October 13-14, 2018 Estates Auction

New Orleans Auction galleries

OCTOBER 13-14, 2018

Estates Auction

October 13-14, 2018 10:00 a.m. CDT

New Orleans Auction galleries

333 Saint Joseph Street, New Orleans, Louisiana 70130 www.neworleansauction.com | info@neworleansauction.com | Main: 504.566.1849 | Fax: 504.566.1851 LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 | 25% Buyer’s Premium Pictured Left: Lot 183 | Front Cover: Lot 336 | Back Cover: Lot 672

EXHIBITION: October 13 - 14, 2018 Monday - Friday, 9:00 a.m. - 5:00 p.m.

Saturday, October 6, 10:00 a.m. - 4:00 p.m.

EVENING RECEPTION: Thursday, October 11, 2018, 5 - 7:30 p.m.

LOT SCHEDULE: Please note that times are approximate

Session I Saturday, October 13 | Lots 1 - 520 10:00 - 11:00

1

11:00 - 12:00

101

-

200

12:00

1:00

201

-

300

-

-

100

1:00

-

2:00

301

-

400

2:00

-

3:00

401

-

500

3:00

-

3:15

501

-

520

Session II Sunday, October 14 | Lots 521 - 991 10:00 - 11:00

521

-

591

11:00 - 12:00

592

-

691

12:00

1:00

692

-

791

-

1:00

-

2:00

792

-

891

2:00

-

3:00

892

-

991

Pictured: Lot 652

LETTER FROM THE CEO Every once in a while, nestled among the Biedermeier tureens, elaborate continental serving trays, regal Rococo coffee sets and other quality, historical sterling silver we offer at New Orleans Auction Galleries, a special piece will glimmer in the light, sparking a warm memory of my mother’s silver.

Her silver, in which she took great pride, was reserved for very special occasions, with holidays topping the list.

What a production these dinners were. Planning began weeks before the actual meal, pressing my teenage self into service as grocery shopper, sous chef, dishwasher and errand runner.

“In this sale,” he added, “we have a set of plates made by the famous silversmith Paul de Lamerie for King George II and a mazarine by John Mewburn for the 5th Duke of Beaufort. We also have a lovely Tiffany wedding anniversary gift from 1865 for Mr. and Mrs. Charles Van Benthuysen, of Albany, New York that features a charming handle in the form of clasped lovers’ hands! There is also a coin silver pitcher, given in 1841 from the congregation of Temple B’nai Jerushun to their rabbi, Samuel Isaacs (who served as a eulogist at Abraham Lincoln’s funeral).

But cleaning the silver, a tedious, time-consuming job, was the task that brought the most anguish. To say my mom was a perfectionist is a massive understatement. As I sat at the counter dutifully polishing away, she would inspect every piece. This diminutive lady with a gentle smile had the exacting eye of an eagle and the expectations of a quartermaster. So I polished as much as I re-polished.

However, this least-favorite job led to my most-favorite duty: table setter. I loved arranging the china, the (now!) gleaming silver, putting out the silver candelabras (also now gleaming!), and placing the crisp white napkins with measured precision. As I inspected my completed handiwork, I always felt immense pleasure with what I saw as a magnificently set table, which made the silver cleaning bearable. Or, close to it.

Fast forward through dinner, when the last silver fork was put down after the homemade pumpkin and pecan pies were devoured, and my family and guests happily heaved themselves from the table to watch football, the ball was in my court … I was in charge of cleanup. After recruiting family and friends to help because of favors owed, along with bribery and threats, our group would hand-wash and dry every piece of cherished china and silver.

Although I would have never admitted it at the time, I loved being in that small, steamy kitchen laughing, talking, washing and drying.

At NOAG, we are so proud to offer such a carefully selected variety of beautiful china and silver, with which to make your own special occasion memories.

Our silver specialist, Charles C. Cage – who, among many notable professional honors, recently served as guest curator of the New Orleans silver gallery during the reinstallation of the permanent collection at the LSU Museum of Art in Baton Rouge – has been with us for 12 years. His expertise and knowledge in his field elevates NOAG’s offerings, and his passion for his craft never fails to impress.

“Silver has such unique history. The craftsmen literally leave their marks on the pieces they make, while the owners proudly engrave their coats-of-arms, names and monograms on them.” Charles said.

“I love the pieces which strive to imitate nature, from the rare aesthetic of George Shiebler napkin rings with leaves, bugs and birds, to the wonderful Buccellati candlesticks depicting grapes and pomegranates!”

Like Charles, I recognize silver pieces beyond their utilitarian function – they are art for my table.

And as an adult, I still get that same thrill from creating a beautiful tablescape, set with my silver and china collected through the years. Before each celebratory meal, I inspect the table and think, Mom would be proud.

And then I say a little prayer of gratitude for the one who polished the silver!”

Come see the many beautiful pieces Charles selected as his favorites, and much more, in our October Estates Auction, Saturday, Oct. 13 and Sunday, Oct. 14, beginning at 10 a.m. each day. Our festive and fun preview party will be held on Thursday, Oct. 11, from 5-7:30 p.m. This auction, with nearly 1,000 lots, offers great timing to find early holiday gifts - and maybe something special for your own table this year.

See you at the auction,

Susan D. Sarofim CEO

July 28-29, 2018 Estates Auction Evening Reception (L-R): Robbie Farmer, Ashley Holtrey and Micah Toups-Farmer; Kristen Whitmire and Abe Mitnik; Tim Fields, Burke and Jack Sullivan; Stephanie Tickner and Emily Tickner; Liz Riehl, Chris Pope, Victoria Todd and Miriam Fine; Gerard McGovern, Marilyn Alexander and Katie Kolthoff; Annie McDermott and Grant McClure; Ellen Berthelot, Jean Caillouet and Jan Catalano.

Pictured Right: Lot 347

THE ESTATE OF

MARY ELIZABETH “LIZ” TAHIR NEW ORLEANS, LOUISIANA

Mary Elizabeth “Liz” Tahir was a respected businesswoman, marketing expert, professional speaker, avid preservationist and art collector.

Liz was born December 14, 1933 in Greenwood, Mississippi to Mahmoud (Abe) and Mary Constance Ollie Tahir, who for decades were part of the business community in Greenwood and Tchula. She attended the University of Mississippi, graduating in 1953.

She began her illustrious business career in 1954 as a management trainee at Neiman Marcus in Dallas, Texas, an exciting time to be with the company.

After two years at Neiman Marcus, Liz moved to New Orleans to pursue an assistant buyer position with D.H. Holmes. Tahir’s business acumen was quickly noticed and she advanced to a Buyer position in 1958. She held that position for nearly a decade and was then promoted again to Associate Divisional Merchandise Manager in 1965. From 1969-1979, she worked as the Divisional Vice President. Liz then became the first female Executive Vice President and Merchandise Manager of D.H. Holmes, a position that she proudly held from 1979-1989.

After more than three decades with D.H. Holmes, Liz left the company to start her own consulting business, Liz Tahir & Associates, in 1990 with a mission to help companies be more effective and profitable. Liz worked as a marketing consultant, conference speaker and business writer, using her own experience to conduct workshops on negotiating skills, merchandising, positioning and customer service. She spoke at and conducted workshops all over the world, from Brazil to Japan.

Tahir served on several boards and was a member of numerous professional associations, including the Vieux Carré Property Owners, Residents and Associates (VCPORA), American Marketing Association, National Retail Federation, Women's Professional Council, Fashion Group International, National Speakers Association, Foreign Relations Association and others. In addition, she was the recipient of several prestigious awards, including the Fashion Group International Alpha award and Lifetime Achievement award.

Above: Liz Tahir photographed with her brother, Abe Tahir, by George Dureau Aside form her extensive professional achievements, Tahir also had a love of art and culture, which she shared with her brother, Abe Tahir. Abe owned and was Director of Tahir Art Gallery, Inc., where he gained a national reputation as an art consultant with expertise in art prints. Abe also served as Adjunct Curator for prints and drawings at the New Orleans Museum of Art. Tahir’s art collection includes works by Dureau, Douglas Bourgeois, Carroll Cloar, Hart Benton, Theora Hamblett, Jose-Maria William Tolliver and many others. New Auction Galleries is pleased to offer works of the Estate of Mary Elizabeth “Liz” Tahir.

George Thomas Cundin, Orleans art from

Pictured Right: A portrait of Liz Tahir by George Dureau (Lot 844)

PROPERTY DESCENDED IN THE FAMILY OF

JOHN GILMAN D'ARCY PAUL BALTIMORE, MARYLAND

John Gilman D'Arcy Paul (1887-1972) was the only child of D'Arcy Paul (1854-1890) and Charlotte Abbott Gilman Paul (1861-1954). Charlotte Paul was the daughter of John Stratton Gilman, a financial leader of Baltimore in the 19th century and partner in the Abbott Iron Works in Canton. The Gilman family estate was called Woodlands, the site where The Baltimore City College was later built.

Paul attended Gilman School, Johns Hopkins University and Harvard University graduating magna cum laude and eventually attaining a Master of Arts degree in 1914.

He worked first as a journalist, editor and translator, and then became involved in foreign affairs around the time of World War I, working for the U.S. government in diplomatic capacities from ca. 1915-1922, and again during World War II. Paul was an assistant editor of The Atlantic Monthly, and was trustee of Johns Hopkins University, Peabody Institute, the Peale Museum, and the Baltimore Museum of Art. He served as vice-president of the Maryland

Family patriarch D'Arcy Paul (1854-1890)

Historical Society, and contributed articles and reviews to the Maryland Historical Magazine. A wellknown authority on Maryland history and architecture, Paul strongly advocated architectural preservation of downtown Baltimore, especially the Mt. Vernon neighborhood.

Paul also owned and operated a farm near Havre de Grace, Maryland called Land of Promise. This area later became part of Susquehanna State Park, the establishment of which was accomplished partly through Mr. Paul's influence.

When Paul died, he had no heirs and his estate passed to his cousin, Henry Wallace Wallingford Todd (18971980). Items from Paul’s estate, including fine and decorative art, documents and more are conserved in museums and institutions, including the Baltimore Museum of Art and the Maryland Historical Society. New Orleans Auction Galleries is pleased to offer furniture, fine art and more that descended in the family of John Gilman D’Arcy Paul.

Left to Right: Francis L. Berkeley, Jr., Henry F. Dupont and J. Gilman D'Arcy Paul in Charleston, South Carolina, April 6, 1956

session i Saturday, October 13, 2018 10:00 a.m. CDT Lots 1 - 520 Pictured: Lot 348

1 Italian Giltwood Lantern in the Baroque Taste first quarter 20th century, the hexagonal lantern fitted with a six-socket interior light, supported on a carved standard set with pierced scrolls terminating in carved heads, the upper portion pierced and carved with scrolls and shells. h. 40”, dia. 16” $1,500‑$2,500 2 Baroque-Style Carved Giltwood Floor Lamp first quarter 20th century, the standard carved with mirrorimage acanthus leaves and rope-twist carving, above a circular base on bun feet. h. 68-1/4”, dia. 11” $1,000‑$1,500 3 Latin American Carved, Painted and Gilded Partial Ecclesiastical Column second half 19th century, now mounted as a lamp, the gilt capital with swollen sides, carved with winged angel heads, the faces realistically painted and capped with a Corinthian capital. h. 32‑3/4”, w. 8-1/4”, d. 8-1/4” $1,000‑$1,500 4 Pair of Latin American Carved, Parcel-Gilt and Painted Devotionists

1

18th century, the large gilt figures with their hands clasped in prayer, kneeling on the tops of carved and painted clouds. h. 47”, w. 24”, d. 9‑1/2”

2

$1,500‑$2,500

4 3

2

5 Latin American Carved and Parcel-Gilt Figure of St. Rose of Lima early 19th century, the carved hardwood figure depicted with her hand at her heart, wearing her signature wreath of flowers in her hair. h. 18-1/2”, w. 6‑3/4”, d. 3” $900‑$1,200 6 Spanish Stained Oak and Wrought-Iron Guardroom Table in the 18th-century style, the plank top with a molded edge and supported by shaped legs at each end and joined by a wrought iron stretcher. h. 31”, w. 90”, d. 35”

5

$1,000‑$1,500 7 Italian Neo-Renaissance Bone-Inlaid Ebony and Ebonized Desk second half 19th century, in the manner of Pogliani, the upper case with a recessed bank of inlaid drawers, on a base with a fold-out drawer opening to reveal a fitted and inlaid interior, on an ebonized stand. h. 58”, w. 35”, d. 18-1/2”

7

$1,000‑$1,500 8 Italian School (18th Century) “The Fall: Adam and Eve with the Serpent in the Garden of Eden” oil on canvas unsigned.

Period carved and painted wood frame.

27‑3/4” x 37‑5/8”, framed 36‑7/8” x 42‑7/8” $1,000‑$1,500

8

6

3

9 Italian School (18th Century) “St. Jerome on His Study” oil on canvas laid down on wood panel unsigned.

Framed.

47” x 36‑1/2”, framed 52‑1/2” x 43‑1/8” $1,000‑$1,500 10 Renaissance-Style Carved Oak Architectural Plaque fourth quarter 19th century, with a surround of pierced and carved scrollwork, decorated with an untinctured armorial of three bull heads cabossed, bendwise, with a carved crown crest. h. 28”, w. 36” $1,000‑$1,500

9

11 Continental Baroque Carved Oak Altar Stick ca. 1700, the base with parcel-gilding and scrolled carving, the standard carved with a dolphin, and the drip pan set with a wooden candle pricket. h. 37”, dia. 13‑3/4”

11

$700‑$1,000 12 Early Spanish Oak Plank-Top Guardroom Table 17th century, the thick single-board top over three deeply carved drawers, supported by shaped trestle-form ends. h. 33”, w. 69”, d. 26‑1/2” $1,500‑$2,500 10

12

4

13 Early Spanish Cedar Paneled and Carved Cabinet 17th/18th century, the front with two doors, each with deeply carved panels and opening to an interior fitted with shelves, the ends paneled as the front, the doors mounted with forged rat-tail hinges. h. 65‑1/2”, w. 40”, d. 20” $1,000‑$1,500 14 Italian Baroque Miniature Walnut Cassone fourth quarter 17th century, on cabriole front legs, the facade carved with a pair of flanking figures, possibly Adam and Eve, the central panel carved with stippled fans and the base molding with gadrooning. h. 9‑1/4”, w. 16‑1/2”, d. 8”

16

$800‑$1,200 15 Provincial Walnut Raised Panel Blanket Chest 17th century and later, the lift-top over a front with a faux drawer face over a drawer, raised on bun feet. h. 33‑1/2”, w. 58”, d. 24” 14

$1,500‑$2,500 16 Pair of Baroque Giltwood Architectural Fragments ca. 1700, now mounted as lamps, carved with kneeling angels supporting plinths, with tole drip pans, electrified. overall h. 21‑1/2”, w. 7‑3/4”, d. 6‑3/4” $1,200‑$1,800

15 13

5

17 Baroque Carved and Painted Putto ca. 1700, Italian, the figure wearing a feathered skirt and standing amid boldly carved and pierced scrollwork. h. 17‑3/4”, w. 16”, d. 6‑1/2” $1,000‑$1,500 18 Pair of Carved Giltwood Winged Angel Busts fourth quarter 19th century, composed of lignum vitae, the carved heads set with wings decorated with incised feathers. h. 8-1/2”, w. 4‑1/2”, d. 8” $700‑$1,000 17

19 Baroque Carved, Painted and Parcel-Gilt Angel first quarter 18th century, Continental, depicted floating with a gilt shawl, the surviving gilt wing carefully carved, on a handsome giltwood base composed of antique elements, and adorned with a stamped brass crown set with rhinestones. h. 31”, w. 14‑1/2”, d. 6” $800‑$1,200

18

19

21

20 Italian Baroque-Style Painted Mirror 19th century, the scrolled surround decorated with flowerheads, rocaille work and scrollwork, mounted on a white-painted boiserie panel. h. 43‑1/4”, w. 20” $1,000‑$1,500 21 Italian Baroque Giltwood Altar Stick first quarter 18th century, now mounted as a lamp, on a tripartite scrolled base, the standard carved with panels, bellflowers and scrollwork, electrified and set with a Fortuny shade. overall h. 17‑3/4”, dia. 14” $700‑$1,000 20

6

22 Pair of Baroque Carved and Parcel-Gilt Architectural Elements first quarter 18th century, now mounted as lamps, on molded bases with vasiform standards, mahoganized with carved, scrolled giltwood trim, set with shades. h. 27”, w. 8-1/2”, d. 5” $800‑$1,200 23 Pair of Italian Polychrome Side Tables 19th century, each with a demi-lune banded faux marbre top raised on scrolling lyre-form end supports joined by like stretchers and ending in scrolled toes. h. 32”, w. 72”, d. 35” $1,500‑$2,500 24 Italian Polychromed and Marble-Top Console Table early 19th century and later, in the neoclassical taste, the variegated marble top over a carved frieze, raised on leaf-carved legs with paw feet, with a later top and rear leg. h. 34”, w. 32”, d. 17”

25

$1,200‑$1,800 25 Continental Gilt-Metal and Silver-Gilt SixLight Chandelier 20th century, with a ball inset standard supporting scrolled candle arms set with silvergilt leaf-molded sockets, the corona with silvergilt leaves and flower buds. h. 39”, dia. 37‑1/2” $1,000‑$1,500

22

24

23

7

27

28 26

26 Italian Walnut and Fruitwood Commode 19th century, the breakfront top banded and with circular string inlays, above a conforming case fitted with three long drawers, all banded and with decorative panels, raised on shaped bracket feet. h. 30‑1/2”, w. 45”, d. 22‑1/2” $2,000‑$4,000 27 Pair of Unusual Provincial Painted Wood Candelabra in the neoclassical style, painted with gold scrollwork and anthemia on a blue ground, and set with pricket candle holders, with wooden easel supports. h. 35”, w. 22‑3/4”, d. 7‑1/2” $800‑$1,200

88

28 Italian Rococo Giltwood Mirror second half 18th century, the pierced crest decorated with a pair of horns framed with “C” scrolls, the sides and base with delicately carved vines over carved scrollwork, all on a painted ground, set with antique mirror glass. h. 52”, w. 25” $1,200‑$1,800

29 Pair of Ecclesiastical Carved and Parcel-Giltwood Medallions now mounted as lamps, the center panels carved “IHS” (Iesus Hominum Salvator [Jesus, Saviour of Men]), with sunburst edges, above carved flames. overall h. 29”, w. 7‑1/4”, d. 7‑1/4” $1,000‑$1,500 30 Continental Carved and Painted Santos Figure early 19th century, set with glass eyes and carefully carved hair, hands and feet. h. 42”, w. 14‑1/2”, d. 11‑3/4” $1,000‑$1,500

30

31 Provincial Pine and Polychrome Farmhouse Table composed of antique elements, the long plank pine top raised on a polychrome base with a plain frieze to cabriole legs ending in block feet. h. 30”, w. 29”, l. 86”

29

$1,000‑$1,500

31

9

32 Italian School (19th Century) “Stations of the Cross” suite of fourteen oils on canvas unsigned.

Each framed alike. each 30‑1/2” x 21”, framed 34” x 24‑1/2” $5,000‑$8,000

10

36 Pair of French Faux Marbre Wooden Urns third quarter 19th century, the faux verde antique marble campana-form urns raised on faux rouge marble square plinths. h. 14‑1/4”, dia. 9” $800‑$1,200

33

33 Dom Antoine Augustin Calmet, O.S.B. (1672‑1757), “Commentary” Commentaire Litteral sur Tous les Livres de l’Ancien et du Nouveau Testament(Paris: Pierre Emery, 1707‑1716), first edition, crown octavo, eight volumes (of twenty-three), including Genesis (1707), Exodus & Leviticus (1708), Isaiah (1714), Ezekiel & Daniel (1715), Twelve Minor Prophets (1715), Matthew (1715), Mark & Luke (1715) and the Pauline Epistles (1716), in full brown leather, the flat spines with raised bands and brown panels with gilt lettering and decoration, with marbled endpapers and cut and tinted edges [Kapsner 2253]. leaf 10” x 7‑3/8”, overall 10‑1/2” x 8”

36

$1,000‑$1,500 34 Italian Rococo Carved and Painted Boiserie Niche fourth quarter 18th century, with a swell front, the serpentine opening carved with trailing flowerheads, the sides carved with scrollwork, rocaille work and flowerheads, with a shell-carved crest. h. 62‑1/2”, w. 33”, d. 9” $1,200‑$1,800 35 Continental Cast Stone Garden Figure of a Medici Lion fourth quarter 19th century, one foot poised on a spherule, above an integral rectangular base. h. 23”, w. 27‑1/4”, d. 9‑1/2” $1,000‑$1,500

35

34

11

37 Italian Polychrome and Faux Marbre Side Table 19th century, the shaped rectangular faux marbre top above a conforming frieze centered by an argente floral shield mount, raised on molded cabriole legs ending in scrolled toes. h. 34‑1/2”, w. 50”, d. 24‑1/2” $1,500‑$2,500 38 Large Latin American Baroque Painted and Carved Putto 18th century, the realistically painted putto floating on a carved cloud painted dark blue. h. 32”, w. 21‑1/2”, d. 10‑1/4” $1,500‑$2,500 39 Large Pair of Continental Baroque Giltwood Altar Sticks first quarter 18th century, on tripartite bases with scrolled feet, the vasiform standards carved with swags of laurel, the upper portions set with painted and pierced tole candle sockets and drip pans. h. 40‑1/2”, dia. 6‑1/2”

38

$1,000‑$1,500 40 Continental School, Probably German (18th Century) 39

“Portrait of a Composer with a Flute and Sheet of Music” oil on canvas unsigned.

Framed.

34‑5/8” x 26‑7/8”, framed 44” x 38” $1,000‑$1,500

37 40

12

41 Johann Kupetzky (Czech, 1667‑1740) “Self-Portrait”, 18th century oil on beveled wood panel numbered “22” lower left, a partial “Hassenet/ Paris” label and old handwritten inscription listing artist and date of death en verso.

Framed.

11‑1/8” x 8-1/8”, framed 12‑3/4” x 9‑1/2” $1,500‑$2,500 42 Venetian Carved, Painted and Gilt-Decorated Blackamoor late 19th century, modeled as a female figure poised on a draped pedestal, painted in a typically colorful, fringed costume, and supporting a plateau in each hand, the higher one on a cornucopia-form standard. h. 47‑1/4”, w. 13”, d. 12”

41

$1,500‑$2,500

42

43 Pair of Italian Marquetry- and Parquetry-Veneered Corner Cabinets ca. 1900, in the rococo taste, each with a scrolling brokenarch pediment over a door with a serpentine glazed panel, the base with a serpentine top over a pair of conforming doors centered by sunburst inlays, the corners with line-strung shaped pilasters, on bracket feet. h. 87”, w. 37”, d. 22‑1/2” $2,500‑$4,000

43

13

44 Italian Giltwood Mirror in the Rococo Revival Taste fourth quarter 19th century, the delicate pierced surround having scrollwork punctuated with flowerheads, the crest decorated with a swan’s-neck pediment and rocaille work. h. 48-1/2”, w. 36” $1,200‑$1,800 45 Continental Brass and Crystal Chandelier 20th century, the twelve-light chandelier with a glass-clad standard set with ivy-molded candle arms terminating in glass drip pans, cascades of prisms meeting the candle arms, and hung with swags of drops. h. 26‑1/2”, dia. 27” Provenance: Moss Antiques, New Orleans, Louisiana; Estate of Anne Clark Gsell, New Orleans, Louisiana. $1,200‑$1,800

44

46 Pair of Italian Walnut and Parcel-Gilt Cabinets early 20th century, each with a shaped and banded rectangular top above a conforming case fitted with two cupboard doors, with shaped burled panels, above a pierced foliate-patterned apron, raised on cabriole legs headed by acanthine carving and ending in pad feet. h. 32”, w. 36”, d. 16‑1/2” $1,500‑$2,500

45

46

14

47 Italian Walnut Bureau late 18th century, the rectangular top above a banded slant front opening to a variety of drawers and cubbyholes, above three long serpentine drawers, all with decorative line inlay, raised on bracket feet. h. 43”, w. 44‑1/2”, d. 23” $1,200‑$1,800 48 Italian Carved Giltwood Mirror in the Rococo Taste fourth quarter 18th century, the pierced scrollwork crest set with an urn-form finial and carved leaves trailing down each side, the lower section with carved mirror rests on each side. h. 54‑1/4”, w. 27” $1,200‑$1,800 49 Continental Kingwood and Mahogany Commode 19th century, the banded and chevron-veneered bowed top above a conforming case fitted with two long drawers, all with inlaid scrolling patterns, raised on cabriole legs. h. 34‑1/2”, w. 48-1/2”, d. 20‑1/2” $1,800‑$2,500

48

49

47

15

50 Italian Walnut and Fruitwood Center Table late 18th century, the banded and rounded rectangular top centered by decorative inlays, above a plain frieze, raised on cabriole legs headed by carved shells and ending in peg feet. h. 28”, w. 27”, d. 20” $1,000‑$1,500 51 Italian Painted Wood and Gilt-Metal Chandelier 50 detail

the twelve-light chandelier having a standard painted Pompeiian red and gray, and set with gilt-metal candle arms on two tiers, the bottom with a tassel-form finial, the top with a spray of wooden tassels. h. 37‑1/2”, dia. 29‑1/2” $800‑$1,200 52 Pair of Continental Painted and Parcel-Gilt Fruitwood Armchairs 18th century, possibly Danish, each with a shell-carved crest over a vasiform splat, outswept open arms with scroll ends, bowed seat and cabriole front legs with shell-carved knees. h. 41‑1/2” $800‑$1,200

50

51

16

52

53 Continental Polychromed and Marble-Top Work Table early 20th century, with a thick marble top, the base fitted with a single drawer along an edge, having scalloped aprons along all sides and raised on spiral-twist legs joined by a shaped stretcher. h. 30”, w. 79”, d. 34” $1,200‑$1,800 54 Pair of Italian Carved and Painted Beechwood Urns 20th century, now mounted as lamps, on faux Siena-painted bases, the urns with blue-ground decoration, silver gilt fluting and scroll-carved “covers”. overall h. 24”, w. 9‑3/4”, d. 7‑1/2”

54

$1,000‑$1,500

53

55 Venetian Fruitwood Canape early 19th century, the shaped, domed and padded back surmounted by a foliate shellcarved crest, joined by padded outswept arms to the shaped cushioned seat, raised above a shell-carved apron on cabriole legs ending in foliate scrolled toes. h. 42”, w. 77”, d. 27” $1,800‑$2,500

55

17

56 Italian Walnut and Mahogany Commode late 19th century, the banded rectangular top with a double banded front, above a conforming case fitted with two banded drawers, raised on cabriole legs. h. 30”, w. 25‑1/2”, d. 17‑1/2” $1,000‑$1,500 57 Fine Italian Carved and Polychrome Marble Bust of Cecilia Gonzaga (1426‑1451) 19th century, probably by Antonio Carella (Florentine, 19th century), variant after the 1447 bronze medal by Pisanello (Antonio Pisano, 1395‑1455), inscribed “Antonius Carella Florentiia MLCCCC (sic)” and “Cicilia Virgo Filia Johannis Francisci Primi Marchionis Mantue”, robe with elaborately carved floral design and border of putti and stars, all with remnants of gilt and polychrome, together with a custom-made wooden presentation cabinet. bust h. 23”, w. 20‑1/2”, d. 10”, cabinet h. 35‑1/2”, w. 25”, d. 18-1/2”

56

$5,000‑$8,000 An Antonio Carella is listed as a working Florentine artist in the 1903/1904 edition of Periodico Arte e Storia, ed. by Guido Carocci.

