping a crescent), the crest and motto repeated on the base and platter. overall h. 17”, l. 22‑3/4”, w. 17”; 102.98 total t. oz. (weighable silver) overall h. 17”, l. 22‑3/4”, w. 17‑1/4”; 102.98 total t. oz. (weighable silver) $3,000‑$5,000

333

104

The opulence of this lot suggests that it was originally owned by advocate John Cathcart (1768‑1835), who was lord of Knockdolian Castle at the time of its manufacture, and whose wealth and influence had been augmented by his 1795 marriage to Ann Gordon, granddaughter of the Earl of Aberdeen. The sterling platter is hallmarked Sheffield, and was probably made to fit the base and dome, which are of the fused silver-on-copper plate so well-made in Sheffield that the city’s name became synonymous with it. Whether it was retailed by the Cunningham brothers of Edinburgh or purchased by Cathcart elsewhere and brought to them, their contemporaneous hallmarks on the finial show that Cathcart indulged in the extra expense of having a handsome sterling finial in the shape of his family crest made locally in Scotland; Edinburgh, at 80 miles from Ayrshire, was at the time the nearest silversmithing center capable of producing such detailed custom work.


334

334 detail

334 Pair of Late George III Sterling Silver Covered Sauce Tureens hallmarked London, 1808‑1809, by William Frisbee (1761‑1820; free 1782), each of rounded rectangular form, with gadrooned rim, stirrup handles and four lion’s paw feet, the fitted lid with reeded ring handle, engraved on the lid with the arms of Heywood impaling Dansey. h. 4‑3/4”, l. 8”, w. 4‑3/4”; 41.63 total t. oz. 335 detail

$1,800‑$2,500 The arms here are those of Dr. Walter Charles Heywood (1766‑1854) and his wife Elizabeth Georgiana Dansey, who were married on September 12, 1803 in Blandford Forum, Dorset. 335 Late George III Sterling Silver Cheese Dish

335

hallmarked London, 1799‑1800, by Wakelin & Garrard, rectangular with gadrooned rim and turned wooden handle, the hinged, domed lid opening to reveal the removable liner, engraved on the lid with the crest and motto of Fitzgerald, Duke of Leinster. l. 13‑1/2”, w. 9‑1/2”; 35.89 t. oz. (including wooden handle) $1,400‑$1,800 336 George IV Matthew Boulton Old Sheffield Plate Tray

336 detail

second quarter 19th century, Birmingham, of rounded rectangular form, with acanthus-crested gadrooned rim and rocaille handles, the plateau engraved with the arms of Lyon impaling Johnston. 31‑3/8” x 20‑1/4” $1,500‑$2,500 The arms here are those of George Lyon of Kirkmichael (1804‑1879), who married, on February 18, 1827, in Holywood, Dumfriesshire, Phoebe deCourcy Johnston (ca. 1809‑1893), daughter of Captain (later Vice-Admiral) Charles James Johnston of Cowhill.

336

105


337 Large William IV Old Sheffield Plate Salver second quarter 19th century, circular with shaped gadrooned rim, the plateau chased with rococo scrolls, raised on four rocaille feet, engraved with a crest of a dove close with a laurel sprig in its mouth. dia. 22‑1/4” $500‑$800 338 Late George III Sterling Silver Meat Dish hallmarked London, 1803‑1804, by Thomas Ellerton & Richard Sibley (active November 1803‑March 1805), of circular form, with gadrooned rim quartered by shelland-scroll and cabochon motifs, the rim engraved with the arms and opposing crest of Baker of Salisbury and Sussex. dia. 14‑1/2”; 45.78 t. oz.

337

$1,800‑$2,500 339 Regency Old Sheffield Plate Meat Dome and Associated Platter first quarter 19th century, Sheffield, the dome by Smith & Co., the platter by T. & J. Creswick, the dome with wide gadrooned band and radiant dome en suite, with addorsed acanthus scroll handle, engraved on the body with the arms of Auldjo impaling Rose, h. 11‑3/4”, l. 20‑1/2”, w. 14‑3/8”, the platter with gadrooned rim, hemispherical feet and well-and-tree plateau above a hot water reservoir, engraved on the rim with the arms of Bacon impaling Ford, l. 21‑1/2”, w. 16”.

??? 338 detail one of two

$1,000‑$1,500 The arms on the dome are those of London merchant John Auldjo (1759‑1837) and his wife Jane Irvine Rose (ca. 1776‑1861) who were married on May 1, 1798 at St. Clement Danes, Westminster.

338

338 detail two of two

106

339

339 detail


340 Victorian Cased Twenty-Four-Piece Sterling Silver Fruit Service hallmarked Sheffield, 1881‑1885, by Harrison Brothers and Howson, in the traditional “Pistol Handle” shape with acanthus crest, including twelve forks, each with three tines, l. 7‑1/4”, and twelve knives with blunt scimitarshaped sterling blades, l. 8‑1/2”, the handles pitch-filled and monogrammed “MRB”, presented in the original cadet blue satin- and velvet-lined fitted oak case with liftout tray, 2‑1/2” x 15‑1/4” x 10‑1/8”, the interior lid with gilt retailer’s stamp of the Goldsmith’s and Silversmith’s Co. Ltd. $1,200‑$1,800 341 Good Victorian Sterling Silver Well-and-Tree Platter

340

hallmarked London, 1854‑1855, by Mortimer & Hunt, successors to Paul Storr, of oval form with annulated edge, the rim engraved with the badge of the clan Baird. 24‑1/4” x 17‑1/2”; 117.35 t. oz. $5,000‑$8,000 342 Pair of English Sterling Silver Candelabra hallmarked Birmingham, 1972‑1973, by Roberts & Dore, in the Hanoverian taste, each with a paneled baluster, square base and cannon-form nozzle fitted with a superstructure of a pair of scrolling arms flanking a finial and ending in nozzles en suite, each with circular drip pan and detachable bobeche, the whole decorated with gadrooned banding. h. 12‑3/4”, w. 15‑1/4”; 98.72 total t. oz. $3,000‑$5,000

341

342

107


343 Circle of Lucien Whiting Powell (American, 1846‑1930) “View of Rome, the Bridge and Castel Sant’Angelo with Cupola of St. Peter’s” oil on canvas unsigned, verso with “Veerhoff Galleries, Washington D.C.” label. Presented in a period frame. 12‑1/2” x 23” $1,000‑$1,500 343

344 British School (Fourth Quarter 19th Century) “Fishing Boats on the Beach of Leith Harbor, Edinburgh, Scotland” oil on panel Presented in a period giltwood and gesso frame. 11” x 17” $1,000‑$1,500

344

345 N. Henry Bingham (American, b. 1939) “A Toast” oil on panel signed lower left “N. Bingham”. Framed. 12” x 15‑3/4” $1,000‑$1,500

345

108


346 Louis van der Pol (Dutch, 1896‑1982) “The Cafe Scene” oil on canvas signed lower right. Framed. 40” x 29‑5/8” $2,500‑$4,000

346

347 Alois Heinrich Priechenfried (German/Austrian, 1867‑1953) “Portrait of a Lady Holding a Rose, Seated in an Elegant Interior” oil on canvas signed lower left. Presented in a contemporary giltwood frame. 21‑1/4” x 16‑3/4” $2,500‑$4,000

347

348 Albert Hood (British, 1841‑1921) “Not Tired Out”, 1875 oil on canvas monogrammed and dated lower right, hand-inscribed label en verso stretcher. Framed. 56” x 44” $2,000‑$4,000

348

109


349 Rene Caty (French, 20th Century) “By Firelight” oil on canvas signed lower right. Framed. 35‑1/2” x 27‑1/2” $1,000‑$1,500

349

350 George Vuillard (French, b. 1956) “The White Rose” oil on panel signed lower left. Framed. 23‑1/2” x 20” $1,200‑$1,800

350

351 E. Haines (American, 19th/20th Century) “Mother and Children Playing at the Beach” oil on canvas signed lower right. Framed. 19” x 28” $1,000‑$1,500

351

110


352 French Silvered Bronze and Patinated Metal Chandelier third quarter 20th century, the five-light chandelier with a baluster-form standard with a patinated urn set with ram’s heads, the scrolled, leaf-molded arms decorated with medallions and terminating in turned and molded drip pans and reeded candle cups. h. 27”, dia. 17‑1/2”

355 Louis XV/XVI-Style Polychrome Vanity Seat early 20th century, the low padded back surmounted by a floral crest, joined by downswept arms to the padded seat, raised on molded legs headed by foliate carving and ending in scrolled toes. h. 28‑1/2”

$1,000‑$1,500

$600‑$900

353 Pair of French Silvered Chenets fourth quarter 19th century, in the Louis XVI style, each with a standard having a swagged urn sitting on a swagged, fluted plinth, set with a scroll-pierced “fence” to a smaller urn finial, above a bracketed plinth. h. 15”, w. 13”, d. 5”

352

$2,500‑$4,000

355 353

354 Louis XV-Style Silver-Plated Brass and Onyx-Top Occasional Table

356 Louis XV-Style Polychromed and Marble-Top Console Table

late 19th century, the shaped onyx top on a molded brass frame and above a conforming shaped frieze, raised on cabriole legs with foliate motifs, joined by a reticulated stretcher with a turned onyx finial. h. 30”, w. 21”, d. 20”

19th century, the pierced and floral-carved apron with a central shell, the cabriole legs with shell-carved tops and ending in scrolled toes. h. 30‑1/2”, w. 43‑1/2”, d. 18”

$800‑$1,200

354

$1,500‑$2,500

356

111


357 one of six

357 two of six

357 three of six

357 four of six

357 five of six

357 six of six

357 Attractive Suite of Six Framed Pressed White Hydrangeas

358 Suite of Six Louis XVI-Style Polychrome Chairs

each glazed and presented in matching antiqued frames. each monogramed and dated lower right “SW 2017”. framed size 17‑3/4” x 13‑3/4”

second quarter 20th century, consisting of two armchairs and four sidechairs, each with an arched and gadrooned molded crest with a pierced ribbon-carved cartouche, padded back and seat, and raised on turned and fluted legs. h. 40”

$800‑$1,200

$1,200‑$1,800

358

112


359 Pair of Patinated Metal Tree Tubs of Chinoiserie Inspiration 20th century, the tapered sides mounted with ring pulls, with drainage holes in the base. h. 19‑1/2”, w. 19‑1/2”, d. 19‑1/2” $600‑$900 360 Pair of French Decorative Panels

359

first quarter 20th century, oil on canvas, in the Louis XVI style, decorated with putto-carved bases supporting urns framed with arabesque scrollwork, and trimmed with swags of flowers and musical trophies on an ivory ground, in parcel-gilt wooden frames. h. 57”, w. 19‑1/2” $2,000‑$4,000 361 French Carved and Parcel-Gilt Boiserie Panel 19th century, in the Louis XV style, decorated with arabesquecarved and gilt scrollwork, acanthus leaves and birds on a painted ivory ground. h. 14”, w. 48‑1/2” $600‑$900

360 361

362 Louis XVI-Style Polychrome and Marble-Top Side Table the D-form marble top above a conforming pierced foliate guilloche-carved frieze, raised on fluted tapering circular legs headed by acanthine capitals and ending in block toupie feet. h. 32‑1/2”, w. 55‑1/2”, d. 16‑1/2” $700‑$1,000

362

113


363 Regency-Style Giltwood Window Seat early 20th century, with out-scrolled arm rests and a padded seat, mounted to an X-form base and turned stretcher. h. 23‑1/2”, w. 33”, d. 16” $700‑$1,000

363

364 Pair of Louis XVI-Style Polychrome Bergeres Avec Orielles 20th century, the slightly domed and padded back joined by shaped and padded outscrolled arms to the cushioned seat, raised above an imbricate-carved apron, on paneled tapering square legs. h. 40” $1,800‑$2,500

365 Louis XVI-Style Polychrome and Marble-Top Commode the rounded rectangular top above a canted case fitted with a guilloche-carved frieze drawer over three paneled long drawers, all with annulated bands, raised on acanthine-carved peg feet. h. 35”, w. 51‑1/2”, d. 23‑1/2”

364

$1,800‑$2,500

366 Louis XVI-Style Polychrome Bench the long, padded rectangular top raised above a foliate-carved frieze on paneled tapering square legs headed by foliate capitals and ending in block and toupie feet. h. 21”, w. 65”, d. 18”

365

$1,200‑$1,800

366

114


367 Pair of Bronze Sconces of Baroque Inspiration second quarter 20th century, French, the five-light sconces with backplates molded as ribbon-bound bunches of fruit, set with scrolled and leaf-molded candle arms terminating in wide reeded drip pans, electrified. h. 37”, w. 16‑1/4”, d. 10” $1,500‑$2,500 368 Louis XV-Style Giltwood and Marble-Top Console Table late 19th century, the rouge marble top above a shell-carved front apron, raised on cabriole legs with shell-carved tops and graduated bellflowers and ending in scrolled toes. h. 36‑1/2”, w. 33‑1/2”, d. 15”

367

$600‑$900

368

369 Louis XVI-Style Trumeau Mirror first quarter 20th century, French, the leaf-molded giltwood surround mounted with an upper painting of an Italian neoclassical coastal scene. h. 46‑3/4”, w. 34‑1/2” $700‑$1,000

369

370 Louis XV-Style Polychrome Vanity Seat 20th century, the low padded and rounded back joined to the padded seat by outscrolled sides, raised on molded cabriole legs headed by foliate capitals and ending in scrolled toes. h. 27” $600‑$900

370

115


371

371 Pair of Louis XV-Style Giltwood Consoles

372 Set of Six French Gilt-Bronze Sconces

ca. 1900, the serpentine Brescia marble top over a conforming pierced shell-, foliate- and floral-carved frieze, raised on cabriole legs joined by a shell-carved stretcher. h. 37”, w. 40”, d. 16”

20th century, in the Louis XV style, the scroll-molded backplates decorated with flowerheads and leaves, the leafmolded arms terminating in tulip-form candle cups, electrified. h. 24‑3/4”, w. 16”, d. 9”

$3,000‑$5,000

$1,000‑$1,500

372

116


373

373 Louis XV/XVI-Style Giltwood and Marble-Top Console Table the thick marble top over a carved frieze, raised on reeded cabriole legs in foliate decor. h. 33”, w. 64”, d. 15‑1/4” $2,000‑$4,000

374 Exceptional French Bronze and Marble Chandelier first quarter 20th century, the mottled tan and yellow marble body set with gilt-bronze satyr masques and supporting scrolled candle arms set with floral wreaths and flaring candle cups, supported by a gilt-bronze standard molded as fringed swag work. h. 45‑1/2”, dia. 25” $2,500‑$4,000 375 French Marble and Bronze Lamp ca. 1900, in the Louis XV taste, the bronze leaf-molded base supporting the swirled, fluted foot to the marble vase, decorated with pierced bronze acanthus leaves and swan’shead handles supporting swags of flowers, with a pierced cap. overall h. 35”, dia. 7” $800‑$1,200

374

375

117


376 American School (First Quarter 20th Century) “Orange Valley (California)” oil on canvas indistinctly signed lower right, titled on stretcher. Framed. 30” x 36” $1,500‑$2,500

376

377 Carl Mortensen (Danish, 1861‑1945) “Landscape with Haystacks” oil on canvas signed lower right. Framed. 26” x 34” Provenance: Guy Lyman Fine Art, New Orleans, Louisiana, 2011. $1,000‑$1,500

377

378 Marc Chagall (Russian/French, 1887‑1985) “Femme au Bouquet” from Nice and Cote d’Azur, 1967 lithograph in colors pencil-signed lower right margins, pencilnumbered in Roman numerals lower left “LXVIII/ LXXV”. Matted, glazed and framed. sight 27” x 19‑1/2” $6,000‑$9,000

378

118


379 William Steene (American, 1888‑1965) “Billowing Skyscape with Village Nestled amid Mountains” oil on canvas signed “Steene” lower left. Framed. 40” x 32” $1,000‑$1,500

380 Constantin Kluge (Russian/French, 1912‑2003)

379

“Landscape with Brook and Village in Distance” oil on linen signed lower right, frame backing with “Wally Findlay” Galleries label; accompanied by a certificate of authenticity from Galerie d’Art Francais, New Orleans, Louisiana, dated April 6, 2001. Framed. 41” x 31‑1/2” Provenance: Galerie d’Art Francais, New Orleans, Louisiana. $5,000‑$8,000

380

381 Jules Rene Herve (French/American, 1887‑1981) “In the Apple Orchard” oil on canvas signed lower right and en verso canvas. Framed. 39‑1/2” x 31‑1/2” $5,000‑$8,000

381

119


382 Paul-Emile Pissarro (French, 1884‑1972) “Landscape” oil on linen signed lower right, frame backing with “Wally Findlay” Galleries label; accompanied by a certificate of authenticity from Galerie Michael, Beverly Hills, California, dated April 5, 1989. Framed. 21‑1/2” x 18” Provenance: Galerie Michael, Beverly Hills, California; Private collection, Atlanta, Georgia. $4,000‑$7,000

382

383 Henri Joseph Pauwels (Belgian, 1903‑1983) “Reading in the Garden” oil on canvas signed lower right. Framed. 27” x 31” $2,000‑$4,000

383

384 Victor Charreton (French, 1864‑1937) “Vase a Fleurs” oil on board signed lower right, verso with “Galleries Maurice Sternberg, Chicago, IL” label. Framed. 18” x 14‑1/2” $1,000‑$1,500

384

120


386 Jean-Gabriel Domergue (French, 1889‑1962) “La Parisienne aux Gants Bleus”, ca. 1939 oil on masonite signed lower right. Framed. 24” x 20” $15,000‑$25,000

385

385 Niek van der Plas (Dutch, b. 1954) “Grand Canal with View of Santa Maria Basilica, Venice” oil on panel signed lower right and en verso. Framed. 20‑1/4” x 15‑1/2” $1,500‑$2,500

386

387 Jacques Renard “Lejeune” (French, 1930‑2003) “Lady in Black Hat Gazing at the Sailboats at Sea” oil on linen signed “Jac.Lejeune” lower right. Framed. 31‑3/4” x 27‑1/2” $4,000‑$7,000

387

121


388

388 Francoise Gilot (French, b. 1921) “Untitled”, 1977 oil on canvas signed and dated lower right, Paris canvas stamp en verso. Framed. 36‑1/4” x 23‑3/4” Provenance: Hooks-Epstein Galleries, Inc., Houston, Texas; Private collection, Houston, Texas. $40,000‑$80,000

122


389 Michel Henry (French, b. 1928) “Still Life of Flowers at a Window, Looking Out on the Harbor” oil on canvas signed lower left, verso with “Wally Findlay Galleries” label. Framed. 18” x 21‑5/8” $1,200‑$1,800 389

390 Joan Mayor (20th Century) “Reclining Nude in a Blue Interior” oil on canvas signed lower right. Framed. 37‑1/2” x 51” $8,000‑$12,000

390

391 Alexandro Detallo Gibert (Spanish, 1902‑1966) “The Verdant Landscape” oil on canvas signed lower right. Framed. 39” x 49” $1,800‑$2,500

391

123


392 Engraved Venetian Mirror 20th century, Italian, the mirror-inset surround framed with twisted glass and engraved with flowers and scrollwork, the corners with sculpted glass shells and flowers. h. 48”, w. 39‑1/2” $600‑$900 393 Pair of Gothic-Style Silvered Bronze Altar Sticks fourth quarter 19th century, now mounted as lamps, the twolight lamps with gargoyle-form feet, the tapered standards decorated with molded oak leaves and bands of “jewels”, the candle cups with more oak leaves and pierced galleries at the top. overall h. 48”, dia. 12” $800‑$1,200

392

394 Fine Italian Polished Alabaster Figural Grouping of “Apollo and Daphne” ca. 1900, after the 1625 life-sized marble sculpture by Gian Lorenzo Bernini (Italian, 1598‑1680) conserved at the Gallerie Borghese, Rome. h. 29”, w. 14”, d. 9” $2,500‑$4,000

393

394

395 Italian Polychrome Cabinet early 20th century, the rectangular top with angled sides and projecting corners, above a conforming case fitted with two large cabinet doors, each inset with a shaped panel, the sides paneled en suite, raised on block feet, the whole with delicate floral accents. h. 45”, w. 80‑1/2”, d. 22” 395

124

$1,400‑$1,800


396 Italian Oak Console Table 18th century, in the rococo taste, the serpentine marble top over a conforming ribbon- and swag-carved apron, raised on cabriole legs joined by a shaped stretcher. h. 33‑1/2”, w. 29‑1/2”, d. 16” $600‑$900 397 Paris Porcelain Garniture Vase mid-19th century, in the manner of Jacob Petit, with unusual vine-molded handles, hand-painted with a peacock and fruits on the obverse and fruits and flowers on the reverse, each panel framed with sculpted and encrusted flowers. h. 18‑1/2”, w. 11‑3/4”, d. 6” $800‑$1,200

396

398 Murano Glass Chandelier second quarter 20th century, Venetian, the six-light chandelier composed of pink-trimmed quilted colorless glass, the coneform standard with spherical and vasiform elements and decorated with applied glass ruffles, set with scrolled ropetwist arms with molded candle sockets. h. 28”, dia. 18” $600‑$900

397

398

399 French School (Second Half 18th Century) “Floral Still Life in an Urn” oil on canvas unsigned. Framed. 51” x 38‑1/4” Provenance: Christie’s, New York, May 15, 1996, lot 87. $2,500‑$4,000 399

125


400 Italian Polychrome Bombe Commode early 20th century, the shaped top with a molded edge, above a conforming bombe case with a waisted frieze over two drawers, each with molded banding, raised on scrolled toes, the whole with floral accents. h. 34”, w. 50”, d. 25” $2,000‑$4,000 401 Giltwood Mirror in the Baroque Taste fourth quarter 19th century, Italian, the surround decorated with pierced scroll and rocaille work, interspersed with crested birds, the pierced crest with a swan’s-neck pediment set with a finial of carved leaves and scrollwork, set with an antique mirror plate. h. 38”, w. 27”

400

$1,000‑$1,500 402 Italian Polychrome Commode the serpentine banded faux marbre top above a conforming case fitted with three long drawers, all with painted scrollwork and decoupage pastoral scenes and figures. h. 38‑1/2”, w. 49”, d. 22” $1,200‑$1,800

401

402

403 Italian Baroque-Style Painted and Parcel-Gilt Reliquary fourth quarter 19th century, of bombe form, on paw feet with carved leaves in the corners and a pagoda-form top, the center front drawer supported on cotter pin hinges, with a flame finial. h. 23”, w. 24”, d. 10‑1/4” $1,500‑$2,500

126

403


406

404

404 Painted and Parcel-Gilt Chandelier 20th century, in the provincial style, with a bold turned, gilttrimmed and marbleized standard, the arms decorated with molded leaves and set with large urn-form giltwood candle holders. h. 49”, dia. 34” $1,500‑$2,500 405 Follower of Francesco Lazzaro Guardi (Italian, 1712‑1793) “Capriccio with Figures Amongst Ruins” oil on canvas unsigned. Framed. 40” x 32”

405

$1,500‑$2,500 406 Continental Polychrome Novelty Table 20th century, the circular top with a decorative geometric pattern, raised on a stand of four legs joined by a stretcher, simulating ropes and knots. h. 17”, dia. 24‑1/2” $700‑$1,000 407 Italian Polychrome and Marble-Top Bombe Commode 18th century and later, the shaped marble top above a bombe case fitted with a frieze drawer over three long drawers, all with painted floral accents, raised on cabriole feet. h. 38”, w. 45”, d. 20‑1/2” $1,000‑$1,500

407

127


408 Italian Baroque-Style Giltwood Chandelier ca. 1900, the eight-light chandelier with a tapered body, the upper portion decorated with bellflowers, the lower fluted and reeded portion terminating in a leaf-molded finial, the scrolled arms set with leaf-molded scrolls supporting reeded drip pans and turned candle cups. h. 27”, dia. 30” $1,000‑$1,500

408

410A French Painted Wooden Panel in the Directoire Style first quarter 20th century, decorated with delicate arabesques, cherubs supporting swags of flowers, and urns, on a white ground, inspired by the designs of Percier et Fontaine. h. 21", w. 82-1/2"

410

$1,000‑$1,500

409 Pair of Italian Carved Giltwood Tabourets 20th century, in the Louis XV taste, of large size, each with a removable padded cushion, the scroll-carved frame with foliate details and raised on cabriole legs ending in scrolled toes. h. 24”, dia. 25” $2,500‑$4,000 410 Continental School (19th Century) “Two Putti with a Flower Wreath” oil on canvas unsigned. Framed. 27‑5/8” x 34‑5/8”

409

$1,000‑$1,500

128

410A


411 Italian Terracotta Sun Dial 20th century, with a tin-glazed upper portion decorated with a putto supporting a garland of flowers, the pylon-form standard marked with the hours and mounted with a metal indicator, resting on paw feet. h. 83”, w. 18”, d. 11‑1/2” $1,000‑$1,500 412 Italian Polychrome Desk in the Louis XV Style 19th century, the shaped rectangular top with a painted foliate banding, above a frieze fitted with three drawers, raised on cabriole legs headed by foliate carving and ending in shaped toes, the whole with decorative floral accents. h. 31”, w. 48”, d. 26‑1/4” $800‑$1,200

411

412

413 Italian Baroque-Style Carved and Parcel-Gilt Architectural Element fourth quarter 18th century, carved with angel heads against carved clouds of smoke, above a serpentine giltwood base with inset panels and carved swags of fruit. h. 34”, w. 34”, d. 8”

414 French Patinated Bronze of a Winged Putto fourth quarter 19th century, in the style of Claude Michel, known as Clodion (French, 1738‑1814), on a marble plinth. overall h. 11‑1/2”, w. 6”, d. 6‑1/2” $1,000‑$1,500

$1,200‑$1,800

414 413

129


415 one of two

415 Pair of Continental Decorative Paintings en Grisaille fourth quarter 19th century, depicting frolicking putti, each an oil on canvas. Both framed alike. each 19‑3/8” x 35‑1/4”

415 two of two

$1,500‑$2,500 416 Monumental Italian Bronze and Glass Chandelier third quarter 20th century, in the rococo taste, the forty-eight-light chandelier with a molded baluster-form standard set with leaf-molded candle arms on four levels, each with prism-hung molded glass drip pans, with a pierced, scroll-molded and prism-hung corona. h. 40”, dia. 60” $5,000‑$8,000

416

130


417 Northern Italian Walnut and Fruitwood Secretary early 19th century, the molded and domed cornice above a bowed upper section fitted with a central drawer over a shield-inlaid cabinet, opening to three small drawers, over a drawer, flanked to either side by four small drawers, the lower section fitted with a central drop front, opening to a central cupboard and two small drawers, flanked by a downswept panel to a small drawer, over two long serpentine drawers, raised on cabriole legs ending in paw feet, the whole accented with decorative inlaid banding. h. 80”, w. 43‑1/2”, d. 27” $2,000‑$4,000

417 418

418 Italian Parcel-Gilt Mirror in the Baroque Taste fourth quarter 19th century, the oval mirror decorated with bold, pierced scrollwork and sprays of flowers, the crest with overhanging carved leaves, with paintdecorated blue-green portions. h. 40”, w. 28” $1,200‑$1,800 419 Italian Polychrome and Faux Marbre Bureau 19th century, the rectangular top above a slant front, opening to a central open cupboard and four small drawers, over a lower section fitted with three long serpentine drawers, raised on bracket feet, the whole accented with decorative faux marbre painted panels. h. 39‑1/2”, w. 45”, d. 22‑1/2” $1,000‑$1,500 419

131


420 Austro-German Fruitwood Desk third quarter 19th century, the superstructure with a scrolling pierced crest over a shelf with three drawers below, joined by pierced scrolling supports to the leather-inset shaped rectangular top, over two small drawers to each end, raised on cabriole legs ending in shaped toes. h. 46”, w. 40‑1/2”, d. 26” $600‑$900 421 Pair of Italian-Style Fruitwood and Marble-Top Commodes each with a shaped marble top above a slightly bowed case fitted with three drawers, all banded and with parquetry veneers, raised on rounded feet ending in sabots, the whole with ebonized accents. h. 25‑1/2”, w. 22‑1/2”, d. 13” $600‑$900 422 Suite of Six Italian Fruitwood Chairs ca. 1900, each with a shaped and molded crest rail, an open back with a single pierced splat and down-curved back posts, the seat with a shaped front and supported by cabriole legs ending in scrolled toes. h. 37”

420

$800‑$1,200 423 Giuseppe D’Aste (Italian, 1881‑1945) “La Chevre Obstinee”, 20th century patinated bronze cast signature on side of self-base. h. 15‑1/4”, w. 9‑1/2”, d. 10‑3/4” $1,000‑$1,500

423

421

422

132


424 Italian Patinated Metal, Rock Crystal and Glass Chandelier second quarter 20th century, the twelve-light chandelier with a scrolled frame termating in applied leaves on the corona, set with hammered metal tulip-form candle cups and downturned leaves, hung with rock crystal drops and glass drops. h. 48”, dia. 32” $4,000‑$7,000

424

425 Continental Rosewood and Marble-Top Commode 18th century, the serpentine marble top above a conforming case fitted with three long drawers, all with gilt banding, raised above a pendant-shaped shell-carved apron on cabriole legs ending in scrolled toes. h. 32”, w. 50”, d. 24” $2,000‑$4,000

425

426 Francois Brunery (Italian, 1849‑1926) “The Gourmet” oil on panel signed lower right. Presented in a later Louis XV-style frame. 19‑1/2” x 24‑1/8” $15,000‑$25,000

426

133


427 Northern Italian Walnut and Burl Secretary early 19th century, the molded, domed and broken cornice above a tall frieze with an inset circular mirrored panel, over two doors, each inset with a domed mirrored panel, the lower section fitted with a banded slant front, opening to a central cupboard and small drawers, over three graduated long drawers with shaped fronts, raised on bracket feet. h. 93”, w. 46”, d. 19‑1/2” $600‑$900

428

428 Italian Fruitwood and Marble-Top Bombe Commode 19th century, the shaped marble top above a conforming bombe case, fitted with three long drawers, all with decorative scrolling inlay, raised on splayed legs ending in sabots. h. 37”, w. 57”, d. 25”

427

$1,000‑$1,500

429 Italian Fruitwood and Exotic Woods Secretary early 19th century, the superstructure fitted with six small drawers, above a canted rectangular top, above a conforming case fitted with a drop-front secretary drawer, opening to an inset writing surface and three small drawers, over a tambour cupboard, opening to four small urn-inlaid drawers flanking a tambour cupboard, further opening to two small drawers, joined to a lower fruit basket-inlaid shelf by cabriole legs continuing to splayed feet, the whole inlaid with pastoral scenes. h. 36‑1/2”, w. 25”, d. 17‑1/2” $600‑$900 429

134


430 Pair of Italian Fruitwood Commodes 20th century, each with a shaped, bowed and banded top, above a conforming case fitted with three drawers, all banded, raised on cabriole legs ending in Flemish toes. h. 30”, w. 24”, d. 12” $600‑$900 431 Italian Giltwood Mirror in the Baroque Taste

430

fourth quarter 19th century, with an asymmetrical mirror plate lined with molded rocaille work, framed with bold, pierced scrollwork, the crest decorated with a pair of opposing leaves framing an overlapping center leaf. h. 57‑1/2”, w. 36” $1,200‑$1,800 432 Continental Kingwood Writing Table early 20th century, the banded rectangular top with decorative quarter veneering, above a conforming frieze fitted with a pullout writing slide, raised on cabriole legs. h. 31‑1/2”, w. 44”, d. 24‑1/2” $700‑$1,000 433 Italian Giltwood and Gilt-Metal Chandelier third quarter 20th century, in the neoclassical taste, the pagoda-form interior frame set with a giltwood finial, hung with swags of glass beads, sprays of glass medallions decorating the top, the scrolled candle arms set with turned candle cups with molded glass drip pans and hung with drops. h. 29”, dia. 25‑1/4” 431

$600‑$900

432 433

135


434 Dutch Kingwood, Marquetry and Marble-Top Commode late 19th century, in the Louis XV taste, the shaped marble top above a conforming bombe case fitted with three long drawers, raised on splayed legs ending in sabots, the whole richly inlaid in scrolling foliate and floral marquetry patterns. h. 37”, w. 39”, d. 19” $600‑$900

434

435 Continental School (First Quarter 20th Century) “Italianate Capriccio with Figures” decorative oil on shaped canvas Presented in a conforming giltwood frame. 58” x 49‑1/2”, overall 64‑1/2” x 53” $1,000‑$1,500

435

436 After Guido Reni (Italian, 1575‑1642) “Aurora”, fourth quarter 19th century oil on canvas unsigned. Framed. 17‑1/2” x 41‑1/4” $1,500‑$2,500

136

436


437 Italian Giltwood Three-Part Overmantel Mirror 20th century, the surround decorated with beading and twisted molding, the urn-form finial supporting laurel swags hung with rosettes. h. 34‑3/4”, w. 46” $600‑$900 438 Neoclassical Mahogany Side Table 18th century, the rectangular top banded and centered by an inlaid patera, over a conforming frieze with inlaid faux fluting, raised on fluted tapering square legs ending in block feet. h. 31”, w. 35‑1/2”, d. 19” 437

$600‑$900 439 Northern Italian Walnut Bureau early 19th century, the rectangular top above a shaped slant front opening to an interior centered by two domed cupboard doors, flanked to either side by two drawers, over a canted serpentine lower section fitted with three banded long drawers, raised on canted bracket feet. h. 47‑1/2”, w. 56‑1/2”, d. 27‑1/2” $800‑$1,200 440 Unusual Continental Lyre-Form Mirror third quarter 19th century, the mirror with a pickled walnut finish, carved with inset panels decorated with arabesque scrollwork, a winged angel head on the lower center portion. h. 71‑1/2”, w. 59‑1/2”

438

$800‑$1,200

440

439

137


441 Three-Piece Neoclassical-Style Polished Steel and Brass Salon Suite 20th century, in the style of Maison Jansen, comprised of a tripleback settee, h. 36”, w. 52”, d. 20”, and two sidechairs, h. 36”, w. 15”, d. 20”, all with lyre-form backs and brass swan-head finials, raised on inverted horseshoe-form legs ending in brass paw feet.

441

$1,500‑$2,500

443 Italian Giltwood Mirror fourth quarter 18th century, in the neoclassical taste, the surround carved with pointed leaves, the pierced crest decorated with a basket of flowers flanked by leaf-molded scrollwork and carved tassels on each side, on green-painted mirror rests with gilt pinecones. h. 45‑1/4”, w. 25‑1/2” $700‑$1,000

442

442 Continental Polychrome, Parcel-Gilt and Marble-Top Side Table 19th century, in the neoclassical taste, the rectangular ochre marble top with a rounded marble edge, above a conforming frieze with floral guilloche carving, raised on paneled tapering square legs ending in peg feet. h. 41‑1/2”, w. 49‑1/2”, d. 25‑1/2” $3,000‑$5,000

443

138


444 Pair of Northern European Neoclassical Oak Corner Cabinets mid-19th century, each with a floral basket-carved crest over a domed, molded, dentillated and canted cornice and a single paneled door, flanked to either side by a stop-fluted canted upright with a foliate capital, the lower section fitted with a slant front, opening to a storage well and four small drawers, over three long tri-paneled drawers on one and two cupboard doors faced as tri-paneled drawers on the other, raised on block feet, the whole accented with annulated molding and bellflower carving. h. 114”, w. 44”, d. 26” $3,500‑$5,000

444

446 Pair of French Neoclassical-Style Giltwood Chandeliers

445

fourth quarter 20th century, the scroll-carved pan terminating in an acorn finial, set with eight gilt-metal candle arms decorated with leaves and carved candle cups, supported from rods hanging from the vasiform canopy carved with swan’s heads. h. 36”, w. 32” $1,000‑$1,500

445 Unusual Northern Italian Fruitwood Secretary mid-19th century, the bi-paneled rectangular top over a flat tambour opening to drawers and cubbyholes, with a drop front faced as a drawer and over a single long drawer and a short drawer to either end, raised on tapering square legs. h. 39‑1/2”, w. 48‑1/2”, d. 25‑1/2” $800‑$1,200

446

139


447 Continental Mahogany and Exotic Woods Games Table 19th century, the square top with an inset removable parquetry-patterned piece, reversing to a baize-lined surface, removing to reveal a leather backgammon board, the top with two like-patterned drop leaves, above a frieze fitted with a single drawer, raised on tapering square legs. h. 29‑1/4”, w. 17‑1/2”, l. 17‑1/2”, ext. l. 30‑1/2” $800‑$1,200 448 Neoclassical Mahogany Commode early 19th century, the rectangular top above a conforming case fitted with a pull-out slide over two long drawers with shield-form escutcheons, raised on tapering square legs ending in brass caps. h. 32‑1/2”, w. 30‑1/2”, d. 17‑1/2” $600‑$900

447

450 Grand Tour Bronze and Marble Souvenir fourth quarter 19th century, Italian, featuring a Trajan’s column-form table thermometer, on a black marble base. h. 18‑1/2”, w. 5‑1/4”, d. 5‑1/4” $600‑$900

448

449 Julius Schmidt-Felling (German, 1895‑1930) “Classical Warrior with Lance and Shield” patinated bronze cast signature along edge of self-base, on a rectangular marble plinth. overall h. 16”, w. 5‑3/4”, d. 3‑1/4” $800‑$1,200 449

140

450


451 Continental Neoclassical Commode 19th century, the rectangular top banded and with corner accents, above a conforming case fitted with a decoratively inlaid frieze over three long drawers, all banded, flanked to either side by an engaged pilaster, raised on inlaid tapering square legs. h. 35”, w. 45”, d. 21” $1,500‑$2,500 452 Pair of Italian Parcel-Gilt Architectural Fragments fourth quarter 19th century, mounted as lamps, the fluted standards carved with gilt masques, cartouches and swags of fruit on a ground of gray and red stop-fluting, on acrylic bases. h. 22”, dia. 5‑1/2”

451

$1,200‑$1,800 453 Pair of Continental Neoclassical-Style Mahogany Cupboards late 19th century, in the Jacob taste, each with a stepped rectangular top above a conforming case fitted with a single drawer over a cupboard, both paneled, the cupboard with diamond inlay, raised on tapering square legs. h. 31”, w. 17‑1/4”, d. 13‑1/2” $1,500‑$2,500 454 Neoclassical Rosewood Pedestal early 20th century, the circular top above a fluted columnar standard with brass accents, to a molded base on an octagonal plinth. h. 45‑1/2”, dia. 20”

452

$1,000‑$1,500

453

454

141


455 Baltic Neoclassical Brass-Mounted Mahogany Center Table early 19th century, the circular top supported by a shaped pedestal and joined to a concave base. h. 29”, dia. 54” $1,500‑$2,500 456 Italian Carved Silver Gilt Figure of a Conquistador fourth quarter 19th century, the figure wearing a plumed helmet and dressed in a cloak over an armored vest, a sword at his side. h. 46‑1/2”, w. 16‑1/2”, d. 10‑3/4”

455

$4,000‑$7,000

457 Two Figures of the Duke of Wellington including a rare signed Berlin ironwork full-figure example, 19th century, marked underneath: “Devaranne Ac. Kunst a Berlin deponiert”, for the foundry owned by Simeon Pierre Devaranne (1789‑1859) and marked in script at the rear base edge: “A. Mullar & Co., Edinburgh”, after a figure by J.C.W. Kratzenberg (German), h. 8‑7/8”, w. 3‑1/4”, d. 3‑1/4”, together with a patinated bronze bust of the Duke, second quarter 19th century, h. 7‑1/2”, w. 4‑1/2”, d. 2‑3/4”.

457

$700‑$1,000

458 Biedermeier Fruitwood and Parcel-Gilt Pier Table and Mirror second quarter 19th century, Continental, the table with painted and parcel-gilt dolphin supports, framing a gilt laurel wreath, the mirror decorated with an ebonized upper tablet mounted with a giltwood cornucopia beneath a crest with giltwood egg-and-dart molding. h. 92”, w. 30”, d. 12” $800‑$1,200

458

142

456


459 Continental Grand Tour Basalt Sculpture of the “Dying Gaul” ca. 1900, after the Roman marble (itself a copy of a Hellenistic bronze) now conserved at the Capitoline Museum, Rome. h. 11‑1/2”, w. 22”, d. 10‑1/2” $1,200‑$1,800 460 After Johann Heinrich von Dannecker (German, 1758‑1841) “Ariadne and the Panther”, fourth quarter 19th century

459

patinated bronze h. 6‑3/4”, w. 6‑1/4”, d. 3‑1/4” $1,000‑$1,500 461 French Patinated Bronze of “Diane Chasseresse” first quarter 20th century, after the 1790 bronze by JeanAntoine Houdon (French, 1741‑1828) conserved at the Louvre, Paris, cast signature at base. h. 23‑1/2”, w. 9‑1/2”, d. 9‑1/2” $600‑$900 462 Continental Patinated Bronze of Ares, the God of War 20th century. h. 20‑1/4”, w. 10”, d. 7‑1/2”

460

$1,000‑$1,500

462

461

143


463 Biedermeier Fruitwood Work Table mid-19th century, the rounded rectangular top hinged and opening to a mirrored and compartmented interior, above a conforming frieze fitted with a single drawer, raised on X-form end supports joined by a turned stretcher, the whole with ebonized accents in the neoclassical taste. h. 27”, w. 22‑1/2”, d. 16” $700‑$1,000 464 Biedermeier Elm Work Table mid-19th century, the banded rectangular top centered by an inlaid patera, above a conforming frieze fitted with a single drawer with a variety of lidded compartments, joined by a shaped stretcher and ending in splayed feet. h. 30”, w. 26”, d. 17”

463

$600‑$900

464 465

465 Continental Gilt-Bronze Figure of a Classical Maiden first quarter 20th century, on a green marble plinth. overall h. 11‑1/2”, w. 4‑1/2”, d. 5‑1/2” $700‑$1,000 466 Pair of Biscuit Porcelain Plaques ca. 1853‑1894, Danish, after Bertel Thorvaldsen, the plaques depicting “Night” and “Day”, the “Night” plaque with angels carrying a sleeping child and the “Day” plaque with a child who is awake, marked “B&G, Eneret”, the earliest Bing and Grondahl mark, self-framed with holes in the rear for hanging, mounted in later giltwood frames. plaque dia. 14‑1/2” $600‑$900

144

466 one of two


467 Neoclassical Polychrome Settee mid-19th century, the trisected cushioned back joined by outswept arms to the padded seat, raised above a paneled apron on paw feet, the whole with gilt accents. h. 36”, w. 88”, d. 29‑1/2” $1,000‑$1,500 467

468 Neoclassical Creme Peinte, Parcel-Gilt and MarbleTop Console Table 19th century, the inset rectangular marble top above a conforming frieze with a carved foliate garland flanking an eagle, the sides with griffin carving, raised on annulated tapering square legs. h. 36”, w. 47”, d. 16‑1/2” $1,500‑$2,500 468

469 Neoclassical-Style Giltwood Bench

470 Pair of Russian Porcelain Kremlin-Style Dessert Compotes

late 19th century, with scroll arms capped by roundels, raised on foliate-carved and turned legs with brass cup casters. h. 24‑1/2”, w. 34”, d. 20”

first quarter 20th century, decorated with hand-painted flowers on a gilt ground, after the Nicholas I Imperial service. h. 3‑1/2”, dia. 8‑3/4”

$700‑$1,000

$500‑$800

469

470

145


471 one of six

471 two of six

471 three of six

471 four of six

471 five of six

471 six of six

471 Collection of Six Continental Painted Panels fourth quarter 19th century, each painted on a gilt ground, the subjects including Zeus riding an eagle, Venus on a shell, Ceres harvesting wheat, Dionysus dancing with grapes, a water nymph with a jug and a maenad, female follower of Dionysus. h. 43”, w. 13” $2,000‑$4,000 472 Pair of Neoclassical Baltic Rosewood Sidechairs second quarter 19th century, each with a shaped crest and splat with elaborate inlaid brass patterns, the padded needlework seat raised on turned tapering circular legs with line inlay and ending in bulbous toupie feet on casters. h. 34” $600‑$900 472

473 Pair of Bronze and Crystal Candelabra fourth quarter 19th century, in the Russian/Swedish style, the vase-form standards on square bases, supporting five graduated prism rings, the lower one fitted with four candle cups and drip pans, alternating with vertical spear-point prisms and set with turned bronze upper finials. h. 34”, dia. 11‑1/2” $1,200‑$1,800

146

473


474 Italian Neoclassical Giltwood and Marble-Top Side Table 19th century, the rectangular marble top with a rounded marble edging, above a conforming frieze with foliate- and ribbon-carved garlands centering a lion’s masque, with pendant-bound laurel garlands, raised on quiver-form legs ending in toupie feet. h. 36”, w. 52‑1/2”, d. 26” $2,000‑$4,000 475 Malachite and Gilt-Bronze Urn-Form Garniture

474

20th century, French or Russian, mounted on a fluted bronze base decorated with leaves alternating with flowers, the urn mounted with a pierced border and set with satyr head masques, the neck molded as a basket of fruit and set with a spray of delicately molded scrollwork with an urn-form finial. h. 25‑1/2”, w. 7‑1/2”, d. 5‑1/2” $2,500‑$4,000 476 Pair of Malachite-Clad and Gilt-Bronze Chalices on Stands mid-20th century, Russian or French, the ogee-molded malachite stands mounted with gilt-bronze lion’s-head ring pulls, the Renaissance-style chalices decorated with leaves and fruit and set with ring pulls. h. 9‑1/2”, dia. 5‑1/2” $1,500‑$2,500

475

476

477 Pair of Malachite-Clad and Gilt-Bronze Candlesticks mid-20th century, French or Russian, in the neoclassical style, the bronze-trimmed malachite candlesticks set with fluted candle cups and removable flame finials. h. 10”, w. 3”, d. 3” $700‑$1,000

477

147


478

478 Malachite-Clad and Gilt-Metal Garniture Vase

481

ca. 1900, French or Russian, of Etruscan form, on medallionmolded feet, the base decorated with a laurel wreath, with an inset band of scrollwork and key-form handles terminating in molded acanthus leaves, a swag of laurel leaves on the shoulders. h. 28”, w. 7”, d. 6‑1/2” $2,500‑$4,000 479 Pair of Malachite-Clad and Gilt-Bronze Occasional Tables third quarter 20th century, French or Russian, on malachite bases decorated with bronze scrollwork bezels and set with bronze cluster-column standards and revolving malachite tops. h. 23‑3/4”, dia. 20” $2,000‑$4,000

479

480 Leon Herbo (French/Belgian, 1850‑1907) “Feeding the Starlings” oil on canvas signed lower left. Presented in a period deeply molded and carved giltwood and gesso frame. 29‑1/2” x 38‑3/4” $6,000‑$9,000 481 Emanuel Oberhauser (Austrian, 1854‑1919) “At the Roman Bath” oil on canvas signed lower left. Presented in a period giltwood and gesso frame. 26‑3/4” x 41‑3/4” $15,000‑$25,000 480

148


482 Louis XVI-Style Gilt-Bronze Chandelier mid-20th century, with a quiver-form standard set with arrows, the leafmolded candle arms terminating in drip pans and candle cups molded with acanthus leaves and flowers. h. 38”, dia. 15” $800‑$1,200 483 Pair of Louis XVI-Style GiltBronze Sconces second quarter 20th century, French, the three-light sconces with fluted, quiver-form backplates crowned with urn finials, decorated with masques, the scrolled candle arms with molded oak leaves and acorns, and supporting leaf-molded drip pans and matching candle cups. h. 20”, w. 14‑3/4”, d. 10”

483

482

$800‑$1,200

484

484 Louis XV-Style Gilt-Bronze-Mounted Rosewood and OnyxTop Side Table early 20th century, in the manner of Francois Linke, the inset circular onyx top with a molded bronze rim, the apron and legs with gilt-bronze mounts, the slender cabriole legs joined by an upraised stretcher. h. 30”, dia. 21” $1,500‑$2,500 485 Louis XVI-Style Mahogany Vitrine 20th century, the molded demi-lune cornice above a conforming case fitted with an ormolu undulate-patterned frieze over a single glazed door, the slides glazed en suite, raised on tall toupie feet. h. 65”, w. 40‑1/2”, d. 18” 485

$800‑$1,200

149


486 Louis XV-Style Ebonized Bureau Plat early 20th century, the rectangular top with an inset leather writing surface and within an ormolu band with corner accents, above a conforming frieze fitted with a central drawer flanked to either side by two small drawers, raised on cabriole legs ending in sabots. h. 31‑1/2”, w. 64‑1/2”, d. 33” $2,000‑$4,000 486

487 Pair of Louis XVI-Style Polychrome Fauteuils 19th century, each with a shaped padded back surmounted by a portrait medallion crest, joined by molded arms and spiral-fluted uprights to the padded seat, raised on bulbous spiral-reeded legs ending in toupie feet. h. 41” $2,000‑$4,000

487

488 Pair of French Robustly Modeled Bronze Sconces first quarter 20th century, in the Louis XV style, the three-light sconces on scrolled backplates, with complex leaf-molded candle arms and matching drip pans and candle cups, matte gilded with details picked out in bright gilt. h. 28”, w. 16‑1/2”, d. 10‑1/2” $700‑$1,000 488

150


489

489 Louis XV-Style Ebonized and Bronze-Mounted Bureau Plat early 20th century, the top with an inset brown leather blotter with a tooled border, having one long frieze fitted with three drawers, raised on cabriole legs ending in bronze scrolled toes. h. 30”, w. 64”, d. 30” $1,000‑$1,500 490 Pair of French Bronze Dore et Patine Figural Candelabra fourth quarter 19th century, the three-light candelabra on fluted, swagged bases set with patinated bronze figures of a boy and a girl, each carrying a gilt-bronze pot of tulips, the flowerheads set with candle sockets. h. 15‑1/2”, dia. 4‑3/4”

491 French Patinated Bronze of “Louis-Charles, Dauphin of France” 20th century, after Jean-Antoine Houdon (French, 1741‑1828), faint stamp at back reading in part “HOUDON sc”, on a selfsocle base. overall h. 16‑1/4”, w. 9‑1/2”, d. 4‑3/4” $600‑$900

$600‑$900

490

491

151


492 Louis XV-Style Polychrome and Marble-Top Cabinet 19th century, the shaped marble top with a molded edge, above a conforming bombe case fitted with two cupboard doors, raised on splayed legs ending in sabots, the whole with figural accents in the chinoiserie taste. h. 34‑1/2”, w. 51”, d. 20‑1/2” $1,500‑$2,500 493 French Chinoiserie Panel mid-20th century, executed on paper-mounted canvas, depicting flowering dogwood trees in a garden, with birds in the trees and chrysanthemums in the foreground, presented in a giltwood faux bamboo frame. overall h. 83‑1/4”, w. 80‑1/2”

492

Provenance: Soniat House Antiques, New Orleans, Louisiana; Estate of Christine L. Cowan, New Orleans, Louisiana. $1,000‑$1,500

494

495 Pair of Franco-Japonesque Gilt-Bronze-Mounted Imari Table Lamps fourth quarter 19th century, the hexagonal Japanese imari ginger jars, previously oil lamps, mounted with laurelmolded gilt-bronze trim, now mounted as electric lamps. h. 19‑1/2”, dia. 6” $1,200‑$1,800

493

494 Pair of Chinoiserie Lacquered and Gilt-Metal End Tables mid-20th century, possibly Maison Jansen, each with a square top within a gilt foliate avian scene in the chinoiserie taste, raised on faux bamboo legs joined by a like X-form stretcher. h. 16”, w. 20”, d. 20” $1,500‑$2,500

152

495


497 Near Pair of Louis XVI Fruitwood Fauteuils 18th century, each with a domed and padded back within a molded frame, joined by padded arms to the like seat, one raised on fluted tapering circular legs headed by floral capitals and ending in toupie feet, the other raised on molded cabriole legs. h. 36‑1/4” $600‑$900

497 496

498 Louis XV-Style Kingwood Bureau Plat

496 Chinoiserie Polychrome Cabinet the gabled cornice above a case fitted with two paneled cupboard doors, the lower section fitted with a single paneled drop front, the whole with gilt accents in the chinoiserie manner, raised on a plinth base. h. 81‑1/2”, w. 43‑1/2”, d. 23‑3/4”

early 20th century, the rectangular leather top within a brass banding with corner accents, above a frieze fitted with a central drawer flanked to either side by a short deep drawer, raised on cabriole legs headed by espagnolettes and ending in sabots. h. 30”, w. 66”, d. 36”

$2,500‑$4,000

$1,000‑$1,500

498

153


499 Pair of French Marble and Gilt-Bronze Candelabra ca. 1900, in the Louis XVI style, the five-light candelabra with red griotte marble urn-form standards on rectangular bases, mounted with ribbon-molded handles supporting swags of flowers, with four scrolled leaf- and berry-molded arms around a quiver-molded central standard, all terminating in leafmolded drip pans and matching candle cups. h. 22‑3/4”, dia. 9‑1/2” $1,500‑$2,500

500 Louis XV/XVI-Style Mahogany and Marble-Top Semainier 20th century, the rounded rectangular marble top above a conforming case fitted with seven drawers, all banded and quarter veneered, raised on cabriole feet with sabots. h. 55‑3/4”, w. 29‑1/2”, d. 16”

499

$1,500‑$2,500

501 Louis XV/XVI-Style Kingwood and Marble-Top Commode late 19th century, the rounded rectangular top above a conforming case fitted with a frieze door with inlaid fluting over two long drawers, both inlaid with a musical trophee, the sides banded and quarter-veneered, raised on cabriole legs ending in sabots. h. 34‑1/2”, w. 36‑1/2”, d. 18‑1/2” $800‑$1,200

500

154

501


502 Pair of Louis XV/XVI-Style Kingwood Commodes early 20th century, each with an oval top with a three-quarter pierced brass gallery and an inlaid exotic landscape scene, above a conforming case fitted with three small drawers, the whole case inlaid en suite, joined to a like-inlaid kidney-form shelf by cabriole supports continuing to sabots. h. 31‑1/2”, w. 19‑1/2”, d. 14‑1/2” $700‑$1,000 503 Louis XV/XVI-Style Mahogany and Marble-Top Occasional Table early 20th century, the kidney-form marble top within a threequarter pierced brass gallery, above a conforming frieze fitted with a single drawer, joined by fluted uprights to a like-shaped galleried shelf, raised on cabriole legs ending in sabots. h. 29‑3/4”, w. 27‑1/2”, d. 15” 502

$600‑$900 504 Louis XV-Style Kingwood Coiffeuse late 18th century, the shaped rectangular top trisected and with musical and floral urn inlay, the center opening to a mirrored interior, the sides opening to lidded compartments, one a storage space, the other fitted, over a conforming frieze fitted with a central slide-over drawer, flanked to either side by two faux drawers over a short drawer, raised on cabriole legs ending in sabots on casters. h. 29‑1/2”, w. 33‑1/2”, d. 18‑1/2” $600‑$900 505 Near Pair of Louis XV-Style Kingwood and Marble-Top Commodes

503

early 20th century, each with a shaped rectangular marble top within a three-quarter pierced brass gallery, above a conforming case, one fitted with two banded quarter-veneered drawers and the other with an open storage space, both with herringbone-veneered sides and raised on slender cabriole legs. h. 29”, w. 18”, d. 15‑1/2” $800‑$1,200

504

505

155


506 Suite of Six Louis XVI-Style Fruitwood Armchairs each with a padded medallion back within a molded frame, joined by molded scrolling arms to the padded seat, raised on paneled tapering square legs headed by floral block capitals and ending in pad feet. h. 40‑1/2” $1,000‑$1,500 506

507 Louis XVI-Style Fruitwood Dining Table early 20th century, the ovoid top opening to accommodate two leaves, above a conforming frieze with brass banding, raised on tapering square legs to casters. h. 29‑1/2”, w. 40”, l. 64”, ext. l. 108” $1,000‑$1,500

507

508 Louis XV-Style Fruitwood and Kingwood Side Table 20th century, the shaped rectangular top banded and with an elaborate central floral inlay, above a conforming shaped frieze fitted with a single drawer, raised on cabriole legs ending in sabots. h. 29‑1/4”, w. 40”, d. 24” $600‑$900

508

156


510 509

509 French Bronze-Mounted Porcelain Urn fourth quarter 19th century, now mounted as a lamp, with a yellow ground, hand-painted with a courting couple on the obverse and a landscape on the reverse, trimmed with raised gilt scrollwork, marked by the Parisian firm, Marx Eugene Clauss. overall h. 25‑1/2”, w. 9”, d. 5‑1/2” $600‑$900

510 Louis XVI-Style Fruitwood Settee early 20th century, the padded oval back joined by downswept arms and padded sides to the cushioned seat, raised on spiral-fluted tapering circular legs ending in toupie feet, upholstered in golden Scalamandre silk. h. 40”, w. 74”, d. 33” Provenance: French Antique Shop, New Orleans, Louisiana. $900‑$1,200

511 Louis XVI-Style Mahogany and Marble-Top Server early 20th century, the demi-lune marble top within a threequarter pierced brass gallery, above a conforming frieze fitted with a single central drawer and two faux end drawers, joined to two like-shaped open shelves by fluted bulbous uprights, raised on turned toupie feet. h. 38‑1/2”, w. 53‑1/2”, d. 18” $1,000‑$1,500

511

157


512 Carved Carrara Marble Fireplace Surround in the Louis XV style, the shaped and molded deck and ornately carved stretcher with floral and scrolled motifs. h. 48”, w. 68”, d. 12”, opening h. 38”, w. 43” $1,000‑$1,500 513 Louis XVI Biscuit Porcelain Mantel Clock fourth quarter 18th century, the case molded entirely of porcelain and depicting Venus and Cupid, decorated with bronze dore mounts depicting anthemia and a central basket of flowers and birds, the silk-string suspension movement mounted with an enameled chapter ring, with gilt Roman numerals and an engine-turned bezel. h. 20”, w. 18”, d. 7‑3/4”

512

$4,000‑$7,000 514 Louis XVI-Style Mahogany and Marble-Top Side Table late 19th century, the rectangular marble top within a full pierced brass gallery and molded edge, above a conforming ormolu-mounted frieze, raised on ribbed tapering circular legs ending in toupie feet. h. 33”, w. 36‑1/4”, d. 18” $1,500‑$2,500 515 Pair of French Marble and Gilt-Bronze/Brass Table Lamps first quarter 20th century, in the neoclassical style, decorated with inset bas-relief brass bands depicting putti at play, mounted with gilt-bronze swan-form handles supporting swags of flowers and bowknots. vase h. 20‑1/4”, w. 7”, overall h. 37‑1/4”

513

$800‑$1,200

514

158

515


516 Louis XVI-Style Mahogany Center Table early 20th century, the circular top banded and centered by a parquetry-veneered panel, above a conforming frieze with applied ormolu garland mounts, raised on stop-fluted tapering circular legs ending in ormolu toupie feet. h. 28‑1/4”, dia. 29‑1/2” $600‑$900

516

517 Louis XVI-Style Fruitwood Sofa early 20th century, the rectangular padded back with a floral-carved crest rail, downswept padded arms and raised on turned and tapered legs with spiralcarved details. h. 48”, w. 76”, d. 26” $700‑$1,000

517

518 Louis XVI-Style Mahogany and Marble-Top Server 20th century, the D-form marble top above a conforming case fitted with four frieze drawers over two cupboard doors with ribbed fronts, flanked to either side by two open marble-inset shelves with galleries, raised on tapering circular legs. h. 40”, w. 75”, d. 22” $800‑$1,200

518

159


521

519

519 French Giltwood Cushion Mirror ca. 1900, in the Louis XVI style, the surround molded with ribbon-bound flowers, the corners with scrolled cartouches, the wreath-form crest decorated with a crossed quiver and torch and flanked by pierced leaves and flowers. h. 56‑1/2”, w. 38”

521 Louis XVI-Style Mahogany and Marble-Top Bouillotte Table mid-19th century, the circular marble top within a full pierced brass gallery, above a conforming frieze fitted with two small drawers and two candle slides, raised on fluted tapering circular legs ending in peg feet. h. 29”, dia. 26” $600‑$900

$700‑$1,000

520 Louis XVI-Style Fruitwood Settee early 20th century, the padded and shaped rectangular back surmounted by a foliate wreath crest, joined by padded scrolling arms to the like seat, raised on fluted tapering circular legs ending in toupie feet. h. 41”, w. 65‑1/2”, d. 27” $600‑$900

520

160


522 Pair of Louis XVI-Style Mahogany and Marble-Top Side Tables early 20th century, each with a rectangular marble top with turreted corners within a full pierced brass gallery, above a conforming paneled frieze, raised on fluted tapering circular legs ending in toupie feet. h. 28‑1/2”, w. 28‑1/4”, d. 20‑3/4” $600‑$900 523 Louis XVI-Style Mahogany and MarbleTop Cabinet

522

the rectangular marble top with turreted corners, above a conforming case fitted with two drawers over two cupboard doors, all with parquetry panels, raised on fluted tapering circular legs ending in brass caps. h. 34”, w. 48‑1/4”, d. 19‑1/2” $600‑$900 524 Louis XVI-Style Mahogany and Marble-Top Bouillotte Table late 19th century, the circular marble top within a full pierced brass gallery, above a conforming frieze fitted with two small drawers and two candle slides, raised on fluted tapering circular legs ending in brass caps. h. 28”, dia. 25” $600‑$900 Illustrated Online 525 Pair of French Gilt- and Patinated Bronze Chenets 20th century, in the Louis XV style, the rectangular bases set on toupie feet, mounted with central patinated bronze finials of putti playing pan pipes, flanked by pierced, scrolling leaves and trailing blossoms. h. 14”, w. 12”, d. 2‑3/4”

523

526 French Kingwood, Parquetry-Inlaid and Marble-Top Side Table late 19th century, in the Louis XVI style, the inset white marble top with a cast bronze molding, the front and back frieze with an oval bronze plaque of a cupid with bow and arrows, set with two lower shelves, parquetry-inlaid with cast bronze moldings. h. 32‑1/2”, w. 23”, d. 15” $800‑$1,200

$1,000‑$1,500

525

526

161


527 Pair of French Marble and Bronze Candle Holders now mounted as lamps, fourth quarter 19th century, on white marble bases with bronze mounts and fluted marble plinths supporting patinated bronze cherubim clutching gilt-bronze leaf-molded candle holders, electrified and mounted with shades. h. 29‑3/4”, dia. 13‑3/4” $600‑$900 528 Handsome Pair of Gilt- and Patinated Bronze Sconces second quarter 20th century, in the Louis XVI taste, each two-light sconce with a delicately molded pierced backplate with leaves and vines wrapping a central standard and a patinated putto playing gilded horns serving as the finial, the leaf-molded candle arms decorated with medallions and supporting drip pans and candle cups with acanthus leaves, electrified. h. 20”, w. 11‑1/2”, d. 5‑1/2” $1,200‑$1,800

527

529 French Carved Giltwood Chandelier first quarter 20th century, in the Louis XVI taste, with a carved quiver standard, the reeded body with a grape-carved drop, the leaf-carved and scrolled arms set with reeded and fluted candle sockets and carved laurel swags. h. 33”, dia. 25” $1,000‑$1,500 530 Unusual Pair of Stoneware-Mounted Bronze Chenets fourth quarter 19th century, French, mounted with a figure of a satyr on one and a maenad on the other, each warming their hands against flames mounted on the end, the figures on plinths set with oval dry-bodied stoneware plaques depicting “The Dancing Hours”, trimmed with swags of grapes and grapevines. h. 14‑3/4”, w. 10‑3/4”, d. 6‑1/2”

528

$600‑$900

529

162

530


531 Louis XVI-Style Mahogany and Marble-Top Occasional Table early 20th century, the inset rectangular marble top above a conforming case fitted with a single paneled drawer centered by an ormolu putti medallion, joined to a lower galleried shelf by tapering square uprights ending in brass caps. h. 30”, w. 27‑1/2”, d. 17‑1/4” $1,500‑$2,500 532 Gilt-Metal, Giltwood and Crystal Chandelier

531

second quarter 19th century, the eight-light chandelier with a scrolled metal frame set with a giltwood standard, the arms terminating in gilt-metal leaf-molded candle cups, hung with cut glass prisms and multiple swags of drops. h. 23”, dia. 23” $600‑$900 533 Louis XVI-Style Mahogany and Marble-Top Tiered Table early 20th century, the ovoid marble top banded and within a full pierced brass gallery with a handle to either end, joined by splayed ormolu-mounted supports to a larger like-shaped lower shelf, raised on stop-fluted tapering circular legs ending in ormolu toupie feet. h. 40‑1/2”, w. 36”, d. 26” $2,500‑$4,000 534 Pair of Edme Samson Porcelain Ginger Jars 20th century, French, the facted jars decorated with armorials on a famille rose palette and Samson raised white decoration, with faux Chinese rouge-de-fer marks, and blue transfer “Porcelain de Paris” marks with crossed swords. h. 15‑1/2”, dia. 7‑1/2”

532

$600‑$900

533 534

163


535 Louis XVI-Style Mahogany and Marble-Top Bouillotte Table 20th century, of large size, the top with a brass-bound edge, the frieze fitted with two drawers and two pull-out candle slides, raised on fluted tapering circular legs ending in brass toes. h. 28‑1/2”, dia. 32” $800‑$1,200 536 French Marble and Gilt-Bronze Three-Piece Clock Set 535

of Louis XVI inspiration, the circular temple-form clock with an open colonnade of Corinthian columns supporting the domed top with a cup finial, the masque-molded pendulum hanging in the center, resting on a stepped marble base, h. 20”, dia. 8‑1/4”, and the matching six-light candelabra with marble vasiform bases, set with handles and well-modeled candle cups and drip pans on two levels, emanating from leaf-molded arms, with quiver-molded central finials, h. 21”, dia. 9‑1/2”. $1,200‑$1,800 537 Louis XVI-Style Mahogany and Marble-Top Gueridon early 20th century, the circular marble top within a brass banding, above a conforming frieze with ormolu putti and grapevine mounts, raised on fluted tapering circular legs ending in foliate toupie feet. h. 29‑1/2”, dia. 24” $1,500‑$2,500

536

538 French Bronze Gasolier fourth quarter 19th century, the twelve-light chandelier with a standard decorated with applied flowers, the lower urn-shaped portion pierced with scrollwork, with pierced “key”-form supports holding leaf-molded and scrolled arms terminating in fluted drip pans and flower-molded candle cups, hung with various crystal prisms and swags of drops. h. 32”, dia. 27” $600‑$900

538

164

537


540 539

542

541

539 Carl Muller (Austrian, 1862‑1938) “Venetian Canal Scene” oil on board signed lower left. Framed.

541 Willem Heytman (Dutch, b. 1950) “Times Square, New York City”

30‑1/4” x 25”

oil on canvas signed lower left, verso with “Atelier Heytman” stamp. Framed. 15‑3/4” x 23‑3/4”

$1,500‑$2,500

$1,000‑$1,500

540 Rene Rambert (French, 1901‑1991) “Marche aux Fleurs, Place de la Madeleine” oil on panel signed lower right, after a painting by Edouard Cortes (French, 1888‑1969). Framed. 12” x 16” $1,000‑$1,500

542 Willem Heytman (Dutch, b. 1950) “Restaurant Le Champ de Mars” oil on canvas signed lower right, titled and further inscribed en verso. Framed. 19‑3/4” x 23‑3/4” $1,000‑$1,500

165


543 Napoleon III-Style Mahogany Secretaire a Abattant second quarter 20th century, the rectangular top with canted, projecting corners and a three-quarter piercedbrass gallery, above a conforming case fitted with a guilloche-carved drawer over a floral basket-inlaid drop front, opening to a central Geisha-inlaid cupboard, surrounded by a variety of drawers and cubbyholes, over three long drawers, raised on canted square legs. h. 56‑1/2”, w. 35”, d. 19” $700‑$1,000

543 detail

543

544 Pair of “Jeweled” Gilt-Brass and Enameled Metal Pots of Flowers ca. 1900, probably French, the gilt-brass pots decorated with cabochons and set with silvered metal lilies, with gilt-brass stamens and enameled leaves. h. 22‑1/2”, w. 10‑3/4”, d. 6‑1/2” $800‑$1,200 545 French Bronze Dore et Patine Figural Sconce ca. 1900, on a quiver-form backplate decorated with pierced vines and fruit, a patinated bronze cherub on top, arms akimbo, each hand set with a light socket. h. 28”, w. 12‑3/4”, d. 7”

544

$1,000‑$1,500

545

546 French Gilt-Bronze-Mounted Stone Jewel Case first quarter 20th century, the gilt-flecked mauve and aubergine mottled stone, possibly moss agate, with a molded bronze bezel and base, with an ogee-molded cover and velvet-lined interior. h. 3‑3/4”, w. 6‑1/2”, d. 4” $900‑$1,200 546

166


547 Handsome French Giltwood Overmantel Mirror fourth quarter 19th century, on shell-form rests, the mirror with pilasters on either side, decorated with cascades of molded fruit on a stippled ground, the crest with a pair of angels supporting a cabochon. h. 36‑3/4”, w. 40” $800‑$1,200 548 Pair of Impressive Gilded Age Bronze Candelabra fourth quarter 19th century, the pair of eight-light candelabra of rococo inspiration, the standards with putti on the bases with bold shells and scrollwork, the putti holding aloft vases set with pierced, scrolled candle arms with leaf-molded candle cups and matching drip pans. h. 36‑1/2”, w. 19‑1/2”, d. 11” $3,000‑$5,000 549 Impressive Gilded Age Bronze Clock

547

fourth quarter 19th century, the central urn-form clock case mounted with a dial marked “Masse, Paris”, flanked by figures of putti symbolizing “arts” and “sciences”, the fluted base with a globe, books and a sextant symbolizing “education”, now with battery-powered works. h. 25‑1/2”, w. 31”, d. 10‑1/2” $3,000‑$5,000 550 Impressive Neo-Grec Gasolier third quarter 19th century, probably French, the six-light gasolier with a turned and molded standard decorated with incised anthemia and molded acanthus leaves, the curved arms with delicately molded scrollwork and anthemia, with winged caryatids personifying a host of goddesses, including Abundantia with a cornucopia, St. Catherine with her wheel, “Art” with a palette, “Literature” with a book, “Music” with a lyre, and the goddess of freemasonry with a compass. h. 32”, dia. 35”

548

$1,000‑$1,500

550

549

167


551 Napoleon III Giltwood Mantel Mirror third quarter 19th century, the giltwood surround with an inner sanded surface and an outer ribbon-bound molding, the arched top with a crest decorated with an urn of flowers trailing laurel, over molded swags of flowers. h. 78”, w. 44” $700‑$1,000 552 Napoleon III Rosewood and Marble-Top Center Table third quarter 19th century, in the Rococo Revival taste, the tortoise-form white marble top above the conforming frame, each long side fitted with a drawer, raised on foliate-carved cabriole legs joined by shaped stretchers and a central carved flower basket finial. h. 29‑1/2”, w. 51”, d. 33” $1,200‑$1,800 553 Swiss Cylinder Music Box fourth quarter 19th century, the rosewood-veneered case with walnut crossbanding, inlaid with flowers on the front and cover, trimmed with ebonizing, the tube mounted beneath an interior glass cover. h. 10‑1/4”, w. 18”, d. 11” $600‑$900 551

554 Sino-French Gilt-Bronze and Porcelain Table Lamp ca. 1900, the Chinese Export turquoise porcelain vase mounted on a gilt-bronze base with a bound laurel ring and pierced bracket feet, and scrolled handles with scales and bellflowers, with fringed swags holding the handles to the body, now mounted as a two-light lamp. overall h. 39”, w. 8‑1/2”, d. 7” $1,500‑$1,800 552

553 554

168


555 French Champleve Enamel Carriage Clock first quarter 20th century, the gilt-bronze elements decorated with flowers and scrollwork, the front and sides with Middle Eastern-inspired enamel on a turquoise ground, an oval beveled plate on the top displaying the escapement. h. 6‑1/2”, w. 3‑1/4”, d. 3” $2,000‑$4,000

556 French Champleve Enamel and Gilt-Bronze Mantel Clock first quarter 20th century, in the Baroque style, the clock supported between columns of Egyptian inspiration, resting under a crest decorated with a bold pediment flanking an urn finial, trimmed with dragon heads and a pierced spire, Middle Eastern-inspired turquoise, red and cobalt enamel on the base, columns and clock support and crest, set with Japy Freres works. h. 21”, w. 9”, d. 6” $3,000‑$5,000

555 556

557 French Belle Epoque Giltwood Cushion Mirror fourth quarter 19th century, the outside surround decorated with beading, the inside surround with gadrooning, the inset mirror glass with scroll-molded cartouches. h. 68‑1/2”, w. 41” $1,200‑$1,800 558 Pair of French Neo-Grec Brass and Bronze Moderator Lamps fourth quarter 19th century, now mounted as electric lamps, the vasiform bases on brass scroll-molded feet, set with lion’s-head ring pulls, on a ground delicately molded in a basketweave pattern, marked “Gagneau 105 N. Lafayette” on a plate near the wick riser, mounted with shades. overall h. 27”, dia. 13‑1/2” $600‑$900

557

558

169


559 Napoleon III Bronze-Mounted and Marquetry-Inlaid Satinwood and Mahogany Cabinet ca. 1865‑1870, attributed to Charles-Guillaume Diehl (French, 1811‑1885), the marble top over a dentillated and inlaid frieze, the door centered by a plaque signed “E (Emile) Guilleman”, and flanked by bronze foliate mounts and inlay, retaining an old Sotheby’s lot label on the back. h. 47”, w. 34”, d. 17‑3/4” $2,500‑$4,000 A Diehl cabinet with apparently identical foliate mounts flanking the door is in the collection of the Musee d’Orsay, Paris. 560 Pair of Beaux-Arts Bronze Urns

559

second quarter 20th century, possibly English, the campana-form urns with fluted bases, and having leafmolded handles terminating in masques and bas-reliefcarved classical figures beneath a grapevine, the interior chrome-lined. h. 10‑1/2”, dia. 9‑1/2”

561

$700‑$1,000 561 Beaux-Arts Bronze and Onyx Urn first quarter 20th century, French, on a bronze-mounted onyx column-form base, the Restauration-style urn decorated with scrollwork, shells and wreaths, and set with pierced handles with leopard’s heads and winged angels. h. 31”, w. 9‑1/4”, d. 9‑1/4”

560

$800‑$1,200 562 Beaux-Arts Bronze and Crystal Chandelier second quarter 20th century, French, the sevenlight chandelier with an inverted cut and frosted glass shade hung from a bronze eagle, the shade concealing a light socket, and fitted with three pairs of gilt-bronze and crystal crossed torch lights, hung with bronze swags of flowers arranged around the diameter. h. 19‑1/2”, dia. 14‑1/2” $600‑$900 563 Napoleon III Gilt-Bronze and Marble Figural Mantel Clock

563

third quarter 19th century, mounted with a bronze figure of a falcon attacking a snake, based on Homer’s dream depicting the outcome of the Trojan/Greek war, the verde antique and black marble case mounted with Vincenti et Cie works and stamped “Rollin a Paris”, with an exposed escapement. h. 17‑3/4”, w. 22‑1/2”, d. 7‑3/4” $2,000‑$4,000

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564 Limoges Porcelain Game Set ca. 1906‑1920, French, hand-painted on a salmon ground and trimmed with gilt scrolled edges, the set comprised of an oval platter, w. 19”, d. 13‑1/2”, nine plates, dia. 9‑1/2”, and two oval dishes, w. 7‑1/4”, d. 5‑1/4”, marked “Coronet, Limoges, France”. $700‑$1,000 564