58 Handsome Italian Carved Marble Bust of a Young Girl third quarter 19th century, on an integral molded square socle, h. 18”, w. 10”, d. 11” $700‑$1,000

58 57

18

59 Italian Carved Marble Relief of a Nymph fourth quarter 19th century. h. 16‑1/2”, w. 14”, d. 7‑1/2” $1,200‑$1,800 60 Italian Mahogany Commode 19th century, in the rococo taste, the top with an exaggerated serpentine front, above a conforming case fitted with three long drawers, all inset with four brass-banded panels, flanked to either side by spiralband columns, raised on shaped feet ending in brass caps. h. 37”, w. 56‑1/2”, d. 26‑1/2” $1,200‑$1,800 61 Italian Giltwood Mirror in the Rococo Taste fourth quarter 18th century, the rectangular molded surround carved with beading and leaves at each corner and fitted with an inset mirror, the crest with pierced rocaille work and the sides decorated with pierced scrollwork. h. 48”, w. 34” $900‑$1,200 61

59

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62 Jozef Theodore Lodewyk Geirnaert (Belgian, 1791‑1859) “In the Barnyard” oil on canvas signed lower right.

Framed.

23‑1/2” x 28-3/4”, framed 28-1/2” x 34” $1,000‑$1,500

62

63 Continental School (19th Century) “Time for Tea” oil on canvas illegibly signed lower right, two partial handwritten labels en verso.

Period frame.

14” x 21‑1/4”, framed 23‑1/2” x 31” $1,000‑$1,500

63

64 Edmond de Schampheleer (Belgian, 1824‑1899) “Landscape with a Fisherman and a Windmill in the Background” oil on canvas signed lower left.

Period giltwood and gesso frame.

23‑7/8” x 44”, framed 39” x 58-1/2” $3,000‑$5,000

64

20

65

67

65 Fredericus van Rossum du Chattel (Dutch, 1856‑1917) “Windmills” oil on canvas signed lower right.

Framed.

24‑3/4” x 34‑1/2”, framed 32” x 41‑1/4” $2,500‑$4,000 66 Pierre Tetar van Elven (Dutch, 1828/1931‑1908) “Busy Morning on the Square”, 1866 oil on canvas signed and dated lower left corner.

Period giltwood frame.

59‑1/4” x 41‑1/2”, framed 70” x 54” $12,000‑$18,000 67 Jan Hillebrand Wijsmuller (Dutch, 1855‑1925) “Homeward Bound” oil on canvas signed lower right.

Framed.

26‑1/2” x 39‑1/2”, framed 32‑1/4” x 45‑1/2” $1,500‑$2,500

66

21

68 German School (Fourth Quarter 19th Century) “Moonlit View of St. Peter’s from the Tiber, Rome” oil on canvas signed “L. Erhardt” lower left, further inscribed on stretcher en verso.

Handsome antique giltwood frame.

32‑1/4” x 50‑3/8”, framed 44‑5/8” x 57‑1/4” $1,500‑$2,500 69 Italian Carved Marble Bust of Caesar Augustus 19th century, the first Roman Emperor with laurel wreath, after the Antique. h. 27‑1/2”, w. 22”, d. 7” $1,200‑$1,800 70 Italian Carved Marble of “David” first quarter 20th century, after the 1501/4 monumental sculpture by Michelangelo (Italian, 1475‑1564) now conserved at the Galleria dell’Accademia in Florence, Italy, presented on a carved marble columnar pedestal with floral vine and stylized reed motif. overall h. 66”, w. 11‑1/2”, d. 11‑1/2” $2,500‑$4,000

70

69

68

22

71 Pair of Marble Architectural Balusters 19th century and later, now mounted as lamps, of urn form and turned with cove molding, resting on square plinths. overall h. 36‑1/2”, dia. 9” $1,000‑$1,500 72 Pair of Tole and Steel Planters

71

in the Directoire taste, each with a tole liner in a patinated frame, each side with an X-form bracing. h. 19‑1/2”, w. 18-1/4”, d. 18-1/4” $1,000‑$1,500 73 Italian Carved Black Marble of “The Dying Gaul” first or second quarter 20th century, after the ca. 200 BCE Roman marble (itself after a Hellenistic bronze from the 3rd century BCE) now conserved at the Capitoline Museum, Rome, Italy. h. 9”, w. 17”, d. 6‑1/2”

72

$1,000‑$1,500 74 Pair of Italian Patinated Bronzes of Classical Figures fourth quarter 19th century, including “Bacchus”, after a model by Louis Garnier (French, 1638-1728), and “Woman with Wreath of Victory”, after the Antique, each on a giltmetal base with acanthine scroll feet. former h. 16”, w. 6‑1/2”, d. 7”, latter 15‑3/4”, w. 6‑1/2”, d. 7”

73

$5,000‑$8,000 75 Fine Italian Grand Tour Carved Black Marble Obelisk fourth quarter 19th century, after the structure erected in the 16th century at the Piazza San Giovanni in Laterano, Rome, Italy and composed of a 15th-century BCE obelisk from the tomb of Amun, Karnak, Egypt and a 4th-century base inscribed in Latin, the upper portion densely carved with hieroglyphs, the base with extensive Latin inscription, all set on a thin Siena marble base. h. 24‑3/4”, w. 5‑3/4”, d. 5‑3/4” $1,000‑$1,500

74

75

23

78

77

76 Italian Verdigris-Patinated Bronze of “Mercury” ca. 1900, after Giovanni da Bologna (Italian, 1529‑1608), on an octagonal weathered marble base. overall h. 22”, w. 7”, d. 7” $700‑$1,000 77 Carved and Painted Wooden Mirror in the Early Neoclassical Taste fourth quarter 18th century, of oval form, decorated with a border of carved flowers and a border of roses bound in ribbon lining the antique mirror plate. h. 37‑1/2”, w. 31” $800‑$1,200 78 Two Pairs of Continental Neoclassical-Style Painted Altar Sticks one pair decorated with silver gilt leaf-carved standards and rosette panels in the bases, first quarter 19th century, h. 25‑3/4”, dia. 7‑1/4”, and the other pair with silver gilt fluting, 20th century, h. 29‑1/4”, dia. 8”, each with a metal pricket candle holder. $1,000‑$1,500

24

76

79

79 Pair of Continental Carved and Parcel-Gilt Wooden Altar Sticks first quarter 19th century, decorated with carved leaves and reeded drip pans, on paw feet. h. 36‑1/2”, dia. 6” $800‑$1,200

80 Italian Parcel-Gilt Altar Stick in the Neoclassical Taste second quarter 19th century, on paw feet, the base decorated with blue paint and a leaf-carved standard. h. 34‑1/2”, dia. 9‑1/2” $800‑$1,200 81 Impressive Italian Neoclassical Giltwood Altar Stick first quarter 19th century, on a tripartite base with angels at each corner, and molded acanthus leaves supporting the Corinthian column standard, set with a gadrooned drip pan and a pricket candle holder. h. 53‑1/2”, dia. 12‑1/2” $1,000‑$1,500 82 Pair of Continental Neoclassical Giltwood Altar Sticks 81

first quarter 19th century, now mounted as lamps, on scrolled feet, the reeded standards carved with lotus leaves, set with tole drip pans. h. 38”, dia. 7”

80

$1,000‑$1,500 83 Near Pair of Continental Neoclassical Mahogany and Marble-Top Commodes 19th century, each with a rectangular marble top above a conforming case fitted with three long drawers, all with decorative banding and centered by an inlaid oval panel, raised on tapering square legs ending in brass caps. h. 36”, w. 38”, d. 16‑1/2” $2,000‑$4,000

82

83

25

84 Italian Neoclassical Fruitwood Games Table 19th century, the rectangular top with decorative foliate-inlaid banding surrounding a central inlaid castle panel, hinged and opening to a like-inlaid interior, above a conforming banded frieze, raised on tapering square legs. h. 31”, w. 32‑1/2”, d. 17‑1/4” $1,500‑$2,500 85 Italian Giltwood and Faux Marbre Side Table 18th century, the D-form faux marbre top above a conforming pierced frieze centered by a carved masque, raised on fluted and foliate-carved circular legs ending in ball feet. h. 31”, w. 39‑1/2”, d. 22” $1,500‑$2,500

84 detail

86 Continental Carved and Painted Figure of the Angel Gabriel ca. 1900, poised on one foot, his wings spread, h. 42”, w. 28”, d. 9”, and raised on a painted plaster pedestal decorated with gilt spiral reeding, h. 49‑1/2”, w. 10”, d. 10”. $1,200‑$1,800

84

85

86

26

90

88

87

89

87 Italian Neoclassical-Style Polychromed Console Table

89 Pair of Italian Neoclassical Painted and Parcel-Gilt Mirrors

comprised of antique elements, the top with a variety of painted panels including a central demi-lune panel and others around the perimeter, all on an ivory ground, the frieze with figural panels, raised on turned legs with guilloche carving over fluting. h. 36”, w. 61”, d. 25”

second quarter 19th century, each with a blue ground and decorated with a figure of Zeus in the guise of an eagle abducting Ganymede, his talons carrying thunderbolts, the two-part mirror plate lined with gilt and the ogee crest molded with anthemia. h. 61”, w. 16”

$2,000‑$4,000

$1,200‑$1,800

88 After Francesco Albani (Italian, 1578-1660)

90 Continental Neoclassical Walnut Commode

“Adonis Led by Cupids to Venus”, 19th century oil on canvas unsigned, partial old inventory label en verso.

Framed.

30‑3/4” x 39‑1/4”, framed 35‑3/4” x 45‑1/4” $3,000‑$5,000

early 19th century, the banded rectangular top centered by an inlaid panel of Bacchus and a musician, with corner foliate accents, above a case fitted with two short drawers over two graduated long drawers, all banded and with foliate inlays, raised on tall, tapering square legs, bearing a paper label reading: “Magazzino D’Antichita / Oggetti d’Arte e Curiosita / Carlo Guarducci / Firenze / Via Maggio N. 8-10”. h. 33”, w. 50‑1/2”, d. 22” $1,500‑$2,500

27

91

93

91 Continental Neoclassical Fruitwood Center Table 19th century, the banded circular top with a central chevronpatterned inlaid panel, above a conforming plain frieze, raised on tapering square legs. h. 31”, dia. 43‑1/2” $1,800‑$2,500

91 dteail

92 Continental Fruitwood Commode in the neoclassical taste, the rounded rectangular quarterveneered top centered by an oval panel, above a conforming case fitted with three long drawers, all with decorative banding and veneers, raised on ormolu paw feet. h. 33”, w. 40”, d. 20” $1,500‑$2,500 93 Continental Neoclassical Mahogany Secretaire a Abattant mid-19th century, the rectangular top above a conforming case fitted with a long drawer over a drop front, centered by an inlaid classical figural medallion and opening to a variety of drawers and cubbyholes, over two cupboard doors, each with a central urn inlay, raised on tapering square legs. h. 57‑1/2”, w. 37”, d. 16” $1,000‑$1,500

28

92

94 Giuseppe Livi (Italian, b. 1828) “Sposa e Sposo”, 1888 carved Carrara marble incised signature and dated along back edge. h. 31”, w. 16”, d. 11” $1,500‑$2,500

95 Pair of Neoclassical Polychrome Side Tables early 20th century, each with a demi-lune top above a plain frieze with carved patera accents, raised on tapering square legs. h. 31‑1/2”, w. 45”, d. 22”

94

$1,800‑$2,500

96 Italian Neoclassical Fruitwood Dining/ Center Table ca. 1800, the circular top over a line-inlaid apron, raised on tapering legs with like inlay. h. 30”, dia. 75‑1/2” $1,000‑$1,500

96

95

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97 Russian Neoclassical Mahogany and Brass Mirror second quarter 19th century, the mirror surround decorated with brass ogee molding, the pediment with a tinted parian roundel depicting the goddess Flora attended by two putti, the lower portion with gilt fluting. h. 62”, w. 32‑1/4” $1,000‑$1,500 98 Continental Empire Mahogany Commode early 19th century, the rectangular top above a conforming case fitted with a frieze drawer over two long recessed drawers, flanked to either side by engaged parcel-gilt and ebonized caryatid figures, raised on tapering square legs. h. 36”, w. 50”, d. 24‑3/4” $1,200‑$1,800 99 Continental Painted Leather Three-Panel Screen first quarter 20th century, decorated with roundels of cupids and panels of swans with arabesque scrollwork, urns and trailing bellflowers. h. 70‑3/4”, w. 60‑1/2” $1,000‑$1,500

99

98

97

30

100 English Terracotta Bust of a Distinguished Officer first quarter 19th century, h. 25”, w. 22‑1/4”, d. 10‑1/4”, supported on a Baltic terracotta pedestal, formerly a stove, possibly Danish, ca. 1800, decorated with an oval panel supported by a bowknot, h. 40”, w. 24”, d. 18”. $1,500‑$2,500 101 Swedish Gustavian Revival Painted Sofa in the rococo taste, the gently arched crest rail with rose and leaf carving, and wrapping around the closed arms, the serpentine seat rail with floral and foliate carving, raised on fluted tapering circular legs. h. 37‑1/2”, w. 69‑1/2”, d. 26” $900‑$1,200 102 Biedermeier-Style Mahogany Mirror late 19th century, German, decorated with a tablet depicting a gilt lyre crossed with arrows, a giltwood dentillated cornice and colonettes on each side terminating in baskets of fruit, with ebonized trim. h. 48-1/2”, w. 21‑1/2”

102

$1,000‑$1,500

100

101

31

103 Pair of Baltic Neoclassical-Style Parcel-Gilt, Faux Rosewood and Marble-Top Pier Tables partially comprised of antique elements, each with a Brescia marble top over a shell-carved frieze, raised on scrolling lyre-form columns with carved paw feet, joined to a plinth base with brass perimeter molding. h. 33‑1/4”, w. 33”, d. 16‑1/4” $2,500‑$4,000 104 Pair of Baltic Neoclassical Mahogany Armchairs early 19th century, each with a scroll- and shell-carved crest, open arms with rounded scroll-carved supports, bowed seat rail and raised with foliate-carved and reeded legs. h. 39‑3/4”

104

$1,000‑$1,500

103

105 Biedermeier-Style Burl Satinwood and Marble-Top Commode late 19th century and later, the rounded rectangular marble top above a case fitted with an ogee-molded drawer over three long drawers, all with inlaid scrolling patterns, raised on like-inlaid bracket feet. h. 39‑1/2”, w. 40‑1/2”, d. 21” $1,200‑$1,800

105

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106 Biedermeier-Style Burl Satinwood and Marble-Top Secretaire a Abattant late 19th century and later, the rounded rectangular marble top above a case fitted with an ogee-molded drawer over a drop front, opening to an inset leather writing surface and drawers, over three long drawers, all with inlaid scrolling patterns, raised on shaped bracket feet. h. 55‑1/2”, w. 34”, d. 17” $1,000‑$1,500 107 Pair of German Sterling Silver Gilt Historizmus Cabinet Figures

107

mid-20th century, by Neresheimer Silber, Hanau, depicting a 15th-century king and queen, the king in armor with movable face guard and detachable broadsword and dagger, the queen in elegant robes and holding a detachable scepter, both with carved faces and hands and presented on a canted square plinth base with openwork scrolling flowers. h. 9‑1/2” and 8-1/4”, base w. 2‑1/2”; 31.86 total t. oz. $1,500‑$2,500 108 Two German Silverplate-Mounted Presentation Horns first quarter 20th century, the first by WMF, Wuerttemberg, with figural gnome standard, flat bands, large scrolling cartouche and waisted and domed base, the second unmarked with annular bands, applied cartouche and large collar with fitted and chained silver cap, with German inscription on the collar and cartouche and tasseled satin rope sling.

WMF - h. 18-1/2”, horn l. 19‑1/2”, unmarked - l. 33”

108

$1,500‑$2,500 109 Austrian Historizmus Silver Jardiniere ca. 1900, Vienna, by Adolf Czokally, third standard (.800) silver, in the rococo taste, of waisted and rounded navette form, decorated with embossed rococo-scroll cartouches flanked by flowers and bulrushes on a rococo matte ground, the narrow ends with doublescroll handles surmounted by seated putti, each holding a wreath, the whole on a waisted rococo-scroll foot-ring. h. 9‑3/8”, l. 19‑1/2”, w. 7‑7/8”; 56.43 t. oz. $2,500‑$4,000

109

106

33

110 German Silver Wine Cooler first quarter 20th century, by Gebruder Dingeldein, Hanau, probably .800 silver, in the neoclassical taste, the bucket-form body with spiral gadrooned calyx and milled flower and ivy banding, the shoulder with repousse ribboned floral swags quartered by Bacchic masques, two of which support figural putto handles, peering over the everted leaf-and-gadroon rim, the whole raised above a laurel-banded square plinth base. h. 12‑3/4”, w. 10‑3/4”; 68.46 t. oz.

Provenance: Private collection, New Orleans, Louisiana. $1,200‑$1,800 The firm of Gebruder Dingeldein in Hanau, Hesse, was founded in 1868 by brothers Friedrich Otto (ca. 1838-1901) and Friedrich Wilhelm (ca. 1838-1910) Dingeldein. Like many Hanau companies, they specialized in the “Historizmus” style: a pastiche of historical styles - Mannerist, Rococo, Neoclassical - well-detailed accompanied by fanciful marks in imitation of the genuine hallmarks which appeared on the original antique pieces. Friedrich Otto was succeeded by his son August Ernst Dingeldein (1874‑1962) and the firm merged with that of Karl Kurz in nearby Kesselstadt when he married Kurz’s daughter Margarethe (1876‑1947). Dingeldein opened a New York showroom in the 1920s assisted by his sons Karl August (1901‑1965) and Otto Friedrich (1906‑1991) Dingeldein, both of whom moved to America permanently in 1927, where they became prominent silversmiths in New Orleans, Louisiana and Cape Girardeau, Missouri, respectively. Karl August Dingeldein was well known in New Orleans as the founder of New Orleans Silversmiths and the proprietor of the Four Seasons Pastry Shop with his wife Katy Metter. The couple’s children Johanna and Carl donated many of their father’s silversmithing tools as well as pattern books, catalogues, dies and punches of the original Gebruder Dingeldein to the Historic New Orleans Collection, where they are still conserved.

110

110 details

111 Eugen Marcus “Louis XV” Silver Flatware Set first quarter 20th century, Berlin, .800 silver, including eighteen six-piece place settings (one dinner and two dessert knives lacking), monogrammed “G”, presented in the original dark blue cloth-covered wood case with lift-top, fall front (lacking) and three fitted drawers, lined in green velveteen, the interior lid with gilt stamp of Eugen Marcus, 10‑1/4” x 19‑1/2” x 15”.

105 pieces 127.54 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,800‑$2,500

111

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111 detail

112 German Silver Punch Pot and Associated Ladle first quarter 20th century, .800 silver, the punch pot by Bruckmann & Sohne, Heilbronn, the pattern introduced in July 1913, the large, lobed bucket-form body decorated with repousse acanthus fronds framing the lobes, with robust acanthus-scroll handles and fitted domed lid en suite with large acanthus bud finial and domed foot en suite; together with a punch ladle by Lazarus Posen Witwe, Frankfurt, in a Louis XV pattern, the bowl with side spout and detachable straining lid, both with gilt interior. pot h. 16‑1/4”, dia. 11‑3/4”, w. 18”; ladle l. 14”; 132.75 total t. oz. $4,000‑$7,000 113 Turkish Sterling Silver and Glass Fruit Stand contemporary, Lane Silversmiths, Istanbul, in the Victorian taste, with a Bacchante figural standard, holding a cluster of grapes and balancing an urn on her head, the urn supporting a serpentine-lobed cut and etched glass fruit bowl, the whole above a spherical knop and conical reeded base with three scroll-and-toupie feet. h. 19”, dia. 11‑3/4”; 77.22 t. oz. (excluding glass dish) $1,200‑$1,800

113

114 Empire Silver Charger 1803‑1809, Paris, by Jean-Baptiste-Claude Odiot (1763‑1850), first standard (.950) silver, circular with gadrooned rim and recessed plateau. dia. 13‑7/8”; 45.50 t. oz. $1,000‑$1,500

112 114

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115 Georg Jensen “Old Danish” Sterling Silver Flatware Set the pattern designed in 1947 by Harald Nielsen (1892‑1977), Copenhagen, Denmark, including a dozen six-piece place settings and three serving pieces, no monograms, complete with the original Jensen velveteen flatware rolls and plastic drawstring bag.

75 pieces 83.41 total t. oz. (weighable silver) Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana.

Detailed list of pieces available on request. $2,000‑$4,000 116

116 115

116 Georg Jensen “Pyramid” Sterling Silver Flatware Set the pattern designed in 1926 by Harald Nielsen (1892‑1977), Copenhagen, Denmark, including eight eight-piece place settings (one cream soup spoon lacking) with an additional twenty-three place pieces and fourteen serving pieces, with an additional five place pieces copied by Tane Silversmiths, Mexico City, no monograms.

105 pieces (100 Jensen and 5 Tane) 147.34 total t. oz. (weighable silver) Detailed list of pieces available on request. $3,000‑$5,000

116

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117 Scandinavian Silverplate and Glass Centerpiece mid-20th century, probably Norwegian, in the form of a traditional Viking ship above a navette-shaped frosted glass bowl with fluted rim, fitted in a conforming frame with dolphin feet and Norse scroll banding. h. 15‑1/2”, l. 21‑3/4”, w. 12‑3/4” $800‑$1,200 118 Two Buccellati Sterling Silver Fruit Table Lighters fourth quarter 20th century, Milan, including a realistically detailed life-sized pear and orange, the underside of each fitted with a butane lighter. pear h. 6”, dia. 3”; orange h. 4‑1/2”, dia. 3‑1/2”; 12.88 total t. oz. (excluding lighters)

118

$1,000‑$1,500

117

37

119 Pair of Mario Buccellati “Naturalistic” Grapevine Sterling Silver Candlesticks fourth quarter 20th century, Milan, Italy, in the form of realistically detailed grapevines and clusters, the base with orange, pomegranate, walnut and filberts, with a single candlesocket formed of grape leaves, presented in the original dark blue padded satin-lined bookboard boxes with lift-top and fall front, 10” x 7” x 6‑3/4”. h. 8-1/4”, dia 6”; 53.06 total t. oz $12,000‑$18,000

119 detail

119 detail

119

38

120 Pair of Mario Buccellati Large “Naturalistic” Grapevine Sterling Silver Candlesticks fourth quarter 20th century, Milan, Italy, in the form of realistically detailed grapevines and clusters, with a single candlesocket formed of grape leaves, presented in the original dark blue padded satinlined bookboard boxes with lift-top and fall front, 14‑3/4” x 7‑1/2” x 7‑1/2”. h. 13‑1/2”, dia 6‑1/4”; 62.58 total t. oz. $15,000‑$25,000

120 detail 120 detail

120

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122

121 Five-Piece Buccellati Sterling Silver Tea and Coffee Service

122 Italian Silver Tray

fourth quarter 20th century, by Bruno Vitali, Padua for Buccellati, Milan, including a teapot, h. 10”, a coffeepot, h. 11‑1/2”, a covered sugar bowl, h. 7‑3/4”, a cream jug, h. 5‑3/4”, and a tray, 23‑1/4” x 14‑3/4”, the pear-shaped bodies octagonally paneled with step-domed lids and feet en suite, with “hammered” finish and rosewood handles, the canted rectangular tray en suite.

148.01 total t. oz.

third quarter 20th century, by Fratelli Zaramella, Padua, .800 silver, oval with molded “Chippendale” rim, integral handles and reticulated gallery.

24‑3/8” x 18-1/4”; 93.55 t. oz. $1,000‑$1,500

$7,000‑$10,000

121

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123

123 Sir Thomas Gainsborough, R.A. (British, 1727‑1788) “Portrait of Gainsborough Dupont (1754‑1797), the Artist’s Nephew”, ca. 1772‑74 oil on canvas unsigned.

Antique giltwood frame with oval aperture.

25” x 20”, framed 30” x 25” Provenance: Mrs. S. E. Browne by 1856; bequeathed by Miss Emily Sarah Browne, High Wycombe to Mansfield College, Oxford, 1906; Christie’s, January 29, 1954, lot 128; Newhouse Galleries, New York; Private collection, Chicago; Fine Arts Gallery, New Orleans, 1984; Estate of Dr. Carroll Ball, Jackson, Mississippi.

Literature: To be included in Hugh Belsey’s upcoming catalogue raisonne of the artist’s portraits. $15,000‑$25,000

"The most interesting member of Gainsborough’s family is one of whom curiously little is known: I mean his sister’s son, Gainsborough Dupont... He seems to have become a member of the Gainsborough household at an early age... He made good use, however, of his uncle’s tuition..." ­— Walter Armstrong Gainsborough Dupont, the eldest son of Sir Thomas Gainsborough’s sister, entered his uncle’s studio in 1772, remaining there until the elder artist’s death in 1788. He was, somewhat surprisingly for the time and for an artist of Gainsborough’s caliber and reputation, the only assistant accepted by the elder man. While Dupont did briefly attend the Royal Academy School of Art, he received most of his artistic training from his uncle, with the result that he adopted many of Gainsborough’s stylistic methods.

Gainsborough painted his nephew several times, and a portrait very similar to the one presented here is conserved at the Tate, Britain. Both of these portraits, with their eyes of reflective translucence, softly rounded cheeks and chins, hint at the youth and frivolity which contemporary accounts attribute to the personality of the young man.

Reference: Walter ArmstrongGainsborough and His Place in English Art, London: William Heinemann, 1898.

We would like to thank Mr. Hugh Belsey for his help in cataloguing this portrait.

41

124 School of Sir Peter Lely (British, 1618-1680) “Portrait of a Lady, Possibly Elizabeth Cromwell Southwell”, ca. 1800 oil on canvas faint monogram lower left, old auction stencil en verso stretcher.

Elaborate antique carved giltwood frame.

50” x 40‑1/2”, framed 62‑1/2” x 53” $4,000‑$7,000 125 George III Carved Giltwood Mirror third quarter 18th century, with a pierced foliate and scroll-carved crest, the sides with pierced carving of fruit and laurel leaves, the lower edge with pierced leaves, the mirror plate lined with rocaille work. h. 48-1/2”, w. 23‑1/2” $1,000‑$1,500

124

126

126 Irish George III Mahogany Lowboy late 18th century, the rounded rectangular top with a molded edge, above a conforming case fitted with a central drawer over a shaped apron, flanked to either side by a small deep drawer, raised on cabriole legs ending in pad feet. h. 30”, w. 31‑1/2”, d. 20” 125

42

$1,000‑$1,500

127 Good Georgian Mahogany Sideboard late 19th century, the backsplash with a central applied carved shell, the top with pronounced “cookie” corners above a pair of side-by-side drawers, raised on bold cabriole legs ending in carved paw feet. h. 49”, w. 72”, d. 27” $2,000‑$4,000 128 Chippendale-Style Mahogany Four-Post Canopy Bed ca. 1900, with a carved, paneled headboard and matching footboard, with tapered clustercolumn posts supporting the shaped and carved canopy. h. 108”, inside w. 64”, l. 84”, outside w. 74”, l. 94” $2,000‑$4,000

128

127

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129 Pair of Georgian-Style Mahogany Wing Chairs in the Chippendale taste, each with scrolling closed arms, loose seat cushion and cabriole front legs with shell-carved knees and paw feet, upholstered in cream and gold brocade trimmed with cord. h. 51‑1/4” $2,500‑$4,000 130

130 Three-Piece Collection of Chinese Export Porcelain Qianlong period, ca. 1735‑1796, including a famille rose punch bowl with a scroll border and flower decoration trimmed with raised enamels, h. 5”, dia. 12”, a charger with a scrolled border in the Imari palette, dia. 12‑1/4”, and a similar Imari charger with a scrolled border, dia. 15”. $1,000‑$1,500 131 George II Mahogany Breakfront Bookcase first quarter 19th century, the dentillated and molded cornice above a central case with two astragalglazed doors, flanked by similar single-door cabinets to each side, mounted to a platform base. h. 83”, w. 100”, d. 17” $1,200‑$1,800

129

131

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132 Chippendale-Style Mahogany Camelback Sofa ca. 1900, with an arched back, scrolled arms and raised on carved legs ending in ball-and-claw feet, covered in 19th-century petit point. h. 40”, w. 96”, d. 32” $1,000‑$1,500 133 British School (First Quarter 19th Century) “Allegory of the Innocence of Youth” oil on canvas unsigned.

Framed.

43” x 30‑1/2”, framed 50” x 37”

133

134

$1,500‑$2,500 134 Manner of Thomas Hill (British, 1661‑1734) “Portrait of a British High Court Judge” oil on canvas unsigned, old illegible handwritten note en verso.

Framed.

49” x 39‑1/2”, framed 59‑1/2” x 49‑1/2” $2,000‑$4,000 135 Studio of Jonathan Richardson (British, 1665‑1745) “Portrait of a Lady with a Scarlet Silk Wrap” oil on canvas feigned oval, unsigned.

Framed.

30” x 25”, framed 42‑1/2” x 37‑1/2”

135

$1,000‑$1,500

132

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137 George II-Style Mahogany Wake Table early 20th century, the top flanked by rounded drop leaves, each supported by a pair of tapering fly legs on pad feet. h. 29‑1/2”, w. 84”, l. 15‑1/2”, ext. l. 53‑1/2” $1,500‑$2,500

137

136

136 George III Mahogany Secretary Bookcase

138 Suite of Twelve Georgian-Style Dining Chairs in the Irish Chippendale Taste

fourth quarter 18th century, the molded and dentillated broken swan’s-neck pediment above two bi-paneled glazed doors, the lower section fitted with a secretary drawer opening to a variety of drawers and cubbyholes and a central cupboard, over two long drawers, raised on bracket feet. h. 91”, w. 48-1/2”, d. 20‑1/2”

first half 20th century, each with a leaf-carved crest rail over a bellflower-carved splat, on cabriole legs with shellcarved leaves and paw feet, now upholstered in ivory brocade trimmed with brass tacks. h. 38” $2,000‑$4,000

$1,000‑$1,500

138

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139 George III Banded and Inlaid Mahogany Sideboard ca. 1800, the shaped top over a row of three drawers, the left front side fitted with a deep drawer, the right front side with a matching cabinet, raised on square tapered legs ending in spade feet. h. 36‑1/2”, w. 84”, d. 34” $1,500‑$2,500 140 Pair of George III Line-Inlaid Mahogany Demi-lune Consoles ca. 1800 and later, in the Hepplewhite taste, the demi-lune sections also forming a circular table with line-strung piewedge figural veneers on the top, the apron with inlaid oval panels above each tapering leg ending in a spade foot. h. 30‑1/4”, w. 48-1/2”, d. 23‑1/2”, ext. l. 47‑1/4”

140 detail

Provenance: Collection of Marjorie Leverich Moran, New Orleans, Louisiana. $1,500‑$2,500

140

139

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143 English ChinoiserieDecorated Tall Case Clock late 19th century, in the Georgian taste, the hood with a dentillated molding and the case with painted and gilt decor, the dial signed “Wm. Farrer, Pontefract”, with a time-and-strike movement. h. 71”, w. 17”, d. 9” $1,500‑$2,500 141

141 Five-Piece Chinese Export Famille Noire Porcelain Garnitures ca. 1700, comprised of two beaker-form vases, h. 11‑1/4”, dia. 5‑1/2”, and three covered ginger jars, h. 15”, dia. 5‑1/4”, all decorated with gilt scrolled borders, vases of prunus, vases of flowers on low tables and pots of bonsai, with an underglaze blue concentric ring mark. $2,500‑$4,000 142 Suite of Four Chinese Chippendale-Style Ebonized Armchairs each with a carved crest, open arms, square legs joined by H-form stretchers and now upholstered in chinoiserie fabric. h. 39‑1/4” $1,000‑$1,500

143 detail

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144 Circle of Sir Godfrey Kneller (German/British, 1646‑1723) “Portrait of a Young Lady, Traditionally Identified as Mrs. Beauvoir” oil on canvas old handwritten inscription “AEtates 24/1743/December 9th” en verso canvas, inventory stamp “379MJ” en verso stretcher.

Framed.

30” x 25”, framed 40‑1/2” x 34‑1/2” Provenance: Collection of James Harris, PhD, Oklahoma City, Oklahoma. $2,000‑$4,000

146

146 Regency Brass-Bound Mahogany Cellarette first quarter 19th century, the octagonal lid opening to a zinc-lined fitted interior for bottles, the exterior with three brass straps and two brass swing handles, mounted to its period conforming stand with Marlborough legs and shaped brackets. h. 28”, w. 17”, d. 17” Provenance: Descended in the Family of John Gilman D’Arcy Paul, Baltimore, Maryland. $1,000‑$1,500

144

145 English Chippendale Giltwood Overmantel Mirror mid-18th century, in the rococo taste, the ogee-molded frame decorated with rocaille work, flowerheads and scrollwork, set with antique mirror glass. h. 31”, w. 70‑1/2” $1,000‑$1,500 145

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147 Regency-Style Mahogany DoublePedestal Banquet Table the rosewood- and satinwood-banded rounded rectangular top above a pair of leaf-carved vasiform pedestals with reeded legs terminating in brass cap casters, extending to accommodate a pair of leaves. h. 29”, w. 47‑3/4”, l. 78-1/2”, ext. l. 112‑1/2” $1,500‑$2,500 148 Suite of Ten Chippendale-Style Mahogany Dining Chairs

147

20th century, bearing the branded label of Kittinger, Buffalo, New York, each having a back with four pierced and carved slats and molded back frame, padded seat and raised on Marlborough legs joined by stretchers. h. 38” $1,500‑$2,500 149 Follower of Sir Godfrey Kneller (German/British, 1646‑1723) “Portrait of a Lady with Pearls in Her Hair” oval oil on canvas unsigned.

Antique giltwood frame.

29” x 24”, framed 39” x 36‑3/8” $1,000‑$1,500 149

148

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150 Manner of Jonathan Richardson (British, ca. 1665‑1745) “Half-Length Portrait of a Young Woman” oval oil on canvas unsigned.

Antique giltwood frame.

29‑3/4” x 25”, framed 38” x 33” $1,000‑$1,500 151 George III-Style Mahogany Breakfront 20th century, in the Adam taste, the broken swan’s-neck pediment centered by a carved shield, over a dentillated frieze and four astragal-glazed doors, the center two with overlaid oval panels, the lower section fitted with four cupboard doors, each paneled and with an applied garland, raised on a plinth base. h. 107”, w. 95‑1/2”, d. 19” $1,200‑$1,800

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152 Two Chinese Export Porcelain Dishes including a famille rose charger decorated with raised enamel flowers, Qianlong period (1735‑1796), dia. 13‑1/2”, and a circular shallow dish with an orange scroll border and blue dragon, and scattered flowers in the center, early 18th century, dia. 13‑1/4”. $1,000‑$1,500

152

153 Chinese Export Famille Rose Porcelain Punch Bowl Qianlong period, ca. 1735‑1796, painted with courting couples outside, a castle in the background, the interior with a gilt spearhead border, and a fish in the center. h. 3‑3/4”, dia. 9‑1/4” $1,000‑$1,500

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154 Handsome Pair of George II-Style Mahogany and Giltwood Pier Mirrors ca. 1900, English, each with a shaped frame outlined in gilt and surmounted by a gilt pierced scrollwork crest with a central shell, the sides with giltwood drapes and tassels. h. 66‑1/2”, w. 31” Provenance: Collection of Marjorie Leverich Moran, New Orleans, Louisiana. $1,200‑$1,800 155 Suite of Eight Late George III-Style Mahogany Dining Chairs in the Hepplewhite taste, comprised of two armchairs and six side chairs, each with a bellflower-and ribbon-carved shield back, serpentine front seat rail and bellflower-carved tapering legs on spade feet. h. 38-3/4” Provenance: Collection of Marjorie Leverich Moran, New Orleans, Louisiana. $1,400‑$1,800 154

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156 George III Mahogany Wine Tasting or Drinks Table late 18th century, of demi-lune form with a drop leaf on each end, the inside end with a cut-out of like form, the frieze fitted with a single drawer, raised on square legs. h. 29”, w. 47‑3/4”, l. 22‑1/2”, ext. l. 32” $1,000‑$1,500 157 Two English Mahogany Chests including a George III-style example, 19th century, the rectangular top above a conforming case fitted with four graduated long drawers, raised on bracket feet, h. 34”, w. 42”, d. 23‑1/2”, and a George III chest, late 18th century, the rectangular top above a case fitted with four graduated long drawers, raised on ogee-molded bracket feet, h. 34‑1/2”, w. 39‑1/4”, d. 19‑3/4”.

156

$1,000‑$1,500

157

158 British School (Fourth Quarter 18th Century) “Portrait of an Unidentified Member of the Spencer Family, Althorp House, Northamptonshire” oil on canvas unsigned.

Presented in an elaborate antique gesso and carved giltwood frame.

30” x 25”, framed 43‑1/4” x 38-5/8” Provenance: Althorp House, Northamptonshire, England; The Althorp Attic Sale, Christie’s, London, July 7, 2010, lot 459; Private dealer, London, England; Collection of James Harris, PhD, Oklahoma City, Oklahoma. $2,000‑$5,000 According to the catalogue entry from the Christie’s sale, this is a copy of a portrait conserved in the Billiard Room at Althorp House.

158

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159 Pair of George III-Style Mahogany Wing Chairs each with a padded and domed back joined by shaped sides and cushioned arms to the cushioned seat, raised on tapering square legs joined by an H-form stretcher. h. 42” $1,000‑$1,500 160 George III-Style Walnut Chest late 18th century and later, the rectangular top banded and quarter-veneered, above a conforming case fitted with four long drawers, the lower drawer centered by a recessed starburst inlay, raised on bracket feet. h. 38”, w. 35”, d. 22‑1/2” $1,500‑$2,500

159

160

161 George III-Style Mahogany Bookcase 20th century, the molded rectangular cornice above a dentillated frieze, with two astragal-glazed doors below, the lower section fitted with two paneled cupboard doors, raised on a plinth base. h. 81”, w. 61”, d. 14” $1,000‑$1,500 161

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162 Suite of Sixteen George III-Style Carved Mahogany Dining Chairs

163 Queen Anne-Style Mahogany Triple-Pedestal Dining Table 20th century, labeled Kittinger, consisting of two half-round sections and a central rectangular section, and two additional 24” leaves, raised on turned standards with three outstretched legs each. h. 28-1/2”, w. 48”, l. 88”, ext. l. 136”

20th century, comprised of two armchairs and fourteen side chairs, each with a floral-carved crest rail and pierced and carved backsplat with scrolls and carved tassels, raised on cabriole legs with foliate-carved knees and terminating in ball-and-claw feet. armchair h. 40”

$1,000‑$1,500

$4,000‑$7,000

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162

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164 Pair of George III-Style Mahogany Side Tables early 20th century, each with a D-form top above a plain frieze, raised on tapering square legs ending in ringed feet. h. 31‑1/2”, w. 46”, d. 21‑1/2” $1,200‑$1,800

165 George III Mahogany Secretary Bookcase second half 18th century, in two parts, the upper section with a molded and dentillated cornice, over a pair of doors with crossbanded and line-strung panels, the base with a slant lid opening to reveal an interior fitted with banded and lineinlaid drawers and a pair of doors with inlaid panels, over a graduated bank of four drawers, flanked by reeded pilasters, on bracket feet. h. 96‑1/2”, w. 48-1/2”, d. 23” $1,500‑$2,500

165

166 George III-Style Mahogany Pembroke Table late 19th century, the banded rectangular top with two like-banded rounded leaves, raised on tapering square legs ending in brass caps and casters. h. 29”, w. 22”, l. 33‑1/2”, ext. w. 38”

166

$800‑$1,200

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167 George III-Style Inlaid Mahogany Sideboard late 19th century, the bowed top above a conforming case fitted with a central cutlery drawer flanked to either side by a cupboard door, all accented with decorative banding, raised on tapering square legs ending in spade feet. h. 39”, w. 51”, d. 22” $1,200‑$1,800 168 British School (First Quarter 19th Century) “Portrait of a Young Woman with Her King Charles Spaniel” 167

oil on oval canvas unsigned.

Impressive shaped sand cast and gilt exhibition frame.

29” x 23”, framed 40” x 34‑1/4” $1,200‑$1,800

170 169

169 French Famille Verte-Style Porcelain Ginger Jar first quarter 20th century, possibly Samson, now mounted as a lamp, on a molded bronze base, the lamp with a bronze cap and three sockets. h. 26‑1/2”, dia. 9” $1,400‑$1,800 170 Good Georgian-Style Banded Mahogany and Oyster-Burl Oval Partner’s Desk early 20th century, the oval book-matched veneered top with a banded edge, above a frieze fitted with three drawers along each side and two faux drawers at each end, mounted to a pair of semioval pedestals, each with three working drawers and a cabinet disguised as three drawers. h. 30‑1/2”, w. 72”, d. 42” $2,500‑$4,000 168

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171 Pair of George II-Style Mahogany and LeatherUpholstered Wing Chairs each with a serpentine seat cushion and cabriole legs with pad feet, upholstered in lightly distressed tan leather trimmed with brass tacks. h. 44” $1,000‑$1,500 172 Pair of George III-Style Mahogany Bookcases 19th century, each with a molded and dentillated cornice above astragal-glazed doors, the lower section fitted with a single paneled cupboard door, raised on bracket feet. h. 80”, w. 32”, d. 14”

171

$2,000‑$4,000 173 George III-Style Polychromed Satinwood and Mahogany Settee late 19th/early 20th century, in the Adam taste, the back of triple chairback form, each section of shield form with painted floral basket decor, the open arms and tapering legs with inlaid stringing, on spade feet. h. 39‑1/2”, w. 55”, d. 23” $1,000‑$1,500 174 George III-Style Mahogany and Giltwood Mirror ca. 1900, outlined with a swan’s-neck pediment decorated with giltwood leaf carving flanking a phoenix bird finial, with cascading carved gilt leaves on each side, the mirror plate lined with carved giltwood. h. 65‑1/2”, w. 24”

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$1,500‑$2,500

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175 George III Inlaid Mahogany Tall Case Clock fourth quarter 18th century, the hood with a broken-arch pediment and turned finial, above a paint-decorated frieze, the case with a shaped door and line-inlaid details, the painted face with rotating moon dial with ship and cattle scenes, signed “W. Holgate, Wigan”, with a time-and-strike movement. h. 89‑1/2”, w. 24‑1/2”, d. 10‑1/2” $1,000‑$1,500 176 George III Mahogany Bachelor’s Chest fourth quarter 18th century, the rectangular top with a molded edge, above a case fitted with four graduated long drawers, raised on bracket feet. h. 32”, w. 30‑1/2”, d. 18-1/2” $1,000‑$1,500 177 Pair of George III Mahogany Armchairs

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178 George III Mahogany Armchair 18th century, with a shaped and carved crest rail, the central splat pierced and carved, raised on Marlborough legs joined by box stretchers. h. 39”, w. 26”, d. 20” Provenance: Descended in the Family of John Gilman D’Arcy Paul, Baltimore, Maryland. $1,000‑$1,500 179 Late George III Marquetry- and Line-Inlaid Mahogany Chest-on-Chest

late 18th century, each with a domed crest with earred corners, above an interlacing splat, joined to the padded seat by shepherd’s crook arms with incised accents, raised on chamfered square legs joined by an H-form stretcher. h. 38”

ca. 1800, in the Hepplewhite taste, the cornice over a satinwood frieze with inlaid panels, the upper section with twoover-three graduated drawers, the base with three graduated drawers, all with contrasting light wood perimeter beading and stringing, raised on shaped bracket feet joined by a bowed apron. h. 71”, w. 46”, d. 20‑3/4”

$1,000‑$1,500

$1,800‑$2,500

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180 George I Britannia Silver Coffeepot hallmarked London, 1715‑1716, by Thomas Farren (1680‑1743; free 1707), of conical form with molded rim and base, with paneled “gooseneck”, crested wooden scroll handle and domed, hinged lid with vasiform finial, with later repousse rococo decoration. h. 9‑1/2”, l. 7‑3/4”, dia. 4‑1/2”; 21.85 t. oz.

Provenance: Descended in the Family of John Gilman D’Arcy Paul, Baltimore, Maryland. $1,200‑$1,800 181 Pair of George II Sterling Silver Sauceboats hallmarked London, 1746‑1747, by Joseph Sanders (1701‑1751; free 1721), of traditional batteau form, with scroll-mounted arched handle with lion’s head finial, raised on a molded oval foot-ring, engraved with the crest of Sleigh of Derbyshire & London. h. 4‑1/4”, l. 6‑1/4”, w. 3‑1/2”; 17.91 total t. oz.

180

$2,500‑$4,000 182 Early George III Sterling Silver Covered Cup hallmarked London, 1767‑1768, by William Grundy (ca. 1717‑1779; free 1739), of broad baluster form with spiral-gadrooned and -fluted calyx, with a flat-chased band of grapes and acorns centering a rococo cartouche, with acanthus-crested treblescroll handles, fitted domed lid with flammiform finial and raised on a steeply domed foot, the lid and foot decorated en suite with the calyx, engraved on the cartouche with the arms of Phill impaling Wenman. h. 12‑1/2”, w. 10‑3/4”, dia. 5‑1/2”; 44.33 t. oz.

181

$1,000‑$1,500

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183 Twelve Royal Paul de Lamerie (1688-1751) Sterling Silver Dinner Plates hallmarked London, 1741‑1742, of hexagonally serpentinelobed circular form, with gadrooned edge and recessed circular plateau, engraved on the rim with the cypher of George II. dia. 9‑1/2”; 208.37 total t. oz.

Provenance: Sotheby’s, London, March 5‑6, 2014, The Private Collection of the Late Stanley J. Seeger, lot 604.

Christie’s, Geneva, April 27, 1976, lot 231. $30,000‑$50,000

King George II

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184 George II Sterling Silver Inkstand hallmarked London, 1751‑1752, by Edward Feline I (ca. 1865‑1753; free 1721), of shaped rectangular form with gadrooned rim, the central plateau fitted with ink, water and pounce pots with detachable lids and flanked by pen trays, the whole raised on four scrolling acanthus feet. h. 3”, l. 11‑1/2”, w. 7‑1/2”; 33.78 t. oz. $1,500‑$2,500

184

185 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. $5,000‑$8,000 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.

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186 Paul Storr (1771‑1844) Sterling Silver Ewer hallmarked London, 1795‑1796, the urn-form body with lobed narrow ends, decorated with intricate wrigglework banding with bright-cut Greek-key edging, pricked at flat-chased gadrooned calyx and engraved wheat-stalk cartouches, the waisted collar with integral spout and hinged, steeply domed lid with spherical finial, with crested arched handle and raised on a cavetto-molded oval pedestal foot, engraved on one cartouche, with the crest and motto of Fisher et al. h. 12”, l. 7‑3/8”, w 3‑3/4”; 23.61 t. oz.

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

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187 Large George III Sterling Silver Platter hallmarked London, 1793‑1794, by John Crouch & Thomas Hannam (fl. ca. 1770‑1808), of lobed oval form with gadrooned edge and recessed oval plateau, engraved on the rim with the arms of Pettiward with Colman in pretence.

22‑1/2” x 17‑1/2”; 106.09 t. oz. $2,000‑$4,000 The arms here are those of gentleman and stationer Roger Pettiward, F.R.S. (1754‑1833) and his wife Jane Seymour Colman (1775‑1855), daughter and co-heiress of Francis Colman; the couple were married on March 1, 1800 in Walcot, Somerset.

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188 Late George III Sterling Silver Ducal Mazarine hallmarked London, 1802‑1803, by John Mewburn (ca. 1763‑1830; free 1792), oval with molded rim and seven concentric reticulated bands, engraved at the center with the crest of the Duke of Beaufort, K.G. 20” x 14‑3/8”; 49.17 t. oz. $1,000‑$1,500 The crest here - a portcullis surrounded by the royal garter and surmounted by a ducal crown - is presumably that of Henry Somerset, 5th Duke of Beaufort (1744‑1803) or his son Henry Charles Somerset, 6th Duke (1766‑1835), who were invested as Knights of the Garter in 1786 and 1805, respectively.

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189 Pair of Late George III Sterling Silver Entree Dishes hallmarked London, 1809‑1810, by William Stroud (ca. 1756‑1820; free 1776), each of rounded rectangular form with gadrooned banding and edge, with acanthus-mounted reeded ring handle, engraved with the arms of Streatfeild with Champion in pretence opposing the Streatfeild crest. h. 5‑1/4”, l. 11‑1/8”, w. 8-5/8”; 99.06 total t. oz. $3,000‑$5,000 The arms here are those of the noted historian, antiquarian and artist, the Rev. Thomas Streatfeild, M.A., F.S.A (1777‑1848) of Chart’s Edge, Westerham, Kent, and his first wife Harriet Champion (1776‑1814), daughter and co-heiress of Alexander Champion; the couple married on October 8, 1800, at Long Ditton, Surrey.

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190 George III Sterling Silver Cake Basket hallmarked London, 1786‑1787, by William Plummer (ca. 1739‑1791; free 1755), of navette form, with reeded edge and reticulated banding on the rim and bottom enhanced by bright-cutting and wrigglework, quartered by applied trefoils and wheat stalk medallions, with reeded swing handle and raised on an oval foot-ring reticulated en suite, monogrammed “GS”. h. 4‑1/2” (11” with handle), l. 13‑3/4”, w. 10”; 23.12 t. oz. $1,000‑$1,500 191 Paul Storr (1771‑1844) Sterling Silver Fruit Bowl hallmarked London, 1799‑1800, the hemispherical bowl with gadrooned rim and decorated with repousse shells, scrolls and flowers centering a lobed cartouche, raised on a domed circular pedestal foot en suite. h. 5‑3/4”, dia. 9‑3/8”; 27.59 t. oz.

190

$1,000‑$1,500 192 Regency Old Sheffield Plate Epergne first quarter 19th century, the central oval receptacle with gadrooned edging and raised on four leaf-and-scroll-crested legs with ball feet and joined by tubular stretchers to a central boss with radiant leaves and ball finial from which emanate four scrolling arms terminating in an oval receptacle en suite; fitted with one large and four smaller molded glass bowls of later date. overall h. 11‑1/2”, l. 13‑3/4”, w. 7‑1/2” $1,000‑$1,500

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193 Pair of Regency Old Sheffield Plate Wine Coolers first quarter 19th century, each of campana form with gadrooned calyx, reeded handles and vintage reed-and-ribbon banding, with everted rim and gadrooned edge, the cavetto collar with beaded rim, fitted with the original liners, the whole above a domed foot banded en suite, engraved on the rim with the crest and on the body with the arms of Lawes (with another in pretence). h. 10”, dia. 9‑1/2” $1,000‑$1,500

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194 Set of Four Paul Storr (1771‑1844) Sterling Silver Chop Platters hallmarked London, 1806‑1807, each of serpentinelobed oval form, with gadrooned edge quartered by cabochons and leafy-mantled coquilles, with recessed oval plateau, the rim engraved with the crest opposing the arms of Baker. l. 13‑1/2”, w. 10‑1/2”; 147.21 total t. oz. $6,000‑$9,000

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195 Pair of Large George IV Sterling Silver Platters hallmarked London, 1823‑1824, by Joseph Angell (1782‑1853; free 1804), each of lobed oval form with gadrooned edge and recessed oval plateau, engraved on the rim with the crest of Fanshaw et al.