565 French Giltwood Mirror fourth quarter 19th century, the arched top with a molded cartouche flanked by laurel branches, the outer surround decorated with ribbon-bound reeding and the inner surround lined with beading, the corners with elaborate pierced scrollwork, terminating in scrolled feet. h. 72”, w. 47” $1,000‑$1,500

566

566 Napoleon III Mahogany Games Table late 19th century, the shaped rectangular top centered by an inlaid floral spray, hinged and opening to a baize-lined surface, above a conforming frieze with like inlays, raised on cabriole legs headed by espagnolettes and ending in sabots. h. 30‑1/2”, w. 35”, d. 17” $600‑$900

565

567 Gilded Age Gilt-Bronze, Patinated Metal and Marble Garniture Urn fourth quarter 19th century, the covered urn on a marble base, decorated with profile portraits of Madame de Pompadour and Madame du Barry, in laurel-molded and gilt-bronze frames, supported by mermaid handles with fruit swags, with a guilloche-molded and gilt-bronze cover and base. h. 18”, w. 12”, d. 9” Provenance: Sold at Sotheby’s, New York, June 24, 1999, sale no. 7283, lot 195. $700‑$1,000

567

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568 Napoleon III Mahogany, Exotic Woods and Marble-Top Commode late 19th century, the demi-lune marble top bound by four raised ormolu maiden’s heads, above a conforming frieze fitted with three drawers, all banded and with parquetry veneers, above two central drawers inlaid with an elaborate floral urn pattern, flanked to either side by two open mirrored rounded shelves, with galleries and mirrored backs, raised on tapering circular legs ending in brass caps. h. 39”, w. 46‑1/2”, d. 17‑1/4” $1,800‑$2,500 569 Handsome Napoleon III Giltwood Mirror third quarter 19th century, the surround molded with ivy and berries on a sanded ground, the crest decorated with a cabochon on a winged, pierced escutcheon, framed with urns terminating in flame finials. h. 72‑1/2”, w. 44”

568

$800‑$1,200 570 Pair of French Gilt-Bronze Vases fourth quarter 19th century, with scrolled feet supported by fan-shaped bases, the bodies decorated with scrolled appliques and panels of scrollwork, the top molded with leaves and flowers, and the scrolled handles with vertical standards. h. 18‑1/4”, w. 10‑3/4” $600‑$900

570 569

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571 Pair of French Belle Epoque Bronze Sconces ca. 1900, in the Louis XV style, the backplates decorated with molded leaves and scroll and rocaille work, the scrolled candle arms molded with acanthus leaves, oak leaves and acorns, set with drip pans and candle cups molded with leaves and buds. h. 33”, w. 23‑1/2”, d. 13” $2,000‑$4,000 572 Louis-Philippe Parcel-Gilt Pier Mirror second quarter 19th century, in the Rococo Revival taste, the giltwood and ivory-painted surround decorated with molded cabochons and scrollwork, the serpentine crest with pierced scrollwork, rocaille work and flowerheads, set with a beveled mirror plate. h. 81”, w. 39”

571

$600‑$900

573

574

573 Napoleon III Boulle Fold-Over Games Table fourth quarter 19th century, the top opening to an inset felt interior, and with ormolu-mounted legs, edges and apron. h. 30”, w. 35”, d. 17”, ext. l. 34” $1,000‑$1,500 574 Pair of French Belle Epoque-Style Bronze Planters 20th century, the oval planters with dolphin “handles”, the covemolded bodies decorated with panels of laurel swags, wreaths of laurel leaves and molded scrollwork. h. 15‑1/2”, w. 41‑1/2”, d. 22‑1/2” 572

$1,000‑$1,500

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575 French Gilded Age Giltwood Mirror fourth quarter 19th century, with an egg-and-dart-molded bolection surround, the arched top with a crest decorated with a pierced anthemia on a scrolled cartouche, and trailing fronds of laurel, against a lattice-molded ground. h. 67‑3/4”, w. 50‑1/2” $700‑$1,000 576 Napoleon III Kingwood Vitrine Table late 19th century, in the louis XV taste, the hinged and shaped rectangular top inset with a beveled glass panel and opening to a fabric-lined display tray, above a bombe-form case fitted with a glass panel drop-front door accessing a display interior, all sides with glazed panels, raised on cabriole legs. h. 32‑1/2”, w. 24‑1/2”, d. 15‑12” $3,000‑$5,000 577 Sevres Porcelain Centerpiece ca. 1886‑1888, French, the cobalt centerpiece on a tapered base with gilt scrollwork flourishes, the bowl decorated with gilt “fleurs jette” and the outside edge with scrollwork, with the green underglaze blank mark for 1886, and an overglaze brown decorator’s mark for 1888. h. 10”, dia. 12‑1/2”

575

$1,000‑$1,500 578 Napoleon III-Style Fruitwood, Burl Wood and Marble-Top Cabinet 20th century, the rectangular breakfront marble top above a conforming case fitted with a central section with an inlaid oval panel of a classical maiden, flanked to either side by a drawer over a cupboard door, all banded, raised on tapering circular legs. h. 40‑1/2”, w. 50”, d. 18‑1/2” $700‑$1,000

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578

576


579 Pair of Napoleon III Giltwood Fauteuils third quarter 19th century, in the Louis XVI taste, each with a padded domed back surmounted by a torchere and ribband crest, joined by padded arms to the like seat, raised on fluted tapering circular legs ending in casters, upholstered in period tapestry in figural pastoral scenes. h. 39‑1/2” $1,000‑$1,500 580 Collection of Three Jewel Cases first quarter 20th century, French, including a Baccarat-style cut glass and bronze casket, h. 3‑3/4”, w. 4”, d. 2‑1/2”, a gilt-brass serpentine box, the top with an enamel profile of a woman, probably Limoges, h. 1‑1/4”, w. 4‑1/2”, d. 4”, and a gilt-bronze case, the sides molded with chains of flowers, the cover with a hand-painted scene of a courting couple, h. 1‑1/2”, w. 4‑1/4”, d. 3‑1/2”. $800‑$1,200

579

581 Hand-Painted Limoges Porcelain Plaque ca. 1892‑1907, French, depicting a fin-de-siecle beauty, wearing a sash of flowers and carrying a small bouquet, marked “T&V”, “Limoges, France”, the giltwood coved and leaf-molded frame probably original to the plaque. plaque h. 9‑3/4”, w. 6‑7/8”, overall h. 12‑1/2”, w. 10‑1/2” $600‑$900 582 French Art Nouveau Gilt-Bronze Encrier

580

582

signed by Maurice Bouval (French, 1863‑1916), mounted with a draped female figure holding a pen, the hinged inkpot covers, pen tray and feet molded with ivy leaves. h. 11‑1/4”, w. 14”, d. 9‑1/4” $600‑$900

581

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583 Art Nouveau Patinated Metal Newel Post Lamp ca. 1900, featuring a winged maiden supporting lilies, after the statue “Jeunesse”, by Pierre-Etienne-Daniel Campagne (French, 1851‑1910), signed “Campagne” on the base, as well as the title on the lower front and the foundry on the rear, “Fabrication Francaise, Paris”. h. 46”, w. 24”, d. 15‑1/2” $1,500‑$2,500 584 Emile Galle Art Nouveau Marquetry-Inlaid Occasional Table early 20th century, Nancy, France, the shaped top with inlaid flora, leaves and vines, and raised on molded legs joined by a stretcher with like inlay, signed “Galle”, inlaid in the top. h. 30‑1/2”, w. 30”, d. 18‑3/4” $700‑$1,000

583

585 French Art Nouveau-Style Mahogany Bibliotheque 20th century, the carved cornice over a pair of doors, with three glazed panels over carved panels. h. 88‑1/2”, w. 47”, d. 14‑1/4” $600‑$900

585

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586

586 Chinese Ormolu-Mounted Cloisonne Incense Burner

587 Anglo-Indian Carved Tropical Hardwood Easy Chair

fourth quarter 19th century, of bulbous quatrefoil form, with shallow, everted neck, each lobe decorated with a continuous flowerhead and scrolling foliage design in pink, black and white enamels, having an impressed De Cheng mark to the base, with ornate stand stamped “E. Enot, Paris”. h. 11”, w. 17”, d. 11”

third quarter 19th century, profusely pierced and carved, the back with a central oval medallion depicting a carved bird and surrounded by vines and floral motifs throughout, the arm fronts with animal heads and the legs with animal motifs. h. 35” $1,500‑$2,500

$2,000‑$4,000

587

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588

588 Chinese Bronze Tripod Incense Burner Qing Dynasty, late 18th/early 19th century, of archaistic compressed globular form, narrowing to a waisted neck with slightly flared lip supporting two upright arched handles, raised on three neat, tapering feet, and having a rich patina throughout, with four character seal mark “yi shi liu fang” to the base, the interior with two lines of text reading “Gong bu chen Wu Bangzuo jianzao” “qian zi di er hao” (“made for the Ministry of Works under the supervision of Wu Bangzou”). h. 4”, dia. 6” 清 冲天耳三足炉 底有 “奕世流芳” 四字篆书款 $50,000‑$80,000 For a related example, see the Beijing Council International Auction Co. sale of the Wang Shixiang Collection, December 4, 2010, lot no. 17. Wang Shixiang (1914‑2009) was an extremely prominent collector of Chinese Art, and researcher of Chinese culture. He became internationally renowned for his work on an eclectic range of topics, and published over forty books, including the hugely influential Classic Chinese Furniture: Ming and Early Qing Dynasties. In 1985 he was recognized by the Chinese Ministry of Culture for his distinguished efforts in the fields of Chinese culture and history, and in 2003 was honored with the Prince Claus Award for his unparalleled research into the arts of China, and his contribution to the preservation of Chinese cultural heritage after the turmoil of the Cultural Revolution. The burning of incense has always been an integral part of Chinese culture, featuring in rituals from the religious to the medicinal, from neolithic times to the present day. The importance and value of incense burners, therefore, has always been high. They have taken many forms over the years, but it could be argued that the height of production came during the Ming and Qing dynastic periods, when

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newly developed techniques and innovative artistic forms, supported by visionary emperors like Kangxi and Qianlong, saw a creative explosion in the region, producing much of the art synonomous with the country today. This exceptional piece, beautiful in its simplicity, is from this remarkable era, and is made all the more distinguished by the rarity of the seal mark found on its base. The four characters of ‘yi shi liu fang’, with their poetic connotations, are rarely found on incense burners, setting this piece apart from other aesthetically similar examples of the period. Another notable aspect of this censer is the inscription in the interior. “Gong bu chen Wu Bangzuo jian zao” translates as “Made for the Ministry of Works under the supervision of Wu Bangzuo” and is found on bronze works of similar form from the late Ming and throughout the Qing periods. Typically appearing alongside an apocryphal Xuande reign mark, to find it coupled with a different seal is another highly unusual aspect of the piece shown here, and adds another dimension to its rarity.


589 Chinese Hardstone- and Bone-Inlaid Four-Panel Screen 20th century, the screen comprising four panels, each inset with various colored and stained hardstones and bone depicting scenes of figures at leisure and auspicious objects, the reverse painted with a landscape with birds and foliage. h. 71‑3/4”, w. 80” $2,500‑$4,000 590 Chinese Rose Medallion Punch Bowl mid-19th century, the interior painted with alternating panels depicting figures at court and at leisure, with scrolling floral borders and birds and ruyi bats decorating the rim, the exterior with a continuous scene of ladies at leisure in gardens and on terraces, all in the famille rose palette with gilt detail. h. 5‑1/4”, dia. 13‑1/4” $900‑$1,200

589

591 Chinese Carved Wood Twelve-Panel Screen 20th century, each panel set within an elongated rectangular frame, the upper sections with a geometric trellis design centered by carved and pierced insets with landscape, floral and animal designs, the lower section carved in reserve with various flowers in vases, within a quatrefoil cartouche. each panel h. 91”, w. 17‑3/4” $700‑$1,000 590

591

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592 Exquisite Chinese Dongyang Carved Wood Panel probably second half 20th century, the rectangular-form panel intricately and densely intaglio carved to depict a continuous scene of figures on terraces amid foliage, mounted within a two-tone wooden frame. h. 37”, w. 23‑1/2”, d. 2‑3/4” $600‑$900

593

592

593 Pair of Chinese Green, Ochre and Aubergine-Glazed Figural Joss Stick Holders Kangxi period, ca. 1700, in the form of guardian dogs, each having the incense holder rising from its back, and resting on a bracket-form base. h. 8”, w. 3‑1/4”, d. 2” $1,500‑$2,500

594 Chinese Hardwood Opium Bed late 19th/early 20th century, in the traditional style, with a square base below an ornately carved conforming canopy, the interior of which is inset with a carved, fitted frame, the back posts joined by a decorative shelf, supported by rails to three sides, each comprising three painted panels. h. 75”, inside w. 68‑1/2”, d. 67”, outside w. 85‑1/2”, d. 71” $1,000‑$1,500

594

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595 Chinese Rosewood Vitrine second half 19th century, the upper section cabinet with a conforming frame carved to represent bamboo, with glazed front and sides revealing a two-shelf interior, surmounted by a carved and pierced foliate cornice, the lower section with asymmetrical shelves, raised on four neat hoof feet. h. 75”, w. 26”, d. 12‑1/4” $600‑$900

596 Set of Four Chinese Part-Green-Glazed Terracotta Tomb Figures of Musicians Ming Dynasty (1368‑1644), each modeled standing with tall headdress and full-length robe upon a stepped base. the tallest h. 11” $1,500‑$2,500

596 595

597 Chinese Rosewood Altar Table late 19th/early 20th century, having a rectangular top set within a thick frame with rounded edges, over a simple frieze carved with stylized scrolling motifs on each side, raised on four slender legs. h. 32‑1/2”, w. 55”, d. 16” $600‑$900 597

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598 T’ang Dynasty Painted Pottery Figure of a standing soldier wearing chest and shoulder armor over a belted tunic, traces of white pigment on a reddish pottery. h. 13”, w. 3”, d. 3‑1/2” $600‑$900

598

600 Rare Yuan Dynasty Ceramic Equestrian Figure ca. 1270‑1368, robed attendant bearing a treasure in his left hand, the highly detailed figures retaining much of their original pigments, removable head fitted with a cooley hat. h. 14”, w. 10‑1/2”, d. 4‑1/4” $1,500‑$2,500 599

599 Pair of Chinese Unglazed Pottery Funerary Figures of Officials Northern Wei Dynasty (420‑589 A.D.), each shown in a standing position, the female in long flowing robes, the male in a belted tunic, bearing traces of pigment. h. 11‑1/2” $700‑$1,000

600

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601 Two Chinese Still-Life Paintings on Silk second half 20th century, each depicting a composition of flowers in and around archaic-style bronze vessels, with threecharacter mark and two seal marks. Framed alike. h. 29‑12”, w. 14‑1/2” (excluding frames) $1,000‑$1,500

602 Chinese Celadon-Glazed Double-Dragon Amphora in the Tang style, but later, having an elegant baluster-form body with narrow neck encircled with three concentric bands, flanked by two slender dragon-form handles, the celadon glaze with gray hues, the lower body and base unglazed. h. 16”, w. 7”

601 one of two

601 two of two

602

603

$1,800‑$2,500

603 Chinese Wood Carving of Guanyin 20th century, modeled seated peacefully upon a lion-dog guardian, wearing traditional robes. h. 18‑1/2”, w. 15”, d. 9” $600‑$900

604 Pair of Japanese Kutani Porcelain Vases ca. 1900s, of four-sided form, slightly tapering to a square, unmarked base, the body decorated with floral designs, and figures and birds within shaped cartouches, below angular shoulders and narrow neck decorated with a stylized leaf design. h. 8‑3/4”, w. 4‑1/4”, d. 4‑1/4” $800‑$1,200

604

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605

605 Turkish Angora Oushak Carpet

606

607

609

608

607 Nain Carpet

9’ x 12’ 2”

13’ 2” x 9’ 10”

$1,000‑$1,500

$2,000‑$4,000

606 Heriz Carpet

608 Peshawar Sultanabad Carpet

11’ 10” x 8’

10’ 6” x 13’ 9”

$800‑$1,200

$2,500‑$4,000 609 Agra Serapi Carpet 12’ x 15’ $2,000‑$4,000

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610

613

611

614

612

610 Antique Isfahan Carpet 10’ 10” x 14’ 11” $1,800‑$2,500 611 Turkish Angora Oushak Carpet 9’ x 12’ 2” $900‑$1,200 612 Turkish Angora Oushak Runner

613 Antique Sultanabad Carpet 7’ x 10’ $3,500‑$5,000 614 Turkish Angora Oushak Carpet 9’ x 11’ 10” $900‑$1,200

2’ 5” x 24’ 4” $600‑$900

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LOT 833


Session II: October 15, 2017, 10:00 a.m., CDT Lots 615-1149


615 Mother-of-Pearl and Diamond Ring 18k rose gold, the ring mounted with a translucent faceted mother-of-pearl measuring approximately 24.0 mm x 30.0 mm, surrounded by a border of round brilliant-cut diamonds weighing approximately 0.72 carats in total. size 7‑1/4, total weight 15.8 grams $2,500‑$4,000 616 Diamond Hoop Earrings 18k rose gold, the earrings mounted with round brilliant-cut diamonds weighing approximately 1.00 carat in total. l. 1‑1/4”, total weight 5.2 grams $2,000‑$4,000 617 Custom-Made Diamond Spiral Bracelet 18k rose gold, the flexible coiled bracelet mounted on three rows with round brilliant-cut diamonds weighing approximately 2.67 carats in total. inside circumference 7”, total weight 27.0 grams

617

$8,000‑$12,000 618 Diamond Dangle Earrings 14k rose gold, the straight line earrings set with round brilliantcut diamonds weighing approximately 0.25 carats for the pair. l. 1‑1/4”, total weight 4.0 grams $800‑$1,200 619 Yellow/Brown and White Diamond Ring 18k yellow/rose/white gold, the ring mounted with a central cushion-cut yellow-brown diamond weighing approximately 0.30 carats, approximate clarity VS2, accented with round brilliant-cut white diamonds weighing approximately 0.72 carats in total. size 7‑1/2, total weight 5.0 grams $1,800‑$2,500 620 Unusual Amethyst Ring 14k yellow gold, the ring mounted with an emerald-cut amethyst weighing approximately 14.55 carats, in an Art Moderne mounting. size 6‑1/2, total weight 11.4 grams $1,500‑$2,500

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621 Multi-Stone Dragonfly Brooch 14k rose gold, the Art Nouveau-style brooch set with single-cut diamonds weighing approximately 0.40 carats in total, five opal cabochons weighing approximately 0.10 carats each, ten round-cut rubies weighing approximately 0.25 carats in total, two round-cut sapphires weighing approximately 0.02 carats in total, and two round-cut emeralds weighing approximately 0.30 carats in total. size 1‑1/2” x 1‑7/8”, total weight 9.8 grams $2,500‑$4,000 622 Turquoise, Diamond and Emerald Ring 14k yellow gold, the large ring mounted with a cabochon-cut turquoise measuring approximately 24.40 mm in diameter, accented with round brilliant-cut diamonds weighing 2.23 carats in total, approximate color E-F and clarity VS2‑SI2, and marquise- and round-cut emeralds weighing approximately 2.06 carats in total. size 8, total weight 39.0 grams $1,000‑$1,500


616

618 615

622 detail

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621

619

620

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631

625 626

629

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623 Opal and Diamond Necklace 14k yellow gold, the necklace mounted with thirty-two cabochon-cut opals weighing approximately 39.91 carats in total, each surrounded by a halo of round brilliant-cut diamonds weighing approximately 5.94 carats in total. l. 17”, total weight 32.9 grams

627 Opal and Diamond Ring 14k yellow gold, the ring mounted with a marquise-cut opal weighing approximately 8.18 carats, surrounded by a border of round brilliant-cut diamonds weighing approximately 1.54 carats in total. size 9‑1/2, total weight 9.0 grams

$5,000‑$8,000

$4,500‑$7,000 623

624 Opal and Diamond Bracelet 14k yellow gold, the bracelet mounted with eighteen oval cabochon-cut Ethiopian opals weighing approximately 21.98 carats in total, each opal separated by a row of three round brilliant-cut diamonds weighing approximately 0.48 carats in total. l. 7‑3/4”, total weight 24.8 grams $2,500‑$4,000 625 Unusual Opal and Diamond Ring 18k white gold, the ring mounted with a free-form opal weighing approximately 28.71 carats, accented across the top and on the branch-like prongs with round brilliant-cut diamonds weighing approximately 0.80 carats in total. size 9, total weight 18.0 grams $6,000‑$9,000 626 Opal and Diamond Necklace 18k yellow gold, the pendant mounted with a pear-shaped opal weighing approximately 6.15 carats, suspended from an oval-shaped opal weighing approximately 0.98 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.16 carats in total, suspended from another oval-shaped opal weighing approximately 0.98 carats, the pendant suspended from a chain set with four bezel-set round brilliant-cut diamonds weighing approximately 0.12 carats in total. l. 16‑1/2”, total weight 9.0 grams $4,000‑$7,000

628 Opal, Sapphire and Emerald Ring 14k yellow gold, the ring mounted with an oval cabochon-cut opal weighing approximately 11.10 carats, surrounded by round-cut sapphires weighing approximately 1.20 carats in total, and accented on the sides by round-cut emeralds weighing approximately 0.26 carats, the whole accented with round brilliant-cut diamonds weighing a total of 0.16 carats. size 7‑3/4, total weight 15.6 grams $1,800‑$2,500 629 Opal and Diamond Bracelet sterling silver, the bracelet mounted with twenty-seven blue opal cabochons weighing approximately 12.42 carats in total, accented by table-cut diamonds weighing approximately .96 carats in total. inside circumference 7‑1/8”, total weight 30.7 grams $600‑$900 630 Beautiful Blue Opal and Diamond Earrings 18k yellow gold, the earrings mounted with four blue boulder opal doublets weighing approximately 5.77 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.90 carats in total. l. 2‑1/4”, total weight 9.0 grams $800‑$1,200 631 Opal, Tanzanite and Diamond Earrings 18k white gold, each earring mounted with a navette Ethiopian opal cabochon, weighing approximately 9.50 carats in total, accented with pear-cut tanzanites weighing approximately 6.70 carats in total and white and cognac round brilliant-cut diamonds weighing approximately 0.60 carats in total. l. 1‑3/4”, total weight 20.2 grams $3,000‑$5,000

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636 Tanzanite and Diamond Bangle Bracelet 632 Tanzanite, Emerald and Diamond Full-Finger Ring 18k white gold, the elongated ring mounted with one cushioncut and two oval-cut tanzanites weighing approximately 2.73 carats in total, four pear-cut emeralds weighing approximately 1.10 carats in total and accented with round brilliant-cut cognac-colored diamonds weighing approximately 0.70 carats in total. size 7, total weight 8.6 grams $1,800‑$2,500 633 Aquamarine, Tanzanite and Diamond Bangle Bracelet sterling silver, the bracelet mounted with two square-cut and four round-cut aquamarines weighing approximately 11.34 carats in total, surrounded by “petals” of pear-cut tanzanites weighing approximately 19.14 carats in total, accented throughout with rose-cut diamonds weighing approximately 1.38 carats in total. inside circumference 7‑3/4”, total weight 91.2 grams $600‑$900 634 Aquamarine, Tanzanite and Diamond Earrings 18k white gold, each earring mounted with an oval-cut aquamarine and two emerald-cut aquamarines weighing approximately 6.16 carats in total, and oval-, round- and pear-cut tanzanites weighing approximately 6.30 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.76 carats in total. l. 2”, total weight 12.0 grams $2,500‑$4,000 635 Beautiful Aquamarine, Tanzanite and Diamond Ring 14k white gold, the ring mounted with a central emeraldcut aquamarine with an approximate weight of 2.16 carats, flanked to either side by an emerald-cut tanzanite with an approximate total weight of 2.06 carats, accented with round brilliant-cut diamonds weighing approximately 0.35 carats in total. size 7‑1/2, total weight 5.0 grams $1,200‑$1,800

sterling silver, the wide hinged bracelet set with sixty pearcut tanzanites weighing approximately 25.0 carats in total, accented by rose-cut diamonds weighing approximately 1.35 carats in total. inside circumference 6‑7/8”, w. 3/4”, total weight 77.0 grams $600‑$900 637 Tanzanite and Diamond Earrings 18k white gold, the huggie earrings mounted with emeraldcut tanzanites weighing approximately 6.00 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.46 carats in total. l. 7/8”, total weight 10.2 grams $1,800‑$2,500 638 Tanzanite and Diamond Bracelet 14k white gold, the bracelet mounted with eighteen cushioncut tanzanites weighing approximately 23.46 carats in total, each separated by round brilliant-cut diamonds weighing approximately 0.54 carats in total. l. 7‑1/4”, total weight 15.2 grams $4,500‑$7,000 639 Tanzanite and Diamond Ring 14k white gold, the ring mounted with a rectangular cushioncut tanzanite weighing approximately 3.11 carats, accented by round brilliant-cut diamonds weighing approximately 0.73 carats in total. size 7, total weight 3.9 grams $1,500‑$2,500 640 Stunning Tanzanite and Diamond Ring 14k white gold, the ring mounted with a cushion-cut tanzanite weighing approximately 13.43 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.57 carats. size 7‑1/2, total weight 8.0 grams $3,500‑$5,000

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634 632 637

633

636

638 640

639

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642

644

650

646

648

645

649

647 641 8 194


641 Tanzanite and Diamond Bracelet 14k yellow gold/sterling silver, the flexible bracelet mounted with oval-cut tanzanites weighing approximately 39.90 carats in total, accented by round-cut diamonds weighing approximately 1.18 carats in total. l. 7‑1/2”, total weight 69.1 grams $600‑$900

643

642 Caroline Ballow Tanzanite Ear Clips 18k yellow gold, the ear clips in a quatrefoil design, each set with a round faceted tanzanite weighing approximately 0.25 carats, stamped “18K, Caroline Ballow”. l. 7/8”, total weight 15.2 grams $1,000‑$1,500 643 Chopard “Happy Diamonds” Wristwatch 18k yellow gold, the quartz watch measuring 24.0 mm in diameter, not including the “T” lugs, with five floating diamonds, approximately seventy-eight single-cut diamonds and eight round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, the off-white-colored dial marked “Chopard, Geneve, Swiss made”, the clasp marked “Chopard, Geneve, 750”, the case marked “Happy Diamonds 20/5180”, reference #4097, serial #289,XXX, accompanied by an inner and outer box. l. 6‑1/4”, total weight 39.2 grams $2,000‑$4,000 644 Elizabeth Locke Mother-of-Pearl and Moonstone Brooch 18k yellow gold, in the shape of the sun and mounted in the center with a carved mother-of-pearl medallion, each ray of the sun accented on the end with a moonstone cabochon, stamped “18K” and marked with the Elizabeth Locke logo. dia. 2‑1/2”, total weight 30.9 grams $900‑$1,200 645 Wide Diamond Bangle Bracelet gold vermeil, the hinged bracelet set with round mixed-cut diamonds weighing approximately 1.00 carat in total. w. 7/8”, inside circumference 6‑3/4”, total weight 61.5 grams $600‑$900 646 Thomas Michaels Diamond Earrings 14k yellow gold, the earrings flush set with round brilliantcut diamonds weighing approximately 0.50 carats in total, stamped “Thomas Michaels, 14k”. dia. 7/8”, total weight 9.8 grams $700‑$1,000

647 Diamond Bangle Bracelet 14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 1.00 carat in total. inside circumference 6‑1/8”, total weight 17.2 grams $700‑$1,000 648 Lady’s Patek-Philippe Diamond Wrist Watch 18k yellow gold, the Ellipse model with a heavy integral Patek-Philippe bracelet and clasp stamped “Patek-Philippe”, with Calatrava Cross, the round eighteen-jewel mechanical movement stamped “Patek-Philippe, adj. to isochronism heat cold, five 5 pos., eighteen 18 jewels, Swiss” serial #1,276,XXX, the case stamped “Patek-Philippe, Geneve, Swiss, 18K 750”, case #2763,XXX and ref. #4371/1, the signed Patek-Philippe bronze-colored dial surrounded by twenty-six round brilliantcut diamonds weighing approximately 1.50 carats in total, accompanied by a Patek-Philippe box. l. 7”, total weight 54.5 grams $4,000‑$7,000 649 Diamond Band 18k yellow gold, in the Cartier style, set with round brilliant-cut diamonds weighing approximately 2.00 carats in total. size 6‑3/4, total weight 8.7 grams $2,000‑$4,000 650 Diamond Dangle Earrings 18k white/rose gold, the earrings mounted with round brilliantcut diamonds weighing approximately 7.40 carats in total, approximate color E-F and clarity VS1‑SI2. l. 2‑1/2”, total weight 16.0 grams $8,000‑$12,000

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651 Diamond Bangle Bracelet 14k yellow gold, the hinged bracelet set with round brilliant-cut diamonds weighing approximately 1.40 carats in total. inside circumference 6‑1/4”, total weight 16.4 grams $700‑$1,000 652 Diamond Drop Necklace 18k yellow gold, the necklace mounted with a rose-cut diamond weighing approximately 0.23 carats, suspended from a rose-cut diamond weighing approximately 0.25 carats, approximate color E and clarity SI2. l. 18”, drop l. 2”, total weight 1.0 gram $900‑$1,200 653 Beautiful Rose-Cut Diamond Ring 18k yellow gold, the ring mounted with a cluster of rosecut diamonds weighing approximately 1.17 carats in total, approximately color D-E and clarity VS1‑SI1. size 7‑3/4, total weight 3.0 grams

656 Diamond Bracelet 14k yellow gold, the flexible bracelet with oblong links, each mounted with a round brilliant-cut diamond weighing approximately 1.00 carat in total. l. 7‑1/4”, total weight 17.4 grams $1,200‑$1,800 657 Gold and Diamond Bracelet 14k yellow gold, the flexible bracelet channel-set with round brilliant-cut diamonds weighing 1.80 carats in total. l. 8‑1/2”, total weight 45.2 grams $1,500‑$2,500 658 Antique Diamond Ring 18k white gold, the elongated ring mounted with twenty-one European-cut diamonds weighing approximately 3.00 carats. size 6‑1/4, total weight 9.0 grams

$700‑$1,000

$1,800‑$2,500

654 Diamond Stud Earrings

659 Emerald and Diamond Earrings

14k yellow gold, each earring mounted with a round brilliantcut diamond, one weighing approximately 2.25 carats, approximate color H and clarity VS2, and the other weighing approximately 2.27 carats, approximate color I and clarity VS2. total weight 5.0 grams

14k yellow gold, the earrings mounted with oval-cut emeralds weighing approximately 1.16 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.35 carats in total. l. 1”, total weight 5.0 grams

$8,000‑$12,000 655 Stunning Diamond Ring 18k yellow gold, the ring mounted with a central round transitional-cut diamond weighing approximately 2.54 carats, approximate color G and clarity VS2, surrounded by a halo of round brilliant-cut diamonds weighing approximately 1.27 carats in total, approximate color E-F and clarity VVS2‑VS1, accented with baguette-cut diamonds weighing approximately 0.50 carats in total. size 7, total weight 7.4 grams $20,000‑$40,000

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$600‑$900 660 Emerald and Diamond Ring 18k yellow gold, the ring mounted with a cabochon-cut emerald weighing approximately 10.06 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.77 carats in total. size 7‑1/2, total weight 10.0 grams $3,500‑$5,000


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661 Emerald and Diamond Earrings 18k yellow gold, the huggie earrings each mounted with an oval-cut treated emerald weighing approximately 0.63 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.25 carats. l. 3/4”, total weight 13.4 grams $1,400‑$1,800 662 Emerald and Diamond Ring 14k yellow gold, the wide tapered mounting with twisted rope decoration, set with an oval-cut treated emerald weighing approximately 0.49 carats, accented by round brilliant-cut diamonds weighing approximately 0.15 carats in total. size 7‑1/2, total weight 11.0 grams $1,200‑$1,800 663 Emerald Hoop Earrings 14k yellow gold, the earrings mounted with emerald-cut treated emeralds weighing approximately 4.50 carats in total. l. 7/8”, total weight 6.0 grams $700‑$1,000 664 Peridot and Diamond Ring 14k yellow gold, the ring mounted with a cushion-cut peridot weighing approximately 6.05 carats, accented with round brilliant-cut diamonds weighing approximately 0.46 carats in total. size 7‑1/4, total weight 7.3 grams $1,500‑$2,500 665 Emerald and Diamond Ring 14k yellow gold, the ring mounted with an oval-cut treated emerald weighing approximately 5.31 carats, accented by baguette- and round brilliant-cut diamonds weighing approximately 0.42 carats in total. size 7‑1/4, total weight 7.2 grams $2,500‑$4,000

666 Emerald and Diamond Bangle Bracelet 18k yellow gold, the bracelet mounted with round brilliantcut diamonds weighing approximately 0.70 carats in total, and round-cut emeralds weighing approximately 2.00 carats in total. inside circumference 6‑1/4”, total weight 22.2 grams $3,000‑$5,000 667 Aquamarine and Diamond Bracelet 14k yellow gold/sterling silver, the flexible bracelet mounted with oval-cut aquamarines weighing approximately 91.20 carats in total, accented by singlecut diamonds weighing approximately 0.84 carats in total. l. 7‑1/2”, w. 1”, total weight 77.0 grams $600‑$900 668 Aquamarine and Diamond Earrings 14k white gold, the cascading earrings mounted with oval-cut aquamarines weighing approximately 5.60 carats in total, and round brilliant-cut diamonds weighing approximately 2.46 carats in total. l. 2‑1/4”, total weight 12.0 grams $3,000‑$5,000 669 Aquamarine and Diamond Pendant with Chain 18k white gold, the pendant mounted with a pear-shaped aquamarine weighing approximately 3.56 carats, accented by round brilliant-cut diamonds weighing approximately 0.28 carats in total, l. 1‑1/4”, suspended from an 18” white gold chain. total weight 4.0 grams $900‑$1,200 670 Stunning Aquamarine and Diamond Earrings platinum, each earring mounted with an emerald-cut aquamarine weighing 8.0 carats in total, accented by round brilliant-cut diamonds weighing 2.49 carats in total. l. 2‑1/4”, total weight 19.0 grams $4,500‑$7,000

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674 Diamond Earrings 18k white gold, the diamond stud earrings mounted with baguette- and round brilliant-cut diamonds weighing approximately 1.32 carats in total, approximate color E-F and clarity VS1‑VS2. l. 1/2”, total weight 5.0 grams $2,000‑$4,000 675 Stunning Diamond Necklace 18k white gold, the necklace with a square flexible link and mounted with round brilliant- and baguette-cut diamonds weighing approximately 11.27 carats in total, approximate color E-F and clarity VVS2‑VS1. l. 18”, total weight 65.0 grams $20,000‑$40,000 676 Three-Row Diamond Band 18k white gold, the ring mounted with baguette- and round brilliant-cut diamonds weighing approximately 1.81 carats in total, approximate color E-G and clarity VVS2‑VS2. size 7‑1/2, total weight 6.0 grams 677

$1,800‑$2,500 677 Unusual Diamond Ring

671 Beautiful Diamond Huggie Earrings 18k white gold, the earrings set with baguette- and round brilliant-cut diamonds weighing approximately 2.75 carats in total. l. 5/8”, total weight 9.9 grams

18k white gold, the ring mounted with seven square-shaped sections set with round brilliant-cut and baguette-cut diamonds weighing approximately 1.76 carats in total, approximate color E-F and clarity VVS2‑VS1. size 7, total weight 7.0 grams $2,500‑$4,000

$2,500‑$4,000 672 Blue Topaz and Diamond Ring 14k white gold, the ring mounted with an oval-cut blue topaz weighing approximately 8.96 carats, surrounded by round brilliant-cut diamonds weighing approximately 0.63 carats in total. size 7‑1/2, total weight 6.4 grams $1,200‑$1,800 673 Diamond Ring 18k white gold, the square-top ring mounted with baguetteand round brilliant-cut diamonds weighing approximately 2.35 carats in total. size 7‑1/2, total weight 7.0 grams $2,500‑$4,000

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678 Ruby and Diamond Ring 18k white gold, the ring mounted with a large oval-cut treated ruby weighing 20.79 carats, surrounded by a double border of baguette- and round brilliant-cut diamonds weighing approximately 2.73 carats in total, approximate color H-I and clarity VS2‑SI1. size 8, total weight 2.0 grams $5,000‑$8,000 679 Ruby and Diamond Ring 18k white gold, the ring mounted with a central oval-cut treated ruby weighing approximately 4.04 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 1.25 carats in total. size 8, total weight 6.0 grams $3,500‑$5,000 680 Diamond Ring platinum, the ring mounted with a central round brilliant-cut diamond weighing approximately 0.72 carats, approximate color E and clarity I1, accented by round brilliant-cut diamonds weighing approximately 0.95 carats in total. size 7, total weight 5.8 grams $3,000‑$5,000 681 Diamond and Ruby Earrings 18k white gold, each earring mounted with a central round brilliant-cut diamond weighing approximately 2.09 carats in total, approximate color H-I and clarity SI2‑I1, surrounded by a halo of channel-set trapezoid-cut rubies weighing approximately 2.49 carats in total, and a halo of round brilliantcut diamonds weighing approximately 0.79 carats in total. dia. 5/8”, total weight 9.0 grams $5,000‑$8,000