18-1/4” x 13‑1/2”; 117.35 total t. oz. $2,000‑$4,000

195

196 Late George III Sterling Silver Cake Basket hallmarked London, 1809‑1810, by Rebecca Emes & Edward Barnard (fl. 1808-1829), of rounded rectangular form with upswept ends, gadrooned edge, shell-andscroll corners, wide gadrooned band and acanthusmounted reeded swing handle, the whole raised on a conforming waisted foot. h. 4‑1/4” (10” with swing handle), l. 12‑3/4”, w. 10”; 34.38 t. oz. $1,000‑$1,500

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197 Fine Pair of Regency Paul Storr (1771‑1844) Sterling Silver Entree Dishes hallmarked London, 1818-1819, the sterling silver entree dishes of rounded rectangular form with gadrooned banding and detachable shell-crested addorsed reed-and-acanthus handle, presented on the original Old Sheffield Plate warming stands with handles en suite and raised on four acanthus-crested scroll feet, engraved on the lid with the arms and on the body and warmer with the crest of Pett of Chatham, Kent. overall h. 8-1/2”, l. 15‑3/4”, w. 8-3/4”; 126.08 total t. oz. (excluding stands) $15,000‑$25,000 The arms here are those as borne by the important Pett dynasty of 17th- and 18th-century shipbuilders.

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198 George IV Sterling Silver Waiter hallmarked London, 1823‑1824, by John and Henry Lias (fl. 1823‑1837), circular with a gadrooned rim, engraved with arms “per pale gules and or a saltire argent charged with five gouttes de sang and on a chief invected argent lion’s head erased between two annulets of the first.” dia. 15‑1/4”; 54.08 t. oz. $1,800‑$2,500 199 Paul Storr (1771‑1844) Sterling Silver Teapot hallmarked London, 1819‑1820, bowl form with gadrooned calyx and waisted collar, with everted and shaped floral scroll rim, addorsed serpent-mounted crested wooden handle, floral palmette-mounted spout and flat hinged lid with domed gadrooned center with a turned wooden toupie finial, the whole on a flat circular foot-ring. h. 5‑3/4”, l. 11‑3/4”, dia. 6‑1/2”; 26.64 t. oz. (including wooden handle) $1,500‑$2,500 198

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200 Large Matthew Boulton Old Sheffield Plate Platter first quarter 19th century, Sheffield, of lobed oval form with robust acanthus scroll edge and recessed oval plateau.

24‑1/4” x 18-1/2” $1,000‑$1,500

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201 Pair of Regency Old Sheffield Plate Wine Coolers first quarter 19th century, each of campana form, lobed with large leaf banding on the shoulder, with gadrooned rocaille rim, robust acanthusmounted handles and raised on a domed foot with rocaille banding, each fitted with the original lobed liner, engraved on the body with a regimental badge and the motto “Tria Juncta in Uno”. h. 9‑3/8”, dia. 9‑1/4” $1,000‑$1,500

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202 William IV Sterling Silver Tureen hallmarked London, 1835‑1836, by William Ker Reid (1787‑1868; free 1814), of bulbous quarter-lobed oval form with everted acanthus-scroll rim and robust acanthus handles and feet, the fitted, domed lid decorated with well-detailed repousse floral banding centering an acanthus ring handle. h. 11”, l. 16‑3/4”, w. 12”; 111.41 t. oz. $1,800‑$2,500 203 Pair of William IV Old Sheffield Plate Tureens second quarter 19th century, maker’s mark “J.A.”, each of bulbous lobed oval form, with rocaille rim and large, robust acanthus-mounted handles and feet, the fitted domed lid with ring handle en suite; engraved with the arms of Hunter of Hafton, Argyll. h. 11‑1/4”, l. 16‑1/2”, w. 10‑1/2”

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$3,000‑$5,000

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204 Large George IV Sterling Silver Salver hallmarked London, 1825‑1826, by Robert Garrard II (1793‑1881; free 1816), of octagonally serpentine-lobed circular form, with gadrooned edge and raised on four robust acanthus scroll feet, the plateau engraved with the crest of Wyndham et al. dia. 22‑1/4”; 150.14 t. oz. $3,000‑$5,000 205 Two Scottish and Two American Silver Ladles

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including two Edinburgh sterling silver “Old English” examples with circular bowls, one hallmarked 1778-1779 by Alexander Aitchison II (1747‑1807), l. 14‑3/8”, the other 1806‑1807 by Patrick Cunningham & Sons (fl. 1807‑1812), l. 14‑1/4”, and two second quarter 19th century American coin (.900) silver “Fiddle Tipt” examples with elliptical bowls, one by Richard Huntington (1786‑1855), Utica, New York, engraved “Amelia B. Haden”, l. 12”, the other by Charles Gennett, Jr. (1807‑1887), Richmond, Virginia, engraved “Whitman”, l. 12‑1/2”.

26.53 total t. oz.

204

$1,000‑$1,500 206 Victorian Scottish Sterling Silver Three-Piece Tea Set hallmarked Edinburgh, 1866‑1867, by William Crouch & Son, including a teapot, h. 8-1/2”, an open sugar bowl, h. 5”, and a cream jug, h. 5”, each of tapering octagonally paneled section, with molded rim and base and decorated with flat-chased and engraved flowers and arabesques, with crested double C-scroll handles.

56.15 total t. oz. $1,000‑$1,500

205

206

70

207 Victorian Sterling Silver Well-and-Tree Meat Platter hallmarked London, 1854‑1855, by Robert Garrard II (1793‑1881; free 1816), oval with reeded edge and raised on four banded barrel feet, engraved with the crest and motto of Sandeman of Perth, Scotland, opposing the later monogram “N”.

19‑1/4” x 14‑3/4”; 67.84 t. oz. $1,800‑$2,500 208 Pair of Victorian Silverplate Candelabra third quarter 19th century, by Smith, Sissons & Co., Sheffield, each with a baluster standard decorated with acanthus frond calyx and banding, above a domed foot en suite and surmounted by an urnform nozzle with acanthus frond calyx, fitted with a superstructure of a smaller standard flanked by a pair of scrolling reeded arms, all terminating in nozzles en suite, with circular drip pans and detachable bobeches, with narrow beaded and reed-and-ribbon banding throughout. h. 22‑1/4”, dia. 5‑1/2”, w. 14”

207

$1,200‑$1,800 209 Good Set of Three Victorian Silverplate Graduated Game Bird Domes fourth quarter 19th century, by Roberts & Belk, Sheffield, each of oval form with beaded rim below a molded band, engraved with arabesques and “woven” banding, with applied naturalistic grapevine ring handle, the arabesques centering a cartouche engraved with the crest and motto of Greenhalgh of Nottinghamshire and the conjoined monogram “HIG”. the largest h. 8-1/2”, l. 13‑1/2”, w. 11‑1/2”, the smallest h. 6”, l. 10‑1/4”, w. 7‑3/4” The monogram here is almost certainly that of Herbert John Greenhalgh (1819‑1897) of Carrbank, Mansfield, Nottinghamshire. Greenhalgh, a wealthy miller, was a keen sportsman and prominent member of the Mansfield Game Association.

208

$1,000‑$1,500

209 detail

209

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210 George V Sterling Silver Tea Tray hallmarked London, 1933‑1934, by the Goldsmith’s and Silversmith’s Co. Ltd., rectangular with invected corners, molded rim and stirrup handles, the plateau engraved with a diapered band quartered by Greek female masques and acanthus fronds.

29” x 18-1/4”; 141.78 t. oz. $3,000‑$5,000 211 Continental Silverplate Lamp first quarter 20th century, in the manner of Elkington, in the form of two stags at the rocky base of a tree. base h. 23” (36‑3/4” to top of harp finial) $700‑$1,000 210

212 Good Victorian Silverplate Centerpiece second quarter 19th century, with a central columnar standard surrounded by three neoclassical figures in a musical Bacchanalian procession, the standard surmounted by a lobed and fluted bowl with floriform calyx, the whole raised above a waisted circular plinth with three robust acanthus scroll feet, engraved on each third of the plinth with the arms of Buck quartering Orchard, Dennis and Pawley and impaling Robbins. h. 26”, w. 12‑3/4” $1,200‑$1,800 The beautifully engraved arms here are those of Lewis William Buck (1784‑1858) of Moreton House, Bideford and Hartland Abbey, Devon and his wife Ann Robbins (1791‑1879), who were married in 1808. Buck served as M.P. for Exeter (1826‑1932) and North Devon (1839‑1857). An engraved escutcheon with the identical arms surmount Buck’s mural monument in St. Helen’s Church, Abbotsham, Devon.

212 detail

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212

211

213 William Holyoak (British, 1834‑1894) “The Farmer’s Family” oil on canvas signed lower left.

Giltwood frame with artist plaque.

29‑1/2” x 15‑3/4”, framed 36” x 21‑1/2” $1,500‑$2,500 214 Manner of Abraham Cooper, R.A. (British, 1787‑1868) “Horse and Groom” oil on board unsigned, old inventory label and a “House of Heydenryk/New York” framing label en verso.

Framed.

10‑1/2” x 12‑3/4”, framed 12‑1/2” x 13‑3/4” $1,500‑$2,500

215

215 John Wells Smith (British, fl. 1870‑1875) “The Fisherman’s Tale” oil on canvas signed and dated “1882” lower left.

Framed and with artist plaque.

28” x 36”, framed 35” x 43” $2,000‑$4,000

214

213

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216

216 Heywood Hardy (British, 1843‑1933) “A Parting Glass” oil on canvas signed lower left, an old “Cooling Galleries/ Toronto” label on backing.

Framed.

20” x 30”, framed 27” x 36” Provenance: Cooling Galleries, Toronto, Canada; private collection, Dearborn, Michigan; thence by descent. $20,000‑$40,000 217 Walter James Shaw (British, 1851‑1933) “The Cornish Coast” oil on canvas signed lower right Framed.

14‑1/4” x 24”, framed 18-1/2” x 28-1/2” $1,000‑$1,500

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217

218 Joseph Paulman (British, 19th Century) “Windmill Above a Cove with Boats and Figures” oil on canvas signed and dated “1890” lower right.

Giltwood frame.

15” x 22”, framed 24” x 30‑3/4” $1,000‑$1,500

218

219 Sir David Murray, R.A. (British, 1849‑1933) “Cattle Watering by a Ruined Castle” oil on canvas signed lower right, “European Art Gallery” label en verso.

Framed and with artist plaque.

24” x 36”, framed 33” x 44‑3/4” $2,000‑$4,000

219

220 Daniel Sherrin (British, 1868-1940) “A Worcester Hamlet Evening” oil on canvas signed lower left.

Framed and with artist plaque.

20” x 30”, framed 25‑1/2” x 36” $1,500‑$2,500

220

75

221 Edmund Johann Niemann (British, 1813‑1876) “Storm Clouds Over the Ruins of Richmond Castle on the River Swale, Yorkshire” oil on canvas signed and localised bottom center.

Framed.

30‑1/4” x 50‑1/4”, framed 39” x 60” $1,500‑$2,500 221

222 Theodore Hines (British, fl. 1876‑1889) “Great Marlow on Thames” oil on canvas signed lower left.

Framed and with artist plaque.

19‑1/2” x 29‑1/2”, framed 25‑3/8” x 35‑1/4” $1,500‑$2,500

222

223 Leon Victor Dupre (French, 1816‑1879) “Paysage de Fleuve” oil on canvas signed lower right.

Framed.

19‑1/4” x 25‑1/2”, framed 24‑1/2” x 30‑3/4” $3,000‑$5,000

223

224 Sidney Richard Percy (British, 1821‑1886) “River near Dolgelthy, North Wales” oil on canvas signed lower right, titled “River near Dolgetty [sic], N. Wales” on brass artist plaque.

Framed.

23” x 42”, framed 27‑3/8” x 45‑1/2” $3,000‑$5,000 224

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225 Heriz Carpet

226 Turkish Angora Oushak Carpet

9’ 8” x 13’ 10”

10’ 1” x 14’

$2,500‑$4,000

$1,200‑$1,800

225

226

227

227 Tabriz Carpet

228 Heriz Carpet

10’ x 14’

8’ 9” x 12’ 2”

$1,000‑$1,500

$1,000‑$1,500

228

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229

229 Turkish Angora Oushak Carpet

230 Peshawar Serapi Carpet

231 Agra Serapi Carpet

232 Turkish Angora Oushak Carpet

8’ 10” x 11’ 10”

10’ 2” x 14’ 3”

8’ 10” x 12’

11’ 10” x 15’ 1”

$1,000‑$1,500

$3,000‑$5,000

$1,000‑$1,500

$1,200‑$1,800

230

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231

232

233 Turkish Angora Oushak Runner 2’ 6” x 23’ 9” $1,000‑$1,500

234 Turkish Angora Oushak Carpet 9’ x 12’ 1” $1,000‑$1,500

235

236

235 Heriz Carpet

236 Heriz Carpet

237 Semi-Antique Sarouk Carpet

8’ x 11’ 9”

8’ x 10’

9’ 6” x 13’ 4”

$1,000‑$1,500

$1,200‑$1,800

$1,500‑$2,500

233

234

237

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238 Regence-Style Bronze Chandelier first quarter 20th century, the standard with a molded and fluted urn set with monopodia with putti heads, the scrolled candle arms set with reeded drip pans and molded sockets, terminating in classical heads of goddesses. h. 32”, dia. 32‑1/2” $2,000‑$4,000 239 Louis XV-Style Polychrome Fauteuil and Ottoman 20th century, the cushioned and padded slanted back joined to the cushioned seat by padded scrolling arms, with a conforming cushioned ottoman, raised on cabriole legs ending in foliate toes. chair h. 40”, w. 30‑1/2”, d. 41”; ottoman w. 30‑1/2”, d. 19” $800‑$1,200

238

240 Transitional Louis XV/XVI Polychrome and Faux Marbre Commode late 18th century, the rounded rectangular faux marbre top above a conforming case fitted with three long drawers, all with shaped panels, raised on cabriole feet ending in scrolled toes. h. 38”, w. 39”, d. 23‑3/4” $2,500‑$4,000 241 Louis XV-Style Creme-Peinte Bergere 19th century, the closed arms with molded end supports, the serpentine seat rail with shell and foliate carving, the cabriole legs with floral-carved knees and French toes. h. 36” $800‑$1,200

240

239

80

241

242 French Painted Architectural Trumeau Mirror mid-18th century, made of boiserie with a cupid’s-bow crest in the center, the lower portion set with an antique mirror plate. h. 65”, w. 55” $1,200‑$1,800 243 Italian Polychrome and Marble-Top Side Table late 18th century, in the Louis XV taste, the thick rectangular marble top above a conforming shaped frieze centered by a shell carving and with like corner carving, raised on molded cabriole legs ending in acanthine toes. h. 36”, w. 52‑1/2”, d. 26‑1/4” $1,000‑$1,500 244 Louis XV Painted Wing Chair late 18th century, the arched back with a floral-carved crest, the molded projecting wings joined to closed arms, with scalloped carved apron and cabriole legs, the seat with a loose cushion. h. 43‑1/4”

242

$1,000‑$1,500 245 Charming French Upholsterer's Model Rooms fourth quarter 19th century, composed of painted wood, paper and mirror glass, composed of three rooms, all with French doors with curtain hooks, some walls with paper boiserie, others with wallpaper, two rooms with mantelpieces and two rooms with fireplaces, inscribed "Seine/Tapissier/Decorateur" along proper right side. h. 12‑1/4”, w. 42”, d. 19‑1/4”

245

$1,000‑$1,500

243 244

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247 248

246

249

246 Pair of Louis XV-Style Polychromed Canapes

248 Pair of Louis XV-Style Polychrome Fauteuils

each with a gently arched and molded crest rail wrapping around to closed arms, the like seat rails joining to cabriole legs, the seat with a loose cushion, now upholstered in cream brocade. h. 32”, w. 60”, d. 26‑1/2”

mid-19th century, each with a padded and domed back surmounted by a shield-form crest, joined by padded outscrolled arms to the padded seat, raised above a foliate- and shell-carved apron on cabriole legs headed by shield carving and ending in scrolled toes, upholstered in silk damask. h. 43”

$1,000‑$1,500

Provenance: Private collection, Mobile, Alabama.

247 Louis XV-Style Creme-Peinte, Parcel-Gilt and MarbleTop Center Table

$2,000‑$4,000

late 19th century, the turtle-form top with an inset marble, above a conforming lattice-incised frieze centered by a foliate shell carving, raised on cabriole legs headed by shield carving and ending in scroll toes on pegs. h. 30”, w. 41‑1/2”, d. 25” $1,000‑$1,500

82

249 Louis XV Giltwood Barometer second quarter 18th century, signed “Radiguet Opticien, 15 Blvd des Filles du Calvaire”, the upper portion outlined with leaves and flowers and with the blown glass thermometer, the lower portion with a carved urn framed with acanthus leaves. h. 39”, dia. 15” $2,500‑$4,000

250 Royal Copenhagen “Flora Danica” Pierced Porcelain Platter 1955, model “3528”, depicting “Lonicera periclymenum L.”, fully marked. dia. 13” Provenance: Collection of Marjorie Leverich Moran, New Orleans, Louisiana. $1,000‑$1,500 251 Six Royal Copenhagen “Flora Danica” Pierced Porcelain Fruit Luncheon Plates

250

1967‑1974, model “3554”, assorted fruit, all fully marked. dia. 9” Provenance: Private collection, New Orleans, Louisiana. $1,500‑$2,500

251

253 Nine Royal Copenhagen “Flora Danica” Porcelain Triangular Covered Custard Cups and Saucers

252

1957‑1974, models “3575” and “3576”, the cups depicting various flowers identified underneath in Latin, the covers with flower-trimmed twigs, all fully marked. cup with cover: overall h. 3‑3/8”, w. 3”, d. 2‑3/4”, saucer: h. 7/8”, w. 4‑3/8”, d. 4‑1/4” Provenance: Private collection, New Orleans, Louisiana.

252 Royal Copenhagen “Flora Danica” Porcelain Triangular Cake Plate and Two Oval Pickle Dishes

$2,000‑$4,000

mid-20th century, the cake plate model “3508” depicting “Fragaria vesca L.”, the pickle dishes model “3540” depicting “Viola epipsila Ledeb.”, the other “Saxifraga stellaris L.”, both with flowertrimmed double branch handles, all fully marked. cake plate: h. 1‑1/4”, w. 9”, d. 8-1/2”, dishes: h. 2‑3/8”, w. 6‑3/4”, d. 8-5/8” Provenance: Private collection, New Orleans, Louisiana. $1,000‑$1,500 253

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255

254 Louis XV Giltwood and Marble-Top Console Table mid-18th century, the serpentine marble top over a pierced foliate- and avian-carved apron, and raised on cabriole legs joined at the base by asymmetrical leaf carving. h. 32‑1/4”, w. 37‑1/2”, d. 19” $2,000‑$4,000 255 Pair of Impressive French Gilt-Bronze Chenets mid-20th century, of large scale in the Louis XV manner, the fluted and leaf-molded brackets supporting molded scrolls trimmed with rocaille work, resting on fluted rear feet. h. 13‑1/2”, w. 19”, d. 6‑1/4”

256 Exceptional Gilt-Bronze, Crystal, Lavender Quartz and Rock Crystal Candelabrum fourth quarter 19th century, French, of Louis XIV inspiration, the base on scrolled, leaf-molded feet and decorated with roses and cabochons, set with leaf-molded arms terminating in molded candle cups, the glass-clad upper standard terminating in a cut crystal sphere, set into a spray of rock crystal and lavender quartz prisms, hung from two tiers and hung with rock crystal and quartz drops. h. 43‑1/2”, dia. 20” $1,500‑$2,500

Provenance: Loyd-Paxton, Dallas, Texas. $2,500‑$4,000

254

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256

257 French Tortoiseshell and Gilt-Bronze Clock post-1914, in the Louis XV style, the tortoiseshell-veneered case trimmed in gilt-bronze scrollwork, with cabriole feet and a finial of two amorini supporting a cartouche, the dial signed by the retailer “B. Starr, New York, Made in France”. h. 18-1/4”, w. 8-1/2”, d. 5‑3/4” $1,000‑$1,500 258 Pair of Napoleon III Beechwood Stools third quarter 19th century, in the provincial Louis XV taste, each retaining antique velvet upholstery with loose cushions having tassels at each corner, carved serpentine aprons and cabriole legs. h. 18-1/2”, w. 23‑1/2”, d. 17” $700‑$1,000 259 Interesting French Inlaid Oak and Polychrome Table

257

ca. 1900, the removable top with a central inlaid star and parquetry border, over a painted base having carved and scalloped aprons and raised on carved cabriole legs. h. 29‑1/2”, w. 39”, d. 32” $1,000‑$1,500

259

258

260 Pair of Louis XV-Style Painted and LeatherUpholstered Bergeres each with an arched crest rail, closed arms, serpentine molded seat rail and cabriole legs, the distressed leather trimmed with brass tacks. h. 34‑3/4” $1,000‑$1,500

260

85

261 Suite of Six Louis XV-Style LeatherUpholstered Giltwood Dining Chairs each having a back with a molded and arched crest rail, a shell-carved scalloped apron and cabriole legs with French toes. h. 39‑1/2” $1,000‑$1,500

262 Louis XV-Style Painted Leather Screen 19th century, composed of four serpentine-top panels, depicting idealized scenes of country life. overall h. 83‑1/2”, w. 90” $2,000‑$4,000 262

261

263 Pair of Louis XV-Style Kingwood and Marble-Top Commodes early 20th century, each with a bowed marble top above a conforming bombe case fitted with two quarter-veneered drawers with inlaid floral sprays, raised on tall splayed legs ending in sabots. h. 33‑1/2”, w. 34”, d. 17‑1/2” $1,200‑$1,800 263

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265 264

264 Regence Kingwood and Marble-Top Commode

265 Pair of Bronze Sconces in the Louis XV Taste

18th century, the rectangular marble top with a bowed front, above a bombe case fitted with two short drawers over two long drawers, all quarter-veneered and with decorative banding, raised on splayed legs ending in sabots. h. 33”, w. 51‑1/2”, d. 25”

ca. 1900, each two-arm sconce with a ribbon-form backplate in oak leaf and acorn decor, and dressed with cut crystal prisms and pear-shaped pendalogues, electrified. h. 32”, w. 14”, d. 6‑1/2” $1,000‑$1,500

$2,500‑$4,000

266

266 Monumental Parcel-Gilt Faux Marble Fireplace Surround in the neoclassical taste, the carved wood mantel over a frieze in foliate and floral decor, supported by caryatids in the form of a scroll with an allegorical bust of a maiden. h. 62‑1/2”, w. 103‑1/2”, d. 15‑1/4” $1,500‑$2,500

87

267 Directoire Parcel-Gilt Trumeau Mirror ca. 1800, the oil-on-canvas painting depicting two people arriving on horseback and presented in a giltwood surround decorated with a bowknot crest, bellflowers and pinecones at each top corner, and the mirror plate in a giltwood surround with an urn finial and pinecones at each top corner. h. 69‑1/2”, w. 46” $1,200‑$1,800 268 Louis XV-Style Polychrome Corner Table 19th century, the top with a shaped front, above a conforming scalloped apron with foliate accents, raised on cabriole legs ending in hoof feet. h. 29”, w. 37”, d. 20” $800‑$1,200 269 German Meissen-Style Porcelain Dressing Mirror ca. 1900, with serpentine sides and crest, the edges molded with pink and blue rocaille work, decorated with encrusted flowers, birds and putti, set with a beveled mirror plate, on an easel back. h. 25‑3/4”, w. 15” $1,500‑$2,500

267

268

269

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270

270 Charles van den Eycken (Belgian, 1859‑1923) “Kittens in a Basket” oil on canvas signed lower left, signed, dated and inscribed “Brussels” en verso of canvas; Christie’s labels en verso.

Framed.

13‑3/4” x 18”, framed 21” x 25” Provenance: Christie’s, New York, New York, October 22, 2008, lot 248. $20,000‑$40,000 271 Louis XV-Style Polychromed Bergere ca. 1900, with a foliate-carved molded crest extending to closed arms, the serpentine seat rail with like carving, raised on cabriole legs. h. 38-3/4” $1,000‑$1,500 271

89

272 French Provincial Giltwood and Painted Trumeau Mirror fourth quarter 18th century, decorated with an oil-on-canvas painting of children fishing in a stream, over a mirror panel, in a scroll-carved giltwood surround, the side panels decorated with scrollwork appliques. h. 78-1/2”, w. 59‑1/2” $1,200‑$1,800 273 Assembled Meissen-Style Potpourri Urn on Stand post-1901, the urn decorated with a hand-painted panel depicting the marriage of Cupid and Psyche, framed with encrusted flowers and fruit, set with double angel “handles” with encrusted flowers, and the pierced cover with a figure of the goddess Flora, made by Carl Thieme’s Saxonian Porcelain, Potschappel, resting on a Meissen scroll-footed stand, ca. 1860‑1924, decorated with encrusted flowers. h. 30‑1/2”, w. 13‑1/2”, d. 10” $1,000‑$1,500 274 Pair of French Meissen-Style Porcelain Mirrored Brackets first quarter 20th century, with ebonized semi-circular shelves supported by pierced porcelain half baskets decorated with putti, encrusted flowers and molded porcelain grape leaves, the mirrors framed with pink and green rocaille work and encrusted flowers, and mounted with figures personifying autumn. h. 31‑1/2”, w. 14”, d. 7‑3/4”

272

$1,000‑$1,500

274

273

90

275

276

275 Louis XV-Style Gilt-Bronze Chandelier 20th century, the pierced standard framed with scrollwork and set with putti shooting arrows and holding birds, the lower sections decorated with pots of roses and lovebirds, the rocaille-molded arms set with rococo-molded candle cups and matching drip pans. h. 45”, dia. 35” $5,000‑$8,000 276 Louis XV-Style Gilt-Bronze Chandelier 20th century, the pierced standard framed with scrollwork and set with putti shooting arrows and holding birds, the lower sections decorated with pots of roses and lovebirds, the rocaille-molded arms set with rococo-molded candle cups and matching drip pans. h. 45”, dia. 35” $5,000‑$8,000 277 Louis XV Marquetry-Inlaid and Ormolu-Mounted Kingwood Corner Cabinet 18th century, the broken-arch pediment with a central plinth above a glazed door, the base with a marquetry-inlaid door and raised on bronze feet. h. 82”, w. 28”, d. 19” $1,800‑$2,500

277

91

278 Pair of French Silvered and Gilt-Bronze Stands fourth quarter 19th century, the gilded shell-molded bases supporting putti-form standards, their outstretched arms holding shells aloft. h. 9‑1/2”, w. 6‑3/4”, d. 4‑1/2” $1,000‑$1,500 279 After Guillaume Coustou (French, 1677‑1746)

278

“Marly Horses” pair of patinated bronzes 20th century, after the ca. 1740 monumental sculptures commissioned by Louis XV to be placed in his Chateau de Marly and now conserved at the Louvre, Paris, each with cast signature along edge of self-base. each h. 14‑3/4”, w. 13‑1/2”, d. 5‑1/2” $1,000‑$1,500 280 Louis XV-Style Kingwood Bureau Plat early 20th century, the shaped rectangular top with an inset leather surface and ormolu corner accents, above a conforming frieze fitted with three drawers, all with latticepatterned parquetry inlay, verso and sides inlaid en suite, raised on cabriole legs headed by espagnolettes and ending in sabots. h. 32”, w. 49‑1/2”, d. 25‑1/2”

279

$1,200‑$1,800 281 Suite of Four Louis XV-Style Beechwood Bergeres each with a floral-carved and molded crest, closed arms, serpentine seat, cabriole legs and fitted with a loose seat cushion. h. 37”

280

$1,000‑$1,500

281

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282 Fine Louis XV Gilt-Bronze-Mounted Parquetry and MarbleTop Bombe Commode mid-18th century, stamped “J. Demoulin”, for Jean Demoulin (1715‑1798), the variegated gray and white serpentine marble top over a conforming case with a bank of three conforming drawers, each with shaped mahogany panels and bronze mounts, the Demoulin stamp overstruck at a different angle, the piece also signed in script “Francois...”. h. 33”, w. 20‑1/2”, d. 38” $1,500‑$2,500 Jean Demoulin worked as a master ebeniste in Paris, ca. 1745, and later in Dijon, Burgundy, ca. 1780.

283 Pair of Charming Napoleon III Bronze and Marble Figural Candelabra third quarter 19th century, on round marble bases hung with tasseled chains, the standards depicting patinated bronze winged cherubs supporting bronze dore cornucopias set with leaf-molded and rope-twist candle branches, the reeded sockets over berry and leaf drip pans. h. 23‑1/4”, dia. 8”

283

Provenance: Collection of Marjorie Leverich Moran, New Orleans, Louisiana. $800‑$1,200 284 Louis XV-Style Ebonized Bureau Plat early 20th century, the rounded rectangular top with a molded edge and inset leather writing surface, above a frieze fitted with a bank of two short drawers to either end, the verso with faux drawers, raised on cabriole legs ending in sabots, the whole richly accented with ormolu mounts and hardware. h. 29”, w. 63‑1/2”, d. 30‑1/2” $3,000‑$5,000 282

284

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285 Follower of Elisabeth Vigee Le Brun (French, 1755‑1842) “Portrait of a Young Woman Playing a Harpsichord” oil on canvas unsigned, verso with a hand-inscribed label.

Antique giltwood frame with a “P. Sooty fils, Paris” framer label.

41” x 32‑5/8”, framed 47‑1/4” x 39‑3/8” Provenance: Sotheby’s Colonnade, London, U.K., March 16, 1993, lot 129; Estate of Dr. George Porter III, New Orleans, Louisiana. $3,000‑$5,000 286 French Carved Marble Bust of Marie Antoinette fourth quarter 19th century. h. 26”, w. 16”, d. 9” $1,500‑$2,500 287 Louis XVI-Style Giltwood Settee

285

early 20th century, the back crest with a carved bowknot and laurel leaves, the curved frame with a central oval padded panel in the back, raised on stop-fluted tapering turned legs, completely upholstered in floral needlepoint. h. 39‑1/2”, w. 73”, d. 32” $1,000‑$1,500 288 Pair of Louis XV-Style Brass and Crystal Sconces 20th century, on pierced scroll- and flower-molded backplates, the rocaille-molded arms set with molded candle cups and drip pans, hung with prisms, electrified. h. 28-1/2”, w. 12”, d. 6” $1,000‑$1,500

288

286

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287

289 Louis XIV-Style Ebonized and Brass-Inlaid Bracket Clock fourth quarter 19th century, inlaid with arabesque scrollwork, the corners mounted with bronze monopodia, the handsome matching shelf with bronze trim, the mansard-form “roof” inlaid to match, the works signed “Vincenti et Cie”. h. 38-1/4”, w. 17”, d. 8-1/2” $1,000‑$1,500 290 Louis XV-Style Ebonized and Marble-Top Commode late 19th century, in the chinoiserie taste, the shaped marble top above a conforming bombe case fitted with two long drawers featuring a polychrome scene of a pagoda and boat with mother-of-pearl accents, raised on splayed legs ending in sabots. h. 33‑1/2”, w. 43‑1/2”, d. 19” $1,800‑$2,500 291 Louis XVI-Style Giltwood Bergere of generous proportions, with ribbon-carved crest, closed arms, bowed seat rail and fluted tapering legs, upholstered in chinoiserie deep cream brocade. h. 47‑1/2” $1,000‑$1,500 292 French Gilt-Bronze Table Clock

289 292

fourth quarter 19th century, the Rococo Revival case molded with scroll and rocaille work and set with baby Buddhas. h. 10‑1/4”, w. 6”, d. 5” $1,000‑$1,500

290

291

95

293 Louis XV-Style Provincial Trumeau Mirror fourth quarter 19th century, decorated with a rococo scrolled giltwood surround and giltwood ornaments on the side panels, the oil-on-canvas painting portraying silk weaving in China. h. 62‑1/2”, w. 41” $1,000‑$1,500

296 293

294 French Gilt-Bronze Chandelier first quarter 20th century, with a vasiform standard and a pinecone pendant finial, set with bold scrolled and leaf-molded arms, hanging from a molded bronze chain and a leaf-molded canopy, electrified. h. 19”, dia. 32‑3/4” $1,000‑$1,500 295 Louis XV/XVI-Style Kingwood and Parquetry Commode early 20th century, the canted rectangular top with basketweave parquetry, above a conforming case fitted with three drawers, joined to a lower likeveneered shelf by cabriole legs continuing to sabots. h. 29‑1/4”, w. 17‑1/2”, d. 13” $1,000‑$1,500

295

296 Louis XV-Style Rosewood Occasional Table early 20th century, the shaped rectangular top banded and quarter-veneered, above a conforming frieze fitted with a single drawer, raised on cabriole legs ending in sabots. h. 29”, w. 30”, d. 20‑1/2” $1,400‑$1,800

294

96

297 Louis XV-Style Fruitwood Fauteuil early 20th century, the padded back surmounted by a foliate shell crest, joined by padded arms to the like seat, raised on cabriole legs headed by a shield carving and ending in scrolled toes. h. 40‑1/2” $1,000‑$1,500 298 Pair of Impressive Molded Potpourri Urns on Stands post-1901, German, the urns with hand-painted scenes in Arcadian landscapes and panels of hand-painted flowers framed with encrusted flowers, with putti “handles”, the pierced covers decorated with figures of “Flora” holding baskets of flowers, the scroll-footed stands with encrusted flowers and fruit, marked by Carl Thieme’s Saxonian Porcelain. h. 30”, w. 9‑1/2”, d. 9‑1/2” 297

$2,000‑$4,000

300 299

299 Meissen-Style Porcelain Figural Group post-1915, German, decorated with encrusted flowers and porcelain lace, the scene depicting a group of children being presented to a lady of importance, marked by Volkstedt in underglaze blue on the side of the base. h. 16‑1/4”, w. 19‑1/2”, d. 11‑1/4” $1,000‑$1,500 300 Louis XV-Style Parquetry-Veneered Mahogany Bureau Plat ca. 1900, with brass and bronze mounts, the tooled leather writing surface edged with brass molding, the frieze with a band of three drawers, raised on cabriole legs capped by figural bronze mounts retaining elements of their gilt surface, the feet with like sabots. h. 31”, w. 71”, d. 37‑1/2” $1,500‑$2,500 298

97

301 After Felix Lecomte (French, 1737‑1817) “Marie Antoinette” patinated bronze first quarter 20th century, after the 1783 marble bust commissioned for the chambre de la reine, Chateau de Versailles and exhibited to acclaim at the Paris Salon that same year, on a self-socle base. h. 20‑1/4”, w. 11‑1/2”, d. 5‑1/4” $1,000‑$1,500 302 Louis XVI-Style Polychromed Bed

301

ca. 1900, the headboard and footboard of like height, each with carved finials over fluted and stop-fluted posts, and with an upholstered central panel, one rail with carved molding, a fluted panel and laurel and trophy carving. h. 51”, inside w. 42‑1/2”, l. 73‑1/2”, outside w. 48-1/2”, l. 78” $1,000‑$1,500 303 Louis XV-Style Painted Trumeau Mirror ca. 1900, the oil-on-metal painting depicting a bridge in a landscape, the painting and mirror with carved and scrolled giltwood surrounds. h. 63‑1/4”, w. 44‑1/4”

303

$1,000‑$1,500

302

98

304 Pair of Louis XVI Creme-Peinte and Faux Marbre Side Tables 18th century and later, each with a faux marbre rectangular top with projecting corners, above a conforming paneled frieze centered by a gilt swag, raised on fluted tapering circular legs headed by a waisted foliate capital and ending in foliate feet. h. 38”, w. 51‑1/2”, d. 25”

305

$5,000‑$8,000 305 Provincial Louis XVI-Style Oval Polychrome Wood and Marble-Top Dining Table with a conforming polished verde antico marble top over a gris-de-Trianon and giltargente molded and guilloche-carved apron, raised on fluted tapering circular legs. h. 31‑3/4”, w. 38-1/4”, l. 70‑1/4” $1,500‑$2,500 306 Herend Porcelain Partial Dinner Service

306 detail

ca. 1915‑1930, Hungarian, the green “Chinese Bouquet” service comprised of ten dinner plates, dia. 10‑1/4”, eight soup plates, dia. 9‑3/4”, eight salad plates, dia. 9”, ten footed cups, h. 2”, and eight saucers, dia. 6”, eight cream soup bowls, h. 4”, with seven underplates, dia. 6‑1/4”, a square open bowl, h. 3‑3/4”, w. 10”, d. 10”, and a circular serving dish, dia. 12‑1/2”.

Provenance: Descended in the Family of John Gilman D’Arcy Paul, Baltimore, Maryland. $1,000‑$1,500

306

304

99

307 Louis XIV Walnut Fauteuil 18th century, the back with an arched crest rail, the molded arms each adorned with a single carved leaf, the shaped legs joined by an H-form stretcher, now in aqua upholstery edged with brass tacks. h. 49” $900‑$1,200 308 Handsome French Gilt-Bronze Six-Light Chandelier second quarter 20th century, the chandelier with a standard molded with flowers and leaves, the fluted urn-form body set with leaf-molded arms terminating in gadrooned candle cups, the lower portion with a pinecone pendant finial. h. 37‑3/4”, dia. 15” $1,000‑$1,500 308

307

310

309 French Giltwood Mirror in the Louis XV Taste ca. 1900, of oval form, with a pierced crest decorated with musical instruments, the outer surround molded with ribbonwrapped beading, with panels of mirror plate forming an inner surround, with overlapping leaf carving. h. 48”, w. 37” $1,500‑$2,500 310 Two Pairs of Louis XVI-Style Gilt-Bronze Sconces 20th century, including a pair of four-light examples with pierced backplates decorated with laurel leaves and supporting reeded candle arms terminating in cockerel heads, and set with laurel-molded drip pans and hexagonal candle cups, h. 18-1/2”, w. 15‑3/4”, d. 10‑3/4”, and a pair of two-light examples with quiver-form backplates set with urn finials, leaf-molded candle arms and octagonal drip pans, h. 14‑1/4”, w. 8-1/2”, d. 5”. $1,000‑$1,500

309

100

311

311 Louis XVI-Style Giltwood Daybed

312 Louis XVI-Style Giltwood and Marble-Top Cabinet

late 19th/early 20th century, the arched and ribbon-carved back and sides with carved panels, the corners with pineapple-carved finials, the front ends with laurel- and berry-carved drops over foliate carving, with fluted apron and trumpet legs, now fitted with a large seat cushion and loose back cushions. h. 41”, inside w. 79‑3/4”, d. 35”, outside w. 83”, d. 36‑1/4”

19th century, the D-form gray marble top above a conforming case fitted with a finely carved undulate and floral patera frieze over two cupboard doors, each inset with a mirrored panel within a guilloche-carved frame, flanked to either side by three open mirrored-back shelves over a lion-carved pendant apron, raised on toupie feet. h. 42”, w. 60‑3/4”, d. 18-1/4”

$1,200‑$1,800

$2,500‑$4,000

312

101

313

315

314

313 Louis XVI-Style Bronze and Crystal Chandelier the six-arm chandelier hung with cascades of drops from the corona, decorated with pierced anthemia, the lower portion set with scrolled candle arms and graduated tiers of prisms. h. 35‑1/2”, dia. 28” $800‑$1,200

314 Louis XVI Fruitwood and Marble-Top Side Table 18th century, the demi-lune marble top above a conforming guilloche-carved frieze centered by a shield-carved panel, raised on fluted tapering circular legs ending in toupie feet. h. 34”, w. 50‑1/2”, d. 23‑1/2” $1,800‑$2,500 315 Giltwood Mirror in the Louis XVI Taste 20th century, the rectangular mirror plate lined with lotus leaves on the outside and beading on the inside, the top with a carved urn of roses supporting a swag of laurel leaves against carved scrollwork. h. 43‑1/2”, w. 26‑1/2” $1,000‑$1,500

102

316 Pair of Louis XVI-Style Giltwood Fauteuils second half 19th century, each with a crisply carved and beaded crest rail and stiles, open arms with foliate-carved scroll ends, bowed seat rail and fluted legs, retaining antique needlepoint upholstery and under-upholstery. h. 38-1/4” $1,200‑$1,800 317 Louis XVI-Style Kingwood and Marble-Top Cabinet late 19th century, the D-form marble top above a conforming case fitted with a central drop front, opening to a leatherinset surface and drawers and cubbyholes, over a tambour cupboard opening to two small drawers, flanked to either side by a drawer over a tall cupboard door, raised on tapering square legs ending in brass caps, the whole accented with decorative banding and quarter veneers. h. 47‑3/8”, w. 43‑1/2”, d. 17‑1/2”

317

$1,800‑$2,500 318 Pair of Louis XV/XVI-Style OrmoluMounted Kingwood and Marble-Top Commodes early 20th century, each with a long narrow drawer concealed in a frieze above two wide drawers below, raised on turned legs. h. 39”, w. 41”, d. 19” $3,000‑$5,000

316

318

103

319 Pair of French Bronze and Red Griotte Marble Candelabra fourth quarter 19th century, the six-light candelabra on bronze bases draped with fringed covers, the standards composed of red griotte marble with a bronze guilloche border, set with leafmolded candle arms, electrified. h. 35‑3/4”, dia. 18-1/2” $1,500‑$2,500 320 Pair of Louis XVI-Style Polychromed Bergeres third quarter 20th century, possibly Maison Jansen, each with a guilloche-carved crest rail and stiles, closed arms with leafcarved ends and spiral-fluted supports, bowed seat rail and fluted legs, upholstered in gold brocade. h. 34‑3/4”

319

$1,200‑$1,800 321 Louis XVI-Style Polychromed Sofa third quarter 20th century, in the manner of Maison Jansen, the ribbon- and cabochoncarved crest rail and stiles joined to closed arms, the seat rail with like carving, raised on fluted tapering circular legs, the seat with three cushions, the whole upholstered in gold and cream brocade. h. 34‑3/4”, w. 77”, d. 30” $1,200‑$1,800 320

321

104

325

322

323 324

322 Pair of Louis XIV-Style Bronze and Crystal Girandoles

324 Louis-Philippe Mahogany Demi-lune Fold-Over Table

second quarter 20th century, the bronze frame on pierced leaf-molded scrolls and supporting two graduated tiers above the candle branches, all hung with swags of crystal drops and clear and smoke-colored prisms, electrified. h. 30”, dia. 19‑1/4”

fourth quarter 19th century, having an oval top when opened and supported by a center rear leg attached to a drawer, the whole raised on turned legs ending in brass cup casters. h. 29‑1/2”, w. 45”, l. 56”

$1,200‑$1,800 323 Pair of Louis XVI-Style Polychromed and Giltwood Fauteuils each with a guilloche-carved crest rail and stiles, open arms, bowed seat rail with like carving, and raised on leaf-carved fluted legs, upholstered in striped cut velvet. h. 39” $1,000‑$1,500

$1,200‑$1,800 325 Large Provincial Louis XVI-Style Walnut Circular Extension Dining Table 20th century, the circular top with a molded edge, over a straight frieze apron, with turned and fluted legs, opening to accommodate three 18-inch skirted leaves. h. 30”, dia. 72”, ext. l. 126” $2,500‑$4,000

105

328 Niek van der Plas (Dutch, b. 1954) “[View of] Montelbaanstoren, Amsterdam” oil on wood panel signed lower right, signed, titled and inscribed en verso.

Framed.

12” x 16”, framed 19‑1/8” x 23‑1/4” Exhibited: Katwijks Museum, Netherlands, 2011 $1,200‑$1,800

326

326 Gail Sherman Corbett (American, 1871‑1952) “View of Tuileries Gardens and Montmartre, Paris” 328

oil on canvas signed lower left.

Framed.

40” x 30”, framed 48” x 38” $1,500‑$2,500 327 Niek van der Plas (Dutch, b. 1954) “De Seine, Paris” oil on wood panel signed lower right, signed and titled en verso.

Framed.

12” x 19‑1/4”, framed 19” x 26‑1/2” Literature: Niek van der Plas. Niek van der Plas: Een impressionist uit Katwijk (Rijnsburg: Theo-Sanders Fine Art, 2011) pp. 102‑103. $1,800‑$2,500 327

106

329 Gino Martini (Italian, b. 1935) “The Flower Seller” oil on canvas signed lower right.

Framed.

40” x 40”, framed 47” x 47” $3,000‑$5,000

329

330 Jacques Renard Lejeune (French, 1930‑2003) “Looking out to the Sea” oil on canvas signed lower left.

Framed.

39‑1/2” x 39‑1/2”, framed 46‑3/4” x 46‑3/4” $5,000‑$8,000

330

107

331 Suzanne Eisendieck (German, 1906‑1998) “Concert Champetre”, ca. 1968 oil on linen signed lower right, titled en verso.

Framed.

21‑5/8” x 18”, framed 29‑1/2” x 25‑1/2” $3,000‑$5,000 Provenance: Collection of Leon Amar, Palm Beach, Florida.

331

332 Dietz Edzard (German/Paris, 1893‑1963) “Hofrat P.”, 1922 oil on canvas signed lower right, titled and “Atelier D. Edzard” label with title and date en verso.

Framed.

18” x 12”, framed 23‑1/4” x 17‑1/4” Provenance: Purchased from Christine Edzard Goodwin, May 1, 2010; Collection of Leon Amar, Palm Beach, Florida. $2,000‑$4,000

332

108

333 Suzanne Eisendieck (German, 1906‑1998) “Le Port de Laboe”, ca. 1950s oil on canvas titled, “Arthur Lenars & Co., Paris, Transport Internationaux” label and “The Paris American Art Co., 2 Rue Bonaparte, Paris” stamp en verso.

Framed.

14‑1/2” x 9”, framed 22” x 16‑3/4” $1,500‑$2,500 Provenance: Collection of Leon Amar, Palm Beach, Florida.

333

334 Dietz Edzard (German/Paris, 1893‑1963) “Jeune Femme au Theatre” oil on canvas signed lower right, “The Paris American Art Co.” label en verso.

Framed.

16‑1/2” x 13”, framed 24” x 20‑3/4” $1,000‑$1,500 334

Provenance: Collection of Leon Amar, Palm Beach, Florida.

335 Dietz Edzard (German/Paris, 1893‑1963) “La Rose et la Pomme”, 1948 oil on canvas signed lower right, verso with “James Vigeveno Galleries, Westwood Hills, Los Angeles” label.

Framed.

6‑1/4” x 8-5/8”, framed 13‑5/8” x 16” Provenance: Kunsthaus Buhler, Stuttgart, Germany; James Vigeveno Galleries, Ojai, California; Christie’s, New York, New York, September 22, 2009, lot 70; Collection of Leon Amar, Palm Beach, Florida. $3,000‑$5,000

335

109

336

336 Leonard Tsuguharu Foujita (Japanese/French, 1886‑1968) “Nu Couche, Youki (1903‑1966)” oil, pen and ink on canvas signed and dated “Foujita/1923” and further signed in Japanese characters center left, “Galerie Gilbert & Paul Petrides/Paris” label on stretcher.

Framed.

15” x 21‑3/4”, framed 26‑1/4” x 33” Provenance: Galerie Gilbert & Paul Petrides, Paris, France; Private collection, 1986‑2008; Christie’s, New York, New York, May 7, 2008, lot 448.

Literature: Leonard-Tsuguharu Foujita and Dominique and Sylvie Buisson. La Vie et l’oeuvre de Leonard-Tsuguharu Foujita (Courbevoie/Paris: A l’encre rouge, 1987), p. 367, no. 23.14 (illustrated with incorrect dimensions). $250,000‑$350,000

110

Lucie Badoud (aka Youki) was one of the most important women in Leonard Tsuguharu Foujita's life. As his lover, wife and muse, she inspired some of his most prolific work.

Through her, Foujita redefined feminine beauty in ivory and bone from the negative space of an ink drawing, born par excellence of Eastern calligraphy. Foujita and Youki were the celebrities of the Parisian art scene in the 1920s. Hailed a shining star, Foujita was more successful than Picasso and more acclaimed than Matisse. Youki, a figurehead in her own right, rivalled Foujita's other famous models - Kiki of Montparnasse and Modigliani's muse Fernande Barrey, whom Foujita took as his second wife days after meeting her in a cafe.

When Foujita met Badoud in 1921, he was smitten by the pallor of her skin - her body he likened to white-capped peaks on sensuous, figural slopes; her visage to porcelain with lacquer black eyes framed by golden hair. Foujita christened her "Youki"- snow in Japanese, a name she legally retained until her death in 1964.

Through Youki, Foujita perfected the "fond blanc" (white ground) technique - the crowning earmark of his work. The bravura of the white ground artistry seamlessly blends the aesthetics of the orient and occident while compromising the identity and integrity of neither. The art of Shodo - of Japanese

calligraphy laboriously practiced through controlled bamboo brushwork - creates depth and movement through line quality alone. Devoid of modelling and shading, it privileges (like all ink/watercolor media do) the whiteness of the background and of the negative space. Conversely, oil painting, a medium invented in the West, paints/blocks in the canvas plane and privileges the positive construction of space, typically facilitated through perspective. In his portraits of Youki, Foujita celebrates Shodo in oil painting; while all forms are delineated through the pen and ink lines and lack three dimensionality, the negative spaces are painted in - matte black Indian ink blots out the background and the white pigment of the middle and foreground are the centerpiece. Made of mixed flaxseed oil, crushed chalk, white lead, and magnesium silicate, Foujita's pigment fascinated viewers with its milky iridescence as it captured both the "snow" of Youki's skin and the translucent luminosity characteristic of fine Asian porcelain and ivory.

Portraits of Youki as a reclining odalisque are rare because they were mostly executed in the early 1920s. Even more rarely are these "fond blanc" masterpieces offered at auction.

The last one ("Youki au Chat"), a striking companion to this work, sold for almost $800,000 last March at Christie's, London, Impressionist and Modern Day Art Sale.

Foujita photographed by Jean Agelou, 1923

111

337

337 Mariano Andreu Estany (Spanish, 1888-1976) “Musicos en un Anfitetatro”, 1940 oil on panel signed and dated lower right.

Presented in a custom-made artist frame.

17‑3/4” x 26‑1/4”, framed 30‑3/4” x 38-3/4” Provenance: Christie’s, London, U.K., June 26, 2007, lot 53.

Exhibited: Galerie Isy Brachot Fils, Brussels, “Mariano Andreu”, December 17, 1960‑ January 5, 1961, no. 12 (as Acrobates a la Contrebasse). $40,000‑$70,000

112

338 Michele Cascella (Italian/California, 1892‑1989) “Portofino in Fiori” oil on canvas signed lower left.

Framed.

48” x 24”, framed 56‑1/2” x 32‑1/4” Provenance: Christie’s, New York, New York, February 14, 2008, lot 27.

The Archivio dell’Opera pittorica di Michele Cascella by Torcular Srl. authenticated this painting through Christie’s in 2008. $25,000‑$40,000

338

339 Yvonne Canu (French, 1921‑2008) “Bravade a St. Tropez” oil on canvas signed lower right and signed, titled and numbered “450” en verso.

Framed.

18-1/2” x 21‑3/4”, framed 27” x 30‑3/4” $7,000‑$10,000

339

113

340 Jean Dufy (French, 1888-1964) “Quai de la Planchette a Honfleur”, ca. 1937‑1940 oil on canvas signed lower left, “Galerie Reine, New York” label on stretcher.

Framed.

21‑3/4” x 13”, framed 28-1/2” x 20” Provenance: Galerie Reine, New York, New York; American Art Galleries, Ltd., Chicago, Illinois; Mr. and Mrs. Richard Smith, New York?; Christie’s, New York, May 7, 2008, lot 495.

Literature: Jacques Bailly will include this painting in a forthcoming volume of his Jean Dufy catalogue raisonne. $40,000‑$70,000

340

341 Giovanni Molteni (Italian, 1898-1990) “Wooded Landscape”, 1961 oil on canvas signed and dated lower right, handwritten label with artist en verso frame.

Framed.

20” x 26”, framed 25‑3/4” x 31‑1/2” $1,200‑$1,800

341

114

342 Hayley Lever (American, 1876‑1958) “Harbour at Night” oil on canvas signed lower left.

Framed.

9‑7/8” x 14‑3/4”, framed 14‑1/4” x 19‑3/4” $1,500‑$2,500

342

343 Francois Gall (French, 1912‑1987) “Dans Le Jardin Public, Paris” oil on canvas signed lower left.

Framed.

8-5/8” x 10‑5/8”, framed 14” x 15‑3/4” $2,000‑$4,000

343

344 Willem Heytman (Dutch, b. 1950) “Cafe de la Paix, Paris” oil on canvas signed lower right, “Atelier Heytman” stamp, titled and further inscribed en verso.

Framed.