18k white gold, the ring mounted with a central round brilliantcut diamond weighing approximately 0.46 carats and surrounded by sixteen round brilliant-cut diamonds weighing approximately 1.44 carats in total, approximate color H-I and clarity VS2‑SI2, accented with sixteen round-cut rubies weighing approximately 1.21 carats in total. size 8‑1/2, total weight 6.0 grams $900‑$1,200 683 Beautiful Diamond Dangle Earrings 14k white gold, the earrings mounted with pear-, marquiseand round brilliant-cut diamonds weighing approximately 2.70 carats in total, approximate color E-G and clarity VS1‑VS2. l. 3/4”, total weight 7.0 grams $1,500‑$2,500 684 Unheated Ruby and Diamond Ring platinum, the ring mounted with an oval-cut ruby weighing 1.10 carats, GIA report #5182386650, accented by round brilliantcut diamonds weighing approximately 0.90 carats in total. size 7‑1/4, total weight 5.4 grams $3,000‑$5,000 685 Diamond Solitaire Ring 14k white gold, the ring mounted with a round brilliant-cut diamond weighing 5.10 carats, color K and clarity I1, GIA report #5171227184. size 6‑1/2, total weight 3.8 grams $25,000‑$40,000 686 Diamond and Ruby Ring 14k white gold, the ring mounted with a central round brilliant-cut diamond weighing approximately 0.61 carats, approximate color H and clarity VS1, surrounded by a halo of round-cut treated rubies weighing approximately 1.40 carats in total. size 8‑1/4, total weight 4.0 grams $1,400‑$1,800

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687 Ruby and Diamond Earrings 18k yellow gold, the earrings mounted with four pear-cut treated rubies weighing approximately 13.30 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.88 carats in total. l. 1‑3/4”, total weight 9.0 grams $700‑$1,000 688 Ruby and Diamond Ring 14k yellow gold, the ring mounted with a pear-cut treated ruby weighing approximately 5.60 carats, accented on the gallery by four round-cut rubies and round brilliant-cut diamonds weighing approximately 0.42 carats in total. size 7‑1/2, total weight 6.0 grams $700‑$1,000 689 Ruby and Diamond Ring 18k yellow gold, the ring mounted with an oval-cut treated ruby weighing approximately 1.00 carat, flanked to either side by baguette- and round brilliant-cut diamonds weighing approximately 0.42 carats in total. size 7, total weight 4.4 grams $1,800‑$2,500 690 Fabulous Ruby Chandelier Earrings 22k yellow gold, the dangling pendant earrings set with four 3.0 mm round ruby cabochons and twenty-eight ruby beads with an approximate total weight of 1.00 carat. l. 2‑1/2”, total weight 20.4 grams $1,800‑$2,500 691 Wide Gold Bracelet 18k yellow gold, the flexible woven mesh bracelet with applied rosettes and diamond design decoration. l. 7‑1/4”, w. 1”, total weight 45.6 grams $900‑$1,200 692 Micro-Mosaic Pendant Earrings 18k yellow gold, the Etruscan Revival drop pendant earrings each set with a micro-mosaic, one of St. Peter’s Basilica and the other of Roman ruins. dia. 3/4”, total weight 6.3 grams $700‑$1,000

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693 Two Antique Victorian Agate Poison Rings 14k yellow gold, one engraved example set with a shieldshaped agate, size 8‑1/2, and the second engraved example set with a black and white shield-shaped agate, size 9‑1/4, both lifting to reveal a secret compartment. total weight 7.8 grams $800‑$1,200 694 Victorian Diamond and Enamel Tiger Bracelet 10k yellow gold, the hinged bracelet with an enamel tiger head set with two single-cut diamonds for the eyes and a Europeancut diamond between its teeth, weighing approximately 0.15 carats in total. inside circumference 7”, total weight 30.0 grams $700‑$1,000 695 Bulgari Diamond and Sapphire Bracelet 18k yellow gold, the bracelet composed of five square links, with a free-form design mounted with round brilliant-cut diamonds weighing approximately 0.60 carats and round-cut treated yellow sapphires weighing approximately 1.04 carats in total. l. 5‑1/4” (adjustable), w. 1”, total weight 28.0 grams $1,200‑$1,800


696 Beautiful Gold Tassel Bracelet 14k yellow gold, the tapered, flexible bracelet with a twisted rope down the center, bordered by two woven engraved chains and a pineapple tassel. l. 7‑3/8”, total weight 84.5 grams $1,800‑$2,500

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696 Beautiful Gold Tassel Bracelet 14k yellow gold, the tapered, flexible bracelet with a twisted rope down the center, bordered by two woven engraved chains and a pineapple tassel. l. 7-3/8", total weight 84.5 grams $1,800‑$2,500

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697 Hessonite Garnet and Diamond Ring

699 Beautiful Rhodolite Garnet and Diamond Necklace

18k yellow gold, the ring mounted with a cushion-cut hessonite garnet weighing approximately 17.34 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.86 carats in total. size 6‑1/2, total weight 13.0 grams

18k white gold, the necklace mounted with pear-, oval-, roundand heart-shaped rhodolite garnets weighing approximately 83.8 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.48 carats in total. l. 18”, drop l. 5‑1/4”, total weight 61.0 grams

$8,000‑$12,000 698 Spessartite Garnet, Morganite and Diamond Ring 14k yellow gold, the ring mounted with a central oval-cut spessartite garnet weighing approximately 1.88 carats, flanked to either side by a triangle-cut morganite weighing approximately 0.32 carats in total, and accented by round brilliant-cut diamonds weighing approximately 0.40 carats in total. size 7‑1/2, total weight 5.0 grams $800‑$1,200

$7,000‑$10,000 700 Rubellite Tourmaline and Diamond Ring 14k yellow gold, the ring mounted with a cabochon-cut rubellite tourmaline weighing approximately 18.39 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.89 carats in total. size 7‑1/2, total weight 17.0 grams $4,500‑$7,000

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701 Stunning Yellow and White Diamond Necklace 18k white gold, the necklace with twenty-nine oval-cut fancy yellow diamonds weighing approximately 15.66 carats in total, approximate clarity VVS2‑VS1, each separated by a round brilliant-cut white diamond weighing approximately 2.96 carats in total, the whole accented with round brilliant-cut white diamonds weighing an additional 6.32 carats in total, approximate color F-G and clarity VS1‑SI1. l. 17‑1/2”, total weight 55.0 grams $40,000‑$70,000 702 Yellow and White Diamond Earrings 18k white gold, each earring mounted with a triangle-cut faint yellow diamond weighing approximately 1.04 carats in total, approximate clarity VS2‑SI2, accented with round brilliant-cut white diamonds weighing approximately 0.36 carats in total. l. 1”, total weight 3.0 grams $2,000‑$4,000

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703 Yellow Diamond Ring 18k white gold, the ring mounted with a marquise-cut yellow diamond weighing approximately 0.85 carats, accented by round brilliant-cut diamonds weighing approximately 0.43 carats in total. size 7‑1/4, total weight 6.0 grams $2,500‑$4,000


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704 Yellow and White Diamond Necklace 18k white gold, the necklace mounted with marquise-cut white diamonds weighing approximately 6.90 carats in total, approximate color E-F and clarity VS2‑SI2, alternating with smaller sections mounted with marquise-cut yellowishbrown diamonds weighing approximately 1.46 carats in total, approximate clarity VS1‑SI1. l. 18”, total weight 20.0 grams $6,000‑$9,000 705 Beautiful Yellow and White Diamond Earrings 18k white gold, each earring mounted with a cushion-cut fancy yellow diamond weighing approximately 1.45 carats in total, approximate clarity VVS2‑VS2, accented by round brilliant-cut light yellow and white diamonds weighing approximately 0.79 carats in total. l. 1‑1/4”, total weight 6.0 grams

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707 Yellow and White Diamond Ring 18k white/yellow gold, in the style of Van Cleef and Arpels, pave-set with canary yellow round brilliant-cut diamonds and white round brilliant-cut diamonds weighing approximately 0.68 carats in total. size 7‑1/4, total weight 6.8 grams

$3,500‑$5,000

$1,200‑$1,800

706 Diamond Necklace in the Van Cleef and Arpels Style

708 Beautiful Diamond Ring

18k white/yellow gold, the necklace pave-set with white round brilliant-cut diamonds and canary yellow round brilliant-cut diamonds, weighing approximately 2.30 carats in total. l. 18”, drop l. 2‑1/4”, total weight 16.0 grams

18k yellow gold, the ring in the form of a calla lily, mounted with round brilliant-cut diamonds, ranging in color from white to fancy yellow, with an approximate total weight of 2.82 carats, approximate clarity VS1‑I1. size 7‑1/2, total weight 9.0 grams

$3,500‑$5,000

$2,000‑$4,000

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709 Diamond and Sapphire Ring 14k yellow gold, the ring mounted with thirteen roundcut diamonds weighing approximately 1.88 carats in total and accented with square-cut sapphires weighing approximately 0.20 carats in total. size 6‑1/2, total weight 6.0 grams $1,400‑$1,800 710 Sapphire and Diamond Bracelet platinum, the bracelet mounted with thirty roundcut sapphires weighing approximately 6.15 carats in total, and round brilliant-cut diamonds weighing approximately 0.46 carats in total. l. 7”, total weight 23.0 grams $3,000‑$5,000 711 Natural Sapphire and Diamond Ring 14k white gold, the ring mounted with a cushion-cut unheated sapphire weighing 2.27 carats, GIA report #6187269973, surrounded by round brilliant-cut diamonds weighing approximately 1.59 carats in total. size 7‑1/2, total weight 5.7 grams $3,000‑$5,000 712 Sapphire and Diamond Ring the ring mounted with an oval-cut sapphire weighing approximately 1.70 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.30 carats in total. size 9‑1/2, total weight 5.0 grams

713 Art Deco Diamond and Sapphire Earrings platinum, the earrings mounted with European-cut diamonds weighing approximately 1.15 carats in total and calibrated-cut sapphires weighing approximately 1.30 carats in total. l. 2”, total weight 8.0 grams $8,000‑$12,000 714 Diamond and Sapphire Ring platinum, the ring mounted with a central emeraldcut diamond weighing approximately 0.77 carats, approximate color E and clarity VVS1, surrounded by a halo of calibrated-cut sapphires weighing approximately 0.28 carats in total, and accented on the band by round brilliant-cut diamonds weighing approximately 0.04 carats in total. size 7‑3/4, total weight 2.0 grams $4,500‑$7,000 715 Sapphire and Diamond Bangle sterling silver, the hinged bracelet set with twenty-five oval-cut treated sapphires weighing approximately 3.75 carats in total, accented by rose-cut diamonds weighing approximately 1.20 carats in total. inside circumference 7”, total weight 46.6 grams $600‑$900

$600‑$900

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716 Diamond Choker with Pendant sterling silver, the pendant composed of six graduated rings set with rose-cut diamonds weighing approximately 1.75 carats in total, suspended from a choker mounted with rosecut diamonds. choker l. 16”, pendant l. 6”, total weight 22.0 grams $600‑$900 717 Diamond Tassel Necklace sterling silver, the skull pendant mounted with rose-cut diamonds, suspended from a necklace composed of roughcut natural champagne-colored diamonds, and finished with a rose-cut diamond lobster-claw clasp, with an approximate total diamond weight of 15.20 carats. pendant l. 4”, necklace l. 16”, total weight 12.7 grams $600‑$900 718 Gold Charm Bracelet 14k white gold, the twisted milled link bracelet with one hexagonal charm. l. 7‑3/4”, total weight 46.0 grams $700‑$1,000 719 Custom-Made Diamond Ring 14k white gold, the ring mounted with a central European-cut diamond weighing approximately 0.94 carats, approximate color G and clarity SI1, accented with single-cut diamonds weighing approximately 0.25 carats in total. size 6, total weight 5.0 grams $2,500‑$4,000

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720 Diamond Earrings 14k white gold, each earring mounted with a round brilliantcut diamond weighing approximately 0.24 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.42 carats in total. l. 1”, total weight 5.0 grams $2,000‑$4,000 721 Beautiful Diamond Dome Ring 18k white gold, the domed ring with pave-set round brilliantcut diamonds weighing 6.16 carats in total, approximate color E-G and clarity VS2‑SI2. size 6‑3/4, total weight 17.0 grams $6,000‑$9,000 722 Diamond Bracelet 18k white gold, the bracelet mounted with round brilliantcut diamonds weighing approximately 3.68 carats in total, approximate color E-F and clarity VS1‑SI2. l. 7‑1/2”, total weight 25.0 grams $3,500‑$5,000 723 Diamond Cluster Ring 18k white gold, the ring mounted with marquise- and round brilliant-cut diamonds weighing approximately 2.78 carats in total, approximate color E-F and clarity VS1‑VS2. size 6‑3/4, total weight 8.0 grams $2,500‑$4,000


$2,000‑$4,000

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724 Diamond Dangle Earrings 18k white gold, the earrings mounted with round brilliantcut diamonds weighing approximately 3.26 carats in total, approximate color E-F and clarity VS1‑VS2. l. 1‑3/4”, total weight 8.0 grams $2,000‑$4,000 725 Diamond Ring platinum, the ring mounted with a central round brilliant-cut diamond weighing 0.53 carats, approximate color H and clarity SI1, accented by round brilliant-cut and baguette-cut diamonds weighing approximately 0.68 carats in total. size 7‑1/2, total weight 8.4 grams $3,000‑$5,000 726 Emerald and Diamond Pendant with Chain 18k white gold, the pendant mounted with an emeraldcut treated emerald weighing approximately 3.59 carats, accented by round brilliant-cut diamonds weighing approximately 0.93 carats in total, l. 2” including bail, suspended from an 18” 18k white gold chain. total weight 9.2 grams $3,500‑$5,000 727 Emerald and Diamond Ring 18k white gold, the ring mounted with a central emeraldcut treated emerald weighing approximately 0.79 carats, accented by round brilliant-cut diamonds weighing approximately 0.53 carats in total. size 7‑1/4, total weight 5.0 grams $1,400‑$1,800 728 Wide Diamond Band Ring

729 Diamond Cuff Bracelet 14k white gold, the flexible bracelet mounted on each end by three rows of round brilliant-cut diamonds weighing approximately 1.60 carats in total. inside circumference 7‑1/4”, total weight 28.0 grams $6,000‑$9,000 730 Emerald and Diamond Ring platinum, the ring mounted with an emerald-cut emerald weighing approximately 2.63 carats, flanked to either side by baguette-cut diamonds weighing approximately 1.14 carats in total, approximate color D-E and clarity VVS2‑VS1. size 6‑1/2, total weight 11.0 grams $3,000‑$5,000 731 Emerald and Diamond Pendant with Chain 18k white gold, the pendant mounted with an emerald-cut treated emerald weighing approximately 2.90 carats, and an emerald-cut diamond weighing approximately 0.22 carats, the whole accented with round brilliant-cut diamonds weighing approximately 0.60 carats in total, suspended from an 18” white gold chain. total weight 6.0 grams $3,000‑$5,000 732 Emerald and Diamond Ring 14k white gold, the ring mounted with an emerald-cut treated emerald weighing approximately 1.46 carats, accented by round brilliant-cut diamonds weighing approximately 0.56 carats in total. size 7, total weight 3.8 grams $1,000‑$1,500

18k white gold, the ring mounted with round brilliant-cut diamonds weighing approximately 7.02 carats in total, approximate color E-F and clarity VS1‑SI1. size 7‑1/2, total weight 9.0 grams $4,000‑$7,000

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733 Diamond Dangle Earrings 18k white gold, each earring mounted with an emeraldcut diamond weighing approximately 0.83 carats in total, approximate color F-G and clarity SI1‑SI2, accented with round brilliant-cut diamonds weighing approximately 0.25 carats in total. l. 3/4”, total weight 2.0 grams $3,000‑$5,000 734 Diamond Necklace 18k white gold, the necklace mounted with oval-, princess-, pear-, marquise- and triangle-cut diamonds weighing approximately 6.57 carats in total, approximately color G-I and clarity VS1‑SI1. l. 16”, total weight 14.0 grams $7,000‑$10,000 735 Diamond Bypass-Design Ring 18k white gold, the ring mounted with round brilliant- and baguette-cut diamonds weighing approximately 3.35 carats in total. size 7‑1/4, total weight 12.4 grams $4,000‑$7,000 736 Diamond “Panther” Ring 18k white gold, the ring mounted with round brilliant-cut diamonds weighing approximately 2.40 carats in total and with two round-cut emeralds for the eyes weighing approximately 0.04 carats in total. size 6‑3/4, total weight 9.6 grams $3,000‑$5,000 737 Emerald and Diamond Ring 14k white gold, the ring mounted with an oval-cut treated emerald weighing approximately 3.16 carats, flanked on either side by a round-cut treated emerald weighing approximately 0.51 carats in total, and accented by ten round brilliant-cut diamonds weighing approximately 1.01 carats in total. size 7, total weight 5.5 grams $3,500‑$5,000

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738 Diamond Hoop Earrings 18k white gold, the earrings set with baguette- and round brilliant-cut diamonds weighing approximately 1.40 carats in total. dia. 11/16”, total weight 6.8 grams $2,500‑$4,000 739 Emerald and Diamond Ring platinum, the ring mounted with an oval-cut treated emerald weighing approximately 2.94 carats, surrounded by a double halo of round brilliant-cut diamonds weighing approximately 0.69 carats in total. size 8‑1/2, total weight 9.6 grams $4,500‑$7,000 740 Pearl, Emerald and Diamond Bracelet 18k white gold, the five-strand bracelet composed of 7.0 mm round silver/white cultured pearls, finished with an 18k white gold clasp set with single-cut diamonds weighing approximately 0.45 carats in total, and round-cut emeralds weighing approximately 1.75 carats in total. w. 1‑3/8”, l. 7”, total weight 67.0 grams $700‑$1,000 741 Art Deco Emerald Ring platinum, the filigree mounting set with a large faceted hexagonal-cut emerald weighing 12.50 carats. size 7‑1/2, total weight 6.7 grams $1,400‑$1,800


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733

736 734

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745

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742 Gentleman’s Rolex Datejust Wrist Watch stainless steel, the self-winding mechanical movement with quick-set date, the blue dial signed “Rolex, Oyster Perpetual, Datejust, Superlative Chronometer, Officially Certified”, the stainless steel Rolex oyster band with a deployant clasp marked “Rolex, Registered Swiss Made, AD7, Steelmax, 78360”, diameter without crown 36.0 mm, ref. #16200, serial #Y897,XXX. inside circumference 7‑1/2”, total weight 106.5 grams $2,000‑$4,000 743 Gentleman’s Diamond Ring 18k white gold, the ring invisible-set with princess-cut diamonds weighing approximately 1.20 carats in total. size 9‑3/4, total weight 9.6 grams $600‑$900 744 Russian-Style Enamel and Diamond Cufflinks 14k yellow gold, the cufflinks with green guilloche enamel and with applied silver Romanoff eagles, set with single-cut diamonds weighing approximately 0.50 carats in total. size 3/4” x 7/8”, total weight 15.2 grams

746 Gentleman’s Emerald and Diamond Ring 14k yellow gold, the ring mounted with baguette-cut emeralds weighing approximately 0.85 carats in total and round brilliantcut diamonds weighing approximately 0.55 carats in total. size 9‑1/2, total weight 9.5 grams $600‑$900 747 Gentleman’s Rolex Diamond Day-Date President Wrist Watch 18k yellow gold, the self-winding mechanical movement with a single quick-set date with an aftermarket diamond and motherof-pearl and diamond bezel, the dial set with ten single-cut diamond melees and the bezel set with forty-four round brilliant-cut diamonds weighing approximately 1.00 carat in total, the dial signed “Rolex, Oyster Perpetual, Day-Date, Superlative Chronometer, Officially Certified”, the aftermarket 18k yellow gold “President” band with a hidden deployant clasp stamped “Rolex, Geneve, Swiss Made, 18k, 8385, 750”, and hallmarks, diameter without crown 36.0 mm, ref. #18038, serial #8,769,XXX. inside circumference 8‑3/4”, total weight 129.1 grams $5,000‑$8,000 748 Tiffany & Co. Cufflinks

$1,200‑$1,800

14k yellow gold, the double-sided knot design on arched bars, stamped “Tiffany & Co., 14k”. l. 1‑1/8”, total weight 21.2 grams

745 Gentleman’s Jade Cufflinks

$800‑$1,200

14k yellow gold, each with a hinged spring-loaded locking mechanism and set with a carved Chinese lion holding the symbol for longevity. jade size 10.0 mm x 22.0 mm, total weight 14.0 grams $600‑$900

749 Gentleman’s Diamond Ring 14k yellow gold, the ring mounted with a round brilliant-cut diamond weighing approximately 0.76 carats, approximate color F and clarity VS1. size 9‑1/2, total weight 9.0 grams $600‑$900

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750 Gentleman’s Scarab Cufflinks

754 Gentleman’s Diamond Nugget Ring

18k yellow gold, each cufflink with a scarabaeus applied to the top. size 1/2” x 13/16”, total weight 8.9 grams

14k yellow gold, the nugget-style ring mounted with a round brilliant-cut diamond weighing approximately 0.34 carats. size 8‑1/2, total weight 14.0 grams

$800‑$1,200 751 Gentleman’s Rolex Day-Date Wrist Watch with PresidentStyle Band 18k yellow gold, the matte black aftermarket diamond dial and bezel set with round brilliant-cut diamonds weighing approximately 1.25 carats in total, the mechanical selfwinding day-date movement non quick set, the aftermarket president-style band with an older adjustable deployant clasp, ref. #1803, serial #3,552,XXX. inside circumference 8”, total weight 123.0 grams $5,000‑$8,000 752 Gentleman’s Gold Cufflinks 18k yellow gold, the cufflinks with a sunburst design, stamped “Industria, Argentina, Pat. a. no 189058, 750”. l. 5/8”, total weight 11.4 grams $800‑$1,200 753 Gentleman’s Hematite Cufflinks 18k yellow gold, in the Tiffany & Co., Schlumberger style, each set with an 8.0 mm and a 9.0 mm round hematite bead. l. 1‑1/4”, total weight 17.6 grams $600‑$900

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$600‑$900 755 Tiffany & Co. Gentleman’s Oversized Wrist Watch gold-plated, the 16s nickel-plated damascene twenty-one jewels mechanical movement with snail regulator, signed “Tiffany & Co., New York, No 9505”, the white porcelain dial with black Roman numerals and signed “Tiffany & Co., New York”, the movement has been re-cased in a later gold-plated wrist watch case with “Patek, Philippe” etched on the side, diameter without crown is 48.0 mm, lug to lug 55.0 mm. l. 7” to 8‑1/2”, total weight 109.3 grams $1,800‑$2,500 756 Tiger’s Eye Cufflinks 14k yellow gold, each cufflink set with an oval cabochon-cut tiger’s eye measuring approximately 12.0 mm x 14.0 mm. size 11/16” x 13/16”, total weight 17.2 grams $900‑$1,200 757 Gold and Coral Cufflinks 18k yellow gold, the rectangular swivel-back cufflinks each set with a half-round carved coral, with an abstract design. l. 3/4”, total weight 19.0 grams $800‑$1,200


753

751

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750

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756

755

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758 Suite of Three Mid-Century Modern Gilt-Metal and Glass Nesting Tables mid-20th century, each with a rectangular glass top within a banding, raised on X-form end supports ending in claw feet. h. 17”, w. 24‑1/2”, d. 14” $600‑$900 759 Pair of Leather and Chromed Steel WassilyStyle Chairs after a 1925 design by architect and designer Marcel Breuer (Hungarian/American, 1902‑1981), unmarked, the present example of later manufacture, upholstered in brown suede. h. 27‑3/4”

758

$600‑$900 760 Dale Chihuly (American, b. 1941) Six-piece Tabac Basket Set, Seattle, WA, 2000 blown glass with black and oxblood lip and body wraps, the smallest element signed and dated. smallest: h. 4”, overall dia. 4‑1/2”, largest bowl: h. 5”, overall dia: 17‑1/2”, tallest: h. 10‑3/4”, overall dia. 9‑1/4” $10,000‑$15,000

759

760

222


761 David Hostetler (American, 1926‑2015) “Quiet Woman” bronze on an integral black composition base with artist plaque. overall h. 15‑1/2”, w. 7‑1/2”, d. 5‑1/4” This work has been verified by Susan Crehan-Hostetler, wife of the late David Hostetler and his art dealer. $1,200‑$1,800 "My sculpture is woman with the mark of the present and the past cultures on her. Timeless woman as an object, a goddess, angular, sensual, stylized; but always filled with grace and vitality that is woman. Woman to me is the ideal form, erotic yet pure, compositionary variable, yet identical every time." -David Hostetler Working in sinuous woods and bronze, Hostetler excelled at creating slightly abstracted, stylized female forms which refer back to the earth goddesses of ancient civilizations. Intending on a career as an engineer, Hostetler became interested in art during his recuperation from a shrapnel injury during WW II, when a Red Cross volunteer supplied the young soldier with drawing materials to keep his mind occupied. After the war, he attended Indiana University and received his MA in Fine Art from Ohio University, where he was to teach for almost forty years.

761

His work is in the permanent collection of such institutions as the Columbus Museum of Fine Art, Ohio; the Museum of Fine Arts, Boston; and the Montgomery Museum of Fine Art, Alabama.

762 Bob and Tom Bennett (American, 20th Century) “Cheetah” and “Contours” pair of polished bronzes former with incised signature, dated “1986”, copyright-marked and numbered “89/100” at bottom of foot, on a round marble base; latter signed, dated “1984”, copyright-marked and numbered “34/100” at edge of foot. former h. 9‑1/2”, w. 23‑3/4”, d. 8”, latter h. 14‑1/4”, w. 8‑1/2”, d. 8” Each with a Certificate of Authenticity from Bennett Sculpture. 762

$700‑$1,000

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765

763

764

763 Lorenzo Burchiellaro “Wanduhr” Patinated Metal Wall Clock ca. 1960s, Italian, the sculptural clock stamped “Burchiellaro” on the lower rear, made of patinated metal in the typical Burchiellaro fashion, set with a key-wind, pendulum-driven movement, the lettering and organic finial typical of his work. h. 22‑3/4”, w. 6‑3/4”, d. 1‑3/4” $800‑$1,200 764 Pair of Rosewood and Giltwood Occasional Tables each with a circular top with an inlaid floral garland banding, above a conforming frieze, raised on reeded tapering circular legs ending in peg feet. h. 27”, dia. 20‑1/2” $700‑$1,000

224

765 Pair of Mid-Century Modern Brushed Brass Dressing Mirrors mid-20th century, set with oval, beveled mirror plates in adjustable frames, on weighted bases. h. 28”, w. 18”, d. 7‑3/4” $600‑$900


766 Contemporary Bench-Made Macassar Ebony Dining Table late 20th century, of Regency inspiration, the richly figured ovoid top supported by shaped legs, on brass cup casters. h. 29”, w. 50”, l. 96” $1,500‑$2,500 767 Vintage Christian Liaigre at Holly Hunt Mahogany”Velin” Banquette Chicago, 1990s, upholstered in Holly Hunt pale taupe silk, bearing a metal label: “Christian Liaigre at Holly Hunt”. h. 32‑1/4”, w. 71‑1/2”

766 detail

$1,000‑$1,500 768 Vintage Pair of Christian Liaigre at Holly Hunt Mahogany”Archipel” Side Chairs Chicago, 1990s, upholstered in Holly Hunt cream burlap, each bearing a metal label: “Christian Liaigre at Holly Hunt”. h. 31” 766

$700‑$1,000

767

768

225


771 Art Deco-Style Mirrored Commode the rectangular mirrored top above two long drawers with mirrored fronts, raised on tall, tapering square legs. h. 34‑1/2”, w. 43”, d. 18” $700‑$1,000 772 Pair of Mirrored Demi-lune Console Tables late 20th century, in the Art Deco taste, each fitted with a drawer, the frieze consisting of small etched and beveled mirror panels, raised on tapering square legs. h. 31‑1/2”, w. 32”, d. 16‑1/2” $1,200‑$1,800

770

769

771

769 Marble, Bronze and Acrylic Inclined Plane Clock ca. 1975, the bronze and marble frame holding the circular acrylic clock, set with a bronze chapter ring, with a brass presentation plaque on the front reading “George Dornis 1975 No. 10”. h. 10‑1/2”, w. 22”, d. 5‑1/4” $800‑$1,200 770 Mid-Century Modern Brushed Steel Trolley Cart with two galleried tiers with smoky plate glass mirrored shelves on each, raised on large spoked wheels with rubber gaskets. h. 39‑1/2”, w. 40”, d. 14” $700‑$1,000 772

226


773 Rare Vintage Malmik Bronze and German Silver Shah Mat Chess Set

774 Frederick Elliott Hart (American, 1943‑1999)

1963, designed and patented by Michael Hanna and Francis Maljan, Chicago, in a stylized Gothic design, hand-cast and polished, the underside of each piece lined with royal purple kidskin, the set presented in a custom wooden box lined with royal purple velvet, accompanied by the original loose leaf descriptive booklet which includes detailed views of the pieces and is presented within a black buckskin cover. king h. 5‑1/4”, rook h. 2‑3/4”

“Veil of Light”, 1987

Provenance: A New Orleans, Louisiana collector.

775 Michael Wilkinson (American/Contemporary)

Literature: “Midwest Magazine”, Chicago Sun-Times, Sunday, May 31, 1964, pp. 4‑7. $1,500‑$2,500 This set, one of an edition of one hundred, was chosen by Mrs. Frank Lloyd Wright for exhibition in the New York American House Show of American Art Objects. The sets were first retailed by Marshall Field & Co. in Chicago, then in New York by Julius Carlebach Gallery, Bronzine Shops, Inc., and Alfred Dunhill.

cast acrylic resin incised signature, dated, copyright-marked and numbered “51/350” along bottom edges. h. 21‑3/4”, w. 11‑3/4”, d. 5” $1,200‑$1,800

“Atlanteans III - Odyssey”, 1991 cast acrylic incised signature, dated, copyright-marked and numbered “150/300” at back. h. 18”, w. 16‑3/4”, d. 10‑3/4” Together with letter of authentication. $1,000‑$1,500

775

773

773 detail 774

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778

776

779

776 Bill Mack (American, b. 1949)

777

“Dancers” bonded sand relief sculpture signed lower left, mounted within frame. overall 36” x 30”

778 Contemporary Brass, Brushed Steel and Glass Center Table

$700‑$1,000

in the manner of Maison Jansen, the circular glass top on a pedestal with ornate brackets and brass foliate-molded adornment. h. 28”, dia. 29”

777 Tuan Nguyen (Vietnamese/California, b. 1963) “Inspiration”, 1999 patinated bronze cast signature, dated, copyright-marked and numbered “61/100” along bottom edge, on a black marble stepped plinth, now on a marble columnar base. sculpture h. 39”, overall h. 68‑3/4”, w. 14”, d. 13‑3/4” $2,500‑$4,000

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$800‑$1,200 779 Contemporary Glass, Steel and Brass Table the glass top over a like display shelf, above a curule base adorned with polished brass elements. h. 28‑3/4”, w. 60”, d. 16‑3/4” $600‑$900


782

783

781

780

780 Alvar Sunol Munoz Ramos (Spanish, b. 1935) “La Paloma” patinated bronze cast signature, copyright-marked and numbered “89/225” along edge, on a black composition plinth. overall h. 9‑3/4”, w. 9‑1/4”, d. 6‑1/4” $600‑$900 781 Bronze-Patinated Steel and Glass Coffee Table 20th century, in the Diego Giacometti “Tete du Chien” manner, with dog head finials, various stretchers and a glass top. h. 21‑1/2”, w. 41‑1/2”, d. 25‑1/2” $800‑$1,200

782 Loet Vanderveen (Dutch, 1921‑2015) “Ark” patinated and polished bronze incised signature, copyright-marked and numbered “56/150” on rhino’s belly, set upon a black lacquer ark-shaped base. overall h. 11‑1/2”, w. 36‑3/4”, d. 8‑1/2” $1,500‑$2,500 783 Loet Vanderveen (Dutch, 1921‑2015) “Rhino” patinated and polished bronze incised signature and numbered “38/250” on belly. h. 13”, w. 28”, d. 10” $600‑$900

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786 George Elmer Browne (American, 1871‑1946) “Portrait of a Spanish Lady” oil on canvas signed lower left. Presented in an ebonized, parcel-gilt frame. 40” x 40” $4,000‑$7,000

784

784 Walter (Walt) Gonske (American/New Mexico, b. 1942)

786

“Late Summer - Taos” oil on canvas signed lower right, signed, titled and further inscribed en verso. Framed. 30” x 20” $3,000‑$5,000 785 Roy Lee Ward (American/Texas, 1941‑2015) “Bison-1700”, 1982 oil on canvas signed, dated and copyright-marked lower right, titled on artist plaque and en verso. Framed. 30” x 48” $1,500‑$2,500 785

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787 John Carroll (American, 1892‑1959) “Betsy” oil on canvas signed lower right, with a “Detroit Institute of Arts, Detroit, Michigan” 1918 exhibition label. Framed. 54‑1/2” x 45‑1/2” $2,500‑$4,000 788 Louis Kronberg (American, 1872‑1965) “Spanish Dancers” oil on canvas signed lower right. Presented in a period frame. 36” x 24”

787

$1,000‑$1,500 Louis Kronberg was born in Boston and studied at the Museum of Fine Arts with Impressionists Edmund Charles Tarbell and Frank Weston Benson. He continued his studies in France at the Academie Julian in Paris where he was influenced by Edgar Degas, particularly by the artist’s paintings of ballerinas. He eventually became known as the “American Degas”. In 1922 Kronberg went to Spain and began a series of paintings of Spanish dancers which were widely exhibited. Over his long career, Kronberg exhibited at the Art Institute of Chicago and the Pennsylvania Academy of Fine Arts in Philadelphia, as well as the salons of Paris.

788

789 Federico Beltran-Masses (Spanish/Cuban, 1885‑1949) “Portrait of a Woman in a Black Evening Dress with a Pink Rose”, 1925 oil on canvas signed and dated mid-left. Presented in a carved, ebonized and parcel-gilt frame. 45” x 42‑1/2” 789

$5,000‑$8,000

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792 Erte (Romain de Tirtoff, Russian/French, 1892‑1990) “The Harvest” serigraph in colors pencil-signed lower right, pencil-numbered “CLI/ CCL” under mat. Attractively matted, glazed and framed. sight 19” x 32” $1,000‑$1,500 793 French Print of Diana the Huntress 20th century, serigraph in colors with metallic, illegibly pencil-signed lower right, numbered “205/300” lower left. Attractively matted, glazed and framed. sight 26‑1/2” x 21” 790

$1,000‑$1,500

792

790 Erte (Romain de Tirtoff, Russian/French, 1892‑1990) “Printemps” serigraph in colors with metallic pencil-signed lower right, marked “A.P.” lower left. Attractively matted, glazed and framed. sight 25” x 19‑1/2”

793

$1,000‑$1,500 791 Erte (Romain de Tirtoff, Russian/French, 1892‑1990) “Coming of Spring” serigraph in colors with metallic pencil-signed lower right, numbered “CXXV/CXXV” lower left. Attractively matted, glazed and framed. sight 26‑3/4” x 21” $1,000‑$1,500

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794 Pair of Kylix-Form Stoneware Garden Urns 20th century, probably European, with reeded bowls, the rims molded with egg-and-dart decoration. h. 16”, dia. 16” $800‑$1,200 795 Pair of Bronze and Crystal Hall Lanterns first quarter 20th century, French, the three-light oblong lanterns set with frosted and star-cut glass shades, supported by gilt-bronze bellflower-molded holders, the rim decorated with crossed quivers and torches, the leaf-molded scrollwork standard with interior sockets. h. 28”, dia. 15”

795 pair

$1,000‑$1,500 797 Continental Cast Stone Fountain of a Nymph 20th century, the classically draped figure perched on the edge of a floral-entwined urn. h. 40‑1/2”, w. 25”, d. 15‑1/2” $700‑$1,000 798 Cast Stone and Glass Console Table the glass top supported by a pair of re-purposed architectural brackets adorned with shell, scroll and foliate decor. h. 32”, w. 71‑1/2”, d. 18”

796

796 Pair of Bronze and Engraved Mirror Glass Candelabra

$600‑$900

second quarter 20th century, on molded bases with prismhung candle arms flanking pierced chinoiserie-decorated central panels, set with mirrored panels engraved with phoenix birds, electrified. h. 14‑3/4”, w. 11”, d. 2‑1/4” $600‑$900

794

798

797

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799 Richard MacDonald (American, b. 1946) “U.S. Open”, 2000 patinated bronze cast signature and dated along front edge, on a marble base. overall h. 9‑1/2”, w. 7‑3/4”, d. 5” $1,200‑$1,800 800 Richard MacDonald (American, b. 1946) “Romeo (Third Life)” patinated bronze from the “Ballet Suite”, cast signature and numbered “11/90” along front edge of self-base, presented on a round black marble stepped plinth; together with a certificate of authenticity from the artist. overall h. 14‑1/2”, w. 15‑1/2”, d. 18”

800

“Parting is such sweet sorrow that I’ll say my goodnight until tonight becomes tomorrow” Romeo and Juliet Act II, Scene 2 William Shakespeare $3,000‑$5,000 The sculpture presented here is from the “Romeo and Juliet” suite by Richard MacDonald, which was inspired by the 1965 Royal Ballet version of Sergei Prokofiev’s 1935 work and featured Rudolf Nureyev and Margot Fonteyn in the titular roles. Macdonald has chosen the dramatic “Balcony” scene where the two young lovers are loathe to leave each other. The tension in the figure of Romeo is almost palpable; the taut muscles, the reaching, grasping hands, and the anguished facial expression all expose his internal torment, and reveal the sculptor’s mastery at the depiction of the human form. Working in the time-consuming “lost wax” technique, MacDonald explores the innate power and complexity of the human figure.