20” x 27‑1/2”, framed 26‑1/4” x 34‑1/8” $1,200‑$1,800

344

115

345

345 Robert Antoine Pinchon (French, 1886‑1943) “Fleurs de Champs” oil on canvas stamped signature “Robert A. Pinchon” lower right, Christie’s, New York labels en verso.

Framed.

28-3/4” x 36‑1/4”, framed 36‑1/4” x 43‑1/4” Provenance: Estate of the artist; Galerie Herve, Paris, France; Christie’s, New York, New York, September 10, 2008, lot 58. $60,000‑$90,000

116

346

346 Maximilien Luce (French, 1858-1941) “Bord de la Chalouette, Moulineux”, 1904 oil on artist board signed and dated lower left, titled en verso with various gallery and shipping labels.

Modern frame.

14‑3/4” x 11‑3/4”, framed 22‑1/4” x 19‑1/4” Provenance: Paul Martin, his sale, Versailles, France, June 2, 1960, lot 72; Hammer Galleries, New York, New York, 1966, inv. no. 19799; Trosby Galleries, Palm Beach, Florida; Bonham’s, New York, New York, May 7, 2015.

Literature: Denise Bazetoux, Maximilien Luce, catalogue raisonne de l’oeuvre peint, vol. 2. (Paris: Editions JBL, 1986) p. 307, no. 1235. $25,000‑$40,000

117

347

347 Maximilien Luce (French, 1858-1941) “Couillet, Charleroi, Paysage au Bord de La Riviere”, 1896 oil on canvas signed and dated lower right, titled on “Maxwell Galleries, San Francisco” label en verso, stretcher with old auction black stencil “KT667” and inscribed “A. Didisheim”.

Framed.

19‑3/8” x 25‑1/2”, framed 30‑7/8” x 37‑1/4” Provenance: Sotheby’s, London, U.K., July 2, 1969, lot 51; Collection of Naeib Liehin; Sotheby’s, New York, New York, May 21, 1982, lot 311; Private collection, Paris, France; Galerie Maxwell, San Francisco, California; Sotheby’s, London, U.K., June 29, 1988 , lot 127; Galerie Etienne Sassi, Paris, France; Private collection, Switzerland; Sotheby’s, New York, New York, May 8, 2008, lot 195; Shapiro Auctions, New York, New York, September 26, 2015, lot 545.

Literature: Philippe Cazeau, Maximilien Luce (Lausanne: La Bibliotheque des Arts, 1982), p. 90; Jean Bouin-Luce and Denise Bazetoux, Maximilien Luce, Catalogue Raisonne de L’Oeuvre Peint,, vol. 1 (Paris: JBL, Sous le vent, 1986), no. 1043, illustrated p. 94. $150,000‑$250,000

118

Born into a family of modest means, Luce always had a deep predilection for the working class. After serving in the military for four years, Luce began his artistic career as an engraver, before turning to painting full time in 1883.

Influenced by the Impressionists, who advocated plein air studies, Luce took multiple day trips to the outskirts of Paris - painting the changing effects of sunlight on the woodlands and fields through the juxtaposition of colors quickly applied in wet overlapping impastos through rapid short brush strokes. A fine example of this is lot 346, which was painted on the wooded bank of the Chalouette river in Moulineaux, a commune in Ile-de-France, 70 kilometers southwest of Paris. Between 1900 and 1905, Luce painted several sylvan landscapes of the Moulineaux, including “Route de Campagne a Moulineaux” that sold in these rooms on July 17, 2010 as lot 394. In these works, Luce elucidates the depth of the shaded foliage through layered blues and greens offset by warm yellows, beiges and pinks created through the mixture of complementary colors.

Though Luce first studied the Impressionists when he began painting, and would later revert back to a tempered Impressionist style that he maintained in various facets throughout his life, some of his most exploratory, political and powerful work was executed in the last decade of the 19th century. In 1887 Luce was introduced to the NeoImpressionist group by fellow artist Camille Pissarro, and quickly adopted the Divisionist technique of color application in separate patches or dots, believing it achieved a greater luminosity in color than Impressionism proper.

A 1904 exhibition review in Art et Decoration captures the verisimilitude of Luce’s oeuvre: “the immense furnaces that ablaze the night violet; the flames of the street lights and carriages that flicker like stars on the streets; the life and work of the wharfs; London by fog and the Midi engorged by light at midday; these are the spectacles by which Mr. Maximilien Luce is engaged”. Few artists at the turn of the century were as versatile in their range of subjects as Luce. He painted sunlit landscapes and the coast of St. Tropez with the same passion and sensitivity that he did factory and mine workers.

In the 1890s, Luce made several trips to the mining industry in Belgium, of which Charleroi was the epicenter. The region, called pays noir (black country) for its ashen soil, rich in ore, which bore proletarian toil and soiled the faces and air of Charleroi, fascinated Luce - and he celebrated both the natural beauty of the geography and the brutish conditions it produced. A fine example is this landscape of Couillet, an area in the town of Charleroi. It captures not only the innate splendor of the village, depicted from the verdant banks of the Sambre river with the spire of the 16th-century St. Lawrence church in the distance, but it also portends a more somber reality through the roiling storm clouds raining reflective blues and grays above the town hall. The pendant painting to this work, executed in the same palette and dimensions, depicts Couillet, Charleroi from the other side of town in which the smoke stacks of industry, instead of spires of faith, billow forth from the horizon. This work, also titled as a paysage/landscape of Couillet, Charleroi, sold at Christie’s, New York, May 9, 2002, lot 159, for $174,500.

119

348 Henri-Jean Guillaume Martin (French, 1860‑1943) “Le Lot en Crue en dessous des Falaises de Saint-Cirq-Lapopie”, ca. 1937‑1939 oil on canvas faintly signed lower left, together with a copy of a letter of authenticity issued by Cyrille Martin, the artist’s grandson.

Framed.

37‑1/4” x 30‑1/8”, framed 48” x 41” Provenance: Sotheby’s, New York, New York, May 8, 2007, lot 136.

This work was authenticated by Cyrille Martin through Sotheby’s in 2007. $90,000‑$120,000

348

Saint-Cirq-Lapopie, the scene of this painting, is a fortified medieval village in the Department of Lot (Midi-Pyrenees) in southwestern France that Henri-Jean Martin depicted numerous times. The cliffs of Saint-Cirq-Lapopie have austere facades that rise an imposing 300 feet above the Lot River and are summited by a picturesque village of narrow winding roads, tiered timber buildings with mullion windows and terracotta roofs.

Martin, a gifted landscape painter who worked in the postImpressionist style, created a unique blend of pointillism and symbolism in painting these bluffs. While the palette and small parallel brushstrokes in thick impasto are indebted to Seurat's more scientific approach to the Impressionists' optics and plein-air observations, the scale and unusual assignation of color (orange and blue water) to better elucidate the texture of the precipice as it is reflected in the river, privilege a personal and emotive approach.

120

Martin's stunning depiction of the cliffs of Saint-Cirq-Lapopie popularized the destination among Parisian artists, notably Andre Breton, and are a recurrent subject in the artist's work.

Martin, a native of Toulouse, spent the majority of his career in southwestern France capturing the rock, cliff and elaborate cave formations for which the Pyrenees region is well-known.

Martin trained in Toulouse at the Ecole des Beaux-Arts, before moving to Paris where he studied under Jean Paul Laurens.

His early works met with wide acclaim, earning him numerous medals and awards from the Paris Salon that included a Grand Prix in 1883 that enabled him to travel to Italy and study the Renaissance masters. Martin was inducted into the Legion of Honor and won first prize at the 1900 World's Fair. The same year, he left Paris and returned to the southwest of France where he remained for the rest of his life, keeping homes/ studios in Saint-Cirq-Lapopie and Marquayroi, near Cahors.

121

349 Edouard Cortes (French, 1882‑1969) “Pushcart on the Road” oil on wood panel signed lower left, partial over-painted landscape with large tree painted en verso.

Framed and with artist plaque.

15” x 18”, framed 23‑1/2” x 27” Provenance: Klein Art Galleries, Los Angeles, California, 2005; Private collection, Florida.

Literature: Illustrated in David Klein, Edouard Cortes: Le Poete Parisien de la Peinture (Los Angeles: Klein Art Gallery, 1999), p. 87. $7,000‑$10,000

349

350 Edouard Cortes (French, 1882‑1969) “La Lavandiere” oil on wood panel signed lower left.

Framed.

11” x 14”, framed 17‑1/2” x 20‑1/4” Provenance: Duveen Fine Art, Naples, Florida, 2000; Private collection, Florida.

Literature: Illustrated in David Klein, Edouard Cortes: Le Poete Parisien de la Peinture (Los Angeles: Klein Art Gallery, 1999), p. 82. $6,000‑$9,000

350

122

351 Edouard Cortes (French, 1882‑1969) “En Attendant La Pratique”, ca. 1920‑1930 oil on panel signed lower left.

Gold leaf frame.

9‑1/4” x 9‑1/4”, framed 17‑1/4” x 17‑1/4” Provenance: Private collection, California; Roughton Galleries, Dallas, Texas; Private collection, Florida.

Literature: Nicole Verdier, Edouard Cortes: Catalogue Raisonne, vol. I. ( Paris: Contexte, 2002), p. 35, illustrated. $10,000‑$15,000

351

352 Edouard Cortes (French, 1882‑1969) “Moulin pres de la Vanne”, ca. 1930‑1940 oil on board estate stamped lower right.

Framed.

13” x 16‑1/8”, framed 17” x 20” Provenance: Atelier Edouard Cortes, thence by descent to the artist’s daughter, Jacqueline Simone, Paris, France; Cortes expert, Nicole Verdier, Paris, France; Simic Museum Collection, Carmel, California; Howard Portnoy Gallery, Carmel, California, 2005; Private collection, Florida.

Exhibited: Edouard Cortes (1882‑1969): Paris and the French Countryside Revealed, The Exclusive Exhibit of “Edouart Cortes”, The Provincial Museum of Alberta, Edmonton, California, June 9 - September 3, 2001. $5,000‑$8,000 352

123

355 Circle of Jacques-Louis David (French, 1748-1825) “Portrait of Jean-Pierre Georges Maubach (1788-1862) and His Son”, ca. 1835‑1840 oil on canvas unsigned, partially titled in English on antique label en verso.

Framed.

39‑1/2” x 32‑1/4”, framed 44” x 36‑1/2” Provenance: Sotheby’s Arcade, New York, New York, Jan. 21, 2004, lot 141.

Literature: Georg Biermann, “Ein wiedergefundenes Bild des Jacques Louis David”, Der Cicerone. XXI (Dec. 23, 1929), pp. 667‑669, illustrated as a work by David. $4,000‑$7,000 353

353 Directoire Polychromed Beechwood Bergere ca. 1800, the crest with shell and laurel leaf carving, the closed arms with carved ends and paneled tapering supports, with a bowed seat rail and loose seat cushion. h. 36” $800‑$1,200

Following the Bourbon Restoration in 1814, Jacques-Louis David, the preeminent neoclassical artist of France and “court painter” to Napoleon, sought exile in Brussels, Belgium with fellow revolutionaries and Bonapartists, who voted for the execution of King Louis XVI. In Brussels, David probably encountered Jean-Pierre Maubach, a court of appeals attorney and proprietor of Le Vrai Republicain - a newspaper sympathetic to French refugees in exile that published the works of David’s pupils in Brussels, including Sophie Fremiet, an ardent Bonapartist and wife of Francois Rude (sculptor of the Marseillaise facade on the Arc-de-Triomphe), and the Belgium born Francois-Joseph Navez. Given Maubach’s age in the portrait, the painting was likely executed by one of David’s pupils in the 1830s.

354 Partial Service of Baccarat “Empire” Cut Crystal Stemware French, each with gilt filigree decoration and signed underneath, the service comprised of seven tall water goblets, h. 6‑3/4”, dia. 4”, five water goblets, h. 6”, dia. 3‑1/2”, and twelve claret glasses, h. 5‑1/4”, dia. 3”.

Provenance: Collection of Marjorie Leverich Moran, New Orleans, Louisiana. $1,000‑$1,500

354 partial 355

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357 356

356 Provincial Directoire-Style Polychrome Lit du Jour 19th century, the long cushioned seat flanked by padded ends surmounted by an urn-carved triangular crest, with a freestanding finial-topped upright to either side, raised on toupie feet, upholstered in tan and putty silk plaid. h. 36”, w. 74‑1/2”, d. 33‑1/4” Provenance: Tara Shaw, New Orleans, Louisiana. $1,200‑$1,800 357 Two Bronze and Tole Bouillotte Lamps first quarter 20th century, including a three-light example with engine-turned trim and swan-form candle branches, set with a white and gold tole shade, h. 24‑3/4”, dia. 14‑1/4”, and a two-light example with a rococo-molded base and swan-form candle branches , set with a black and gold tole shade, stamped “Made in Italy” on the base, h. 21‑3/4”, w. 13”, d. 9‑1/4”.

358

$1,000‑$1,500 358 Pair of Louis-Philippe Mahogany Fauteuils mid-19th century, each with a ribbed and rounded crest above a padded back, joined to the padded seat by downswept arms ending in dolphin uprights, raised on sabre legs. h. 35” $1,000‑$1,500 359 Edouard Hostein (French, 1804‑1889) “Vue de L’Erdre a Nantes” oil on oval canvas signed lower center.

Antique giltwood and gesso frame.

21‑1/2” x 29”, framed 31‑1/8” x 34‑1/8” $3,000‑$5,000

359

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360 361

360 Louis Philippe-Style Brass-Mounted Mahogany Dining Table circa 1900, the closed table with demi-lune drop leaves opening to create a circular table, extending to accommodate up to five 23” leaves, the leaves and table top edges with brass molding, raised on turned legs with brass cup casters. h. 30‑1/2”, closed w. 35‑1/2”, with drop leaves extended 64”, with leaves in center 175” $2,500‑$4,000

362

361 Louis-Philippe Giltwood Barometer second quarter 19th century, the octagonal surround molded with anthemia, the crest with a flower-molded wreath framing lovebirds perched on quivers, the hand-painted dial signed “Palais Royal Galerie Bois S.H. 260”. h. 34‑1/2”, w. 21” $1,500‑$2,500 362 Pair of Louis-Philippe Pierced Giltwood Brackets mid-19th century, of large scale, each with a serpentine shelf, the bracket decorated with pierced scrollwork framing flowers, the lower portion with a cabochon. h. 26‑1/4”, w. 20‑1/4”, d. 13” $1,200‑$1,800 363 Unusual Louis-Philippe Giltwood Mirror mid-19th century, the pierced crest decorated with tropical leaves and fruit, the surround molded with cross-hatching and like decor, the antique mirror plate lined with beading. h. 59”, w. 39” $1,200‑$1,800

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363

368 French School (19th/20th Century) “Fishing Boats” oil on canvas signed lower right “J. de Bernier”, further inscribed lower left.

Framed.

15” x 21‑3/4”, framed 23‑1/8” x 29‑3/4” $1,000‑$1,500 369 Pair of French Neoclassical Iron, Lead and Crystal Sconces 368

first quarter 19th century, the four-light sconces hung with cascades of drops from the top, set with pierced anthemia, to the semi-circular candle arm holders, set with molded and pierced lead arms, now electrified. h. 31”, w. 22‑1/2”, d. 14‑1/2” $1,500‑$2,500 370 Rare French Gilt-Bronze and Malachite Clock Set first quarter 19th century, the clock supported between two malachite columns set with Corinthian capitals, hung with a sunburst pendulum decorated with a masque, set with a silkstring suspension movement, the dial signed “Vaillant a Paris”, h. 19”, w. 9‑1/4”, d. 3‑1/2”, the engine-turned urns decorated with putti and goats, resting on malachite plinths, h. 11”, w. 4‑1/4”, d. 4‑1/4”.

Provenance: The Estate of John Gilman D’Arcy Paul, Baltimore, Maryland. $1,000‑$1,500

369

371 Pair of Handsome Malachite and Gilt-Bronze Garnitures second quarter 20th century, French or Russian, the inverted bell-form urns supported on monopodia legs terminating in eagle heads, the urn covers with pinecone finials and the urn bases decorated with molded leaves. h. 22”, dia. 8-3/4” $3,500‑$5,000

370

128

371

366

364

364 Restauration Gilt-Bronze-Mounted Mahogany and MarbleTop Center Table second quarter 19th century, the circular dished marble top over a conforming frieze with classical figural mounts, raised on scroll legs with mounts on the top and base of each leg, the legs joined by a shaped low stretcher. h. 30‑1/2”, dia. 38” $1,500‑$2,500 365 Fine Charles X Mahogany and Marble-Top Chest second quarter 19th century, the top with a thick gray marble and reeded leading edge over four long drawers, flanked by carved swans to each side. h. 40”, w. 55‑1/2”, d. 25” $1,200‑$1,800

366 Pair of Mid-Century Fruitwood Bergeres of Restauration Inspiration third quarter 20th century, each with an arched top rail, closed arms with scroll ends, bowed seat rail, shaped legs and a loose feather or down-filled seat cushion. h. 36‑1/2” $1,200‑$1,800 367 Joseph Quinaux (Belgian, 1822‑1895) “Landscape with Cattle and Figures, Mountain in the Background” oil on wood panel signed lower right.

Framed.

21‑1/4” x 31”, framed 28-1/8” x 38” $1,000‑$1,500

365 367

127

372

372 Pair of Malachite and Bronze Table Lamps mid-20th century, French or Russian, the circular bases with engine-turned bronze trim and supporting like-trimmed column-form standards, raised on square plinths with bronze feet. overall h. 35‑1/2”, w. 4‑1/2”, d. 4‑1/2” $1,800‑$2,500

373

374 Exceptional French Anneau d’or Paris Porcelain Dessert Stand first quarter 19th century, the base decorated with a delicate laurel wreath, and resting on paw feet, the graduated plateaus supported by gilt dolphins, and the top with a campana-form urn finial. h. 17‑1/4”, dia. 9‑1/2” $1,000‑$1,500

373 Pair of Louis-Philippe Giltwood Oval Mirrors

375 Pair of Louis-Philippe-Style Mahogany Fauteuils

mid-19th century, each with a pierced crest decorated with a pair of lovebirds framed by trailing flowers, the surround with a border of molded leaves and a ribbon-wrapped reed, the bottom with pierced laurel leaves, set with beveled mirror plates. h. 57”, w. 34”

each with a domed crest above scrolling inlay and a padded back, joined by downswept scrolling arms to the padded seat, raised on cabriole legs ending in upturned toes. h. 38” $1,500‑$2,500

$1,500‑$2,500

374

375

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378

376

376 Pair of French Restauration Bronze Candlesticks second quarter 19th century, now mounted as lamps, each with an octagonal bronze base supporting a standard in the form of a patinated bronze classical muse holding aloft a bronze cornucopia set with a molded candle cup and lotus leaf drip pan. overall h. 25”, dia. 5‑3/4” $1,000‑$1,500

379

377 French Neo-Grec Bronze Dore et Patine Tazza third quarter 19th century, set with a patinated bas-relief roundel of a shepherd guarding his flock, signed “Richard” (Alfred Pierre Richard, French, 1844‑1884), with carefully cast handles decorated with anthemia and scrollwork. h. 4‑3/4”, w. 16‑1/4”, d. 12” $800‑$1,200 378 French Empire-Style Bronze and Tole Chandelier second quarter 20th century, with a black tole body set with an engine-turned bronze ring and molded swan candle arms, hung from molded chains to a matching corona, the lower section with a pinecone pendant finial, electrified. h. 23”, dia. 27” $1,000‑$1,500

379 Pair of French Empire-Style Semi-Circular Sconces second quarter 20th century, the backplates decorated with pierced anthemia, the exterior band with gilt medallions on a patinated ground, set with arrow-form supports, electrified. h. 14‑1/2”, w. 6”, d. 7‑3/4” $1,000‑$1,500 380 Rare French Neo-Grec Gilt-Bronze Chamber Stick with Adjustable Screen fourth quarter 19th century, decorated with anthemia, molded scrollwork, fans and acanthus leaves. adjustable h. 7”, w. 5‑1/2”, d. 4‑1/4” $700‑$1,000

377 8 130

380

381

382 Empire-Style Mahogany Bibliotheque

381 Suite of Three Restauration Parcel-Ebonized Fruitwood Armchairs

early 20th century, the molded cornice above a frieze with three affronted ormolu swan mounts, over three doors, the upper part glazed, the lower section with diamond panels, divided by and flanked by engaged pilasters headed by ormolu maiden heads, raised on a plinth base. h. 78”, w. 88”, d. 18-1/2”

ca. 1800, including a bergere and a pair of fauteuils, each with a concave crest rail and shaped stiles, the arms on ring-turned supports, bowed seat rail and ring-turned legs on ball feet. bergere h. 36”, fauteuil h. 35‑1/2” $1,000‑$1,500

$1,000‑$1,500

382

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383

383 Empire-Style Mahogany and Marble-Top Cabinet

384

20th century, the thick rectangular marble top with turreted corners, above a conforming case fitted with two drawers over two cupboard doors, with an arched panel and an elaborate ormolu military-themed mount, centered by a Medusa masque shield, flanked to either side by ribbed uprights, the whole raised on large paw feet. h. 38”, w. 73”, d. 28-1/2” $2,000‑$4,000 384 French Empire-Style Polished and Patinated Bronze Chandelier fourth quarter 19th century, with a spherical patinated bronze body set with dore swan-form candle arms, and a pinecone pendant finial, with molded chains and canopy, electrified. h. 23”, dia. 12‑1/2” $1,000‑$1,500 385 Group of Two French Fauteuils

385

both 18th century, comprised of a Louis XV walnut armchair with arched back, open arms, scalloped apron and cabriole legs, h. 44”, and a provincial walnut armchair in the Louis XIV taste, the arm rest now upholstered and with scroll ends, raised on shaped legs joined by an H-form stretcher, h. 42”. $1,000‑$1,500 386 Provincial Oak Farmhouse Table partially comprised of antique elements, of trestle form, the rectilinear top raised on shaped supports joined by a traverse stretcher. h. 29‑1/2”, w. 32”, l. 98” $1,800‑$2,500

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386

387 Two Early French Tables comprised of a provincial Louis XV-style oak table with cabriole legs, ca. 1800, h. 26‑1/4”, w. 29‑1/2”, d. 18-1/2”, and a Louis XIV walnut table on segmented turned legs joined by modern stretchers, ca. 1700, h. 28-1/2”, w. 36‑1/2”, d. 27‑1/4”, both of pegged construction. $1,000‑$1,500 387

388 Victor Gabriel Gilbert (French, 1847‑1933) “Figures with Haystacks” “Work-Horses with Haystacks” pair of oils on beveled wood panel each signed lower left.

Framed. each 8-1/2” x 16‑1/4”, framed 9‑3/4” x 17‑1/2” $1,200‑$1,800

388

389 Regence Mahogany Commode 18th century, the rounded rectangular top slightly bowed and above a conforming bombe case fitted with two short drawers over two long drawers, all paneled and with carved foliate accents, raised on cabriole feet. h. 35‑1/2”, w. 51‑1/2”, d. 27‑1/4” $1,000‑$1,500

389

133

390 Late George III Walnut Welsh Cupboard ca. 1800, in the neoclassical taste, in two parts, the upper section with a cove-molded and scalloped cornice over three shelves, the base with a bank of three drawers over a pair of paneled doors, each flanked by a fluted panel, raised on bracket feet. h. 87”, w. 63‑3/4”, d. 23” $1,200‑$1,800 391 Provincial Regence Fruitwood Commode 18th century, the rounded rectangular top slightly bowed and above a conforming case fitted with three long tri-paneled drawers, raised on cabriole feet. h. 38”, w. 52”, d. 22” $1,200‑$1,800 392 Louis XIV Walnut Fauteuil 18th century, the rectilinear back joined to molded open arms, raised on shaped legs joined by a serpentine H-form stretcher, upholstered in antique needlepoint. h. 46” 390

$900‑$1,200

391 392

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393 Suite of Six Pressed Botanicals of Various Herbs and Flowers 20th century, including “Cloves”, “Yarrow”, “Veronica”, “Daffodil”, “Coral Bells”, and “Lenten Rose”, all identified in pen and ink and monogrammed “SW” lower right.

All glazed and presented in matching frames. each 15‑1/2” x 12‑1/4” $1,000‑$1,500

393

394 Andre Balyon (Dutch, b. 1951) “Summer Leaves”, 1998 oil on linen signed lower right, signed, titled and dated, and “Gallerie Amsterdam, Carmel, CA” label en verso.

Framed.

11” x 16”, framed 18-1/2” x 23‑1/2” $1,000‑$1,500

394

135

395 Hippolyte Camille Delpy (French, 1842‑1910) “Troupeau de Moutons Traversant un Pont” oil on canvas signed lower left.

Period giltwood frame.

14” x 10”, framed 20‑3/4” x 16‑1/2” $1,200‑$1,800

395

396 Paul Desire Trouillebert (French, 1829‑1900) “Pont-de-Geannes, au Bord de Riviere pres du Vieux Pont Norman” oil on canvas signed lower left, “The Darvish Collection, Inc.,” label en verso of frame.

Framed.

15‑1/2” x 18-1/4”, framed 22” x 25” Provenance: The Darvish Collection, Naples, Florida, 2008; Private collection, Florida. $5,000‑$8,000

396

136

397 French Provincial Oak Buffet 18th century, the rounded rectangular top above a conforming case fitted with three drawers over two cupboard doors, each inset with a shaped panel, raised on bun feet. h. 37‑1/2”, w. 67‑1/2”, d. 21” $1,500‑$2,500

397

398 Pair of Louis XV-Style Fauteuils avec Oreilles late 19th century, each with a padded domed back joined by shaped sides and open arms to the padded seat, raised above a shell-carved apron on cabriole legs headed by bellflower carving and ending in scrolled toes. h. 41‑1/2” $1,500‑$2,500

398

399 French School (Second Quarter 19th Century) “The New Pet” oil on canvas signed and dated “Renaud 1857” lower right, verso with “Charles Van Thienen, Bruxelles” label.

Framed.