801

801 Pair of Patinated Bronze “Cobra” Lamps second quarter 20th century, in the style of Edgar Brandt, depicted with their tails coiled on basket lids, apertures for sockets below the heads. h. 57‑1/2”, dia. 12” $800‑$1,200 799

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804

802 Edward Wilkins Waite (British, 1854‑1924) “Autumn Gold” 803

oil on canvas signed lower right and titled on “Hewson and Forster Fine Art Dealers”, Sheffield, U.K., label on stretcher. Framed. 12” x 14‑1/2” $1,500‑$2,500 803 Edgar Brandt-Style Cast Iron Floor Lamp 20th century, in the Art Deco manner, the hexagonal base decorated with scrolls, the tapering standard and shade holder with stylized leaves and set with a flared alabaster shade. h. 70‑1/2”, dia. 18” $800‑$1,200 804 Pair of Mahogany and Leather-Upholstered Club Chairs 20th century, each with a padded and domed back joined by outscrolled arms to the cushioned seat, raised on square legs, with brass tack accents. h. 35” $800‑$1,200 802

235


805 Adolphe Mouron Cassandre (French, 1901‑1968) “Dubonnet”, 1956 color lithograph poster backed by linen signed in plate upper left, printed by Axel Andreasen and Sonner, Kobenhaven. Unframed. Accompanied by a copy of the Alan Weill’s text Les Maitres de L’Affiche: Cassandre, for which the Dubonnet poster is the cover illustration. 67‑1/4” x 48‑1/2” Literature: Weill, Alan. Les Maitres de L’Affiche: Cassandre. Paris: Bibliotheque de l’image, cover and pp. 38‑39. $1,200‑$1,800

805

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

806

236


808 G. Faure (French, First Quarter 20th Century) “Val d’Or” color lithograph poster backed by linen signed in plate lower left. Unframed. 58‑1/2” x 39” $1,000‑$1,500

808

807 Claude Gadoud (French, 1905‑1991) “Vins Camp Romain”, ca. 1930‑1935 color lithograph poster backed by linen signed in plate upper right, printed by Affiches Camis, Paris. Unframed. 63” x 47‑1/2” $1,000‑$1,500

807

237


809 Pair of Painted Composition, Gilt-Bronze and Marble Torcheres

811 French Carved and Parcel-Gilt Armorial Applique

second quarter 20th century, French, the heavy marble bases molded with musical trophies and supporting tapered and reeded standards terminating in gilt-bronze candle sockets and drip pans, hung with mauve drops. h. 85”, dia. 15”

mid-20th century, possibly Maison Jansen, decorated with a carved and painted armorial on a Louis XV-style giltwood cartouche, the sides with scroll and rocaille work and pierced flowerheads. h. 22‑3/4”, w. 22‑1/2”, d. 4‑1/4”

$2,500‑$4,000

$1,000‑$1,500

810 French Carved, Painted and Parcel-Gilt Armorial Sconce mid-20th century, possibly Maison Jansen, set with a pair of two-light downturned carved giltwood arms, a French export label on the back, electrified. h. 25”, w. 38”, d. 10” $2,000‑$4,000

811

810

809

238


812 Pair of Whimsical Iron and Marble-Top Console Tables contemporary, each with an inset marble top and a frieze with various iron shells, starfish and foliate scrollwork, raised on slender cabriole front legs. h. 35”, w. 38”, d. 13”

814 American Ebonized Wood, Aluminum and Horn Occasional Table the ovoid top joined with horn brackets to a metal columnar pedestal, on horn feet. h. 31‑1/2”, w. 18‑1/2”, d. 18‑1/2”

$1,800‑$2,500

$700‑$1,000

813 Angelo Basso (Italian, b. 1943)

815 Two E. F. Chapman Lamps

Together with certificate of authenticity.

including a floor lamp, third quarter 20th century, in the Hollywood Regency style, the brass and patinated metal reeded standard with a turned base and a pagoda-form shade, h. 43”, w. 18”, d. 9”, together with a desk lamp, ca. 1983, of Regency inspiration, the brass and patinated metal standard with a tray-form base and terminating in a molded hand supporting a pagoda-form shade, h. 20‑3/4”, w. 12”, d. 8‑3/4”.

$800‑$1,200

$600‑$900

“Dancing with Waves” patinated and cold-painted bronze cast signature along proper right edge of wave. h. 22‑1/2”, w. 13‑1/2”, d. 12”

813

815

812

814

239


816 Fine De Coene Freres Mid-Century Modern Ebonized and Marble-Top Cabinet Courtrai, Belgium, in the Empire taste, the rectangular charcoal marble top above a conforming case fitted with four frieze drawers over four recessed cabinet doors, the middle two centered by an ormolu wreath, flanked to either side by a tapering pilaster headed by a classical maiden’s head and ending in feet, the whole raised on a plinth base. h. 37‑1/2”, w. 90‑3/4”, d. 19‑1/2” $3,000‑$5,000

817

Established in 1895 by brothers Jozef and Adolf De Coene, the Flemish company of De Coene Freres quickly became the largest and finest producer of furniture in Belgium, and remained so until the 1970s. They exhibited at the influential 1925 Exposition Universelle, after which their restrained traditional style was combined with Modernist design to create some of the most elegant European furniture of the mid-century, as exemplified in this superlative lot. 817 Pair of Baccarat “Harmonie” Crystal Whiskey Decanters 20th century, French, the decanters with stoppers and signed on the bottom, in their original boxes. decanter h. 10”, w. 3‑1/2”, d. 3‑1/2” $500‑$800

816 detail

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816 detail


One of the most accomplished modern animalier artists, Loet Vandeerveen’s sculptures reveal an acute attention to detail and an inherent sympathy with the subjects. Growing up in Rotterdam, the young Vanderveen would visit the local zoo almost daily, eventually earning the trust and respect of the zookeepers, who soon gave the young boy nearly unlimited access to the animals. After bombing during WWII destroyed the city, the suddenly orphaned Vanderveen escaped to Belgium, joined the Dutch army, and ultimately made his way to the US. Vanderveen worked for years drawing sketches for fashion designers before turning to sculpture. His earliest animal figures were ceramic; after a fire destroyed his house and studio in 1985, he began to produce works in bronze, employing the timeconsuming and arduous lost wax technique. Vanderveen’s menagerie of animals, with their rich patinas and highly polished surfaces, run the gamut from the expected and easily recognizable to the more exotic. His works are in numerous permanent collections including the Cincinnati Art Museum; DeYoung Museum, San Francisco; Minneapolis Art Institute; Museum of Contemporary Crafts, New York; and the Pasadena Art Museum.

819

818 Loet Vanderveen (Dutch, 1921‑2015) “Big Horn” patinated and polished bronze incised signature, copyright-marked and numbered “101/500” on belly. h. 13‑1/2”, w. 20‑1/2”, d. 6‑1/2” Provenance: Purchased from the artist; Private Midwestern collection. $1,500‑$2,500 819 Loet Vanderveen (Dutch, 1921‑2015) “Chimpanzee and Baby”

818

patinated and polished bronze incised signature, copyright-marked and numbered “97/750” at bottom of proper left thigh. h. 5‑1/2”, w. 7‑1/4”, d. 6‑1/4” Provenance: Purchased from the artist; Private Midwestern collection. $600‑$900 820 Loet Vanderveen (Dutch, 1921‑2015) “Roaring Lion” patinated and polished bronze incised signature, copyright-marked and numbered “7/500” at bottom of foot. h. 20‑3/4”, w. 22‑3/4”, d. 6‑1/4” Provenance: Purchased from the artist; Private Midwestern collection. $1,000‑$1,500

820

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821 Loet Vanderveen (Dutch, 1921‑2015)

823 Loet Vanderveen (Dutch, 1921‑2015)

“Bull”

“Two Cheetahs”

patinated and polished bronze incised signature, copyright-marked and numbered “34/750” on belly. h. 9‑1/2”, w. 19‑1/2”, d. 9‑1/2”

patinated and polished bronze incised signature, copyright-marked and numbered “62/1000” along edge of one foot. h. 14‑3/4”, w. 18‑1/2”, d. 13‑3/4”

Provenance: Purchased from the artist; Private Midwestern collection.

Provenance: Purchased from the artist; Private Midwestern collection.

$700‑$1,000

$900‑$1,200

822 Loet Vanderveen (Dutch, 1921‑2015) “Elephant” patinated and polished bronze incised signature, copyright-marked and numbered “7/500” at bottom of foot. h. 14”, w. 25‑1/2”, d. 10‑1/2” Provenance: Purchased from the artist; Private Midwestern collection. $1,000‑$1,500

821

822

823

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824 Loet Vanderveen (Dutch, 1921‑2015) “Panther” patinated and polished bronze incised signature, copyright-marked and numbered “AP 23/50” on belly. h. 3‑3/4”, w. 11‑1/2”, d. 3‑1/2” Provenance: Purchased from the artist; Private Midwestern collection. 824

$600‑$900 825 Loet Vanderveen (Dutch, 1921‑2015) “Silverback Panther” patinated and polished bronze incised signature, copyright-marked and numbered “66/750”. h. 9‑1/2”, w. 30”, d. 6‑1/4” Provenance: Purchased from the artist; Private Midwestern collection. $1,500‑$2,500

825

826 Loet Vanderveen (Dutch, 1921‑2015) “Horse” patinated bronze incised signature, copyright-marked and numbered “2/750” on belly. h. 13‑1/2”, w. 19‑3/4”, d. 5‑1/2” 826

Provenance: Purchased from the artist; Private Midwestern collection. $1,000‑$1,500 827 Loet Vanderveen (Dutch, 1921‑2015) “Springbok” patinated and polished bronze incised signature, copyright-marked and numbered “416/750” on proper right inner leg. h. 9‑1/4”, w. 8‑1/2”, d. 3‑1/2” Provenance: Purchased from the artist; Private Midwestern collection. $600‑$900

827

243


828 Japanese Silver Pedestal Punch Bowl late Meiji period, of compressed globular form with circular interior insert, narrowing to a shallow neck with flared lip, and raised on a pedestal foot, the front centered by a single chrysanthemum mon badge flanked by floral sprays, the reverse with a foliate motif, the base impressed with a Jungin mark and a two-character maker’s mark. h. 9‑1/2”, dia. 11” $4,000‑$7,000 829 Graduated Group of Six Japanese Silver Pedestal Dishes First quater 20th century, each of circular form raised on a neat, tapering pedestal foot, the larger three with a stylized floral design, the smaller three with a central leaf motif, each foot with with an individual mark to the center, with a further three-character studio mark impressed to the interior side. Largest measures dia. 7‑3/4”, smallest dia. 4” $1,200‑$1,800 830 Japanese Silver Vase first quarter 20th century, of pear form, with flared lip and raised on a slightly splayed foot rim, the front depicting three birds near rockwork and foliage, the base with a five-character Hattori Company Jungin mark, the reverse with a three-character artist’s mark. h. 10‑1/2”, w. 7”

828

$3,000‑$5,000

829

830

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831

831 Pair of German Modernist Silver Candelabra

832 Set of Twelve Georg Jensen Sterling Silver Small Dishes

the pattern designed in February, 1917, by P. Bruckmann & Sohne, Heilbronn, retailed by Louis Werner, Berlin, .800 silver, in the Danish Modern taste, each with a lobed vasiform standard above a shallow-domed circular base with ovolobeaded rim and surmounted by a central stylized pointed bud finial surrounded by four reeded scrolling arms, each ending in a beaded poppy-bud-form nozzle with beaded band en suite. h. 8‑3/4”, w. 14”, base dia. 6‑1/2”; 93.23 total t. oz.

second quarter 20th century, model 428A, designed by Georg Jensen (1866‑1935), Copenhagen, circular with four repousse blossom motifs on the rim, molded rim and hammered finish, monogrammed on the underside “HG”. dia. 4”; 19.09 total t. oz. $1,000‑$1,500

$1,200‑$1,800

832

245


833 Fine Georg Jensen Six-Piece “Blossom” Sterling Silver Coffee and Tea Set the pattern designed in 1908 by Georg Jensen (1866‑1935), this example 1935, Copenhagen, including coffeepot model 2D, h. 5‑1/4”, l. 9”, teapot model 2D, h. 5‑3/4”, l.10”, hot water jug model 2B, h. 7‑1/4”, l. 7‑1/2”, creamer model 2D, h. 2‑7/8”, l. 6‑3/4”, sugar bowl/bonbonniere model 2, h. 3‑3/4”, l. 3‑3/4”, and tray model 2I, 23‑1/2” x 14‑1/4”, each with a hammered finish and large stylized “blossom” finial, the hollowware with carved ivory handles, together with “Acorn” pattern scissorstyle sugar tongs, l. 3‑3/4”, accompanied by a photocopy of the original bill of sale from Georg Jensen Solv, Copenhagen, dated December 2, 1935, to Mr. Charles Rosen, New Orleans, Louisiana. 148.75 total t. oz. (including ivory handles)

Georg Jensen’s “Blossom” set (“Magnolie” in Danish) was one of his earliest designs, and was an immediate success. It was praised in the Danish press, and a teapot identical to that in the present lot was purchased by the Danish Museum of Decorative Art at the time. The design was a natural development from the then-current Art Nouveau and Arts and Crafts designs, but in retrospect it is regarded as the singular starting point of modernist silver design. Examples of the set are conserved in, among others, the National Museum, Stockholm, the National Gallery, Melbourne, the Victoria and Albert Museum, London, and the Philadelphia Museum of Art. The present lot is a fine example in excellent condition, accompanied by a copy of the original bill of sale dated less than ten weeks after Jensen’s death.

Literature: Janet and William Drucker, Georg Jensen: 20th Century Designs (Atglen, PA: Schiffer, 2002), illustrated p. 1. Janet Drucker, Georg Jensen: A Tradition of Splendid Silver (Atglen, PA: Schiffer, 1997), illustrated p. 187. $18,000‑$25,000

833 detail

833

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833 detail

833 detail

833 detail

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834 Set of Twelve Georg Jensen Sterling Silver Service Plates second half 20th century, model 600Y, designed by Harald Nielsen (1892‑1977), Copenhagen, circular with step-molded edge. dia. 11”; 243.02 total t. oz. $12,000‑$18,000 835 Georg Jensen Sterling Silver and Ebony Serving Dish 1945‑1951, model 909, designed by Sigvard Bernadotte (1907‑2002), Copenhagen, circular with incised lozenge pattern, with fitted domed lid and rib-turned ebony handle and finial. overall h. 3‑3/4”, dia. 6‑3/8”, l. 10‑3/4”; 17.68 t. oz. (including wooden elements)

836

$1,500‑$2,500

836 French Art Deco Puiforcat “Etchea” Rosewood and Silverplate Tray the pattern designed in 1937 by Jean Elysee Puiforcat (1897‑1845), Paris, the rounded rectangular rosewood tray with fluted edge and mounted with silverplate handles, each decorated with three spheres. 27‑1/2” x 15‑3/4” $800‑$1,200

835

834

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837 Tiffany & Co. Modernist Sterling Silver Compote designed in 1937, this example third quarter 20th century, New York, New York, with a saucer-shaped bowl above a short cylindridal standard with incised threaded banding and very slightly domed foot. h. 4‑1/4”, dia. 12‑1/2”; 44.22 t. oz. $800‑$1,200 This compote was one of Tiffany’s most successful modernist designs. It was introduced in 1937 in a much smaller version, one of which is conserved in the Jewel Stern American Silver Collection at the Dallas Museum of Art. This larger design was first produced around 1951, and the present example made sometime between 1956 (when William T. Lusk, whose initial marks this piece, became director of Tiffany) and around 1965 (when the use of the directory’s initials on Tiffany marks was discontinued).

838 124‑Piece Set of Tiffany “Cordis” Sterling Silver Flatware the pattern designed in 1958 by Oscar Riedner (1910‑2000), New York, New York, including a dozen ten-piece place settings (three pieces lacking) with seven serving pieces, all monogrammed “B”, presented in a fitted, Pacific cloth-lined wooden case with lift-top and single drawer, 5‑1/2” x 16” x 11‑1/2”. 138.26 total t. oz. (weighable silver) Detailed list of pieces available on request. $2,000‑$4,000 839 Tiffany & Co. Sterling Silver Bowl the pattern introduced in 1920, this example 1947‑1956, New York , New York, part of Tiffany’s reproduction series of important American silver, this bowl after a ca. 1700 example by Joseph Conyers, Boston, of plain hemispherical form with simple foot ring, monogrammed “FWB”. h. 4”, dia. 9‑1/8”; 24.25 t. oz. $600‑$900 This striking bowl, one of Tiffany’s most popular, is a testament to the endurance of American design. The late 17th-/early 18th-century original was part of the collection of Connecticut bed linen and quilt manufacturer George Smith Palmer (1855‑1934), a pioneering figure in the study and collection of American decorative arts. Palmer began to divest himself of his important collection in 1918, donating his sixty-five best furniture pieces to the Metropolitan Museum of Art, followed by the sale of his silver collection in 1920 to Tiffany & Co. (The remainder was sold to antiquarian Israel Sack in 1928.) Tiffany immediately placed Palmer silver on exhibition and simultaneously created the model for this reproduction, the original of which appeared as number 18 in the 1920 exhibition catalogue. The bowl’s Puritan simplicity of design appealed to adherents of both the Colonial Revival fad of the 1920s and its contemporaneous avant-garde stylistic opposite, Art Deco, and became even more popular throughout the period of mid-century modernism; Tiffany’s copy thus remained in production for at least thirty-five years. Tiffany eventually sold the Palmer collection to Edsel Ford, where it formed the core of the silver collection at the Edsel and Eleanor Ford House in Grosse Pointe, Michigan.

837

838

839

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840 Tiffany & Co. Sterling Silver Modernist Center Bowl the pattern introduced in 1924, this example 1947‑1956, New York, New York, of inverted bell form, with circular foot ring. h. 4‑5‑/8”, dia. 11‑3/8”; 37.42 t. oz. $1,000‑$1,500 841 Fine Allan Adler (1916‑2002) Sterling Silver Center Bowl mid-20th century, Studio City, California, the shallow circular dish with flat trapezoidal handles and annular foot-ring, monogrammed on the underside “SGK”. dia. 12‑1/2”, w. 14‑7/8”; 41.25 t. oz. 841

$1,500‑$2,500

842 108‑Piece Set of Christofle “Malmaison” Sterling Silver Flatware the pattern designed in 1967, Paris, complete with a dozen nine-piece place settings, no monograms. 148.31 total t. oz. (weighable silver) Detailed list of pieces available on request. $3,500‑$5,000 840

842

250


843 one of three

843 two of three

843 three of three

843 Roy Lichtenstein (American, 1923‑1997)

844 Roy Lichtenstein (American, 1923‑1997)

“As I Opened Fire”, 1964

“Crying Girl, Leo Castelli Mailer”, 1963

triptych, offset lithograph in colors on wove paper third sheet pencil-signed lower right, printed by Drukkerij Luii & Co., Amsterdam, and published by the Stedelijk Museum, Amsterdam. Unframed. each 25‑1/4” x 20‑7/8”

offset lithograph in colors Unframed. 17” x 23”

Literature: Corlett, Mary Lee. The Prints of Roy Lichtenstein: A Catalogue Raisonne 1948‑1997. New York: Hudson Hills, 2002. p. 325. $1,000‑$1,500

Literature: Corlett, Mary Lee. The Prints of Roy Lichtenstein: A Catalogue Raisonne 1948‑1997. New York: Hudson Hills, 2002. p. 282. The mailer was published to promote the Roy Lichtenstein exhibit at Leo Castelli’s in New York, September 28‑October 24, 1963. $1,000‑$1,500

844

251


845 Robert Indiana (American, b. 1928) “The American Dream” artist book with poetry by Robert Creeley, foreword by Susan Ryan and captions by Michael McKenzie published by Marco Fine Arts Contemporary Atelier, 1997. rare artist proof edition numbered “7/30”, with thirty color silkscreens, six of which are removable and pencil-signed and numbered, including the “American Dream”, “Love”, “Marilyn Monroe/Norma Jean Mortenson”, “Twenty-five: Highball, Redball Manifest”, “One Indiana Square” and “Picasso”. Presented in its original box and accompanied by a letter of authenticity issued by the publisher on November 30, 1997, and signed by Robert Indiana and Susan Ryan. sheets 22” x 17”, overall book 22‑1/2” x 17‑1/2” Provenance: The author/editor and art historian Susan Ryan, Baton Rouge, Louisiana. $10,000‑$15,000

845

This rare Robert Indiana retrospective fine art text, printed in a limited edition of 395, is one of a select additional thirty artist proof copies. Two years in the making, this stunning 100‑page work is a compendium of Indiana’s masterpieces, conceptualized alongside the poetry of fellow avant-garde artist Robert Creeley, who first collaborated with Indiana in 1968 on the publication of the artist book “Numbers”. “The American Dream” is the completion of the dream that launched Indiana’s career in the 1960s with “American Dream, I”, “EAT”, “Love” and “Numbers” in a beautiful set of thirty silkscreens and poems printed on handpulled Coventry 300 gram acid free paper case bound in leather. Six of these silkscreens, held in place by Mylar corners and pencil-signed and numbered, are removable as individual works of art. The large-format text is presented with a foreword by Susan Ryan and captions by Michael McKenzie describing the significance of each piece. 845 detail

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845 detail

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846

846 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Semiotics 91‑E”, 1991 mixed media on canvas signed and dated lower right, verso with “Cumberland Gallery, Nashville, Tennessee” label. Presented in a thin gallery frame. 44” x 68‑1/2” $25,000‑$40,000 847 Charles Fazzino (American/New York, b. 1955) “Another Day - Another Dollar” 3‑D silkscreen-serigraph signed in pencil lower right, titled lower center, numbered lower left “107/300DX”; accompanied by a Certificate of Authenticity from Museum Editions, Ltd., Publisher. Glazed and framed. sight 33‑1/2” x 28” $1,500‑$2,500 847

254


848 James Abbott McNeill Whistler (American/British, 1834‑1903) “Nocturne in Blue and Gold - Old Battersea Bridge”, ca. 1910‑1920 color lithograph on paper board “Franz Hanfstaengl, Munchen, no. 100” blind stamp lower right. Matted, glazed and framed 21‑1/4” x 16‑1/8” $2,000‑$4,000 Franz Hanfstaengl was a prominent German photographer/printmaker, who was authorized by Whistler in his lifetime to reproduce some of his work. A lithographic reproduction of “Nocturne: Blue and Silver” was exhibited by Hanfstaengl in London in 1907. 849 Guan Yi (Chinese, Contemporary) “Enlightenment”, 2015 acrylic color on paperboard Unframed. 62‑1/4” x 39‑3/4” $2,000‑$4,000

848

850 Peter Max (American, b. 1937) “Flag” acrylic on canvas signed lower right, studio stamp en verso canvas. Double framed and mounted. sight 19‑3/4” x 23‑1/2”, overall 38‑1/2” x 42‑3/4” $4,000‑$7,000

850

849

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851 Wook-Kyung Choi (Korean, 1940‑1985) “Untitled”, ca. 1968 acrylic on canvas Stretched. 25” x 20” Provenance: Estate of the artist. $2,000‑$4,000 852 Peter Max (American, b. 1937)

852 one of two

852 two of two

“Flag” and “Sage” pair of acrylics and print each signed along bottom. Float-mounted, glazed and framed alike. each sheet 11” x 8‑1/2” $1,000‑$1,500 853 Daniel Hodermarsky (American, 1924‑1999) “Abstract, Untitled” oil on masonite signed en verso. Framed. 24” x 24”

851

853

$1,000‑$1,500

854 George Bauer Dunbar (American/Louisiana, b. 1927) “Coin du Lestin” gold leaf over clay on board signed lower center. Framed. 41‑3/4” x 35‑3/4” $8,000‑$12,000

256

854


Rene Portocarrero, one of the most important Cuban artists of the 20th century, advocated a national art that drew its inspiration from its Afro-Cuban roots. A native of Havana, Portocarrero was a prodigious autodidactic; he was a painter, sculptor, ceramicist, scene designer, muralist and illustrator, whose scope and range of art in the Caribbean rivals that of Pablo Picasso in Europe. He exhibited throughout the Caribbean, the Americas and Europe, making close acquaintances with Fidel Castro and Peggy Guggenheim. He produced copious public works for Cuban prisons, hospitals and theaters. His commitment to improving lives through communal art was recognized by the Bulgarian and Polish Governments, as well as earning him many prestigious honors, including a seat on UNESCO’s International Association of Fine Art, the “Felix Varela” prize from Cuba, and the “Aztec Eagle” - Mexico’s highest award. Portocarrero’s works are conserved worldwide in leading institutions and museums, including paintings of Santa Barbara that resemble the one offered here.

855

855 Rene Portocarrero (Cuban, 1912‑1985) “Santa Barbara”, 1963 oil on academy board signed and dated lower right. Framed. 19‑1/4” x 9‑1/2” Provenance: Private collection, Florida. $6,000‑$9,000 “The religious work of Portocarrero has an enriching element in its paradoxical character, with angels with atrophied wings that will make the celestial flight difficult, but not impossible” --Ramon y Sergio Cernuda

Santa Barbara was a saint/spirit that Portocarrero visited numerous times. Her feast day, December 4, is one of the most important festival days in Cuba, as it is also shared with Chango, the Yorubian Lord of Fire and Lightening, a semidivine intermediary between God and human beings. In the 16th century, when the Spanish shipped enslaved Yorubians and Nigerians from West Africa to the new world, they were forced, among other indignities, to convert to Catholicism. From indentured labor and faith, the indigenous spirits (orichas) became syncretized with the saints, allowing various West African tribes to preserve elements of their cultural beliefs in a hostile environment. Spanish Colonial planters mistakenly characterized the worship of indigenous gods under the guise of saints as “Santeria” - a deviant form of prayer that privileges idolatries of saints over that of Christ. Following the Cuban Revolution, Santeria was revitalized as a recognized religion of Cuba and spread beyond the Spanishspeaking Caribbean. Santa Barbara was widely revered. Her life of suffering and perseverance became a metaphor for enslaved personages. Incarcerated in a tower for having converted to Christianity, she remained true to her faith through trials of torture in which her own father tried to burn her at the stake, and was struck down by lightning when that failed. As the patron saint of artillerymen, military engineers, miners and others who work with explosives, she embodied revolution and empowerment. In Santeria, Chango the powerful male spirit of lightning, thunder, war and dance, depicted in red and white with a crown, is assimilated with the female saint, becoming a symbol of fertility and rebirth. In this work Portocarrero celebrates the Santa Barbara of Santeria creating a spiritual carnality that beats to the drum of a multicultural Cuba - that a Cuban critic succinctly summarized: “His pen and brush will give us virgins and Santa Barbara, Christ and cathedrals of a baroque vocabulary that is tropical and joyful, where even tragic themes like crucifixions become joyful, with butterflies announcing their resurrection and female angels that delight with their [voluptuous] curves.” References: Sergio Cernuda, Ramon y. “Rene Portocarrero: lo spiritual en su obra.” Cubancuentro. August 14, 2014. Web. September 21, 2017; Bondil, Nathalie. Cuba: Art and History from 1868 to Today. Montreal: Museum of Fine Arts, 2008.

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A native of the Philippines, Tabuena spent most of his adult life in Mexico. He studied architectural drawing at Mapua Institute of Technology and attended the Art Student League, New York and l’Academie de la Grande Chaumiere, Paris. He began painting the rural landscapes of his native region in the 1940s, continuing to work within this genre upon his move to Mexico. His early paintings employed a distinct technique - somewhat reminiscent of Cubism - of interlocking shapes of rich, translucent jewel-tones which merge to create works of multidimensional depth. His slightly nostalgic landscapes, as evidenced by the works presented here as lots 856 and 857, are carefully and brilliantly composed, distilling the setting to its most necessary and basic. Tabuena was the recipient of numerous awards and accolades including the prestigious 2007 Presidential Merit Award from the Philippine Government. 856

856 Romeo Tabuena (Filipino/Mexican, 1921‑2015) “Field Workers”, 1960 oil on board signed and dated lower right. Matted and framed. sight 15‑3/4” x 27‑3/4” Provenance: Purchased from the artist; Private collection, New Orleans, Louisiana. $3,000‑$5,000

857 Romeo Tabuena (Filipino/Mexican, 1921‑2015) “Steeple-Roofed Huts”, 1958 oil on wood board signed and dated lower right. 35‑1/2” x 24” Provenance: Purchased from the artist; Private collection, New Orleans, Louisiana. $4,000‑$7,000

857

258


858 Aaron Bohrod (American, 1907‑1992) “House Near Crab Orchard” gouache on paper signed lower right, verso with “Collection of William C. Estler, Palo Alto, California” and “Associated American Artists, New York, New York” labels. Matted, glazed and framed. sight 13‑5/8” x 18‑3/4” $1,000‑$1,500

858

859 Benton Spruance (American, 1904‑1967) “Touchdown Play”, 1933 lithograph on paper pencil-signed lower right, numbered “37/40” lower left, and titled bottom center, initialed in plate “B.S.”. Matted, glazed and framed. sight 12‑3/4” x 17‑3/4” Provenance: Maxwell Galleries Ltd., San Francisco, California; Private collection, New Orleans, Louisiana. $1,000‑$1,500

859

860 American Chippendale Walnut Chest second half 18th century, Philadelphia, the case with a bank of four graduated drawers with beaded edges and retaining period brass bail pulls in original drilling, raised on bracket feet. h. 38‑3/8”, w. 38‑1/2”, d. 19” $700‑$1,000

860

259


861 American Chippendale Cherry Secretary Bookcase second quarter 18th century, probably Connecticut or Massachusetts, in two parts, the upper section with a molded cornice over a pair of blind doors, on a slant-lid base, with a graduated bank of four drawers, raised on ogee bracket feet, the lid opening to reveal an interior fitted with niches and drawers, including a concealed document drawer, retaining old brass bail pulls in their original drillings. h. 84”, w. 41‑1/2”, d. 20‑3/4” $1,000‑$1,500 Provenance: Accompanying the lot is an old, handwritten note: “Made by Ariel Collins, Born in Enfield Conn. June 9, 1737 Died Springfield Mass. 1820” and “Desk made by Ariel Collins, who gave it to his son in law Gen Jacob Bliss then to Uncle David’s wife - to Bryant”. Jacob Bliss, born in Springfield, Massachusetts in 1763, served as a seventeen-year-old soldier in the American Revolution and in the War of 1812. He commanded a brigade of three Western Massachusetts regiments. In 1877, Jacob Bliss married Ariel Collins’ daughter, Mary. Their daughter Mary married a David Bryant in 1820.

862 “America”, Rare Early Map of the Americas

861

by Jodocus Hondius (Flemish/Dutch, 1563‑1612) for a French edition of Mercator’s Atlas, North and South America, hand-colored copper engraved map, published Amsterdam, ca. 1628. Matted, glazed and framed. 14‑3/4” x 19‑3/4” $2,000‑$4,000 Regarded by collectors as one of the most beautiful 17th century maps of the Americas, it was originally engraved by Hondius for the first edition of his Mercatorís Atlas and published for the 1628 French edition. Produced on a stereographic projection, the double folio map delineates a more accurate west coast of South America, yet still retains an enlarged North American continent. Beautifully hand-colored, it exudes the exoticism of the new worlds through the inclusion of fantastic details taken from Theodore DeBryís Grands Voyages (1588) of rare birds, sea monsters and native Brazilians (in the lower left cartouche) gathered around a cauldron preparing and drinking chicha- a fermented beverage made of maize and fruit.

260

862


866

864

863

865

863 American Chippendale-Style Mahogany Games Table bench made by Mack Headley, in the New York taste, the square top with projecting corners fitted for game pieces and having an inset blue leather blotter, raised on carved cabriole legs ending in ball-and-claw feet. h. 28‑1/2”, w. 36”, d. 36” Provenance: Reputedly purchased by the consignor’s family circa 1982. $700‑$1,000 864 Chinese Famille Verte Porcelain Charger Kangxi period (1662‑1722), of circular form with subtle foliate rim, the interior centered by a design of a bird perched on rockwork amid blossoming peonies and foliage, within multiple floral borders, the reverse with softly incised design, the base with an artemisia leaf mark in underglaze blue within two concentric bands. dia. 14‑1/2”

865 American Chippendale Cherrywood Slant-Lid Desk third quarter 18th century, the fan-carved lid opening to an interior fitted with drawers and cubbyholes, the case with four graduated long drawers and raised on carved bracket feet. h. 44”, w. 42”, d. 21” $1,000‑$1,500 866 Chinese Famille Verte Porcelain Charger 19th century, of circular form with slightly everted lip, decorated with blossoming floral motifs and butterflies, the reverse with three individual floral sprays, the base with a stylized mark in underglaze blue within two concentric bands. dia. 15‑1/4” $2,500‑$4,000

$3,000‑$5,000

261


867 Two American Windsor Comb-Back Armchairs one ca. 1800, each of mixed woods, with dished seats and turned legs joined by H-form stretchers, the larger example signed beneath the seat: “C O Hadley Reading PA 1930” h. 41‑3/4” and 44‑1/4” $800‑$1,200 868 American Painted Blanket Chest circa 1800, probably Pennsylvania, the hinged top opening to a void interior, fitted with two lower drawers, raised on ogeemolded bracket feet. h. 29”, w. 52”, d. 23”

869

$600‑$900

867

870

869 American Federal Cherrywood Chest in the Hepplewhite Taste first quarter 19th century, with four graduated drawers over a scalloped apron, with geometric string inlay, on flare feet. h. 38‑1/2”, w. 39”, d. 19‑3/4” $600‑$900 870 American Chippendale Birch Tall Chest ca. 1800, with a bank of six graduated drawers, on bracket feet. h. 54”, w. 38‑1/2”, d. 20” 868

262

$800‑$1,200


871 American Late Federal Birdseye and Tiger Maple Chest first half 19th century, in the Hepplewhite taste, with two-over-three graduated drawers, flanked by canted lamb’s-tongue corners, raised on flaring feet. h. 38‑1/2”, w. 45”, d. 20‑1/2” $600‑$900 872 American Late Federal Birdseye Maple Tall Case Clock early 19th century, the face signed “Charles Thum, Philadelphia”, with an eight-day time and strike movement, the hood with a swan’s-neck bonnet top and three turned finials, the central door flanked by turned columns and raised on ogee bracket feet. h. 85”, w. 22”, d. 12”

873

$2,000‑$4,000 873 American School (First Quarter 20th Century) “P.O. Wooden Paddle Steamer, Royal Tar” oil on canvas signed “G.D.R. Forbes, DSMA” lower left and titled lower right. Framed. 20” x 30” $1,200‑$1,800

871

872

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874 American Federal Figured Birch, Rosewood and Mahogany Bowfront Chest ca. 1800, probably North Shore, Massachusetts or Portsmouth, New Hampshire, in the Hepplewhite taste, the top with a line-strung edge, the drawers with oval back panels set in a rosewood ground, with scalloped apron and flare feet, the drawers retaining inlaid bone escutcheons and embossed brass pulls, birch, mahogany and rosewood with white pine secondary woods throughout. h. 37‑1/4”, w. 36‑3/4”, d. 19‑7/8” $4,000‑$7,000 875 Two American Federal Mahogany Card Tables one of serpentine form, ca. 1900, with a fold-over top, the frieze with shell inlay and checkerboard stringing, on bellflower-inlaid Hepplewhite legs, h. 29‑1/4”, w. 36‑1/4”, l. 17‑1/2”, ext. l. 35”, and the other, ca. 1800, with a fold-over top with canted corners, the conforming apron with oval panels, h. 29‑3/8”, w. 35‑3/4”, l. 17”, ext. l. 34”.

874

$600‑$900

875

264


876 American Federal Inlaid Mahogany Bowfront Sideboard first quarter 19th century, New York, the deep serpentine top with a string-inlaid edge, above a row of three conforming drawers over a row of cabinets, the legs with graduated inlaid bellflowers. h. 40‑1/2”, w. 74”, d. 30” $1,000‑$1,500

877 “Carta Geografica della Florida nell’ America Settentrionale” by Giambattista Albrizzi (Italian, 1698‑1777) after De L’Isle’s famous 1718 map of the Gulf Coast, copper engraved map with later hand-coloring, published Venice, ca. 1740. Matted, glazed and framed. 13” x 17” $600‑$900 Published by Girolamo Albrizzi, this double-page folio map, engraved after Guillaume de L'Isle's famous rendition, depicts French claims to Florida prior to the treaty of Utrecht (1713) that ceded Spanish America to the Duke of Anjou. De L'Isle revolutionized cartography through a more scientific approach based on astrologically determined latitudes and longitudes. This map, together with De L'Isle's 1718 Carte de la Louisiane, were the first maps to accurately chart the Gulf coast between Florida and Texas and the Mississippi River, and became the source for all succeeding 18th century maps of the lower Mississippi and Texas. In this beautifully hand-colored Venetian edition, the names of the regions and indigenous people are listed in Italian, including Texas, which is identified as Cadodaquio after the Caddo Indians. The fortified cities of St. Augustine, Tampico, Charleston, Philadelphia and the Native American villages of Mahock and Manakin in Virginia are highlighted in red, while small churches demarcate towns. At the bottom, the map title is framed by a handsome allegorical cartouche of the new world with natives hunting African lions and deer beside a coast lined with lush palm trees.

877

876 876 detail

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878 Chinese Famille Verte Porcelain Dish Qianlong period (1735‑1796), of circular form, with a broad, slightly everted lip painted with floral sprays, decorated to the center with gnarled tree with flowers blossoming amid its branches, within stylized floral borders, the reverse with three individual foliate motifs in copper red. dia. 12‑1/4” $900‑$1,200 879 Sheraton-Style Inlaid Mahogany Four-Post Canopy Bed early 20th century, with a shaped headboard with a central inlaid urn, ribbon and bellflower swags and string-lined border, the foot posts reeded with vertical string inlay, the head posts faceted with string inlay, supporting the inlaid canopy. h. 87”, inside w. 56”, l. 80”, outside w. 65”, l. 87”

880

$1,000‑$1,500 880 American Federal Cherrywood and String-Inlaid Chest first quarter 19th century, the chest with a rectangular top with an inlaid frieze of interlocking arches, above four graduated long drawers and scalloped valance. h. 45”, w. 39”, d. 19” $600‑$900

878

266

879


882

883

881 American Classical Mahogany Cylinder Secretary Bookcase second quarter 19th century, Boston, in two parts, the upper section with a pair of mullioned glazed doors on a base with a band of drawers over a cylinder roll, opening to reveal an interior with drawers and niches, and two-over-two drawers below, flanked by columns and raised on turned feet, employing carefully selected veneers throughout. h. 84”, w. 42”, d. 24‑1/2” $1,000‑$1,500 882 American Classical Line-Inlaid Satinwood and Mahogany Work Table ca. 1825, New England, the top with drop leaves over a pair of drawers, each retaining its period embossed brass pulls, raised on spiral-reeded legs on brass cup casters. h. 28‑3/4”, w. 17‑3/4”, l. 18‑1/2”, ext. l. 34‑1/2” $700‑$1,000 883 American Classical Mahogany Drop-Leaf Table ca. 1825, the single-board top flanked by like-shaped leaves, fitted with a frieze drawer and supported by a trestle base with ring-turned columns on carved foliate and hairy paw feet. h. 29”, w. 34”, l. 25‑3/4”, ext. l. 50‑1/2” $600‑$900

881

267


884 After Augustus Kollner (German/American, 1813‑1906) “Saratoga Lake”, ca. 1850 watercolor, gouache, pencil and gum arabic on paper unsigned, titled lower center, frame backing inscribed “re-framed by Jas. B. Goddard/30 Huntington, Boston/June 1919”. Matted, glazed and framed. 8‑3/8” x 12‑1/2” $1,000‑$1,500 This charming view of Saratoga Lake was painted after one of Augustus Kollner’s famous “Views of America” which were printed in a book of lithographs by Goupil, Vibert & Co. in 1848. Kollner, a German-born artist, emigrated to the U.S. in 1839 and settled in Washington, D.C., as a professional draftsman and engraver. During the 1840s he produced numerous watercolor drawings of American scenery while traveling. Fifty-four of these were published and massproduced through the United States and France.

884

Charles W. Burton (act. 1822‑1850), a New York engraver and draftsman, working in the same venue, quite possibly painted this work. Burton, an autodidact, who did not have the formal training that Kollner had, established himself as a draftsman of diminutive ink and watercolor drawings designed for engraved publications. Burton was familiar with Saratoga Springs, a popular weekend resort in the mid-19th century that attracted thousands of tourists, as he was commissioned to illustrate the Piazza of Congress Hall for the city, which was engraved by Thomas Illman in 1848. Other notable commissions were New York City Hall and the U.S. Capital Building. The latter, now conserved at the Metropolitan Museum, typifies Burton’s style, which is strikingly similar in its medium, scale and execution to this one. Both exude extraordinary precision to detail. In both, the figures are dwarfed by their surroundings, executed with a naive use of perspective. The scale of the figures in the fore and backgrounds are confounded and are not relative in size to their environment, creating a multitude of vignettes within the work. Most striking of all is Burton’s unusual use of concentrated gum arabic (the binder in watercolors) as a shading device to create greater tonal depth within the tree foliage in Saratoga Lake. The “View of the Capital Building” employs the same technique along the treelined avenue, and it would appear by the print that the ivy-wrapped columns in the “Piazza of Congress Hall” possessed the same application of gum arabic.

885

885 American Late Classical Mahogany and Cherry “Jackson Press” the figured backboard over a band of three drawers and a projecting deep drawer, each fitted with period glass pulls, and a pair of paneled doors below, flanked by foliate-carved pilasters on like-carved paw feet. h. 62‑3/4”, w. 46‑1/2”, d. 22” $700‑$1,000 886 American Late Classical Revival Mahogany Dining Table

886

268

late 19th century, the circular top with a gadrooned edge and opening to accommodate the seven 12” leaves, with an acanthus-carved split pedestal with four outstretched legs ending in carved paw feet. h. 29‑1/2”, dia. 60”, ext. l. 161‑1/2” $1,500‑$2,500


887 Unusual Paris Porcelain Neoclassical Urn second quarter 19th century, the urn with a polychromepainted Italian Renaissance scene, possibly from a play, the gilt ground with a tooled neoclassical roundel and swags of flowers, the handles with matte gilt scrollwork terminating in horse heads. h. 18‑1/2”, w. 10”, d. 6‑1/4” $1,800‑$2,500 888 American Late Classical Revival Mahogany Dressing Table late 19th century, with an oval tilting mirror supported by turned and acanthus-carved posts, the base fitted with drawers and supported by a large acanthus-carved standard mounted to a platform base with outstretched carved paw feet. h. 61”, w. 40‑1/2”, d. 20” $700‑$1,000

888

887

889 American Classical Mahogany Four-Post Bed second quarter 19th century, Baltimore, the turned posts with boldly reeded details, joined by a shaped headboard. h. 101”, inside w. 54”, l. 75‑1/2”, outside w. 60”, l. 82‑1/2” 889

$600‑$900

269


891

892

890 American Late Classical Mahogany Center Table

890

second quarter 19th century, the shaped hexakaidecagonal black and gold Portoro marble top over a conforming cymamolded frieze, on a vasiform octagonal pedestal joined to a concave base on scroll feet. h. 29”, dia. 34‑1/4” $1,800‑$2,500 891 Hudson River School (Second Quarter 19th Century) “Travelers on an Adirondack Road, probably the Foothills of the MacIntyre Range” oil on canvas inscribed “McIntyre” [sic] and dated “1846” on lower mid-left rock. Framed. 20” x 24‑1/2” $2,000‑$4,000

270

892 American Late Classical Mahogany Secretary Bookcase mid-19th century, the projecting molded cornice over a pair of glazed doors and a fall-front panel opening to create a writing surface, the lower doors with figured arched panels, on bracket feet. h. 90‑1/2”, w. 42‑3/4”, d. 20‑1/4” $800‑$1,200


893 894

893 American Classical Revival Mahogany Banquet Table second half 19th century, the circular top with a gadrooned edge and supported by a split pedestal with foliate-carved legs ending in paw feet, together with a rack of six leaves. h. 29”, dia. 56”, ext. l. 143” $1,500‑$2,500 894 Pair of Restauration Bronze and Marble Candelabra second quarter 19th century, the six-light candelabra now mounted as lamps, on tripartite Siena marble bases supporting bronze paw feet, the tapering marble standards set with leaf-molded capitals and pierced, molded candle arms terminating in flower-molded candle cups. h. 41‑1/2”, dia. 12” $600‑$900 895 American Late Classical Mahogany Armoire second quarter 19th century, the coved cornice over a pair of paneled doors with Gothic arches, flanked by columnar pilasters with foliate-carved capitals on square supports, on tapering square legs, the partitioned interior bisected with shelves and drawers on one side and hanging compartment on the other. h. 86‑1/2”, w. 59‑1/2”, d. 25‑3/8” $800‑$1,200

895

271


896 American Gothic Revival Rosewood Shaving Stand mid-19th century, probably Alexander Roux, New York, the shaped mirror on spiral-twist columns, on a single drawer stand with a marble top, raised on a tapering hexagonal column joined to a tripodal base. h. 71‑1/2”, w. 19”, d. 19” $700‑$1,000 897 Pair of Silvered Bronze Altar Sticks in the Gothic Style third quarter 19th century, French, the lower section molded with Gothic windows, the tapered standard reeded and decorated with bronze leaves and grapes, supporting flaring drip pans molded with leaves and a flower-pierced gallery. h. 25”, dia. 5‑1/2” $800‑$1,200 898 Pair of French Gothic-Style Cast Iron Garden Benches 20th century, after a design by the Val d’Osne foundry, the back and sides with quatrefoils and crocketing in the Gothic manner, the seat in a honeycomb pattern. h. 34”, w. 56”, d. 19” $1,500‑$2,500 897

899 Two American Gothic Revival Walnut Armchairs mid-19th century, with carved spired backs and an oval upholstered panel, open arms and turned legs. h. 56” and 57”

896

$600‑$900 Illustrated Online

898

272


900

900 Philadelphia Expansionist Era Five-Piece Coin Silver Coffee and Tea Set second quarter 19th century, by Samuel Williamson (1772‑1843), comprising a coffeepot, h. 11‑1/4”, a teapot, h. 9”, a covered sugar urn, h. 8”, a cream jug, h. 6‑1/4”, and a waste bowl, h. 5”, each with a body of “turtleback” section, with waisted collar and domed lid with vasiform finial, with squared and crested wooden handles and “gooseneck” spouts, decorated with reeded banding, monogrammed “MH”. 93.02 total t. oz. (including wooden handles)

902 detail

$3,000‑$5,000 901 Kentucky Coin Silver Julep Cup third quarter 19th century, by William Kendrick (1813‑1880), Louisville, Kentucky, of traditional tapering cylindrical form with molded rim and base, inscribed “T.A. & M.A.” h. 3‑1/8”, dia. 2‑3/4”; 2.89 t. oz. $500‑$800

902 detail

902

902 Rare Antebellum Natchez Coin Silver Pitcher

901 detail

third quarter 19th century, by Louis Emile Gustave Profilet (1800‑1868), Natchez, Mississippi, the ovoid body decorated with repousse floral scrolls centering a cartouche, the waisted collar with wavy beaded band and integral spout, with domed foot and arched “grapevine” handle, monogrammed “MSD”. h. 11‑1/2”, l. 8”, dia. 6‑1/2”; 30.48 t. oz. $3,000‑$5,000

901

273


903 New England Coin Silver Salver third quarter 19th century, by Vincent Laforme (1823‑1893) for Lincoln & Foss (active 1848‑1857), Boston, Massachusetts, of circular form with milled leaf-and-dart rim and raised on three acanthus bracket feet, the plateau engraved with a wide rococo scroll band centering the monogram “EHW”. dia. 14”; 33.10 t. oz. $800‑$1,200 904 Tiffany & Co. Sterling Silver Salver 905

third quarter 19th century, by Edward C. Moore (1827‑1891), New York, New York, of oval form and raised on four scrollcrested plinth feet, with milled ovolo and annulated edge, the plateau engraved with concentric bands of laurel, waves and annulation centering the monogram “C.O.”. w. 12”, l. 16”; 36.01 t. oz. $1,200‑$1,800

906

903

906 detail

905 S. Kirk & Son Sterling Silver Serving Platter mid-20th century, Baltimore, Maryland, oval form, the rim decorated with hand-chased repousse flowers in the traditional Baltimore manner. l. 18”, w. 12‑3/4”; 44.49 t. oz. $1,200‑$1,800 906 Rare S. Kirk & Son Baltimore Standard Silver Monteith 1861‑1868, Baltimore, Maryland, .917 silver, the bucket-form body decorated with elaborate repousse flowers, birds and fruit and raised on a domed foot, with a detachable monteith collar en suite, monogrammed “RWM”. h. 8‑1/4”, dia. 9‑3/4”; 41.58 t. oz. 904

274

$3,000‑$5,000


907 S. Kirk & Son Sterling Silver Sandwich Plate second quarter 20th century, Baltimore, Maryland, circular, the rim decorated with hand-chased repousse flowers in the traditional Baltimore manner, the plateau with bright-cut diaper pattern centering a laurel-wreathed cartouche. dia. 11”; 19.09 t. oz. $600‑$900 908 Three American Revivalist Period Sterling Silver Ladles fourth quarter 19th century, including a Gorham “Corinthian” example, l. 13‑1/8”, a Gorham “Ivy” example, monogrammed “RWC”, l. 11‑3/4”, and an unidentified pattern retailed by E. Jaccard, St. Louis, with twist stem, coquille bowl and spatulate palmette handle, inscribed “Anne E. McMurray”, l. 11‑3/4”. 15.66 total t. oz. $600‑$900 909 Fine Gorham Aesthetic Sterling Silver Water Pitcher 1885, Providence, Rhode Island, retailed by Nathaniel G. Wood & Son, Boston, the pear-shaped body decorated with a wide palmette and foliate band, with satin finish, molded collar band, helmet rim and crested scroll handle, monogrammed “TR” conjoined. h. 10‑3/4”, l. 9”, dia. 7‑1/4”; 39.26 t. oz.

909

$1,200‑$1,800

907 908

275


910 Three American Aesthetic Period Sterling Silver Ladles fourth quarter 19th century, including a Wood & Hughes “Venetian” example, monogrammed “R”, l. 12‑3/4”, a Wendt/ Whiting “Gibney” example, monogrammed “MHB”, l. 13‑5/8”, and a Shiebler “Montezuma” example, monogrammed “M”, l. 13‑1/2”. 19.91 total t. oz. $600‑$900 911 105 Pieces of Wallace “Irian” Sterling Silver Flatware the pattern designed in 1902 by Henrik Fredrik Hillbom (1863‑1948), Wallingford, Connecticut, together with eighty-nine later recast pieces, comprising in total a dozen twelve-piece place settings (two pieces lacking) with an additional dozen teaspoons, thirty-two other place pieces, and eight serving pieces, no monograms, presented in a fitted, plum Pacific clothlined oak case with lift-top and single drawer, 6” x 19” x 11‑1/2”. 185.27 total t. oz. (weighable silver) Detailed list of pieces available on request. $3,500‑$5,000

910

911

276

911 detail


912 Rare Thirteen-Piece American Sterling Silver Ice Cream Service 1901‑1903, by Dominick & Haff, New York, New York, retailed by J. E. Caldwell & Co., Philadelphia, Pennsylvania, including an ice cream tray of wavy rectangular form, 17” x 11‑1/4”, and twelve ice cream dishes, dia. 4”, decorated with a shaped applied foliate rim quartered by realistically detailed hydrangea. 170.65 total t. oz. $3,000‑$5,000 Hydrangea, particularly the “Annabelle” variety, are known as “snowball bushes” after the large, white spherical clusters of blossoms they form. It was this association that made them a popular decorative motif for ice cream services in the early 20th century.

913

913 Tiffany & Co. Sterling Silver Fruit Bowl the pattern designed in 1883, this example before 1902, New York, New York, of hemispherical form with applied foliate rim and decorated with repousse flowers and acanthus scrolls, raised on four acanthus-crested padand-scroll feet, monogrammed “JLS”. h. 4‑1/4”, dia. 9‑1/4”; 24.48 t. oz. $1,000‑$1,500

912 detail

912

277


914 179‑Piece Set of Gorham “Versailles” Sterling Silver Flatware the pattern designed in 1888 by Florentin Antoine Heller (1839‑1904), Providence, Rhode Island, comprising eighteen nine-piece luncheon place settings with an additional eight place pieces and nine serving pieces, seventy-five pieces variously monogrammed. 201.45 total t. oz. (weighable silver) Detailed list of pieces available on request. $6,000‑$9,000 915 George III-Style Mahogany Writing Table late 19th century, in the Irish taste, the rectangular top with a three-quarter foliate-pierced gallery and carved edge, above a conforming cove-molded and foliate-carved frieze, fitted with a single drawer, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet. h. 34”, w. 48”, d. 24”

915

$1,500‑$2,500 916 Suite of Six George III Mahogany Sidechairs fourth quarter 18th century, each with a shaped foliatecarved crest above a pierced and like-carved splat, the generous padded seat raised on chamfered square legs joined by an H-form stretcher, upholstered in kelly green nubuck leather. h. 37‑1/4” 916

$800‑$1,200

914

278


920 one of two

920 two of two

917

918

919

917 Henry Schouten (Belgian, 1864/1867‑1927)

918 Continental School (Fourth Quarter 19th Century)

919 Harry (Henry) Hall (British, 1815‑1882)

920 Robert Stone (British, 1820‑1870)

“Chiens de Chasse”

“Portrait of a Pug”

“Pageant”

“The Meet” and “The Chase”

oil on canvas signed with a pseudonym, “N. Klary”. Framed. 12” x 9‑1/4”

oil on canvas illegibly signed lower right. Presented in a period giltwood and gesso frame. 12‑1/2” x 10‑1/4”

oil on canvas signed mid-right. Framed. 17” x 21”

pair of oils on panel signed lower left and lower right, respectively. Presented in matching frames. each 10‑1/2” x 5”

$1,000‑$1,500

$1,000‑$1,500

$1,500‑$2,500

$2,000‑$4,000

279


921 Anton Nicolaas Marie Karssen (Dutch, b. 1945) “Ravinella, the Best European Filly (1987‑1988) Winning at the Racetrack” oil on canvas signed lower left. Framed. 20” x 30” $1,800‑$2,500 922 Niek van der Plas (Dutch, b. 1954)

921

“A Close Race” oil on panel signed lower right and en verso. Framed. 11‑1/2” x 19‑3/4” $1,200‑$1,800 923 Large Georgian-Style Mahogany Conference Table ca. 1900, the banded rectangular top with a molded edge, the frieze along each long side fitted with four drawers, raised on boldly carved cabriole legs ending in ball-and-claw feet. h. 32”, w. 48”, l. 120‑1/2” $1,800‑$2,500

922

923

280


927 detail

927

924

924 George III-Style Mahogany Chest early 20th century, the rectangular top above a conforming case fitted with four graduated long drawers, raised above a gadrooned apron on ogee-molded legs ending in ball-andclaw feet. h. 43”, w. 48‑1/2”, d. 25” $600‑$900 925 Two English Mahogany Cellarettes including a George III example, fourth quarter 18th century, of octagonal form, the lid hinged and opening to a void interior, the case with brass banding, raised on a stand of splayed chamfered square legs to casters, h. 27”, dia. 19‑1/2”, and a William IV cellarette, second quarter 19th century, of canted rectangular form, the banded top hinged, the graduated case raised on bulbous ribbed legs ending in brass caps on casters, h. 24‑1/2”, w. 22‑1/2”, d. 18”. $600‑$900 Illustrated Online

926

926 George III-Style Mahogany Tripod Table late 19th century, the tilting circular top with a full spindled gallery, raised on a birdcage support and a spiral-ribbed vasiform standard to three splayed legs ending in pad feet. h. 29‑1/2”, dia. 33‑1/2” $600‑$900 927 Queen Anne-Style Mahogany Drop-Leaf Table late 19th century, the rectangular top with rounded ends and two ovoid drop leaves, raised on tapering circular legs ending in pad feet. h. 29‑1/2”, w. 60‑1/2”, l. 20”, ext. l. 61” $600‑$900

281


928 Nine-Piece Georgian Dining Suite including a Sheraton mahogany D-end dining table, first quarter 19th century, raised on turned legs and including a 27” leaf, h. 30‑1/2”, w. 48”, l. 44”, ext. l. 71”, and a suite of eight George III-style dining chairs, 20th century, comprised of two armchairs and six sidechairs, each with an earred and foliate-carved crest above a pierced and interlacing splat, the padded seat raised on chamfered square legs joined by an H-form stretcher, h. 37”. $600‑$900

928 Nine-Piece Suite

929 Late George III Mahogany Bowfront Chest early 19th century, the bowed top above a conforming case fitted with two short drawers over three graduated long drawers, raised on tall splayed bracket feet. h. 41‑1/2”, w. 42”, d. 20‑1/2” $600‑$900 930 Pair of George III-Style Mahogany Bowfront Chests late 19th century, each with a bowed top with decorative edging, above a conforming case fitted with four graduated long drawers, all banded, raised on splayed feet. h. 43”, w. 40”, d. 23‑1/2”

928 Nine-Piece Suite

$1,500‑$2,500

929

282

930


931 George III Mahogany Cellarette

933 Chinese Imari Porcelain Ormolu-Mounted Jar and Cover

fourth quarter 19th century, of ovoid form, the brass-bound top opening to a lined interior, the case brass bound, raised on line-inlaid tapering square legs ending in brass caps and casters. h. 29‑1/4”, w. 29”, d. 20”

second half 19th century, the cylindrical-form jar tapering to a narrow foot, raised on a four-legged ormolu base, supporting scrolling foliate-form handles flanking a domed cover with rooster-form finial, the exterior of the jar decorated in the typical Imari palette. h. 11”, w. 9”

$600‑$900

$800‑$1,200

932 Suite of Ten George III-Style Mahogany Dining Chairs

934 Pair of French Giltwood and Gilt-Brass Sconces

late 19th century, in the Chippendale taste, consisting of two armchairs and eight sidechairs, each with a shaped and pierced crest over like ladderback splats, the generous padded seat raised on chamfered square legs joined by an H-form stretcher. h. 37”

20th century, of large scale, each sconce mounted with three leaf-molded gilt-brass candle arms on a carved and gilt branch-form backplate decorated with flowerheads, electrified. h. 50‑1/2”, w. 16‑1/2”, d. 11”

$600‑$900

$600‑$900

931

933 934

932

283


935 Georgian-Style Burlwood and Banded Mahogany Dining Table 20th century, the burlwood top mounted to the base with an egg-and-dart-carved apron and with carved cabriole legs ending in ball-and-claw feet, retaining two 19‑1/2” leaves. h. 30‑1/2”, w. 48”, l. 76”, ext. l. 115” $700‑$1,000

935

936 Suite of Ten George III-Style Mahogany Dining Chairs 20th century, consisting of two armchairs and eight sidechairs, with shell-carved crest rails, pierced and carved splats and cabriole legs ending in ball-andclaw feet. h. 39” $1,000‑$1,500

936

937 Japanese Imari Porcelain Vase late 19th/early 20th century, of four-sided, slightly convex form, with molded design encircling the shoulders, the body painted on two sides with a dense design of phoenix above a blossoming tree, the opposing sides with a mirrored design of phoenix in a garden, the interior lip with a scrolling floral border. h. 16‑1/2”, w. 6”, d. 6” $900‑$1,200

938 Japanese Imari Porcelain Umbrella Stand first half 20th century, of cylindrical, ribbed form, decorated to the exterior with a panel design depicting stylized trees and phoenix over clouds, the surround with dense foliate and wave designs. h. 22‑1/2”, dia. 9”

937

$600‑$900 938

284


939 Turkish Angora Oushak Runner 2’ 6” x 19’ 10” $600‑$900 940 Semi-Antique Lavar Kerman Carpet 9’ 6” x 15’ 9” $1,000‑$1,500 941 Turkish Angora Oushak Carpet 10’ 3” x 13’ 9” $1,200‑$1,800 942 Antique Kerman Carpet 7’ x 9’ 7” $2,500‑$4,000 941

939

942

940

285


943 Heriz Carpet 10’ x 14’ $1,200‑$1,800 944 Antique Tabriz Carpet 8’ x 11’ 4” $3,000‑$5,000 Illustrated Online 945 Semi-Antique Sarouk Carpet 9’ x 11’ 6” $1,200‑$1,800 946 Turkish Angora Oushak Carpet 8’ 3” x 9’ 9” $700‑$1,000 947 Semi-Antique Soumak Runner 3’ 10” x 13’ 7”

947

943

$700‑$1,000

946

286

945


948 Heriz Carpet

949 Antique Mahal Carpet

10’ 10” x 7’ 5”

7’ x 13’ 8”

$1,500‑$2,500

$7,000‑$10,000

948

949

287


950 Heriz Carpet 10’ 10” x 8’ $2,500‑$4,000 951 Antique Tabriz Carpet 8’ 3” x 11’ 8” $4,000‑$7,000 952 Antique Heriz Carpet 9’ 6” x 12’ 2” $3,000‑$5,000 953 Antique Lavar Kerman Carpet 9’ x 12’ $600‑$900 Illustrated Online

950

951

288

952


955

956

954 Pierre Guillaume (Dutch, b. 1954) “The Hunt” oil on canvas signed and titled en verso. Framed. 30” x 42”

958

957

$2,000‑$4,000

956 After Thomas Francois Cartier (French, 1879‑1943) “Cavalier Arabe”, 20th century patinated bronze cast signature at edge of self-base. h. 17‑1/2”, w. 22‑1/2”, d. 7” $1,000‑$1,500 957 Unusual Inlaid Mahogany Vitrine

954

955 Franz Bergman Cold-Painted Austrian Bronze first quarter 20th century, depicting a Moor on his camel, carrying a shield, the camel with a colorfully painted saddle and harness, with a “Bergman” mark, “Geschutzt” and the number “2607”. h. 8‑1/2”, w. 6‑1/2”, d. 2‑1/2”

early 20th century, in the North African taste, the case of serpentine form and fitted with a single door with a glazed upper section and a paneled lower, the sides en suite, the whole with intricately inlaid bone and motherof-pearl in geometric patterns. h. 67‑1/2”, w. 38‑1/2”, d. 19‑1/2” $1,000‑$1,500 958 North African Hardwood Fauteuil

Literature: An identical example is depicted in Joseph Zobel’s, Antique Vienna Bronzes, p. 158.

mid-19th century, in the Regency style, the domed crest above an X-form splat and joined by downswept arms to the padded seat, raised on sabre legs, the whole with intricate inlays in geometric patterns. h. 36”

$600‑$900

$600‑$900

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959 Francesco Ballesio (Italian, 1860‑1923) “A Royal Patron” watercolor signed and localized “Roma/ Tivoli” lower right, titled on brass artist plaque. Matted, glazed and framed. 21” x 29” $8,000‑$12,000 960 Giuseppe Aureli (Italian, 1858‑1929) “The Courtesans in Waiting” watercolor signed and localized “Roma” lower left. Matted, glazed and framed. sight 21” x 30”

960

$2,000‑$4,000

959

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961 Daniel Cortes (Spanish, 1873‑1919) “Phonograph Gathering” oil on canvas signed lower right. Christie’s inventory label and remnant of old drayage label on stretchers. Framed. 38‑3/4” x 51‑3/8” Provenance: Christie’s, London, November 22, 1996, lot 184. $3,000‑$5,000 962 Louis-Philippe Gilt-Bronze Figural Mantel Clock second quarter 19th century, mounted with a figure of a sultana holding a rose and reposing on a cushion and a lion skin, the base lushly decorated with leaves, scrollwork, butterflies and peacocks, mounted with a silk-string suspension movement. h. 20‑1/2”, w. 16”, d. 4‑1/2”

961

$2,000‑$4,000 963 Pair of Louis-Philippe Giltwood Brackets mid-19th century, in the Rococo Revival taste, the pierced supports decorated with shells, leaves and medallions, the rounded shelves velvetlined and outlined with molded decorations. h. 14”, w. 10‑1/2”, d. 7‑1/4” $700‑$1,000 962

964 Louis-Philippe Giltwood Mirror mid-19th century, in the Rococo Revival taste, the surround with ribbon-bound flowers, the pierced serpentine crest with a central anthemia framed with rocaille and scrollwork, and the sides with trailing flowers. h. 70‑1/2”, w. 36‑1/2” $600‑$900

963 964

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On the Louisiana live oak: “All alone stood it and the moss hung down from the branches, Without any contemplation it grew there uttering joyous leaves of dark green” -Walt Whitman

According to the “Art Notes” column of the Times-Picayune and the Daily Democrat reviews from 1877‑1878, William Henry Buck was an upcoming landscape artist, regularly exhibiting landscapes of Bayou Teche and the Atchafalaya River at W. E. Seebold’s gallery on Canal Street in New Orleans. Critics often compared his handling of the live oak to Walt Whitman’s poetic metaphor of it for the sublime - for spiritual contemplation on the nature of isolation, and the art columnist aptly portended that through Buck’s deft handling of majestic oaks “he is perfecting his manner of tropical scenes... that he will win a lasting reputation we have no doubt.” Two of the reviews locate his paintings of these environs at Oak Lawn Plantation (now Oaklawn Manor, Franklin, Louisiana), while another two describe the plantation geography through the position of the Bayou and River in proximity to Grand Lake. According to a lengthy 1888 real estate advertisement, the plantation “is situated on both sides of Bayou Teche, an affluent [sic] of Atchafalaya river, and has a frontage of three miles on Grand Lake”; the property is on the Morgan’s Louisiana/Texas Railway with a direct steamboat line from New Orleans (the Southern Pacific-Oak Lawn) “that lands at its very doors.” The advertisement further states that Oak Lawn is “one of the most widely known and extensive plantations in Louisiana” with the “most superb private park in the United States... aided by art.” As indicated by the plantation name,

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the live oaks are its arboreal marvel: “The smaller growth, in its wealth of coloring contrasted with countless magnificent live oaks, many of the branches measuring 150 feet... present a picture never to be forgotten, as nowhere else can it be seen.” As the art reviews suggest, the young Buck was clearly taken with the scenery and the ease with which the Plantation could be accessed by rail and boat, and by all accounts, he frequented the area between the fall of 1877 and the summer of 1878, painting the immense oaks along the banks of Bayou Teche several times. Another landscape of the Bayou exhibited at Seebold’s in the summer of 1878, the same year this painting was executed, bears notable compositional similarity, as does another painting of the Bayou, sold in these rooms on January 20, 2001, as lot 1125. All three exude the finest of Buck’s style - the majestic oaks (framed against hazy golden skies) are the centerpiece of the painting. Ethereally lit from behind, they dwarf terrains with cattle bisected by bayous in a harmony of tertiary blues and green. References: “Art Notes”. Times-Picayune. September 29, 1877. p. 4; Ibid. July 24, 1878. p. 2; Ibid. November 19, 1877. p. 2; “Beautiful Oak Lawn”. Times-Picayune. February 4, 1888. p. 4; “W. E. Seebold.” Daily Democrat. November 24, 1878. p. 7; Pennington, Estill Curtis. Downriver: Currents of Style in Louisiana Painting, 1800‑1950. Gretna: Pelican Publishing, 1991. pp. 84‑85.


965 William Henry Buck (Norwegian/Louisiana, 1840‑1888) “Louisiana Bayou Settlement with Cattle, Probably Bayou Teche, Oaklawn Plantation, now Oaklawn Manor, Franklin Louisiana”, 1878 oil on canvas laid on board with stretcher supports signed and dated lower right. Framed. 18‑1/4” x 30” Provenance: Private collection, New Orleans, Louisiana. $75,000‑$150,000

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966 William Aiken Walker (American/Louisiana, 1839‑1921) “Pair of Male and Female Cotton Pickers”, ca. 1880 oils on academy boards laid down on wood panels each signed lower left, with “Gerald Peters Gallery”, Santa Fe, New Mexico, labels en verso. Framed alike. each 10‑7/8” x 7” To be included in John Fowler’s upcoming catalogue raisonne. $10,000‑$15,000 966 one of two

966 two of two

967 William Aiken Walker (American/Louisiana, 1839‑1921) “The Watermelon Man” watercolor signed lower left, frame backing with “Carol Robinson Gallery”, New Orleans, label. Framed. sight 5‑1/2” x 6‑1/2” To be included in John Fowler’s upcoming catalogue raisonne. $2,000‑$4,000

967

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968 Mary Chiswell Marshall (American/South Carolina, 1894‑1959) “Looking for Shade on a Summer Day” oil on canvas signed lower right. Presented in a period frame. 18” x 22” $1,000‑$1,500 Born in Fauquier County, Virginia, Mary Chiswell Marshall was a direct descendant of Chief Justice John Marshall. She studied with William Merritt Chase and at the Concoran School of Art and Design. Rare for women at the time, she spent seventeen years as a professor of drawing and painting at the University of South Carolina. While there, she earned many accolades, most importantly the inclusion of her painting “Mrs. Barrett of Lick Skilet Gap” in the First National Exhibition of American Art at the Rockefeller Center, New York in 1936. She was also active in Provincetown, Massachusetts and exhibited at the Chicago Art Institute. This fine example of her work interestingly shows influence of Louisiana realist artist Clarence Millet, especially in the superb handling of light.

968

Reference: “Columbia Artist Acclaimed.” The Columbia Record. May 19, 1936. front page.

969 Alexander John Drysdale (American/Louisiana, 1870‑1934) “Bayou Landscape” oil wash on paper board signed lower left. Glazed and framed. sight 5‑1/4” x 19‑1/4” 969

$1,000‑$1,500 970 Alexander John Drysdale (American/Louisiana, 1870‑1934) “Bayou Landscape” oil wash on paper board signed lower right. Glazed and framed. sight 5‑1/4” x 19‑1/4” $1,000‑$1,500

970

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A native of Massachusetts and long-time resident of New Orleans, William Woodward was an influential member of the American art community as an artist, educator, and preservationist. He attended the recently established Rhode Island School of Design and the Massachusetts Art Normal School, where he first became interested in architecture, before spending several months at the prestigious Academie Julian in Paris. In 1884, Woodward was recruited to Tulane University in New Orleans to create and head the art department; he was to remain at that institution until 1921, when he retired as professor emeritus. During his tenure at Tulane, Woodward helped form Newcomb College, created New Orleans Art Pottery, and founded Tulane University School of Architecture - in addition to supervising the architectural plans of many of the University buildings. Woodward was a leading figure in the preservationist movement, and his participation was crucial to the eventual survival of many historically and culturally significant New Orleans neighborhoods, most notably the Vieux Carre. The two sketchbooks offered here as lots 971 and 972 are exceptional and rare examples of Woodward's work, and reveal the range of his artistic interests - from meticulously composed, detailed portraits to architectural renderings completed in a few, confident pencil strokes. The sketchbooks were completed over a period of time and include a few brief expository notations. They are a fascinating and compelling record of the people, places, and structures which caught the attention of this master draughtsman. References: Robert Hinckley. William Woodward American Impressionist. New Orleans: MPress, 2009. Jean Moore Bragg and Dr. Susan Saward. Painting the Town: The Woodward Brothers Come to New Orleans. New Orleans: Jean Bragg Gallery, 2004.

971 William Woodward (American/Louisiana, 1859‑1939)

971 detail

sketchbook of 13 graphite on paper drawings and 11 watercolors on paper, including one double-sided, some with dates, inscriptions, notations, and signature, green cloth boards. 7‑1/4” x 10‑1/4” Provenance: Purchased from the estate of William Woodward’s daughter; thence by descent to present owner $8,000‑$12,000

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971 detail

971 detail


972 William Woodward (American/Louisiana, 1859‑1939) sketchbook of 29 graphite on paper drawings, several double-sided, some with dates, inscriptions, notations, and signature, several blank sheets, green cloth boards. 5‑3/4” x 8‑3/4” Provenance: Purchased from the estate of William Woodward’s daughter; thence by descent to present owner $5,000‑$8,000

972 detail

972 detail

972 detail

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973

973 details

973 John James Audubon (1785‑1851), The Birds of America from Drawings Made in the United States and Their Territories New York: J. J. Audubon, Philadelphia: J. B. Chevalier, printed by E. G. Dorsey/Liberty Street, 1840‑42, first 4 of 7 octavo volumes, moroccan tooled leather boards with gilt, spines with gilt lettering, illustrated throughout with hand-colored lithographic prints. 10‑5/8” x 6‑3/4” $10,000‑$15,000

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974 Frances Benjamin Johnston (American/Louisiana, 1864‑1952) Collection of Five Photographs, 1900‑1908 including three cyanotypes of a schoolroom and the Pan American Union Building in Washington, D.C., and two sepiatoned ones of Tuskegee Institute, Alabama, commissioned by Booker T. Washington each inscribed en verso with the artist’s name, location and date; the Tuskegee classroom photograph is titled, probably in the artist’s hand, “Tailoring”. Each unframed. each 7‑3/8” to 8” x 9‑3/8” to 9‑1/2” $1,000‑$1,500

This collection of photographs represents an extraordinary view of American history, produced by one of the most accomplished photographers of the 20th century. Frances Benjamin Johnston was one of the first women artists to have her own studio. She received multiple magazine commissions for celebrity portraits, and she was the official White House photographer for five administrations from Benjamin Harrison through William Taft, photographing President McKinley just moments before he was assassinated at the 1901 PanAmerican Exposition in New York. After receiving her first camera from George Eastman, a family friend and inventor of the Kodak cameras, she was trained in developing and darkroom techniques by Thomas Smillie, director of photography at the Smithsonian Institute. Johnston had additional art instruction at the Washington Students League and the prestigious Academie Julian in Paris. Education remained a central focus in Johnston’s work. She wrote numerous articles on what women can do with cameras and co-curated an exhibition of women photographers at the 1900 Exposition Universelle. She gained even wider acclaim at the Exposition for her display of photographs of the Hampton Normal and Agricultural Institute for African-Americans in Virginia, commissioned by its President Dr. Hollis Burke Frissel. Booker T. Washington, a graduate of Hampton and the President of Tuskegee Institute in Alabama, was so impressed with Johnston’s virtuoso in recording the classrooms and buildings with a sensitivity not seen before that he commissioned her to photograph Tuskegee. These two sepia-toned photographs of students receiving instruction in sewing and furnace maintenance remain stunning chronicles of this series, illustrating the stark contrast in resources between African-American trade schools and the liberal arts curriculum of white school children, seen here in two of the cyanotypes, sculpting clay at their desks after Classical Greek prototypes. The last photograph from Johnston’s service under Theodore Roosevelt, illustrates the interior of the Pan American Union Building- the headquarters for the Organization of the American Sates, erected under the Roosevelt administration on the site of the John Peter Nees Mansion in Washington, D.C. Following the Hampton and Tuskegee commissions, Johnston’s interest in architecture, in a desire to document buildings and gardens that had fallen into disrepair, led her to the American South, where she became a pioneering figure committed to the region’s architectural history, receiving grants and commissions from eight southern states, including Louisiana, where she retired in a home on Bourbon Street. 974 Collection of Five

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975 William P. Spratling (American, 1900‑1967) “Two Architectural Views” each pencil, ink and watercolor on paper laid on cardboard the first of Cherokee House and Choctaw Mansion, Natchez, Mississippi; the second of a New Orleans bungalow inscribed at top “To Ethel and Norris Brett...”, each signed lower right. Matted, glazed and framed alike. sight, respectively 9‑3/4” x 8‑1/2” and 6‑3/4” x 9‑3/4” $1,000‑$1,500

Well known for his innovative Mexican silver inspired by Pre-Columbian art, William P. Spratling was also an accomplished architect, who, like Boyd Cruise, recorded New Orleans architecture in his drawings and championed for the preservation of Southern edifices throughout the 1920s while he was an instructor at Tulane University’s School of Architecture. These watercolor drawings are excellent examples of Spratling’s early work. The first view, which can still be seen today thanks to preservation efforts, is of the Cherokee House in Natchez at 217 High Street, built in 1794‑1810 with a side view of the ionic columns and grillwork on the front portico of the Choctaw Mansion constructed in 1836 for Joseph Neibert at 310 N. Wall Street. Both structures are architectural marvels that seamlessly blend Greek Revival elements with the Federal-style form established by Arlington and Rosalie. The second painting of an early 20th-century Californiastyle bungalow, nestled between mid-19th-century doublegallery homes (with their covered two-story galleries framed and supported by columns), is no less impressive, as it captures the architectural diversity characteristic of the Mid-City and Uptown areas of New Orleans. This work may be a 1928 wedding gift or a good-bye token in 1931 presented to Spratling’s fellow artists and friends, the Bretts. Ethel (1894‑1994), the Director of the Petit Vieux Carre, and her husband, Norris (1894‑1959), an actor and tire salesman were active in the arts community and also participated in preservation efforts enacted through the School of Architecture and the Arts and Crafts Club. From the time of their marriage until 1930, the Bretts lived with Ethel’s mother on St. Charles Avenue in the eponymous home known today as the Circle Bar, one of the oldest stillstanding structures at Lee Circle. From 1935 until Norris’ death in 1959, the Bretts lived in the 500 block of South Peters Street. Perhaps the California-style bungalow is one of the homes the Bretts rented in 1931 when Spratling left New Orleans to set up a silver workshop in Taxco, Mexico.