25‑1/2” x 31‑3/4”, framed 30‑1/2” x 36‑1/2” $2,000‑$4,000

399

137

400 Large French Provincial Walnut Canape 18th century, the undulating carved and molded frame with down-curved arms and raised on cabriole legs, covered in Fortuny fabric. h. 44”, w. 81”, d. 34” $2,000‑$4,000 400

401 Provincial Louis XV-Style Pickled Oak and Marble-Top Table early 20th century, having a shaped rouge marble top, the table with paneled aprons and floralcarved details, raised on cabriole legs ending in scrolled toes. h. 36”, w. 83”, d. 31‑1/2” 401

$1,200‑$1,800

402 Suite of Four Provincial Louis XIV-Style Beechwood Dining Chairs early 20th century, each with an upholstered back with arched crest, scalloped seat rail and shaped legs joined by serpentine H-form stretchers. h. 43” $800‑$1,200

402

138

404

405

403

403 Large Provincial Louis XV Walnut Armoire second half 18th century, the molded cornice over a shellcarved frieze, over a pair of doors, each with a trio of shaped panels, the interior panels fitted with mirror plates and a later medial belt of three drawers, raised on cabriole legs with scalloped apron. h. 102”, w. 76”, d. 22” $1,200‑$1,800

404 Provincial Louis XV Walnut Panettiere ca. 1800, the top with a carved floral basket, over a single door with leaf, flower and vine carving, the scalloped apron with trophy leaf and vine carving. h. 40”, w. 30‑1/2”, d. 18-1/4” $900‑$1,200 405 French Cast Iron Dairy or Butcher’s Sign fourth quarter 19th century, with remnants of original paint, featuring a cow wearing a tasseled blanket marked “Montier, Sux Saux”. h. 19”, w. 29‑1/2” $1,000‑$1,500

139

406 Johannes Hubertus Leonardus de Haas Austrian/Dutch, 1832‑1908 “Cow and Calf” oil on canvas signed lower right.

Framed and with brass artist plaque.

17” x 23”, framed 23‑3/8” x 29‑1/8” $1,200‑$1,800

406

407 Ildephonse Stocquart (Belgian, 1819‑1889) “Farm Scenes with Cattle” two oils on canvas each signed and dated “1872” lower right.

Framed alike.

19‑3/4” x 31‑3/4”; 20‑3/4” x 31‑5/8”, framed 28-1/2” x 40‑1/4”; 28-3/4” x 40” $3,000‑$5,000

407

140

408 Albertus Verhoesen (Dutch, 1806‑1881) “Sheep Among the Cows”, 1860 oil on wood panel signed and dated lower center.

Framed.

10” x 13”, framed 18-1/2” x 21‑3/4” $1,800‑$2,500

408

409 Hendrick van der Poorten (Belgian, 1789‑1874) “Le Repas des Vaches” oil on canvas signed lower left.

Framed.

27” x 36”, framed 36” x 45‑1/4” $1,200‑$1,800

409

141

410 French Provincial-Style Oak Shelf with Copper Pots the oak shelf with a plate groove on top, decorated with a scroll-carved panel and set with brass hooks, hung with six graduated copper sauce pans. shelf h. 15”, w. 35‑1/2”, pans h. 1‑1/4” to 3‑1/4”, w. 6‑3/4” to 12”, d. 2‑3/4” to 6‑1/2” $1,000‑$1,500

410

411 Early French Provincial Carved Oak Armoire late 18th century, with a removable molded cornice above a pair of framed and paneled doors with reliefcarved motifs of birds and flowering trees. h. 87”, w. 57”, d. 25‑1/2” $1,500‑$2,500

412 Provincial Louis XV-Style Beechwood Wing Chair ca. 1900, of generous proportions, the wings extending to the rest of the open arms, with shell- and floral-carved serpentine apron and cabriole legs. h. 41‑1/2” $800‑$1,200

411

142

412

413 Provincial Louis XV-Style Fruitwood Chaise Longue 19th century, the padded and domed back joined to the long cushioned seat by padded scrolling arms, raised above a scalloped apron on cabriole legs. h. 38”, w. 32”, l. 64” $1,200‑$1,800 414 Louis XV-Style Creme-Peinte and Marble-Top Chest

413

late 19th century, the rouge Brescia marble top with a molded edge, above a case with a pair of drawers over a bank of three paneled and carved drawers, a shell- and foliate-carved shaped apron and cabriole legs with French toes. h. 33‑3/4”, w. 47‑1/2”, d. 22” $1,500‑$2,500 415 Suite of Six Pressed Hydrangea Botanicals 20th century, each initialed “SW” lower right, mounted, glazed and framed, each overall 17‑5/8” x 13‑5/8”. $1,000‑$1,500 416 Regence-Style Fruitwood Fauteuil 19th century, the padded domed back joined by acanthinecarved arms to the padded seat, above a foliate-shell-carved apron, raised on cabriole legs ending in scrolled toes. h. 43”

414

$800‑$1,200

416 415

143

417 Suite of Six Provincial Louis XV Oak Chairs 18th century, each with a tall, arched and padded back, carved seat frame and cabriole legs. h. 46”, w. 22”, d. 21” $1,500‑$2,500

417

418 French Provincial Fruitwood Canape ca. 1900, with a shaped and padded back and arms, the seat frame carved and molded, raised on cabriole legs. h. 32”, w. 87”, d. 35” $1,000‑$1,500

418

419 Provincial Louis XV-Style Fruitwood Desk the top with a molded edge, over a central drawer and kneehole opening flanked by pairs of deep drawers, raised on cabriole legs. h. 30”, w. 27”, d. 57” $1,200‑$1,800

419

144

421

420 Provincial Louis XV Pine Buffet a Deux Corps ca. 1800, in two parts, the bonnet top in scroll decor, over a pair of doors now fitted with glazed panels, the base with a pair of doors with shaped panels, scalloped apron and cabriole legs. h. 97”, w. 55”, d. 20‑1/4” $1,200‑$1,800 421 Provincial Regence Fruitwood and Marble-Top Commode 18th century, the rectangular marble top with a shaped front, above a conforming case fitted with three long drawers, all with shaped panels, raised on pointed toes. h. 37”, w. 49‑1/2”, d. 25”

420

$2,000‑$4,000

422 French Provincial Carved Mahogany Canape 18th century, the molded back frame with down-curved wings at each end and raised on carved cabriole legs ending in cloven hooves. h. 40”, w. 80”, d. 26” Provenance: Dolva Brothers, New York. $1,200‑$1,800

422

145

423 424

423 Pair of Louis XV-Style Fruitwood Fauteuils each with a padded domed back within a molded frame, joined by padded arms to the cushioned seat, raised above a shaped apron on cabriole legs ending in scrolled toes. h. 37” $1,000‑$1,500

424 Jean Lefort (French, b. 1948) “Tidal Pool” oil on canvas panel signed lower right.

Framed.

12” x 16”, framed 17‑1/8” x 21” $1,000‑$1,500

425 French Provincial Walnut Corner Cabinet late 18th century, having a curved front with a conforming framed and raised panel door over an open mid-section and similar raised panel door below, the doors mounted with handforged “rat-tail” fiche hinges. h. 87”, w. 32”, d. 21” $1,500‑$2,500

425

146

427

426

426 French Provincial Fruitwood Wine Table 19th century, the tilting oval top with a gilt-tooled leather covering and raised on a trestle support to runner feet. h. 29”, w. 48-1/2”, d. 38-1/2” $800‑$1,200 427 Regence Fruitwood Commode late 18th century, the slightly bowed rectangular top above a conforming case fitted with two long drawers over a dentillated apron, raised on fluted tapering square legs. h. 36”, w. 47”, d. 25” $1,500‑$2,500 428 Provincial Elm Bureau 428

mid-19th century, in the neoclassical taste, the rectangular top above a slant front opening to a variety of drawers and cubbyholes, over three long drawers, raised on ring-turned block feet. h. 42”, w. 49‑1/4”, d. 23” $1,000‑$1,500 429 Directoire Polychrome Daybed ca. 1800, the cushioned seat flanked to either side by a paneled end, surmounted by an urn-carved triangular pediment and with a turned columnar upright to both sides, raised on toupie feet, the cushions and bolsters upholstered in Scalamandre plaid silk. h. 43”, w. 71‑1/2”, d. 37‑12” Provenance: Karla Katz Antiques, New Orleans, Louisiana. $1,200‑$1,800

429

147

430

431

430 Pair of French Carved, Polychromed and Parcel-Gilt OverDoor Panels 19th century, each with a central cartouche and flame flanked by foliate scrollwork, set within a molded border. h. 17‑1/2”, w. 61”

432

$1,500‑$2,500 431 Provincial Louis XVI-Style Fruitwood Tambour Secretary

433 Provincial Louis XV-Style Fruitwood Sofa

mid-19th century, of diminutive size, the rectangular superstructure fitted with two small drawers over a tambour roll-top opening to a pull-out leather-inset writing surface and four small drawers over a single drawer, raised on slender, tapering circular legs ending in toupie feet. h. 40‑1/2”, w. 20‑3/4”, d. 14‑3/4”

early 20th century, with a molded frame and floral-carved crest, the seat frame with floral carvings and raised on cabriole legs, upholstered in Fortuny fabric. h. 38-1/2”, w. 81”, d. 35” $1,000‑$1,500

$700‑$1,000 432 Louis XV-Style Fruitwood Cocktail Table the shaped rectangular top with an inlaid lattice pattern, above a shaped apron, raised on cabriole legs. h. 17‑1/4”, w. 47‑1/2”, d. 23” $1,000‑$1,500

433

148

434 German Patinated Bronze of “Theodoric the Great, King of the Ostrogoths” 20th century, after the ca. 1513 monumental sculpture by Peter Vischer the Elder (1455‑1529) in the Court Church of Innsbruck, Austria, lengthy German inscription along proper right edge, title plaque along front. h. 18”, w. 7”, d. 7” $1,000‑$1,500 435 Gothic Revival Polished Bronze Clock fourth quarter 19th century, the pierced backplate adorned with steeples, griffins and warrior scenes, the dial set with porcelain chapters, and the back side of the brass movement stamped with the round seal “AD. MOUGINDEUX MEDAILLES”. h. 30”, w. 14”, d. 5‑1/2”

434

435

$1,000‑$1,500 436 Pair of Large Gothic Wrought and Cast Metal Architectural Lanterns first quarter 20th century, the hexagonal lanterns with six interior lights, decorated with Gothic piercings terminating in fleur-de-lis finials, hung from scroll-molded supports. h. 59‑3/4”, dia. 22” $2,000‑$4,000 437

437 Unusual Gothic Revival Gilt-Bronze and Porcelain Clock Set third quarter 19th century, French, the clock case molded with Gothic details and resting on winged gargoyle feet, decorated with a proliferation of hand-painted porcelain plaques depicting aristocratic figures, the top opening to reveal a jewelry casket set with plaques depicting implements of war, set with Japy Freres works, h. 13‑1/2”, w. 10‑1/4”, d. 5”, the accompanying urns now lined for jewelry storage, h. 11‑1/2”, dia. 5‑1/2”. $4,000‑$7,000

436

149

438 French Gothic Revival Bronze Dore et Patine Mantel Clock second quarter 19th century, with a dial mimicking a rose window, Gothic arches and quatrefoils forming the crest, the body decorated with additional Gothic pierced work, the base raised on molded feet, set with a silk-string suspension movement. h. 14‑1/4”, w. 7‑1/2”, d. 4‑3/4” $700‑$1,000

438 439

439 English Neo-Gothic Brass Chandelier third quarter 19th century, the twelve-light chandelier with a ring-form body decorated with panels of pierced ivy alternating with molded candle holders, the pierced chain hung from a corona decorated with trefoils. h. 32‑1/2”, dia. 26” $1,000‑$1,500

441 After Adrien Etienne Gaudez (French, 1845‑1902) “Christopher Columbus” patinated bronze cast signature along edge of self-base. h. 33‑1/2”, w. 13‑1/2”, d. 15” $3,000‑$5,000

440 After Pierre Marie Francois Oge (French, 1849‑1913)

442 Continental School (19th Century)

“Marguerite”

“Christopher Columbus at the Royal Court of Queen Isabella I and King Ferdinand V”

polished bronze cast signature along base. h. 24‑1/4”, w. 7‑1/4”, d. 8”

oil on canvas unsigned.

Carved, ebonized and parcel-gilt frame.

26” x 32”, framed 33” x 39”

$1,000‑$1,500

$1,500‑$2,500

440

150

441

442

443 French Baronial-Style Patinated Bronze Chandelier second quarter 20th century, the twelve-light chandelier set with molded candle cups, anthemion-molded chain supports and chains decorated with lion heads, the base with incised ivy leaves and a molded finial. h. 36”, dia. 24” $1,000‑$1,500 444 French Gilded Age Gilt-Bronze Mantel Clock

443

fourth quarter 19th century, in the Baroque taste, the case decorated with panels of scrollwork and Corinthian pilasters flanking the dial, the urn finial with trailing swags of roses, the works marked “Japy Freres”. h. 18”, w. 12”, d. 6” $1,000‑$1,500 445 Exceptional Pair of Napoleon III Gilt-Bronze Candlesticks third quarter 19th century, in the Regence taste, on ogee-form bases, leaf-molded and trimmed with beading, the standards molded with female monopodia draped with flowers, the candle sockets in the form of paw-footed ribbed vases trimmed with lion heads. h. 12‑3/4”, dia. 5‑3/4” Provenance: The Flatt Collection, Baton Rouge, Louisiana. $700‑$1,000 446 Napoleon III Burl and Ebonized Wood Center Table

444

third quarter 19th century, the banded rectangular top with D-form ends, above a conforming frieze fitted with a single drawer, raised on double column supports to an urn-centered stretcher and splayed legs ending in scrolled feet on casters, the whole with decorative banding. h. 28”, w. 48”, d. 26” $1,000‑$1,500

446

445

151

447 Napoleon III Parcel-Ebonized, Kingwood and Marble-Top Chest third quarter 19th century, the variegated white and gray marble top with projecting ovolo corners, above a conforming case with a bank of five drawers, each with parquetryveneered faces, flanked by fluted pilasters, the sides with like veneer. h. 39‑1/2”, w. 53”, d. 23‑5/8” $800‑$1,200

448 After Enzo Sighieri (Italian/French, 1868-?)

447

“Doux Reve” patinated bronze first quarter 20th century, cast signature along edge of selfbase, with a “Bronze Guaranti Authentique/PARIS” foundry stamp at back, on an octagonal marble plinth with artist plaque, together with a wood pedestal h. 14‑1/2”, w. 13”, d. 11‑1/2”, pedestal h. 39”, w. 15”, d. 12”, overall h. 52” $1,000‑$1,500

449

449 Pair of French Patinated Bronze Bookends of “Calliope” and “Terpsichore” first quarter 20th century, after Isidore Konti (Austrian/New York, 1862‑1938), each with cast signature, dated “1911”, and with copyright mark along proper right edge. former h. 8-1/2”, w. 6‑1/2”, d. 4‑1/2”, latter h. 8-3/4”, w. 6”, d. 4‑3/4” $2,000‑$4,000

448

152

448 detail

450 Pair of Napoleon III Marble and Bronze Garnitures third quarter 19th century, each on a molded bowfront marble base with brass trim, the bronze covered urn molded with frolicking putti and mounted with masque-molded handles and a putto-form knop. h. 21‑3/4”, w. 7‑36/4”, d. 6‑1/2” $1,000‑$1,500 451 French Three-Piece Marble and Gilt-Bronze Clock Set fourth quarter 19th century, the clock in the Modern Gothic taste and from the workshop of Etienne Maxant, and marked on the works, the clock fitted with a scarce built-in winding key and pendulum start lever, h. 17”, w. 15‑1/2”, d. 6‑1/4”, and the accompanying marble and bronze urns mounted with Medusa heads and swan-head handles, h. 14‑1/4”, w. 5”, d. 5”.

450

$1,000‑$1,500 452 Napoleon III-Style Chinoiserie-Decorated Faux Bamboo Chest with a bank of three drawers with oriental decoration on a black lacquer ground, framed by elements turned to simulate bamboo. h. 36”, w. 49‑3/4”, d. 20” $1,000‑$1,500 453 French Fin-de-Siecle Bronze Chandelier ca. 1900, with an urn-form standard molded with twisted reeding, and three downturned scroll-molded arms, the lower center with a single light, set with frosted glass shades. h. 25‑1/2”, dia. 17”

451

$1,000‑$1,500

452 453

153

454

454 Grohe Freres (1808-1885) Napoleon III Gilt-BronzeMounted Plum Pudding Mahogany Console en Enfilade fourth quarter 19th century, in the Louis XVI taste, the breakfront superstructure centered by an ormolu fleur-de-lis mount and with lattice-patterned panels, over a breakfront top above a conforming frieze fitted with three drawers, all with elaborate scrolling foliate ormolu mounts, by paneled tapering square uprights to two lower shelves, raised on large ormolumounted toupie feet, the upper back stamped “Grohe Freres, Paris”. h. 51”, w. 97‑1/2”, d. 21‑1/4” $10,000‑$15,000

454 detail

154

455

455 Grohe Freres (1808-1885) Napoleon III Gilt-BronzeMounted Mahogany Dining Table

456 Grohe Freres (1808-1885) Napoleon III Suite of Six GiltBronze-Mounted Mahogany Dining Chairs third quarter 19th century, five of the chairs with the firm’s impressed stamp, each in the Renaissance taste with a cabochon- and foliate-carved crest, bowed and carved seat rail and paneled tapering legs joined by serpentine stretchers, on bun feet. h. 38”

third quarter 19th century, the rectilinear top opening to accommodate leaves, each corner with gilt-bronze mounts, the legs with bronze Corinthian capitals over paneled tapering columns with foliate-cast bases, on turned feet with egg-anddart bronze mounts. h. 30‑3/4”, w. 48”, l. 72”, ext. l. 160‑1/2”

Guillaume Grohe (1808-1885) operated with a brother as Grohe Freres from 1829‑1861, and then individually until his death in 1885.

$6,000‑$9,000

$2,000‑$4,000

456

155

457 Jules Felix Ragot (French, 1835‑1912) “Nature Morte Aux Fleurs et Aux Fruits” oil on canvas signed lower right.

Period frame with artist plaque.

34‑3/4” x 25‑3/4”, framed 46‑1/2” x 37” $2,000‑$4,000

457

458 Eugene-Henri Cauchois (French, 1850‑1911) “Nature Morte aux Fleurs” oil on canvas signed lower right.

Framed.

23‑5/8” x 35‑3/8”, framed 34” x 44‑1/2” $3,000‑$5,000

458

459 Tony-Francois de Bergue (French, 1820‑1893) “Still Life in the Artist’s Studio” oil on canvas signed and dated illegibly lower left.

Period giltwood frame.

21‑1/2” x 25‑1/2”, framed 30” x 34” $1,000‑$1,500

459

156

460

460 Pair of French Gilded Age Gilt-Bronze and Tole Candelabra fourth quarter 19th century, each seven-light candelabrum on a tripartite base decorated with fringed bronze “curtains” and having monopodia supports with hoof feet terminating in Bacchanalian masques set on a faux lapis tole body supporting two tiers of reeded leaf-molded candle arms on a molded standard. h. 26‑3/4”, dia. 14” $4,000‑$7,000

461

462 Napoleon III Walnut-Veneered Cave a Liqueur third quarter 19th century, the facade with a double serpentine edge, the interior with a lift-out tray set with four matching molded crystal decanters and an assembled group of aperitif glasses. h. 11”, w. 13‑1/2”, d. 10‑1/2” $1,000‑$1,500 463 French Belle Epoque Gilt-Bronze-Mounted Mahogany Pedestal

461 French Fin-de-Siecle Gilt-Bronze Chandelier ca. 1900, the four-light chandelier with a draped bronze urn supporting the downturned arms wrapped with serpents holding the sockets in their mouths, the base set with a single downturned light, framed in bronze leaves. h. 33”, w. 18-1/2” $1,000‑$1,500

462

fourth quarter 19th century, decorated with bronze swags of roses, the top framed with a pierced bronze guilloche, the base lined with molded bronze trim. h. 41‑1/2”, dia. 16” $1,000‑$1,500

463

157

464 Eugene-Antoine Aizelin (French, 1821‑1902) “Agar et Ismael”, ca. 1900 patinated bronze cast signature along proper right side, an “F. Barbedienne, Fondeur” foundry inscription along left edge of self-base, after the 1889 monumental marble figural group exhibited at the Paris Salon and now conserved at the Musee d’Orsay, Paris, France. h. 26‑1/2”, w. 11‑1/2”, d. 13” $3,000‑$5,000 465 After Louis Prost (French, 1876‑1935) “L’Amour Blesse” patinated bronze cast signature at edge of base, artist plaque along side. h. 27‑1/2”, w. 15”, d. 12” $2,500‑$4,000

464

466 Jean-Jacques Henner (French, 1829‑1905) “Portrait of a Red-Headed Beauty” oil on wood panel signed lower right.

Framed and with artist plaque.

12” x 9”, framed 21‑3/4” x 18-3/8” $1,500‑$2,500

465

467 Narcisse Virgile Diaz de la Pena (French, 1807‑1876) “Study of a Female Head” oil on panel with cradleboard handwritten letter of authenticity signed by artist en verso.

Framed.

12” x 10‑3/8”, framed 18-1/2” x 17‑1/2” $1,000‑$1,500

466

158

467

468 Jean-Antoine Saint-Gyr Girier (French, 1837‑1911/12) “The Courtship” oil on canvas signed lower left.

Framed.

41‑3/4” x 21‑3/4”, framed 47‑3/4” x 27‑1/2” $2,000‑$4,000 469 French Patinated Bronze of “Violoniste” 20th century, small plaque at front inscribed “V. Milot”, on a green marble base. overall h. 27”, w. 10”, d. 10” $1,000‑$1,500 470 After Emmanuel Villanis (French, 1858-1914) “Melodie”

468

patinated bronze first quarter 20th century, cast signature and inscribed “Melodie” along edge. h. 30”, w. 13”, d. 10” $2,000‑$4,000

469

470

159

471 After Christopher Fratin (French, 1801‑1864) “Combat d’Aigles” gilt and patinated bronze ca. 1900, cast signature at edge of base. h. 17‑1/4”, w. 13”, d. 9‑1/2” $1,000‑$1,500

471

472 After Louis Riche (French, 1877‑1949) “Alsatian Wolfhounds at Rest” bronze 20th century, cast signature along self-base. h. 20‑1/2”, w. 24‑1/2”, d. 11” $1,000‑$1,500

472

473 After Christopher Fratin (French, 1801‑1864) “Lion” patinated bronze first quarter 20th century, cast signature at center of self-base. h. 11‑3/4”, w. 20”, d. 7‑1/2” $1,000‑$1,500

473

160

474 After Rene Paris (French, 1881‑1970) “Cosaque Dans la Neige” patinated bronze 20th century, incised signature at back of integral stone base. h. 17‑3/4”, w. 13‑1/4”, d. 6” $1,200‑$1,800

474

475 Pair of French Patinated Bronzes of a “Patissier” and “Gendarme” first quarter 20th century, the former with faint cast signature “...Mathieu”. each h. 13”, w. 3‑1/4”, d. 3” $700‑$1,000

475

476 Gaston Casimir Saint-Pierre (French, 1833‑1916) “Portrait of a Young Girl with Muff and Fur-Trimmed Coat” oil on canvas an old shipping sticker and a “Moirinat/Paris” canvas stamp en verso.

Framed.

31‑3/4” x 25‑1/2”, framed 39‑3/4” x 33” $3,000‑$5,000

476

161

477 George Vuillard (French, b. 1956) “A l’Opera” oil on wood panel signed lower right.

Framed.

23‑3/4” x 19‑1/2”, framed 30‑5/8” x 26‑1/2” $1,500‑$2,500

477

478 George Vuillard (French, b. 1956) “La Lecteur” oil on wood panel signed lower right.

Framed.

16” x 24”, framed 22‑1/8” x 30‑1/8” $1,000‑$1,500

478

479 Jean Lefort (French, b. 1948) “Promenade Sous les Parapluies” oil on canvas signed lower left.

Framed.

29‑5/8” x 31‑5/8”, framed 37‑1/2” x 39‑1/2” $1,500‑$2,500

162

479

480

481

480 Set of Four French Cast Iron Garden Urns fourth quarter 19th century, set with winged dragon handles, the gadrooned bodies with leaf-molded upper rims. h. 16‑1/2”, w. 19”, d. 15” $1,200‑$1,800 481 Neoclassical-Style Silvered Bronze Chandelier 482

20th century, the central standard with three cherub bust mounts, fitted with eight outstretched arms, ending in a pineapple drop finial. h. 24”, dia. 29” $2,500‑$4,000 482 Neoclassical-Style Silvered Bronze Chandelier 20th century, the eighteen-light chandelier in two tiers, with six arms over twelve, the central standard with three cherub busts mounted at the top, fitted with the shaped outstretched arms and ending in a pineapple drop finial. h. 36”, dia. 36” $3,000‑$5,000 483 Beautifully Constructed Large Scale Model of a Knight on Horseback first half 20th century, English, composed of painted wood, steel, leather and fabric, both the knight and horse dressed in carefully articulated steel armor like that of the Medieval and Early Renaissance periods, with a stuffed lower body and velvet breeches, the horse composed of painted wood with a velvet saddle blanket and a leather-trimmed wooden saddle. h. 50”, w. 53”, d. 11‑1/2” $3,000‑$5,000

483

163

484 Dutch School (17th Century) “Young Woman Playing a Lute” oil on wood panel unsigned.

Framed and with artist plaque incised “Frans van Mieris, 1635‑1681”.

9‑1/8” x 7‑1/8”, framed 17” x 14‑3/4” $1,000‑$1,500 484

485 Dutch School (17th Century) “Portrait of a Gentleman on a Terrace” oil on wood panel unsigned, dated “1695” lower right.

Framed.

18-1/8” x 14‑3/4”, framed 33‑1/4” x 25‑3/4” $1,000‑$1,500

485

486 Erhard Schon (German, ca. 1491‑1542) “Head of Albrecht Durer in Profile to the Left” woodcut date in cartouche upper left and lower right, added later.

Matted, glazed and framed. sight 11‑3/8” x 9‑7/8”, framed 14‑7/8” x 13‑1/4” $1,000‑$1,500

486

164

487

487 Dutch Oak Coffer 18th century, the hinged rectangular lid opening to a void interior, the front paneled and carved in various foliate and geometric patterns, raised on block feet. h. 24”, w. 51‑1/4”, d. 22‑1/2” $1,000‑$1,500 488 Flemish Handwoven Tapestry of a Political Alliance 18th century, with figures in a lush landscape.