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975 one of two

975 two of two


976 William Woodward (American/Louisiana, 1859‑1939) “Chartres Street - 1902” “French Quarter Courtyard” former graphite on paper, latter etching on paper, former pencil-signed lower right, inscribed “drawing for etching plate, Jan 1936” along upper edge, titled and marked “1/4” lower center, latter pencil-signed lower right, inscribed “1st proof” and signed in plate lower left. Former matted, latter float-mounted, and both glazed and framed. former sheet 10‑1/2” x 13‑1/4”, latter 11” x 7” Provenance: Purchased from the estate of William Woodward’s daughter; thence by descent to present owner $1,000‑$1,500

977 Recto

976 one of two

977 Verso

977 William Woodward (American/Louisiana, 1859‑1939) “French Quarter Alley”, 1935 graphite on paper double-sided with verso depicting scene in reverse (including signature and date), pencil-signed and dated lower right (lower left verso). Matted, glazed and framed. 12” x 10” Provenance: Purchased from the estate of William Woodward’s daughter; thence by descent to present owner $1,500‑$2,500 976 two of two

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978 William Woodward (American/Louisiana, 1859‑1939) “French Quarter Alley” graphite on paper double-sided with verso depicting scene in reverse (including signature and date), pencil-signed and dated lower right (lower left verso). Matted, glazed and framed. 12‑3/4” x 9‑3/4” Provenance: Purchased from the estate of William Woodward’s daughter; thence by descent to present owner 978 Verso

$1,500‑$2,500

978 Recto

979 Cast Iron Scale Model of a Cannon 19th century, with a sled-form rear, pierced with openings, retaining remnants of green paint. h. 28‑1/2”, w. 14”, l. 62” $700‑$1,000 980 Leeds & Co., New Orleans, Cast Iron Sugar Kettle 19th century, the flared rim with the molded mark “Leeds & Co NO”. dia. 66” The Leeds foundry was the largest ironworking firm in the New Orleans area, with as many as 250 employees in 1874. The Leeds-Davis building is now the office of the Preservation Resource Center.

980

$1,400‑$1,800

979

981 American Late Victorian Cast Iron Garden Bench

981

early 20th century, in the “Laurel” pattern, the back with panels of leaves and berries, raised on griffin-form legs. h. 30”, w. 43”, d. 25” $800‑$1,200

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984

982 American Rosewood Four-Post Canopy Bedstead

983

mid-19th century, in the transitional Late Classical into Rococo Revival style, stamped “C. LEE 1744” in numerous places, with complex tapering posts and the headboard with applied cluster of fruit, shaped rails and a double ogee-molded canopy. h. 103”, inside w. 65”, l. 78”, outside w. 82”, l. 86” $4,000‑$7,000 983 American Rococo Revival Marble-Top Dressing Bureau and Washstand mid-19th century, attributed to C. Lee, Manchester, Massachusetts, the dresser with a tilting mirror and glove boxes mounted to the base with complex serpentine front drawer and carved keyholes, h. 81”, w. 48”, d. 24”, and the washstand with a long drawer above a pair of cabinet doors flanked by turned and carved half-round pilasters, h. 31‑1/2”, w. 35”, d. 19”, found en suite with the previous lot. $800‑$1,200 984 Gilt-Bronze and Crystal Gasolier ca. 1850, attributed to Henry Hooper, Boston, decorated with graduated tiers of prisms on leaf-molded rings, with four arms fitted with gas burners and gas keys. h. 33‑1/2”, dia. 27” $800‑$1,200 This chandelier is very similar to no. 576 in Hooper’s 1850 catalogue, reprinted on page 63 of 19th Century Elegant Lighting, by Gerald T. Gowitt. There are a few minor differences, but the catalogue states the products were “executed to order” and “as may be wanted”.

982

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985 American Rococo Revival Rosewood Armoire third quarter 19th century, attributed to the New Orleans warerooms of Prudent Mallard, the carved crest centered by a cabochon, the cornice over a single mirrored door, opening to reveal an interior with a medial drawer and shelves retaining their line-strung edge veneer, the base with a single drawer and raised on characteristic scrolling bracket feet. h. 112‑1/2”, w. 58‑3/4”, d. 26” Provenance: The present armoire was reputedly one of a pair that was part of a bedroom suite purchased by Cesaire Olivier for his Esplanade Avenue home, New Orleans, Louisiana. $2,500‑$4,000 The door carvings and detail on the present armoire strongly relate to those on the Puig family armoire in the 1850 House, Louisiana State Museum.

985

986 American Rococo Revival Mahogany Dressing Bureau third quarter 19th century, for the antebellum New Orleans market, the arched mirror in a cyma-molded frame on carved brackets, the marble top with projecting ovolo corners over a case with three drawers over a slipper drawer, the upper drawers flanked by spiral-turned pilasters. h. 87‑1/2”, w. 47”, d. 23” $600‑$900

986

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987 American Late Classical Mahogany Sleigh Bed mid-19th century, the head- and footboard gently arched and flanked by foliate-carved finials on scrolled and paneled posts, the interior width may accommodate a contemporary queen mattress, the length just short of that. h. 61‑1/2”, inside w. 60‑1/2”, l. 78‑1/2”, outside w. 65”, l. 80‑1/2” $800‑$1,200 988 Pair of Franco-Bohemian Porcelain Garniture Vases mid-19th century, decorated with portraits of belles holding flower wreaths, standing in a garden, with flared rims, the pierced handles set with gilt swags of flowers. h. 14”, w. 10”

988

$600‑$900 989 American Walnut and Marble-Top Center Table third quarter 19th century, in the transitional Rococo Revival into Renaissance Revival style, the picture frame top surrounding the Breche de Guillestre marble insert, raised on boldly turned and carved legs joined by a curved stretcher with carved finial. h. 31”, w. 50”, d. 38” Provenance: Albania Plantation, Jeanerette, Louisiana. $1,500‑$2,500

989

987

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990 Gilt-Metal and Onyx Banquet Lamp

992 American Rococo Revival Mahogany Dressing Bureau

fourth quarter 19th century, possibly American, in the Renaissance Revival style, on a molded gilt-metal base with eagle-form feet and an onyx standard, set with a cranberry glass shade decorated with opalescent hobnails and a ruffled edge. h. 44‑1/2”, w. 12‑1/2”, d. 7‑3/4”

third quarter 19th century, the arched looking glass on a frame with a cabochon-centered cartouche crest and C-scrolls at its base, on a shaped marble top over a conforming block-front case with three graduated drawers. h. 94‑1/2”, w. 47”, d. 24” $600‑$900

$700‑$1,000 991 American Rococo Revival Rosewood Bed third quarter 19th century, New York or New Jersey, the headboard with an arched panel with a pierced broken-archcarved crest, flanked by finials, joined by rails with generous headboard brackets to an arched wrap footboard, the rear of the headboard with an inscribed “Jelliff 1875”, probably spurious. h. 70‑1/4”, inside w. 59”, l. 78‑1/4”, outside w. 65”, l. 85” $1,500‑$2,500

992

991

990

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993 Pair of Bohemian Ruby Cased Glass Mantel Lustres second quarter 20th century, cut in the Brilliant style with hobstars and “Russian” panels, hung with spear-point prisms, now mounted on the interior with votive-type glass candle holders. h. 18‑1/2”, dia. 16” $800‑$1,200 994 American Rococo Revival Mahogany Half-Tester Bed attributed to Mitchell and Rammelsberg, Cincinnati, Ohio, the serpentine tester on octagonal posts, supporting a paneled headboard with a broken-arch crest centered by a finial and with foliate and carved swags, the rails joined to a wrap footboard, the cast iron hardware stamped “MR”. h. 111”, inside w. 61”, l. 78”, outside w. 67”, l. 84” $1,500‑$2,500

993

995 Pair of Franco-Bohemian Porcelain Covered Urns mid-19th century, on drum-form bases, the handled urns gilt-trimmed on a cobalt ground, with grisaille neoclassical portraits on a terracotta ground decorating the obverse and snakes encircling palm trees on the reverse. h. 25”, w. 14‑1/2”, d. 7‑1/2” $1,200‑$1,800

995

994

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996

996 Attributed to William Henry Buck (Norwegian/Louisiana, 1840‑1888) “Italian Domestics Gathering Water from a Roman Fountain Amid a Ruin” oil on millboard unsigned. Presented in a W. E. Seebold’s frame with brass artist plaque and partial label en verso. 7‑1/2” x 10‑1/4” Provenance: Collection of the Honorable Robert E. Brumby (1884‑1966), Franklin, Louisiana; thence by descent. $1,200‑$1,800

William Henry Buck left Scandinavia seeking exploration and fortune in the new world and tried his hand at many styles as he made his way down the eastern seaboard and Mississippi. Even after he established himself as a landscape painter in Louisiana in the mid-to-late 1870s, he still executed rogue portraits, seascapes, hunt and daily life scenes, even Classicalstyle hand-cut silhouettes. W. E. Seebold(‘s) was one of the first major fine art and antiques galleries, framers, and art supply retailers in the city that showcased the newest and finest fashions and inventions. In a lengthy 1877 review of Seebold’s in the Times-Picayune, the “art note” columnist first commends two landscapes on exhibit by Buck and then boasts that Mr. Seebold has recently introduced the photogravure “novelty” to the city of New Orleans, which was “first employed by Messrs. Goupil in Paris to transfer the compositions of the Salon to the volumes of engravings, which they annually exhibited.” Much of the Salon rage was for the Realist movement, which often married Grand Tour landscapes with Italian genre scenes,

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creating a great demand for Italian peasants (washwomen in particularly) before Classical ruins, redolent of the scene pictured here. Hubert Robert, a French academician, was one of the leading painters of this style, exhibiting widely at the Salon. So popular were these images that etchings, through the new photogravure process, were made after them. It is through Seebold’s that Buck encountered these works, and likely painted this piece after a photogravure etching. The Seebold’s frame and millboard are also indicative of Buck. Aside from canvas, Buck mainly painted on millboard (pressed mill waste and paste). In the 19th century, millboards and nascent academy boards were the preferred medium for pleinair landscape artists, as they were cheap, lightweight and did not damage easily in transit. Seebold’s retailed millboards; the ones Buck used (likely from Seebold’s) were primed in gray to prevent the board surface from becoming frayed and abraded. Reference: “Art Notes”. Times-Picayune. Sept. 29, 1877. p. 4.


997 Fine American Walnut Banquet Table third quarter 19th century, in the transitional Renaissance Revival into Rococo Revival style, the circular top with a carved edge, opening to accommodate eight leaves extending to seventeen feet, supported by a split pedestal with dolphincarved uprights supported on a foliate-carved base with carved paw feet. h. 29‑1/2”, dia. 60”, ext. l. 208‑1/4” $3,000‑$5,000 998 Sophisticated Paris Porcelain Three-Piece Garniture third quarter 19th century, comprised of a jardiniere on stand, h. 7‑3/4”, w. 13”, d. 6”, and a pair of vases, h. 21”, dia. 7‑1/2”, the vases decorated with profiles of Athena and Jupiter, on a russet ground, with gilt handles terminating in anthemia, and the jardiniere with a classical portrait, all trimmed with delicate orange and gilt borders.

998

$600‑$900

997

997 detail

997 extended

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999 French Giltwood Cushion Mirror fourth quarter 19th century, the raised corners set with pierced scrollwork and flower ornaments, the serpentine crest decorated with a pierced anthemion and swags against a latticed ground, trimmed with trailing vines of ivy, set with a beveled mirror plate. h. 75", w. 47-1/2" $1,500-$2,500 1000 Pair of Four-Light Mixed Metal Gasoliers mid-19th century, probably Philadelphia, retaining their original gilt and patine lacquer surfaces, with vasiform standards and fluted, tapered arms, the brass keys like those on documented Archer and Warner gasoliers. h. 52”, dia. 31”

1001

$600‑$900 1001 Pair of Napoleon III Bronze Candlesticks third quarter 19th century, French, in the Egyptian Revival taste, mounted as two-light lamps, with leaf-molded bases and maiden-form standards, the candle cups molded to match the bases. h. 22‑1/2”, dia. 4‑3/4”

1000 one of a pair

$600‑$900

1002

1002 American Late Victorian Cast Iron Garden Bench fourth quarter 19th century, the three-panel back with a triplearched crest, the lower back bearing the signature “Peter Timmes, Brooklyn, NY”. h. 38”, w. 35”, d. 18” $600‑$900 999

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1003 Renaissance Revival Patinated Metal and Stained Glass Hall Lantern fourth quarter 19th century, American, the inverted bell-form lantern mounted with stained glass roundels in various colors, and set with scrolled arms/chain holders, decorated with winged angel heads and flowers, the original elaborate scrolled chains supporting the lantern from the canopy. h. 56”, dia. 16” $1,500‑$2,500 1004 Impressive 299‑Piece Gorham “Old Baronial” Sterling Silver Flatware Service the pattern designed in 1898 by William Christmas Codman (1839‑1923), Providence, Rhode Island, comprising sixteen-piece place settings for eighteen persons (seventeen pieces lacking) with twenty-eight serving pieces, monogrammed “FHP”, presented in the original Gorham brick red velvet-lined fitted oak canteen with hinged lid and two lift-out trays, with brass handles, caps and elaborate cutwork monogram “FHP”, 13‑3/4” x 19‑1/4” x 16‑1/2”. 393.43 total t. oz. (weighable silver) Detailed list of pieces available on request. $7,000‑$10,000 1005 Gorham Sterling Silver-Mounted Cut Glass Claret Jug

1003

1894, Providence, Rhode Island, the pear-shaped glass body with fine ribbed molding and engraved with acanthus and lattice cartouches, mounted in a silver collar and spout with hinged lid, grape cluster finial, arched foliate handle and domed circular foot. h. 13”, dia. 5”, l. 6‑1/2” $1,200‑$1,800

1005

1004

1004 detail

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1006 139 Pieces of Dominick & Haff “Blossom” Sterling Silver Flatware the pattern designed in 1905 by Gilbert Lafayette Crowell, Jr. (1868‑1932), New York, New York, including a dozen eight-piece place settings (seven pieces lacking) with an additional forty-seven lesser place pieces (ice cream spoons, egg spoons, chocolate spoons, etc.) and three serving pieces, no monograms (except for one piece). 118.64 total t. oz. (weighable silver) $3,000‑$5,000

1007

1007 Set of Four American Sterling Silver Leaf Dishes fourth quarter 19th century, by Schulz & Fischer, San Francisco, California, each with gilt interior, ring handle and circular foot, monogrammed “S”. l. 5”, w. 3‑3/4”; 10.78 total t. oz. $600‑$900

1006

1006

312

1006


1008 Gorham Four-Piece Sterling Silver Demitasse Set first quarter 20th century, Providence, Rhode Island, including a demitasse pot, h. 10‑1/2”, an open sugar bowl, h. 3‑1/2”, a creamer, h. 5‑1/2”, and a salver, dia. 14‑1/2”, the hollowware with ovoid bodies decorated with repousse acanthus cartouches and milled leaf-and-dart banding, the circular salver with rim en suite, monogrammed “KCMcR”. 71.51 total t. oz. $2,000‑$4,000 1009 American Sterling Silver Punch Bowl first quarter 20th century, by Frank W. Smith, Gardner, Massachusetts, the hemispherical bowl with bright-cut and wrigglework floral swags and banding, raised on a conforming waisted foot. h. 8‑1/2”, dia. 12‑1/4”; 41.01 t. oz.

1008

$600‑$900

1010 1010

1010 117‑Piece Set of International “Wedgwood” Sterling Silver Flatware the pattern designed in 1924 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, including a dozen eightpiece place settings, with an additional dozen teaspoons, six dessert knives and three serving pieces, no monograms. 104.87 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,400‑$1,800

1009

313


1011 Set of Twelve Gorham Sterling Silver Bread and Butter Plates 1912, Providence, Rhode Island, with an applied floral rococo scroll rim, monogrammed “EDL”. dia. 6”; 40.06 total t. oz. $600‑$900 1012 Set of Four Gorham Sterling Silver Candlesticks mid-20th century, Providence, Rhode Island, retailed by Shreve, Crump and Low, Boston, Massachusetts, each in the form of a Corinthian column, with stepped square base. h. 10‑1/4”, w. 4‑1/4”; weighted 1012

$900‑$1,200

1013 Four Pieces of Reed & Barton “Francis I” Sterling Silver Tableware the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including a nut dish, dia. 3‑1/4”, a pair of 1956 medium bowls, dia. 8”, and a 1953 wine coaster with glass base, dia. 7”. 20.69 total t. oz. (weighable silver) $600‑$900 1013

1011

314


1016

1014 Five-Piece Reed & Barton “Renaissance” Silverplate Coffee & Tea Set mid-20th century, Taunton, Massachusetts, including a coffeepot, h. 11‑1/2”, a teapot, h. 8‑1/2”, a covered sugar bowl, h. 6‑1/2”, a cream jug, h. 5‑5/8”, and a tray, 27‑1/2” x 18”, no monograms. $1,000‑$1,500 1015 Gorham “Plymouth” Sterling Silver Water Pitcher the pattern designed in 1911 by William Christmas Codman (1839‑1921), monogrammed “MNF”. h. 9‑3/4”, l. 9‑1/4”, w. 5”; 26.09 t. oz. $500‑$800

1014

1016 Eight-Piece Gorham “Plymouth” Sterling Silver Coffee and Tea Set the pattern designed in 1911 by William Christmas Codman (1839‑1921), Providence, Rhode Island, including a coffeepot, h. 8‑1/2”, a teapot, h. 6‑1/2”, a covered sugar bowl, h. 5‑3/4”, a sugar basket, h. 3‑3/8”, a large cream jug, h. 5‑3/4”, a small cream jug, h. 5‑1/8”, a waste bowl, h. 3‑3/4”, and a tray, 20‑1/4” x 13‑3/4”, monogrammed “MNF”. 112.46 total t. oz. (including wooden handles and finials) $1,800‑$2,500 1015

315


1017 Rare Tiffany & Co. 18 Kt. Gold Tastevin the pattern introduced in 1914, New York, New York, with plain threaded rim, the handle extending down to form a finger-hold and rest, monogrammed “BL” (formerly “EL”). l. 4‑1/2”, dia. 2‑1/2”; 82.7 gr. $2,500‑$5,000 1018 Set of Fifteen Gorham “Puritan” Sterling Silver Gilt Goblets mid-20th century, Providence, Rhode Island, no monograms. h. 6‑1/2”, dia. 3‑1/2”; 90.17 total t. oz.

1017

$1,000‑$1,500

1018

1019 Frank M. Whiting Four-Piece Sterling Silver Tea Set mid-20th century, North Attleboro, Massachusetts, including a coffeepot, h. 10‑1/4”, a teapot, h. 8‑3/4”, a covered sugar bowl, h. 6‑1/4”, and a cream jug, h. 5‑1/4”, each with a pearshaped body decorated with handchased floral rococo cartouches, with acanthus-mounted “gooseneck” spouts, crested handles and domed lids with toupie finials, together with a complimentary E. G. Webster & Sons silverplate tray, 27” x 16”. 123.87 total t. oz. (excluding tray) $3,000‑$5,000 1019

316


1020 Eighty-Seven-Piece Set of Gorham “King Richard” Sterling Silver Flatware the pattern introduced in 1936, Providence, Rhode Island, including eight eight-piece place settings (two pieces lacking) with an additional twelve place pieces and thirteen serving pieces, no monograms. 88.77 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,200‑$1,800

1020

1021 American Sterling Silver Tea Tray second quarter 20th century, retailed by Marshall Field’s, Chicago, Illinois, of oval form, decorated with embossed and incised rococo and lattice cartouches with floral swags, with handles en suite, monogrammed “ALD” conjoined. 30” x 19‑3/4”; 156.58 t. oz. $4,000‑$7,000

1021

1022 Reed & Barton “Grande Renaissance” Sterling Silver Flatware the pattern introduced in 1967, ninety-six pieces, including a dozen seven-piece place settings (four place spoons lacking) and sixteen serving pieces, no monograms. 97.14 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,800‑$2,500

1022

317


1023 Sixty-Eight-Piece Set of Wallace “Stradivari” Sterling Silver Flatware the pattern introduced in 1937, Wallingford, Connecticut, including eight eight-piece place settings and four additional teaspoons, thirty-one pieces monogrammed “R”, presented in a fitted, green buckram-lined lift-top wooden case, 3‑1/2” x 15‑3/4” x 11‑5/8”. 53.65 total t. oz. (weighable silver) Detailed list of pieces available on request. $700‑$1,000 1024 101‑Piece Set of International “Prelude” Sterling Silver Flatware the pattern designed in 1939 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, including eight ninepiece place settings, with an additional eight each place forks and teaspoons, with thirteen serving pieces, no monograms, presented in a fitted, Pacific cloth-lined wooden case with lifttop and one drawer, 5‑3/4” x 17” x 11”. 89.01 total t. oz. (weighable silver) Detailed list of pieces available on request.

1025

$1,200‑$1,800 1025 American Polished Brass Gasolier fourth quarter 19th century, the six-light gasolier with a standard decorated with teardrop-form elements with applied beading and bellflowers, the reeded scrolled arms with delicate leaf-molded scrollwork. h. 36”, dia. 29” $600‑$900

1024 detail

1023 detail

1023

318

1024


1026

1026

1026 Pair of Polished Brass Gasoliers/Electroliers ca. 1900, in the Renaissance Revival style, the ballform standard molded with anthemia and masques, the bottom with unusual sunflower finials, set with three gas arms decorated with swan’s heads, and three electric arms molded with leaves. h. 31”, dia. 26” $800‑$1,200

1027 American Aesthetic Movement Ebonized Easel/ Folio Stand ca. 1880, with a carved crest over a pierced urn- and sunflower-carved panel, the back telescoping to accommodate various size artworks, the lower portion with a folio cabinet and fitted with a deep drop-front lid with roundel-carved panels. h. 74” to 91”, w. 31”, d. 28‑1/2” $600‑$900

1027

319


1029

1028 American Aesthetic Movement Metal-Inlaid Ebonized Cabinet ca. 1882‑83, attributed to Pottier & Stymus, New York, the projecting fretwork cornice over a marquetry band and etched rectilinear looking glass, flanked by a pair of graduated shelves, the case with an onyx top and a pair of glazed and etched doors over inlaid panels, flanked by canted shelves, with the stenciled production number “69533”, suggesting the piece was produced about 1882‑83. h. 75”, w. 52‑1/2”, d. 17” $1,500‑$2,500 1029 Charles Louis Heyde (American, 1822‑1892) “’Curls Head, Mallets [sic] Bay’, Vermont”, 1891 oil on canvas signed and dated on back and on stretcher, titled and dated on attached label written in the artist’s hand. Framed. 15” x 20” Provenance: Private collection, Atlanta, Georgia. Literature: Nancy Price Graff and E. Thomas Pierce. Charles Louis Heyde: Nineteenth-Century Vermont Landscape Painter. Burlington: Robert Hull Fleming Museum, 2001; cat. nos. 102‑106. $8,000‑$12,000

1028

320


1030 American Aesthetic Movement Mahogany Center Table ca. 1875‑1885, the shaped top over a conforming frieze centered by a carved owl’s head flanked by japonesque fretwork, the legs capped by a carved foo dog masque and joined by stretchers with central geometric fretwork. h. 29”, w. 48”, d. 33‑1/2” $1,500‑$2,500 Tables of this form have traditionally been attributed to the New York firm of Kimbel and Cabus, though no similar tables are illustrated in their 1870’s catalogue.

1030

1032 Pair of French Gilt-Metal Altar Sticks fourth quarter 19th century, on pierced tripartite bases decorated with fleurs-de-lis, the standards depicting angels holding cartouches marked “IHS”, the candle cups with raised flowers and trimmed with bold, pierced fleurs-de-lis. h. 23”, dia. 7” $1,200‑$1,800

1031

1031 Alexander Helwig Wyant (American, 1836‑1892) “Yosemite Valley” oil on canvas faint signature lower left, titled en verso, verso stretcher with an exhibition label. Framed. 20” x 30” $1,500‑$2,500

1032

321


1033 American Aesthetic Movement Burled Walnut and Walnut Secretary Bookcase fourth quarter 19th century, the upper section with a beveled mirror plate mounted with an arched and carved cornice and flanked by shelves, the case with a band of drawers over a fall-front desk, flanked by beveled glazed doors, with open shelves below. h. 74‑1/2”, w. 53‑1/2”, d. 15” $800‑$1,200 1034 Pair of Sevres-Style Porcelain and Bronze Covered Garniture Urns first quarter 20th century, French, the framboiseground urns decorated with panels of handpainted swags of flowers and trimmed with raised gilt, on gilt-bronze bases and mounted with leaf-molded bronze handles and cover fittings. h. 26”, w. 12‑3/4”, d. 7”

1035

$1,000‑$1,500 1035 American Classical Revival Mahogany Banquet Table ca. 1900, the circular top on a columnar pedestal joined by foliate-carved brackets to a concave base on paw feet. h. 29‑1/2”, dia. 66”, ext. l. 121” $800‑$1,200

1034

1033

322


1036 Carle John Blenner (American, 1862‑1952) “Bouquet of Phlox in a Blue Aesthetic Vase” oil on board signed mid-left. Framed. 42” x 30‑1/2” $4,000‑$7,000 1037 Carrie Hill (American/Alabama, 1875‑1957) “Floral Still Life in a Pottery Vase” oil on canvas signed lower right. Framed. 24‑3/4” x 28‑1/2” $1,200‑$1,800 1038 Waterbury No. 60 Jeweler’s Regulator ca. 1900, Connecticut, in an oak case decorated with applied scrolled carving, incising, medallions and pierced work, the clock with an enamel dial and a brass pendulum with lyre-form piercing, signed “Waterbury Clock Co.” on the gilt-metal leveling plate attached to the lower rear inside back of the clock. h. 76‑1/2”, w. 26”, d. 9”

1036

$2,000‑$4,000

1037 1038

323


1039 Rare Electrotherapy “Medical Apparatus” Console ca. 1932, Victor Electric Company, Chicago, Illinois, the apparatus backed by marble and set in a hanging oak case with a carved pediment and glass door; accompanied with original instructions, accessories (pads, wiring and various electrodes), and two period black and white photographs and a manual by Dr. Geo. A. Remington, Gleanings of Low Voltage Technique. Chicago, 1932. h. 44”, w. 22‑1/2”, d. 13‑1/2” Provenance: Dr. Melvin D. Roberts (1879‑1957), Hancock, Michigan. $800‑$1,200 The 20th century ushered in the electrical age - with patented light bulbs and automobiles came electromedical cures and executions. With improved electric generators, galvanism (static electricity generation) bloomed from nascent electric shock treatments in Parisian insane asylums to the allAmerican cure. George Beard’s and Alphonse Rockwell’s 1871 book on the fantastic medical uses of electricity was re-published in more than ten editions that culminated with the electric chair and the X-ray exhibited at the World’s Columbian Exposition in 1893 and the Pan-American Exposition in 1901 by McIntosh Electric and Victor Electric, respectively. Both companies went on to produce the “Medical Apparatus” console featured here. They boasted in numerous advertisements and publications, including the book offered with this lot, that positive and negative galvanic currents cured everything from gout and impotency to hysteria of the stomach and flat feet through polarized frequencies. By the late 1930s, electrotherapy was applied to the brain to alleviate severe depressions through the triggering of brief seizures. Many famous personages in the annals of history were the recipients of these electrical probes in a growing age of psychotherapy enlightenment.

1039

1040 Bruno Lucchesi (Italian/New York, b. 1926) “Mother and Child” and “Father and Son”, 1976 pair of patinated bronzes each with cast signature along self-base. As identified: www.brunolucchesi.com/commissions former h. 9‑1/4”, w. 5”, d. 5‑1/2”, latter h. 8”, w. 6‑1/4”, d. 5” $600‑$900

1040

324


1041 Gustav Stickley Quarter-Sawn Oak Daybed early 20th century, model #220, knock-down form with six vertical slats on each end, bearing the red “Als ik kan” decal signature, 1905‑1912. h. 36”, w. 36”, l. 84” Provenance: The Graham’s Mansion, Washington, Indiana. $1,000‑$1,500 1042 American Arts and Crafts Hanging Lantern first quarter 20th century, the tapered case retaining an old dry surface, suspended from a pierced oak “chain”, the sides set with leaded panels of caramel slag, ruby and textured colorless glass. h. 22‑3/4”, w. 9‑1/2”, d. 9‑1/2”

1042

Provenance: The Graham’s Mansion, Washington, Indiana. $600‑$900 1043 Two American Arts and Crafts Quarter-Sawn Oak Chairs early 20th century, one a Gustav Stickley rocking chair with three vertical slats and flat arms, bearing the “Als ik kan” red decal label, h. 41‑1/2”, w. 28”, d. 29‑1/2”, and the other an unsigned “even-arm” armchair, the arm front with three graduated circular holes, padded back and seat, h. 30”, w. 30”, d. 34”. Provenance: The Graham’s Mansion, Washington, Indiana.

1043

$600‑$900

1041

325


1044 Newcomb College Art Pottery High-glaze vase, 1902 of tapered ovoid form, decorated by Bertha Drennan in cross-section floral motif and in blue and green underglaze, the base marked with the Newcomb cipher, Joseph Meyer potter’s mark, reg. no. G56, and clay mark “U” for white clay body. h. 6‑7/8”, dia. 5‑1/2” Provenance: Collection of Mr. and Mrs. J. Barbee Winston, New Orleans, Louisiana. Exhibited: “Newcomb Pottery: An Enterprise for Southern Women, 1895‑1940”, the Smithsonian Institution Traveling Exhibit Services, prepared by Newcomb College, Tulane University, 1984‑1987. Literature: Poesche, Jessie. Newcomb Pottery... [Exhibition Catalogue]. Atglen, PA: Schiffer Publishing, catalogue cover photo, and pp. 115 and 112, cat. no. 42. $6,000‑$9,000

1044

1045 Newcomb College Art Pottery High-glaze vase, 1902 of planter form, the rim incised with freesia, decorated by Henrietta Bailey in blue underglaze, the base marked with the Newcomb cipher, Joseph Meyer potter’s mark, reg. no. “CE41”, and clay mark “W” for white clay body. h. 6”, dia. 7‑1/2” Provenance: Collection of Mr. and Mrs. J. Barbee Winston, New Orleans, Louisiana. Exhibited: “Newcomb Pottery: An Enterprise for Southern Women, 1895‑1940”, the Smithsonian Institution Traveling Exhibit Services, prepared by Newcomb College, Tulane University, 1984‑1987. Literature: Poesche, Jessie. Newcomb Pottery... [Exhibition Catalogue]. Atglen, PA: Schiffer Publishing, catalogue cover photo, and pp. 115 and 112, cat. no. 42. $6,000‑$9,000 1045

326


1046 Arts and Crafts Oak and Stained Glass Lantern first quarter 20th century, American, the tapered lantern set with leaded slag, stained glass and textured glass, the “roof” pierced with fleurs-de-lis, hanging from a pierced oak chain. h. 27”, w. 12‑1/2”, d. 12‑1/2” $600‑$900 1047 Leaded Glass Table Lamp with Apple Blossom Shade first quarter 20th century, the patinated base decorated with clover leaf piercing and twisted trim, the floral apple blossom shade and base signed “Handel”. h. 24”, dia. 18‑1/2” $1,500‑$2,500 1048 Leaded Glass Table Lamp first quarter 20th century, probably Unique Art Glass and Metal Co., Brooklyn, New York, with a patinated metal base, the shade with a border of apple blossoms and a spurious “Handel” tag. h. 22”, dia. 16” $1,200‑$1,800

1046

1047

1048

327


1049 French Polished Bronze of a Native American Maiden in a Canoe first quarter 20th century, after Duchoiselle (French, 19th Century), cast signature along prow of canoe. h. 10‑1/2”, w. 18‑1/2”, d. 5‑1/2” $1,500‑$2,500 1050 After Theodore Bauer (German/American, 1835‑1898) “The Buffalo Hunt”, 1980 1049

bronze cuivre cast signature, numbered “26/48”, dated, inscribed “EX NY”, copyright-marked, and with a Sterling Excalibur Foundry mark at edge, after the 1876 sculpture commissioned by the Meriden Brittania Company (later the International Silver Co.) for the Centennial Exhibition in Philadelphia, on a carved wood plinth. overall h. 23‑1/4”, w. 30‑1/2”, d. 14” $2,000‑$4,000

1050

1051 Mike Capser (American, b. 1952) 1051

“The End and The Beginning”, 1981 patinated bronze signed, dated, copyright-marked and numbered “54/75” on self-base, on a carved wood base. overall h. 9‑1/4”, w. 12‑1/4”, d. 8‑1/2” Provenance: Estate of Laurance S. Rockefeller: October 11, 2005 as lot 353; Private collection. $700‑$1,000 1052 Bill Girard (American/New Mexico, b. 1936) “Prairie Thunder” patinated bronze cast signature and numbered “1/30” along edge of self-base, on a carved wood plinth. overall h. 6”, w. 9‑1/2”, d. 5”

1052

328

$800‑$1,200


1053 W. C. Pitzer (American, Contemporary) “Buff”, 1985 patinated bronze cast signature, dated, titled, with foundry mark and numbered “1/15” along edge of self-base , on a black marble base. overall h. 16‑1/4”, w. 7‑1/4”, d. 5‑1/2” $600‑$900 1054 James P. (Jim) Regimbal (American/California, b. 1949)

1056

“Sire of The Herd”, 1978 patinated bronze cast signature, dated, copyright-marked and titled along edge of self-base, on a carved wood plinth. overall h. 8‑3/4”, w. 12”, d. 6‑1/2” $600‑$900 1055 Ken Bjorge (American/Montana, b. 1943)

1054

“Hang Gliding”, 1984 patinated bronze cast signature, dated, copyright-marked and numbered “19/20” along bottom, on a dark green marble base. overall h. 27‑1/4”, w. 22”, d. 14‑1/4” $1,000‑$1,500 1056 After Frederic Sackrider Remington (American, 1861‑1909) 1053

“Wooly Chaps” patinated bronze cast signature on selfbase, titled on artist plaque, on a green marble base. overall h. 21‑1/2”, w. 18”, d. 13‑1/4” $1,000‑$1,500 1057 American Patinated Bronze of a “Warrior” 20th century, after 1057 Frederic Sackrider Remington (American, 1861‑1909), cast inscription “inspired by Frederic Remington” along edge of self-base, on a green marble plinth. overall h. 20”, w. 23‑1/4”, d. 10” $700‑$1,000 1055

329


1058 Clementine Hunter (American/Louisiana, 1886/87‑1988) “Wash Day” oil on canvas board monogrammed lower right, verso inscribed “Jackie Hines, Bunkie, LA”, accompanied by a photograph of Clementine Hunter holding the painting. Framed. 12” x 16” $2,000‑$4,000

1058

1059 Clementine Hunter (American/Louisiana, 1886/87‑1988) “Picking Cotton” oil on canvas board monogrammed lower right, inscribed “Jackie Hines, Bunkie, LA” en verso, accompanied by a photograph of Clementine Hunter holding the painting. Framed. 8” x 10” $1,500‑$2,500

1059

1060 Clementine Hunter (American/Louisiana, 1886/87‑1988) “Mule with Cart and Figure Fishing” oil on canvas board monogrammed lower right, verso inscribed “Jackie Hines, Bunkie, LA”, accompanied by a photograph of Clementine Hunter holding the painting. Framed. 12” x 16” $2,000‑$4,000

1060

330


1061 George Rodrigue (American/Louisiana, 1944‑2013) “Family Portrait Beneath a Live Oak” oil on canvas signed lower left. Framed. 40” x 30” $25,000‑$40,000

1061

1062 George Rodrigue (American/Louisiana, 1944‑2013) “A Moment in Time: Three Beauties and a Photographer Under a Tree” oil on canvas signed lower right. Framed. 30” x 40” $25,000‑$40,000

1062

331


1063 George Rodrigue (American/Louisiana, 1944‑2013) “Tiffany (1969‑1981)” oil on canvas signed lower left, double signed and titled en verso. Unframed. 30” x 23‑3/4” Provenance: Private collection, LaFayette, Louisiana; acquired from the artist. Illustrated: Danto, Ginger. The Art of George Rodrigue. New York: Harry N. Abrams, Inc., 2003. p. 117. $40,000‑$70,000

1063

Meet Tiffany, the original Blue Dog (1968-1980), who was later resurrected as the medium of Cajun lore-the "loup garou" (werewolf). The fickle terrier/spaniel mix chewed up furniture and terrorized neighbors, but remained "loyal as the day was long" and kept Rodrigue company at nights in his studio. Tiffany lived on in memoriam as the artist's muse. Rodrigue, intent on preserving Cajun culture and traditions in the growing wake of globalization, had endeavored for years to capture the haunting essence of the loup-garou tale that adults told children to frighten them into good behavior. The loup-garou, derived from the French "rougarou" werewolf of the Middle Ages, devoured Catholic sinners, who failed to keep the Sabbath holy or observe the rules of Lent. Passed down through generations of French settlers in Louisiana, the loup-garou was syncretized with Acadian geography, so that it became more dog-like and

332

roamed sugar cane fields and cemeteries and swamps laden with live oaks, chasing errant individuals and casting evil spells on others. Tiffany's temperament, her white coating, which appeared blue in the moonlight, and furry tufts that framed her large bat-like ears, became the inspiration for Rodrigue's incarnation of the loup-garou, which has continued to evolve into a metaphor of the artist. Sometimes, it becomes the Blue Dog Man sporting a tuxedo, while other times, as Wendy Rodrigue noted "….its meaning shifts like the moods of an artist. After several years as a scary phenomenon sporting red eyes and spooky settings, the Blue Dog changed. At one point it became the ghost of Tiffany lost and searching for her master." References: Rodrigue, Wendy. "Meet Tiffany, the Original Blue Dog". Musings of an Artist's Wife. Feb. 2, 2011. Web. Sept. 21, 2017.


1064 George Rodrigue (American/Louisiana, 1944‑2013) “Blue Dog, Untitled” acrylic on canvas signed lower right. Framed. 24” x 30” $25,000‑$40,000 1064

1065 Douglas Bourgeois (American/Louisiana, b. 1951) “Untitled”, 1988 watercolor and ink on paper signed and dated lower right. Matted, glazed and framed. sight 17‑3/4” x 25‑1/2” $3,000‑$5,000 1065

333


1066 Jose-Maria Cundin (Spanish/Louisiana, b. 1938) “Crime of Cuenca”, 1966 oil on canvas signed lower right, stretcher is integral part of painting. Unframed. overall 51” x 45‑3/4” Provenance: Purchased from the artist; Private collection, Houston, Texas. $20,000‑$40,000

1066

1067 Jose-Maria Cundin (Spanish/Louisiana, b. 1938) “Rosita”, 1976/77 polyester resin sculpture on a carved white oak and painted wood base. sculpture h. 33‑1/2”, overall h. 48‑1/2”, w. 19”, d. 16‑1/4” Provenance: Purchased from the artist; Private collection, Houston, Texas. $12,000‑$18,000 The rotund, woebegone figure of Rosita Camargo is one of Jose Cundin’s most recognizable characters, and was a favorite of the artist, appearing frequently in his work of the 60s and 70s. According to Cundin, Rosita - often accompanied by her faintly villainous, plump cohorts - is a foil for the foibles of humanity, allowing the artist to cleverly explore with his characteristic sharp sense of humor the more dastardly and dim facets of the human condition. The near life-sized (for Rosita!) sculpture of the “beatnik darling” of the Quarter presented here reveals the exaggerated facial features, idiosyncratic clothing, and grand emotional gesture most closely associated with the character. It is composed of acrylic resin over actual clothing, shoes, hat and hair, with prosthetic eyes. It is unusual for a Cundin sculpture of this depth, caliber and iconic significance to be offered at auction.

1067

334

References: “Galleries Schedule Special Shows-Cundin Paintings”. Times-Picayune 16 March 1969: 3.10; “Cundin Show”. Times-Picayune 23 March 1969; “Cundin Exhibition to Open: Rosita Makes Her Return.” Times-Picayune 14 June 1970: 60.


1068 George Valentine Dureau (American/Louisiana, 1930‑2014) “Head of a Man”, 1983 and “Parts and Practices” charcoal on paper and silver gelatin photograph charcoal signed lower right, artist label en verso; photograph, an artist proof, signed lower right, titled and annotated “AP” lower left. Both matted, glazed and framed. charcoal 23” x 22”, photograph sight 7‑1/2” x 7‑1/2” Provenance: Charcoal drawing purchased at Contemporary Arts Center, “Art for Art’s Sake”, 1983, New Orleans, Louisiana. $1,000‑$1,500

1068 one of two

1069 James Michalopoulos (American/Louisiana, b. 1951) “Irish Cant”, 1993 oil on canvas signed lower left, signed and dated en verso canvas “Mitchell Michalopoulos 1993”, titled on stretcher. Framed. 24” x 30” $4,000‑$7,000 1070 James Michalopoulos (American/Louisiana, b. 1951) “Untitled”, 1993 oil on canvas signed lower left, signed and dated en verso “Mitchell Michalopoulos 1993”. Framed. 27‑3/4” x 21‑3/4”

1068 two of two

$4,500‑$7,000

1069

1070

335


`1071 James Michalopoulos (American/Louisiana, b. 1951) “Hacienda Lux”, 1993 oil on canvas signed lower left, signed and dated en verso canvas “Mitchell Michalopoulos 1993”, titled on stretcher. Framed. 27‑3/4” x 21‑3/4” $4,000‑$7,000 1072 Jim Blanchard (American/Louisiana, b. 1955) “Parsonage, New Orleans”, 1993 ink and watercolor on paper signed and dated lower right. Matted, glazed and framed. sight 14‑1/2” x 21” $1,500‑$2,500 1073 Jim Blanchard (American/Louisiana, b. 1955) “619 Bourbon Street - Fouche-de Boisblanc House”

1071

ink and watercolor on paper signed lower right, identified lower center, architects listed lower. Matted, glazed and framed. sight 14‑3/4” x 13‑1/4” $1,500‑$2,500

1072

336

1073


1074 New Orleans Architecture Samuel Wilson, Bernard Lemann, et al, complete in 8 volumes, Gretna: Pelican Publishing Company for the Friends of the Cabildo, Inc., 1971‑1997, including Lower Garden District, The American Sector, The Cemeteries, The Creole Faubourgs, The Esplanade Ridge, Faubourg Treme and the Bayou Road, Jefferson City, The University Section, all with original dust jackets, some with bookplates or embossed stamps, one signed. each 11‑3/4” x 9‑1/4” 1074

$600‑$900

1075 Mickey Demoruelle (American, 1932‑2006), Mardi Gras in New Orleans and New Orleans Like It Is! pair of photographic collections, both selfpublished, former dated 1970, signed on first page, latter dated 1971, signed on inside back cover. former 8‑1/2” x 8‑1/2”, latter 10” x 8” $800‑$1,200 1075

1075 details

337


1077

1077 Set of Eleven Tiffany & Co. Sterling Silver and Porcelain Bouillon Cups the pattern introduced in 1896, this set before 1907, New York, New York, each with a silver frame of galleried rocaille flat balusters with reed-and-acanthus banding and arched handles, fitted with a conforming Lenox porcelain bouillon cup with gilt banding and turquoise “jewels”. overall h. 3”, dia. 3‑1/2”, w. 6”; 28.41 total t. oz. $1,400‑$1,800

1076

1076 217‑Piece Set of Tiffany & Co. “Renaissance” Sterling Silver Flatware the pattern designed in 1905 by Paulding Farnham (1859‑1927), New York, New York, complete with a dozen fifteen-piece place settings, with an additional dozen each dinner forks and teaspoons, with thirteen serving pieces, presented in the original Tiffany & Co. teal velvet-lined fitted mahogany case, with lift-top, single drawer and brass handles, 11” x 18‑3/4” x 14‑3/4”. 307.03 total t. oz. (weighable silver) Detailed list of pieces available on request. $20,000‑$40,00

338

1076 detail


1078 Eleven Tiffany & Co. Sterling Silver Vanity Bottles second and third quarters 20th century, New York, New York, including four talc bottles, three talc casters, two cologne bottles and two toothpaste holders (one lacking its cap), in various gilt, hammered and acid-engraved finishes, some monogrammed. the smallest h. 1‑7/8”, the tallest 6‑7/8”; 26.46 total t. oz. $600‑$900 1079 Sixty-Two Pieces of Tiffany & Co. “Windham” Sterling Silver Flatware the pattern designed in 1923 by Arthur LeRoy Barney (1884‑1955), New York, New York, including six eight-piece place settings (three pieces lacking) with an additional fourteen place pieces and three serving pieces, no monograms. 70.82 total t. oz.

1079

Detailed list of pieces available on request. $1,200‑$1,800

1078

1080 Tiffany & Co. Sterling Silver Trumpet Vase the pattern designed in 1907, New York, New York, of traditional form with incised threaded banding, monogrammed “LHJ”. h. 12‑1/4”, dia. 4‑3/4”; 23.55 t. oz. 1081

$600‑$900 1081 Tiffany & Co. Sterling Silver Water Pitcher the pattern introduced in 1911, New York, New York, of ovoid form, decorated with reeded panels and bellflower-androsette banding, with integral spout, squared handle and circular foot en suite. h. 9‑1/4”, dia. 5‑1/4”, l. 8‑1/4”; 32.86 t. oz. $1,000‑$1,500 1080

339


1082 Tiffany & Co. Sterling Silver Salver the pattern introduced in 1924, New York, New York, of circular form with molded “Chippendale” rim, monogrammed “MGK”. dia. 13”; 27.92 t. oz. $700‑$1,000 1083 Tiffany & Co. Sterling Silver Platter the pattern introduced in 1924, this example 1947‑1956, New York, New York, oval with molded “Chippendale” rim, monogrammed “BMF”. 20” x 14‑3/4”; 55.94 t. oz. $800‑$1,200

1083

1084 “Man o’ War” Cup Sterling Silver Gilt Presentation Copy 1943, Tiffany & Co., New York, New York, the hemispherical bowl with beaded and gadrooned banding, raised on a waisted foot, inscribed “Man o’ War Cup / The Travers of 1943 / Won By / Eurasian”. h. 6‑3/4”, dia. 9‑1/2”; 41.37 t. oz. 1082

$1,800‑$2,500 The Man o’ War cup, named after the stallion widely regarded as one of the greatest racehorses of all time, is a solid gold cup designed by Tiffany & Co. for Abe Orpen, manager of Kenilworth Park, Ontario. The cup was presented to Man o’ War’s owner, Samuel D. Riddle, after the stallion defeated Sir Barton, first winner of the Triple Crown, in a highly-touted match race in 1920. Riddle’s widow donated the cup to the Saratoga Race Course in 1936, where it has been presented to the winner of the Travers Stakes (the 3rd ranked race for American threeyear-olds after the Kentucky Derby and Belmont Stakes) every year thereafter by a member of the Riddle family. The gold cup is retained by Saratoga and the new winner added to the list inscribed on the trophy, but the owner is presented a smaller silver gilt copy, of which the present lot is an example. It was presented to Hill River Stable, owner of Eurasia, who won the 1943 Travers Stakes ridden by jockey Steve Brooks in 2:03:80. The piece is marked with Tiffany’s World War II “star” mark, indicating that it was made from domestically produced silver after April 17, 1943.

1084

340


1085 Tiffany & Co. Sterling Silver Demitasse Set

1087 Five-Piece Tiffany & Co. “Hamilton” Sterling Silver Coffee and Tea Set

New York, New York, including a 1936 pattern demitasse pot, h. 8”, a creamer, h. 2‑7/8”, an open sugar bowl, h. 2‑1/4”, with cup-shaped bodies below a waisted collar, monogrammed “PHR”, with an associated 1928 pattern salver with molded rim and monogrammed “PF”, dia. 13”. 56.56 total t. oz.

the pattern designed in 1938, New York, New York, including a coffeepot, h. 10‑1/2”, a teapot, h. 7‑1/2”, a covered sugar bowl, h. 5‑1/2”, a cream jug, h. 5‑1/2”, and a waste bowl, h. 3‑1/2”, monogrammed “E”. 71.6 total t. oz. (including wooden handles)

$1,800‑$2,500

$2,500‑$4,000

1086 Large Tiffany & Co. Sterling Silver Platter

1088 Tiffany & Co. Sterling Silver Platter

the pattern introduced in 1952, New York, New York, of circular form with molded rim. dia. 22‑1/2”; 106.42 t. oz.

the pattern introduced in 1923, New York, New York, of oval form with molded rim. 15‑3/4” x 11‑1/2”; 38.22 t. oz.

$2,000‑$4,000

$600‑$900 Illustrated Online

1085

1086

1087

341


1089 William IV Mahogany Games Table second quarter 19th century, the D-form top with a reeded edge, hinged and opening to a gaming space, above a conforming frieze, raised on turned and ribbed circular legs ending in bulbous feet on casters. h. 29‑1/2”, w. 48”, closed d. 23” $600‑$900 1090 Near Pair of William IV Mahogany Library Chairs second quarter 19th century, each with a tall, padded domed back joined by padded arms to the like seat, one raised on ribbed tapering circular legs to casters and the other raised on ribbed bulbous legs to casters. h. 43” and 45”

1089

$600‑$900

1091 1090

1091 Regency-Style Mahogany Games Table early 20th century, the rounded rectangular top banded and centered by an inlaid chessboard, above a canted frieze, raised on double ebonized turned columnar end supports to runner bases, joined by a bulbous turned stretcher and ending in bulbous feet. h. 27‑1/2”, w. 34‑3/4”, d. 17” $800‑$1,200 1092 Regency Small-Scale Convex Mirror first quarter 19th century, the cove-molded frame set with spherules and trimmed with ribbon-bound reeding, the crest with a hippocampus on a rocky outcropping, the lower portion set with molded acanthus leaves and a pinecone pendant finial. h. 39‑1/4”, w. 20‑1/2” $1,500‑$2,500 1092

342


1095 Pair of Colonial Revival Mahogany Knife Urns ca. 1900, English or American, on beaded bases, the lids decorated with a carved guilloche border, raised on ratcheted standards to reveal fittings for cutlery in the stepped interior. h. 27”, dia. 8‑3/4” $900‑$1,200 1096 Regency Rosewood Writing Table 1093

1093 Regency-Style Mahogany and Satinwood DoublePedestal Dining Table 20th century, the banded top opening to accommodate the three additional 18” leaves, and mounted to a pair of pedestals with four down-curved and reeded legs ending in brass toes with casters. h. 29‑1/2”, w. 47”, l. 68”, ext. l. 122”

second quarter 19th century, the rounded rectangular top above a conforming annulated frieze fitted with two side drawers and two faux drawers, raised on end supports joined by a stretcher on runner feet to paw feet on casters, the base with annulated molding accents. h. 28‑1/4”, w. 48‑1/4”, d. 29‑1/2” $1,500‑$2,500

$800‑$1,200 1094 Suite of Twelve Adam-Style Mahogany Dining Chairs early 20th century, consisting of two armchairs and ten sidechairs, each with an open oval back surmounted by a ribbon crest and with a Prince of Wales feather splat, the padded and skirted seat raised on paneled tapering square legs ending in spade feet. h. 38‑1/2” $1,500‑$2,500 1096

1095 1094

343


1097 Georgian Tortoiseshell- and Walnut-Veneered Spice Chest fourth quarter 18th century, with tortoiseshell-veneered drawer fronts, the sides and top with burl veneer and checked stringing, resting on a bracket-footed base with a shaped skirt. h. 13‑1/2”, w. 16”, d. 10” $1,000‑$1,500 1098 Georgian Tortoiseshell Tea Caddy first quarter 19th century, of octagonal form with a flowercarved mother-of-pearl knob on both the interior and exterior covers. h. 4”, dia. 4”

1097

$600‑$900

1099

1098

1100

1099 Japanese Export Tortoiseshell Tea Caddy fourth quarter 19th century, the tortoiseshell lacquerdecorated, the interior with removable lacquered and tortoieshell-covered tea compartments h. 4‑1/2”, w. 7‑1/2”, d. 4‑1/2” $600‑$900 1100 Regency Tortoiseshell Tea Caddy first quarter 19th century, with two compartments and a covemolded cover. h. 5‑1/2”, w. 6‑1/4”, d. 4” $900‑$1,200 1101 Regency Giltwood and Ebonized Tabernacle Mirror first quarter 19th century, in the neoclassical taste, with clustercolumn sides, the tablet molded with the Goddess Ceres and her putti harvesting wheat, the coved crest set with giltwood spherules. h. 40‑3/4”, w. 28” $600‑$900 1101

344


1102

1105

1106

1104

1102 Regency-Style Rosewood Tiered Table late 19th century, the rectangular top with a full pierced brass gallery, over a conforming brass-inlaid frieze, over a lower likegalleried shelf, flanked to either side by a scrolling lion-headed support, raised on a plinth base. h. 23”, w. 31”, d. 14‑1/2” $600‑$900 1103 Pair of Regency-Style Polychrome Window Seats each with a caned seat flanked to either end by in-scrolled armrests, the floral patera-carved apron raised on splayed scrolling legs ending in upturned toes. h. 16‑1/2”, w. 55‑1/2”, d. 25‑1/2” $600‑$900 1104 Late Regency Rosewood Teapoy second quarter 19th century, the rectangular top with a molded edge, opening to two lidded tea compartment spaces for two mixing bowls, above an ogee-molded case, raised on a paneled bulbous standard to a concave rectangular base on scrolled feet on casters. h. 30”, w. 19‑1/4”, d. 14‑1/2” $700‑$1,000

1103

1105 Regency Elm and Burl Wood Cabinet early 19th century, the superstructure fitted with two open shelves supported by ribbed uprights and X-form stretchers, the breakfront rectangular top above a case fitted with two paneled cupboard doors, flanked to either side by paneled uprights and raised on ebonized paw feet. h. 62‑1/2”, w. 54”, d. 18‑1/2” $600‑$900 1106 William IV Giltwood Pier Mirror second quarter 19th century, the ogee-molded surround decorated with applied scrollwork and pierced acanthus leaves, a narrow band of “sanded” decoration defining the mirror opening, set with two plates of antique glass, likely original. h. 78”, w. 48‑1/4” $1,400‑$1,800

345


1107 1110 1107 English Bronze and Glass Hall Lantern

second quarter 20th century, in the William IV style, the singlelight lantern of hexagonal form, the sides set with textured, frosted glass and molded swan’s neck and anthemia crests, supported by brass strapwork scrolls. h. 26”, dia. 8‑1/2” $600‑$900 1108 Pair of English Polished Bronze Lamp Standards mid-19th century, now mounted as electric lamps, decorated with scrollwork, morning glories and diapered panels, the tapered standard with a capital-type cup at the top. h. 27‑1/2”, dia. 7‑1/2” $700‑$1,000 1109 Impressive Pair of Assembled English Porcelain Vases

1108

second quarter 19th century, possibly Coalport, both handpainted with tightly bunched flowers against an apple green ground, the rococo bodies trimmed with gilt and set with pierced covers with apple green grounds. h. 20‑1/2”, w. 13‑1/2”, d. 9‑1/2” $600‑$900 1110 William IV Gilt-Lacquered Bronze Chandelier second quarter 19th century, the tapered body set with anthemia and medallions, supporting chandelier arms with oil spill basins, alternating with scrolled and pierced arms supporting the chains, the patinated urn-form font decorated with gilt-bronze acanthus leaf mounts. h. 33”, dia. 29‑1/2” $2,000‑$4,000 1109

346


1111 William IV Mahogany Sofa

1113 William IV Mahogany Cabinet

mid-19th century, the padded back surmounted by a paneled and acanthine crest, joined by outscrolled padded arms to the like seat, raised above an acanthine-carved apron on paw feet, headed by winged capitals. h. 36”, w. 89‑1/2”, d. 22‑1/2”

second quarter 19th century, the square top above a conforming frieze fitted with a single drawer over a long tapering cupboard door, banded and with inlaid ebonized accents, flanked to either side by canted uprights headed by ebonized lion’s masques and ending in paw feet, the sides with lion’s-head ring handles. h. 50‑1/2”, w. 26‑3/4”, d. 26‑3/4”

$600‑$900 1112 William IV-Style Mahogany Server early 20th century, the long rectangular top above a conforming frieze fitted with three drawers, raised on paneled tapering square legs headed by foliate capitals and ending in block feet. h. 36”, w. 83‑1/2”, d. 24‑1/2” $600‑$900

$1,000‑$1,500 1114 Pair of William IV-Style Polychrome Sidechairs mid-19th century, each with a back-scrolled crest above a paneled back featuring a polychrome scene of cavorting blackamoors, the padded seat raised on tapering circular legs ending in toupie feet. h. 35” $800‑$1,200

1112 1113

1111

1114

347


1115 Late Regency Rosewood Games Table second quarter 19th century, the rectangular top with inlaid bands and a concave front, hinged and opening to a baize-lined interior, above a conforming frieze, raised on a concave graduated standard to a concave rectangular base, raised on scrolled feet and casters. h. 29‑3/4”, w. 37”, d. 19‑1/2” $700‑$1,000 1116 Victorian Mahogany Firescreen third quarter 19th century, the adjustable, square, floral-patterned needlework screen within a molded frame with applied scroll accents, supported by two rods, raised on a paneled and foliatecarved standard to three scrolling splayed legs ending in Flemish toes. h. 60”, w. 22‑1/2”

1115

$600‑$900

1117

1117 Victorian Walnut Credenza

1116

third quarter 19th century, the shaped and banded top above a conforming case fitted with two glazed cupboard doors flanked to either side by three open shelves, raised on a plinth base. h. 40”, w. 90”, d. 18‑1/2” $1,800‑$2,500 1118 British School (Fourth Quarter 19th Century) “The Visitation” oil on wood panel signed “C. Moran” lower right, verso with a period “Winsor & Newton” label and Dutch “Decc” inventory label. Framed. 8” x 10‑1/2” Provenance: Leslie Hindman, Chicago, January 22, 2012, lot 1203. $1,000‑$1,500

1118

348


1119 Pair of Victorian Mahogany Pedestal Tables late 19th century, in the Chippendale taste, each with a hexagonal top with a full pierced gallery, joined by double-column supports to two lower triangular stretcher shelves, the supports with foliate and scroll pendants, raised on splayed legs to in-scrolled feet. h. 36‑1/2”, dia. 16‑1/2” $1,200‑$1,800 1120 Victorian Parcel-Gilt Mahogany Server/ Side Cabinet fourth quarter 19th century, the step-back upper shelf over beveled mirrors and turned columns, the lower section with a spindle gallery and embossed panels. h. 41‑3/4”, w. 59‑1/2”, d. 16‑1/2”

1120

$600‑$900 1121 Three Sets of Leather-Bound Books Including George Gordon, Lord Byron (1788‑1827), Works, 17 volumes, London: John Murray, 1832‑1833, in full green calf with gilt fillet, the spines with red panels with gilt lettering and decoration, with marbled endpapers and bookplate of John Barclay de Courcy, 6‑3/4” x 4‑1/2”; Sir Walter Scott (1771‑1832), The Waverly Novels, complete in 48 volumes, Edinburgh: Adam & Charles Black, 1879, illustrated, in green half leather on marbled boards, the spines with red panels with gilt lettering and decoration, 6‑7/8” x 4‑3/4”; and Charles Lever (1806‑1872) Novels, 17 volumes, London: Chapman & Hall, 1873, illustrated, in tan half leather on marbled boards with gilt fillet, the spines with red and green panels with gilt lettering and decoration, bookplate of Wade Hampton Hays, 8‑5/8” x 5‑7/8”. 82 books total $600‑$900

1119

1121

349


1122 Whimsical Carved Fruitwood and Slag Glass Chandelier early 20th century, with six curved caramel slag glass panels separated by carved dolphins, electrified. h. 19”, dia. 18” $700‑$1,000 1123 Victorian Composite and Marble-Top Low Conservatory Table early 20th century, the rectangular marble top with projecting canted corners and raised on double scrolling foliate-carved supports joined by scrolling stretchers and ending on shaped molded bases. h. 19‑1/2”, w. 44‑1/4”, d. 22‑1/2” 1122

$800‑$1,20

1123

1124

1124 Edwardian Satinwood Occasional Table ca. 1900, the oval top with a polychrome floral garland band surrounding a musical trophee center, above a conforming frieze, raised on slender tapering square legs joined by a concave floralpainted shelf. h. 28‑1/4”, w. 19”, d. 11‑1/2” $600‑$900 1125 Edwardian Polychrome Carlton House Desk

1125

early 20th century, of traditional form, the superstructure fitted with small drawers, cupboards and slotted compartments, joined to the top by sloping hinged compartments, the top with a leatherinset surface above a conforming frieze fitted with a long central drawer flanked to either side by a short drawer, raised on slender tapering legs ending in lotus-painted bulbous feet, the whole accented with delicate floral patterns and portrait medallions. h. 36‑1/2”, w. 41‑1/2”, d. 24” $600‑$900

350


1126

1128

1126 Edwardian Satinwood Occasional Table early 20th century, in the Adam taste, the banded oval top centered by a patera inlay and with an inlaid foliate ribband band, above a conforming banded frieze, raised on tapering circular legs joined by a galleried oval shelf stretcher and ending in bulbous feet. h. 28”, w. 31”, d. 21” $600‑$900 1127 Late Victorian Polychromed and Parcel-Gilt Composition Floor Lamp ca. 1900, of large scale, the custom-made silk shade mounted to the tapered and fluted standard, the base with garland swags and large overlapping acanthus leaves, electrified. h. 72”, dia. 27” $600‑$900 1128 Italian Carved Marble Bust of an Elegant Lady second or third quarter 20th century, on a marble socle base. overall h. 23‑1/2”, w. 16”, d. 8‑1/2” $600‑$900

1127

351


1129 Pair of Carved and Polychrome Mahogany Console Tables 20th century, in the manner of William Kent, the shaped and banded top with a gadroon-carved edge over a carved frieze and carved scrolled legs. h. 30‑1/2”, w. 45”, d. 20” $600‑$900 1130 English Scrubbed Pine Beveled Mirror 19th century, in the style of William Kent, with a deeply carved gadrooned outer edge, the inside corners with applied leaf and berry carving. h. 44‑1/2”, w. 39‑1/2” $700‑$1,000 1131 Carved and Inlaid Narwhal and Tortoiseshell Cane

1130

probably late 19th century, with a twisted body, the handle inlaid with tortoiseshell lozenges and hearts, flaring at the top to a rosewood knob. l. 37‑1/4” $1,500‑$2,500 1132 Anglo-Colonial Mahogany Server mid-19th century, the long rectangular top with a gadroon edge, above a conforming case fitted with two small central drawers flanked to one side by a deep drawer and to the other by a cupboard, raised on turned and spiral-ribbed legs ending in bun feet. h. 36‑1/2”, w. 66”, d. 22‑1/2”

1132

$1,000‑$1,500

1131

1129

352


1133 Chinese Export Ebonized Cabinet-on-Stand 19th century, the rectangular top richly decorated with scenes of a dragon and a phoenix in a lush landscape, the case fitted with two doors, featuring a landscape and opening to an arrangement of eight drawers, the drawers and sides decorated en suite, raised on a stand of tall square legs. h. 48”, w. 24‑1/2”, d. 14” $600‑$900 1134 Pair of English Steel and Brass Andirons mid-19th century, in the Rococo Revival style, decorated with figures of a lion crushing a snake, with brass tree trunks with ivy leaves and flower buds, the bases with like decoration. h. 27‑1/2”, w. 13”, d. 7”

1134

$600‑$900 1135 Group of Three Chinese Export Lacquer Boxes 19th and 20th century, comprising a tea caddy, of eight-sided form, with figural decoration to the exterior, the interior with two pewter inserts, together with a sewing box, with a hinged cover opening to reveal a vacant interior, and a single compartmentalized drawer to the lower front, also to include a third example of rectangular form, decorated to the exterior with an ornate cartouche design. largest h. 5‑1/2”, w. 13”, d. 9”

1135

$600‑$900

1133

1133 detail

353


1136 Victorian Chinese Export Black Lacquered Center Table mid-19th century, the tilting circular top with an elaborate gilt chinoiserie scene, raised on a like-accented turned and bulbous standard to a concave tripartite base on gilt paw feet. h. 29”, dia. 35‑1/2” $700‑$1,000 1137 Anglo-Indian-Style Fruitwood Faux Bamboo Chest the rectangular top above a conforming case fitted with three graduated long drawers, all with ebonized panels with gilt Orientalist accents, raised on cluster-column legs. h. 36”, w. 49‑1/2”, d. 20” $1,200‑$1,800

1136

1137

354


1138 Tabriz Carpet 11’ 10” x 8’ 8” $1,500‑$2,500 1139 Semi-Antique Persian Tabriz Carpet 10’ x 12’ 7” $1,800‑$2,500 1140 Turkish Oushak Carpet 10’ x 14’ $1,200‑$1,800

1138

1139

1140

355


1141 Kashmar Carpet 13’ 3” x 10’ $1,800‑$2,500 1142 French Semi-Antique Needlepoint Carpet 11’ x 14’ $700‑$1,000 1143 Tabriz Carpet 12’ 2” x 8’ 10” $1,000‑$1,500 1144 Agra Serapi Runner 2’ 7” x 29’ 5” $800‑$1,200 1141

1144

1143

356

1142


1145 Turkish Angora Oushak Runner 2’ 5” x 19’ 10” $600‑$900 1146 Turkish Angora Oushak Carpet 8’ x 10’ 3” $700‑$1,000 1147 Semi-Antique Heriz Carpet 6’ x 9’ $700‑$1,000 1148 Antique Lavar Kerman Carpet 9’ 6” x 18’ 2” $700‑$1,000 1149 Turkish Carpet 3’ 8” x 5’ 3” $500‑$800 Illustrated Online

1146

1145

1147

1148

357


ARTIST INDEX | OCTOBER 14-15, 2017

American School 376, 873

Domergue, Jean-Gabriel 386

Audubon, John James 973

Drysdale, Alexander John 969, 970

Aureli, Giuseppe 960

Dunbar, George Bauer 854

Ballesio, Francesco 959

Dureau, George Valentine 1068

Basso, Angelo 813

Dutch School 137

Bauer, Theodore (after) 1050

Erte 790-792

Beltran-Masses, Federico 789

Faure, G. 808

Bennett, Bob and Tom 762

Fazzino, Charles 847

Bernini, Gian Lorenzo (after) 394

French School 186, 399

Bingham, N. Henry 345

Gadoud, Claude 807

Bjorge, Ken 1055

Gatteaux, Jacques-Edouard (after) 241

Blanchard, Jim 1072, 1073

Gibert, Alexandro Detallo 391

Blenner, Carl John 1036

Gilot, Francoise 388

Bohrod, Aaron 858

Girard, Bill 1052

Boua, Onofrio 218

Gonske, Walter (Walt) 784

Bourgeois, Douglas 1065

Greuze, Jean-Baptiste (circle) 178

British School 296, 344, 1118

Guardi, Francesco Lazzaro (follower) 405

Browne, George Elmer 786

Guillaume, Pierre 954

Brunery, Francois 426

Haines, E. 351

Buck, William Henry 965, 996

Hall, Harry (Henry) 919

Capeinick, Jean 123

Hart, Frederick Elliott 774

Capser, Mike 1051

Herbo, Leon 480

Carbone, Giovanni Bernardo (after) 153

Herve, Jules Rene 381

Carroll, John 787

Heyde, Charles Louis 1029

Cartier, Thomas Francois (after) 956

Heytman, Willem 541, 542

Cassandre, Adolphe Mouron 805, 806

Hill, Carrie 1037

Caty, Rene 349

Hodermarsky, Daniel 853

Chagall, Marc 378

Hood, Albert 348

Charreton, Victor 384

Hostetler, David 761

Chihuly, Dale 760

Houdon, Jean-Antoine (after) 461, 491

Choi, Wook-Kyung 851

Hudson River School 891

Clement, J. 219

Hunter, Clementine 1058-1060

Continental School 215, 410, 435, 918

Indiana, Robert 845

Cooper, Ann 10

Italian School 115, 135, 151, 152, 217

Cortes, Daniel 961

Jimenez y Aranda, Luis 209

Cortes, Edouard (after) 540

Johnston, Frances Benjamin 974

Cundin, Jose-Maria 1066, 1067

Karssen, Anton Nicolaas Marie 921

D’Aste, Giuseppe 423

Kluge, Constantin 380

David, Antonio (follower) 323

Koekkoek, Hendrik Pieter 34

del Verrocchio, Andrea (after) 80

Kohlmeyer, Ida Rittenberg 846

Descubes, Alexandre 20

Kollner, Augustus (after) 884


ARTIST INDEX | OCTOBER 14-15, 2017

Kronberg, Louis 788

Spruance, Benton 859

Lafrance Jules (after) 98

Steene, William 379

Lichtenstein, Roy 843, 844

Stone, Robert 920

Lucchesi, Bruno 1040

Tabuena, Romeo 856, 857

MacDonald, Richard 799, 800

Tait, Arthur Fitzwilliam 304

Mack, Bill 776

van der Plas, Niek 385, 922

Marshall, Mary Chiswell 968

Van der Tonge, Lammert Leire 35

Max, Peter 850, 852

Vanderveen, Loet 782, 783, 818-827

Mayor, Joan 390

von Dannecker, Johann Heinrich (after) 460

Mexican School 117

Von Rentzell, August 33

Michalopoulos, James 1069-1071

Vuillard, George 350

Michel, Henry 389

Waite, Edward Wilkins 802

Mortensen, Carl 377

Walker, William Aiken 966, 967

Muller, Carl 539

Ward, Roy Lee 785

Netscher, Caspar (attributed) 154

Whistler, James Abbott McNeill 848

Newcomb College Art Pottery 1044, 1045

Wilkinson, Michael 775

Nguyen, Tuan 777

Woodward, William 971, 972, 976-978

Nicol, Erskine 317

Wyant, Alexander Helwig 1031

Oberhauser, Emanuel 481

Yi, Guan 849

Pauwels, Henri Joseph 383 Pissarro, Paul-Emile 382 Pitzer, W. C. 1053 Pol, Louis van der 346 Portocarrero, Rene 855 Powell, Lucien Whiting (circle) 343 Priechenfried, Alois Heinrich 347 Rambert, Rene 540 Ramos, Alvar Sunol Munoz 780 Raphael (after) 116 Regimbal, James P. (Jim) 1054

New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere. The Artist’s Name: In our qualified opinion, a work by the artist.

Remington, Frederic Sackrider (after) 1056, 1057

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.

Renard ‘Lejeune’, Jacques 387

School of: In our qualified opinion, a work by a follower of the artist.

Reni, Guido (after) 436

Circle of: In our qualified opinion, a work of the period of the artist and showing his/her influence.

Reynolds, Sir Joshua (studio of) 324 Richter, Adrian Ludwig 113

Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period.

Rodrigue, George 1061-1064

After: In our qualified opinion, a copy of a known work by the artist.

Rowlandson, Thomas (attributed) 316

Signed: In our qualified opinion, has the signature which is that of the artist.

Sanzio, Raphael (after) 114

Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist.

Schmidt-Felling, Julius 449 Schouten, Henry 917 Spratling, William P. 975

Dated: In our qualified opinion, is so dated and was executed on or around that date. Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.


Conditions of Sale: ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows: • An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG; • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot; • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction; • “Buyer’s Premium” is defined in Section 4 below; • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction; • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction; • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges; • A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below; • The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot; • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot; • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion. Rev. 01/04/17


(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

Rev. 01/04/17


(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid.

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

(iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith.

(ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires] by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and

(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.

(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.

(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.

(b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation. Rev. 01/04/17


(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved. (i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. Severability If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. Data Collection In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. Law and Jurisdiction The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

Rev. 01/04/17


New Orleans Auction Galleries 333 St. Joseph Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: Info@NewOrleansAuction.com

Absentee / Telephone Bid Form Name (Please Print): ______________________________________________

Date: ____________________

Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _________________________ Address: ____________________________________________________________________________________ City: _____________________________________________

State: ____________ ZIP: _________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_____________ E-mail Address: ______________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________

Expiration Date: __________

CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires], the buyer’s premium shall be discounted 3% of this 25%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): __________________________________________________________________________



Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com Rev. 01/04/17


New Orleans Auction Galleries Susan D. Sarofim CEO

Tessa Steinkamp Director of Auctions

Ashton Thomas President

consignments FINE ART:

DECORATIVE ARTS:

SILVER:

Jelena Restovic James

Ireys Bowman

Charles C. Cage

Nicole Casi, PhD

BOOKS, MANUSCRIPTS & EPHEMERA:

Director of Fine Art; Continental and American

Michele M. Carolla

Continental and English

American and Continental

British and American; Sculpture

Nicole Casi, PhD Continental and American; Prints and Maps

FURNITURE: Ireys Bowman

Charles C. Cage Jewelry:

Continental and English

Kim Lemon

Greg S. Kowles

FINE CARPETS & TEXTILES:

Asian Arts:

American, Continental and English

Rebecca Moss

Thomas Halverson

Sean Ranson

American

a d m ini s t r at ion Charles C. Cage

Grace Connors

Burke

Colleen Ryan

Nicole Casi, PhD

Taylor Eichenwald

Office Manager

Director of Human Resources

Manager of Cakebread Auctions Research

Denise Haik

Office Administration

Leigh Firestone

Designer

Marketing & Public Relations

Christa Ougel Gary Michael Gittelson Photographer

Administrative Assistant

Graphic Designer

Bettina Bausa

Graphic Designer

auctioneers

consultants

ope r at ion s

Tessa Steinkamp #1265

Ellen McKenzie English and Continental Furniture

Cedric Roberts | Sean Ranson

Ira Savoie Independent Certified Gemologist Appraiser

Emmitt Kendrick, Jr.

James Callahan Asian Arts

Sol Carter | Thomas Johnson

Ashton Thomas #1833 Taylor Eichenwald #1922 Michael DeGeorge #1774

Bennie Amos | Eddie Daigrepont

Gerald Hampton | Juanita Bazile

David Abney | James Collins


October 14-15, 2017 Estates Auction  

New Orleans Auction Galleries invites you to our October 14-15, 2017 Estates Auction. The sale includes over 1,100 lots of fine art and anti...