52” x 48”

489 Continental Needlework Coffer 18th century, on a later stand, the domed coffer covered in floral-patterned needlework and fitted to either end with an iron handle, raised on a mahogany stand with turned legs ending in paw feet. overall h. 57‑1/2”, w. 39‑1/2”, d. 21‑1/2” $1,000‑$1,500

Provenance: Oonagh Black Antiques, London, England. $2,500‑$4,000

489 488

165

490 Brussels Handwoven Verdure Tapestry first quarter 18th century, with an allover elaborate floral vine border.

8’ x 14’ $4,000‑$7,000 491 Brussels Handwoven Tapestry of “Harvest Gatherers” fourth quarter 17th century, figures set within an orchard, with an allover acanthine border with fruits and vegetables.

7’ x 10’ 6” $7,000‑$10,000

490

492 Dutch School (19th Century) “The False Note” oil on wood panel signed and dated lower right “G. Janssen 1851”.

Antique giltwood and gesso frame.

19‑1/2” x 16‑1/4”, framed 31‑5/8” x 28-3/4” $1,000‑$1,500

492

166

491

493 Continental School (19th Century) “ Reminiscence “ oil on canvas unsigned.

Period giltwood and gesso frame.

26” x 20‑1/2”, framed 37” x 31‑3/8” $1,500‑$2,500 494 Continental School (Fourth Quarter 19th Century) “Still Life with Fruit, Seafood and a Butterfly”

493

oil on canvas unsigned.

Period giltwood frame.

21‑1/2” x 18-1/8”, framed 33‑3/8” x 29‑7/8” $1,000‑$1,500 495 Dutch School (17th/18th Century) “Floral Still Life” oil on canvas laid on board unsigned.

Framed.

38-3/4” x 28-3/4”, framed 44‑7/8” x 35‑3/8” $1,500‑$2,500

494

496 Circle of Willem van Aelst (Dutch, 1627‑ca. 1683) “Still Life of Flowers and Fruit” oil on canvas unsigned.

Framed.

10‑3/4” x 16‑3/4”, framed 12‑3/4” x 19” $2,000‑$4,000

495

496

167

497 Pair of Baronial-Style Carved Walnut Armchairs third quarter 19th century, with tall pierced and carved backs, acanthine-carved and scrolled arm fronts, and padded seats, raised on blockand-turned legs joined by an elaborately carved stretcher. h. 53‑1/2”, w. 25”, d. 26” $1,200‑$1,800

497

498 Impressive Pair of Bohemian Overlay, Cut and Engraved Glass Pokals ca. 1900, with amber overlay cut-to-clear, decorated with a ground of strawberry cutting and oval panels of delicate floral engraving, the covers decorated to match. h. 17”, dia. 6‑1/2” $700‑$1,000

498

499 Continental Renaissance-Style Oak Round Extension Dining Table fourth quarter 19th century, the top with a molded and carved edge, the apron with applied grape and leaf carving, the base with spiral-turned supports and applied grape- and leaf-carved details, accompanied by six 12” leaves. h. 30”, dia. 54”, ext. l. 126” $1,000‑$1,500

499

168

500

501

500 Suite of Twelve Elizabethan-Style Carved Oak Dining Chairs fourth quarter 19th century, consisting of two armchairs and ten side chairs, each with a large grape- and leaf-carved back crest above a central padded panel, the back posts, legs and stretchers of spiral-turned form. armchair h. 51”, w. 26”, d. 25” $1,200‑$1,800

501 Unusual Continental Painted Tin and Lead Lantern 19th century, Continental, the hexagonal-form lantern composed of tin molded with scrollwork and leaves, the dome top trimmed with pairs of lead putti holding crests, the lantern panels trimmed with lead male figures at the top and putti at the base, the lower portion molded in onion dome form, on a turned and painted wooden support. h. 38-1/4”, dia. 11” $1,000‑$1,500

502 Continental Polychrome Cabinet late 19th century, the molded and domed cornice above a floral-painted frieze and an astragal-glazed door, with canted glazed sides, the lower section fitted with two paneled cupboard doors and canted paneled sides, raised on bun feet, the whole richly accented with floral patterns. h. 74”, w. 36”, d. 9‑1/2” $1,200‑$1,800 502

169

503

503 Nine-Piece Austrian Rococo Revival Mahogany Dining Room Suite comprised of a banquet table, h. 29‑1/4”, w. 51”, d. 48-1/2”, two armchairs, h. 37‑1/2”, and six side chairs, h. 37‑1/2”, each chair with a balloon back, carved crest, serpentine seat and cabriole legs, the table with a scalloped top opening to accommodate leaves, on scroll-carved legs joined by a lobed finial.

Provenance: By oral tradition, the present group descended among the house of a Louisiana plantation and were reputedly purchased from New Orleans merchant Prudent Mallard. $1,200‑$1,800

504 Baronial Painted Wood Chandelier of Baroque Inspiration

504

second quarter 20th century, the six-light chandelier with an urn-form standard carved with bellflowers and twisted fluting, and set with scroll-carved arms and a pendant finial carved with leaves, electrified. h. 44”, dia. 27‑1/2” $1,000‑$1,500 505 Continental Polychrome Two-Part Cabinet 19th century, the upper case with a complex overhanging molded cornice over a pair of exuberantly painted blind doors, the base with a pair of similarly painted doors, raised on bun feet. h. 80”, w. 56”, d. 29” $1,200‑$1,800 506 Pair of Continental Bronze Andirons fourth quarter 19th century, in the Renaissance Revival taste, each having a base with scrollwork framing a lion’s head, the upper urn-form portion decorated with molded strapwork and set with a flame finial and ring-form handles. h. 26‑1/2”, w. 14”, d. 4” $1,000‑$1,500

170

505

506

507 Unusual Pair of Continental Baroque Carved and Silver Gilt Candlesticks ca. 1700 and later, composed of antique elements, the scrollcarved bases supporting angels set with hexagonal plinths and tole candle sockets. h. 18-1/2”, w. 7”, d. 6” 507

$800‑$1,200

508 Two Continental Mahogany and Paint-Decorated Trunks on Stands

508

19th century, each with a faceted and domed top, dovetailed corners and mounted to a cabriole leg stand, the front of each trunk with painted flowers and initials. h. 45”, w. 35”, d. 19” and h. 40”, w. 34”, d. 18-1/2” $1,000‑$1,500 509 Pair of Gilt-Bronze, Gilt-Metal and Giltwood Chandeliers 20th century, the ten-light chandeliers with turned, fluted and leafmolded standards terminating in bold pineapple pendant finials, the scrolled candle arms set on two tiers. h. 39”, dia. 35‑3/4” $2,500‑$4,000 510 Continental Rosewood Console and Mirror in the Rococo Taste third quarter 19th century, in two parts, the shaped mirror in a conforming frame, the crest with a cartouche centered by a carved maiden’s head on a base with a serpentine inset marble top, over a conforming apron, centered by a carved wolf head, raised on cabriole legs capped by winged allegorical female busts, with serpentine platform base and fretwork back. h. 120”, w. 59”, d. 23” $1,500‑$2,500

509 510

171

511

512

515

514

172

513

511 Heriz Carpet

512 Agra Serapi Carpet

513 Agra Serapi Runner

6’ 2” x 8’ 8”

7’ 10” x 9’ 10”

2’ 6” x 21’ 1”

$1,000‑$1,500

$1,200‑$1,800

$1,000‑$1,500

514 Semi-Antique Tabriz Carpet

515 Turkish Angora Oushak Carpet

10’ 3” x 16’ 1”

8’ 2” x 10’ 1”

$1,000‑$1,500

$1,000‑$1,500

517

516

518

519 520

516 Agra Sultanabad Carpet

517 Turkish Angora Oushak Carpet

518 Semi-Antique Heriz Carpet

9’ 10” x 13’ 2”

9’ 1” x 11’ 10”

13’ 8” x 10’ 1”

$1,000‑$1,500

$1,000‑$1,500

$2,000‑$4,000

519 Agra Serapi Carpet

520 Peshawar Carpet

9’ 8” x 14’

8’ 9” x 13’ 6”

$1,500‑$2,500

$2,000‑$4,000

173

session Ii Sunday, October 14, 2018 10:00 a.m. CDT Lots 521 - 991 Pictured: Lot 769

521 525

526

523 522

527

524

521 Mother-of-Pearl and Diamond Ring 18k yellow gold, the ring in the form of a flower, the petals mounted with mother-of-pearl and the center with a cluster of round brilliant-cut diamonds weighing approximately 0.77 carats in total. size 6, total weight 14.0 grams

526 Diamond Pendant with Chain the platinum pendant mounted with round brilliant-cut diamonds weighing approximately 1.25 carats in total, approximate color E-F and clarity VS1‑VS2, l. 1‑1/4”, suspended from an 18” 18k white gold chain. total weight 5.0 grams

$3,500‑$5,000

$1,200‑$1,800

522 Mabe Pearl and Diamond Ring and Pendant 14k yellow gold, the ring mounted with a 15.0 mm mabe whiterose pearl with a good luster, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.66 carats in total, size 7, and the pendant mounted with a 15.0 mm mabe white-rose pearl with a high luster, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.66 carats in total, l. 1‑1/2” (including bail). total weight 17.2 grams

527 Diamond Dangle Earrings 18k white gold, the earrings mounted with oval-, marquiseand rose-cut diamonds weighing approximately 1.25 carats in total, approximate color E-G and clarity VS1‑I1. l. 1‑1/4”, total weight 5.0 grams $1,000‑$1,500

$1,400‑$1,800 523 Pearl and Diamond Earrings 18k white gold, the ear clips in the form of flowers, their centers each mounted with an 11.50 mm round white cultured pearl with a medium luster, accented with baguette- and round brilliant-cut diamonds weighing approximately 3.50 carats in total. l. 1”, total weight 18.3 grams $6,000‑$9,000 524 Diamond Bracelet and Ring 14k white gold, the bracelet and ring mounted with round brilliant-cut diamonds weighing approximately 2.66 carats in total, approximate color E-F and clarity VS1‑SI2. bracelet l. 7‑1/4”, ring size 7‑3/4, total weight 21.0 grams

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$1,500‑$2,500 525 Diamond Band 14k white gold, the ring mounted with round brilliant-cut diamonds weighing approximately 0.99 carats in total, approximate color E-I and clarity VS2‑SI1. size 8, total weight 7.0 grams

528 Diamond Ring 18k white gold, the ring designed with three clusters of diamonds weighing approximately 1.81 carats in total, approximate color E-F and clarity SI1‑SI2. size 7, total weight 5.0 grams

$1,000‑$1,500

$2,000‑$4,000

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529 Diamond, Citrine and Black Onyx Earrings the Art Deco-style earrings set with round brilliant-cut diamonds weighing approximately 2.00 carats in total, and a faceted cushion-cut citrine weighing approximately 2.35 carats in total. l. 2‑1/2”, total weight 17.0 grams $3,500‑$5,000 530 Citrine and Diamond Ear Clips 14k yellow gold, the earrings mounted with oval-cut citrines weighing approximately 8.36 carats in total, surrounded by a border of single-cut diamonds weighing approximately 0.22 carats in total. l. 5/16”, total weight 11.0 grams $1,000‑$1,500 531 Spessartite Garnet and Diamond Ring 14k yellow gold, the ring mounted with a round-cut spessartite garnet weighing approximately 4.47 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.39 carats in total, approximate color E-F and clarity VS1‑VS2. size 7‑1/2, total weight 6.0 grams $1,200‑$1,800 532 Two Diamond and Rock Crystal Bangle Bracelets gold vermeil, the hinged bracelets mounted with oval-cut rock crystal stones weighing approximately 23.68 carats in total, accented by rose-cut diamonds weighing approximately 1.20 carats in total. inside circumference 6‑5/8”, total weight 33.0 grams $1,000‑$1,500

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533 Diamond Drop Necklace 18k yellow gold, the necklace mounted with two rose-cut diamonds weighing approximately 0.40 carats in total, approximate color E-F and clarity SI1. adjustable necklace l. 16” to 18”, drop 2”, total weight 1.0 gram $1,000‑$1,500 534 Large Diamond Bangle Bracelet gold vermeil, the hinged bracelet mounted with slice-cut diamonds weighing approximately 2.32 carats in total, surrounded by round-cut diamonds weighing approximately 0.69 carats in total. w. 2”, inside circumference 7‑1/8”, total weight 90.0 grams $1,000‑$1,500 535 Long Diamond Necklace 18k yellow gold, the necklace mounted with rose-cut diamonds weighing approximately 1.50 carats in total, approximate color E-G and clarity VS2‑SI1. l. 36”, total weight 4.8 grams $1,500‑$2,500

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536 Diamond Watch 14k yellow gold, the Italian rice-link bracelet with an oval case surrounded by round brilliant-cut diamonds, with a Swiss quartz movement and pave diamond dial, with an approximate total diamond weight of 2.00 carats. l. 7”, total weight 42.2 grams

540 Diamond Bracelet 18k yellow gold, the bracelet mounted on the ends with baguette- and round brilliant-cut diamonds weighing approximately 0.62 carats in total. inside circumference 6”, total weight 3.0 grams

$1,500‑$2,500

$1,500‑$2,500

537 Diamond Tassel Earrings 14k yellow gold, the tassels composed of bicone-shaped yellow diamonds, suspended from caps mounted with roundcut white diamonds, with an approximate total diamond weight of 7.52 carats. l. 3”, total weight 6.7 grams

541 Yellow and White Diamond Ring 18k yellow/white gold, the ring mounted with a central ovalcut fancy yellow diamond weighing 1.14 carats, GIA report #5161987781, surrounded by a halo of round brilliant-cut yellow diamonds weighing approximately 0.11 carats in total, and further accented by round brilliant- and baguette-cut white diamonds weighing approximately 0.52 carats in total. size 7‑1/4, total weight 5.0 grams

$900‑$1,200 538 Stunning Yellow and White Diamond Ring platinum, the ring mounted with a radiant-cut fancy intense yellow diamond weighing 5.05 carats, clarity VS2, EGI report #US9075872050, accented by round brilliant-cut diamonds weighing approximately 0.90 carats in total, approximate color G-I and clarity VVS2‑VS1. size 6, total weight 9.0 grams $60,000‑$90,000 539 Yellow and White Diamond Earrings 18k white gold, the earrings mounted with emerald-cut fancy yellow diamonds weighing approximately 1.24 carats in total, approximate clarity VVS2‑VS1, accented by baguette- and round brilliant-cut white diamonds weighing approximately 1.96 carats in total, approximate color F-G and clarity VVS2‑VS2. l. 1”, total weight 7.0 grams $10,000‑$15,000

$6,000‑$9,000 542 Diamond Bracelet 14k yellow gold, the bracelet mounted with round brilliantcut diamonds weighing approximately 1.17 carats in total. l. 7‑1/2”, total weight 10.0 grams $1,200‑$1,800 543 Two-Tone Reversible Diamond Hoop Earrings 14k white/yellow gold, the earrings mounted with round-cut diamonds weighing approximately 1.87 carats in total, one side in white gold and the other in yellow gold, and made to be worn either way. l. 1”, total weight 13.0 grams $1,000‑$1,500

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544 Lapis Lazuli and Diamond Bracelet 14k yellow gold, the bracelet composed with scarab-style links, each mounted with carved lapis lazuli and accented by round brilliant-cut diamonds weighing approximately 1.11 carats in total. l. 7‑1/2”, total weight 56.0 grams $1,000‑$1,500 545 Lapis Lazuli and Gold Necklace 18k yellow gold, the eight-strand necklace composed of 3.0 mm faceted lapis lazuli beads separated by gold discs and finished with a gold clasp. l. 16”, total weight 122.0 grams $4,500‑$7,000 546 Turquoise, Diamond and Sapphire Ring 18k yellow gold, the ring mounted with a central turquoise cabochon measuring approximately 16.00 mm x 13.00 mm, accented on the sides with round brilliant-cut brown diamonds weighing approximately 0.48 carats in total and round-cut treated sapphires weighing approximately 1.06 carats in total. size 7‑1/2, total weight 10.0 grams $1,500‑$2,500

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547 Turquoise and Diamond Necklace and Earrings Suite sterling silver, the necklace and earrings mounted with oval turquoise cabochons measuring 16.0 mm x 22.0 mm, each framed with a border of rose-cut diamonds weighing approximately 2.50 carats in total. necklace l. 20”, earring l. 2‑1/8”, total weight 91.0 grams $1,000‑$1,500 548 Turquoise and Diamond Necklace 18k white gold, the pendant mounted with a pumpkin-carved turquoise capped with a bail mounted with round brilliantcut diamonds, l. 1‑5/8”, suspended from a double chain mounted with round brilliant-cut diamonds, l. 17”, with a total approximate diamond weight of 0.21 carats. total weight 11.0 grams $2,500‑$4,000

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549 Opal and Diamond Ring platinum, the ring mounted with a free-form blue-green opal, framed by a twisted rope border accented with round brilliantcut diamonds weighing approximately 0.33 carats in total. size 7, total weight 11.0 grams $1,000‑$1,500 550 Opal and Diamond Ring platinum, the ring mounted with a black opal weighing approximately 3.00 carats, surrounded by a halo of single-cut diamonds weighing approximately 0.45 carats in total. size 6‑1/2, total weight 4.0 grams $4,500‑$7,000 551 Opal and Diamond Earrings 14k white gold, the earrings mounted with oval opals weighing approximately 1.00 carat in total, surrounded by round brilliant-cut diamonds weighing approximately 0.83 carats in total. l. 1/2”, total weight 3.0 grams $2,500‑$4,000

552 Opal and Diamond Ring 14k yellow gold, the ring mounted with an oval cabochon-cut opal weighing approximately 5.32 carats, accented by round brilliant-cut diamonds weighing approximately 0.65 carats in total. size 7‑1/4, total weight 5.2 grams $1,000‑$1,500 553 Opal and Diamond Earrings 18k yellow gold, the dangle earrings mounted with oval opal cabochons weighing approximately 5.88 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.18 carats in total. l. 1‑1/2”, total weight 10.0 grams $4,000‑$7,000 554 Beautiful Lightning Ridge Opal and Diamond Pendant 14k yellow gold, the large opal weighing approximately 28.00 carats and measuring approximately 27.0 mm x 34.0 mm, in a bezel setting mounted with four rose-cut white diamonds weighing approximately 0.29 carats in total, and accented on the top with a 7.5 mm black moissanite, the bail mounted with round brilliant-cut white diamonds weighing approximately 0.20 carats in total. l. 1‑3/4”, w. 2‑1/2”, total weight 55.0 grams $4,000‑$7,000

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555 Tanzanite and Diamond Ring 14k white gold, the ring mounted with a cushion-cut tanzanite weighing approximately 1.90 carats, accented by round brilliant-cut diamonds weighing approximately 0.50 carats in total. size 8, total weight 4.0 grams

559 Tanzanite and Diamond Collar Necklace sterling silver, the necklace mounted with sliced-cut and rosecut diamonds weighing approximately 8.00 carats in total, and triangle-cut tanzanites weighing approximately 17.70 carats in total. l. 16”, total weight 179.3 grams $1,000‑$1,500

$1,200‑$1,800 556 Tanzanite and Diamond Pendant with Chain platinum, the pendant mounted with a cushion-cut tanzanite weighing 11.68 carats, GIA report #6167546267, accented by round brilliant-cut diamonds weighing approximately 0.58 carats in total, l. 1”, suspended from an 18” platinum chain. total weight 10.0 grams $6,000‑$9,000 557 Tanzanite and Diamond Ring 14k white gold, the ring mounted with an oval-cut tanzanite weighing approximately 3.53 carats, accented by round brilliant-cut diamonds weighing approximately 1.08 carats in total. size 6‑1/2, total weight 4.6 grams

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$1,800‑$2,500 558 Tanzanite and Diamond Ring 14k white gold, the ring mounted with a cushion-cut tanzanite weighing approximately 4.10 carats, accented by round brilliant-cut diamonds weighing approximately 0.60 carats in total. size 7‑1/4, total weight 3.7 grams $1,800‑$2,500

560 Diamond Bracelet sterling silver/14k yellow gold, the bracelet mounted with sliced-cut and rose-cut diamonds weighing approximately 4.10 carats in total. w. 5/8”, l. 7”, total weight 60.6 grams $1,000‑$1,500

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561 Diamond Ring 14k white gold, the ring mounted with a central marquise-cut diamond weighing approximately 0.63 carats, approximate color J and clarity SI2, accented by round brilliant-cut diamonds weighing approximately 0.58 carats in total. size 7‑1/4, total weight 2.8 grams

568 Alexandrite and Diamond Ring platinum, the ring mounted with a cushion-cut alexandrite weighing 1.17 carats, with a color change from yellowish green to brownish yellow, GIA report #6197172234, accented by round brilliant-cut diamonds weighing approximately 0.24 carats in total. size 7‑3/4, total weight 5.8 grams

$1,800‑$2,500

$1,800‑$2,500

562 Custom-Made Diamond Bracelet 14k white gold, the hinged bracelet mounted with a pearcut treated ruby weighing approximately 12.48 carats, accented by round brilliant-cut diamonds weighing approximately 6.25 carats in total, approximate color E-G and clarity VS2‑SI2. w. 1”, inside circumference 7”, total weight 46.0 grams $3,000‑$5,000 563 Diamond Earrings 18k white gold, the shaped earrings mounted with baguetteand round brilliant-cut diamonds weighing approximately 4.26 carats in total, approximate color E-G and clarity SI2‑I3. l. 1”, total weight 14.0 grams $2,000‑$4,000 564 Diamond Ring 18k white gold, the ring mounted with round brilliant-cut diamonds weighing approximately 1.02 carats in total, approximate color E-G and clarity VS1‑SI1. size 7, total weight 8.0 grams $1,800‑$2,500 565 Diamond Bangle Bracelet 18k white gold, the bracelet mounted with pear-, baguette-, marquise-, square- and round brilliant-cut diamonds weighing approximately 2.18 carats in total, approximate color E-G and clarity VS1‑SI1. inside circumference 6‑1/2”, total weight 11.0 grams $8,000‑$12,000 566 Diamond Pendant with Chain 18k white gold, the pendant mounted with round brilliantcut diamonds weighing approximately 1.58 carats in total, approximate color E-G and clarity VS1‑SI1, l. 1‑3/4”, suspended from an 18” white gold chain. total weight 6.0 grams $2,500‑$4,000 567 White and Black Diamond Ring 14k white gold, the ring mounted with round brilliant-cut white diamonds weighing approximately 2.61 carats in total, accented with circles mounted with round-cut black diamonds weighing approximately 0.60 carats in total. size 7, total weight 8.0 grams

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569 Diamond Ring 18k white gold, the ring mounted with a fancy brownish-yellow cushion-cut diamond weighing 3.10 carats, clarity I2, GIA report #6197325854, accented by round brilliant-cut white diamonds weighing approximately 0.64 carats in total. size 6‑3/4, total weight 7.1 grams $5,000‑$8,000 570 Diamond Bracelet sterling silver/14k yellow gold, the bracelet mounted with faceted red, brown and gray treated diamonds, each bordered with a gold rope-twist edge, with an approximate total weight of 7.60 carats. w. 1‑3/4”, inside circumference 7‑1/8”, total weight 64.6 grams $1,400‑$1,800

$2,500‑$4,000

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571 Multicolored Sapphire and Diamond Bracelet 14k yellow gold, the bracelet mounted with oval-cut treated sapphires ranging in color from light yellow to dark orange and weighing approximately 10.83 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.68 carats in total. l. 7”, total weight 13.8 grams $1,000‑$1,500 572 Yellow Sapphire and Diamond Ring 14k yellow gold, the ring mounted with a cushion-cut treated yellow sapphire weighing approximately 4.03 carats, accented by round brilliant-cut diamonds weighing approximately 1.20 carats in total. size 7, total weight 4.5 grams $1,800‑$2,500 573 Beautiful Multicolored Sapphire, Ruby and Diamond Bracelet 14k white gold, the bracelet mounted with square-cut green, blue, pink, orange and yellow sapphires weighing approximately 2.50 carats in total, square-cut rubies weighing approximately 0.60 carats in total and round brilliant-cut diamonds weighing approximately 0.93 carats in total. l. 7”, total weight 26.0 grams $2,000‑$4,000 574 Multicolored Sapphire, Ruby and Diamond Ring 18k white gold, the ring in the form of a butterfly, the wings mounted with oval-cut treated pink, yellow, green and blue sapphires weighing approximately 3.79 carats in total, and round-cut treated rubies weighing approximately 0.42 carats in total, the body and outside edges accented with round brilliant-cut diamonds weighing approximately 1.31 carats in total. size 9, total weight 10.0 grams $1,400‑$1,800

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575 Sapphire and Diamond Ring 18k white gold, the ring mounted with a natural pear-cut green and pink sapphire, each weighing approximately 1.85 carats, accented by round brilliant-cut diamonds weighing approximately 0.59 carats in total. size 7‑1/2, total weight 4.3 grams $3,000‑$5,000 576 Lavender Jade and Diamond Ring 14k yellow gold, the ring mounted with an oval-shaped lavender jade cabochon measuring approximately 17.0 mm x 13.0 mm, accented on the top by a bezel-set round brilliant-cut diamond weighing approximately 0.55 carats, approximate color I and clarity SI1, and accented on the mounting with round brilliant-cut diamonds weighing approximately 0.61 carats in total. size 7‑1/4, total weight 18.8 grams $1,200‑$1,800 577 Amethyst and Diamond Earrings 14k yellow gold, each earring mounted with an oval amethyst weighing approximately 4.62 carats in total, accented with round-cut diamonds weighing approximately 0.07 carats in total. l. 3/4”, total weight 6.0 grams $1,000‑$1,500

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578 Multicolored Tourmaline and Blue Topaz Bracelet 14k rose gold, the bracelet mounted with oval-cut treated pink, red, green and yellow tourmalines weighing approximately 19.50 carats in total and oval-cut treated blue topazes weighing approximately 0.91 carats in total. l. 7‑1/8”, total weight 15.0 grams $1,800‑$2,500 579 Indicolite and Diamond Ring 14k white gold, the ring mounted with an emerald-cut bluishgreen indicolite tourmaline weighing approximately 7.90 carats, accented on either side by three round brilliant-cut diamonds weighing approximately 0.66 carats in total, approximate color E-F and clarity SI2‑I1. size 8-1/2, total weight 7.0 grams $1,200‑$1,800 580 Rubellite, Green Tourmaline and Diamond Ring 14k yellow gold, the ring mounted with a central cushioncut rubellite weighing approximately 4.95 carats, flanked on either side by a cushion-cut green tourmaline weighing approximately 1.82 carats in total, and accented on the outside border with round brilliant-cut diamonds weighing approximately 0.34 carats in total. size 7, total weight 6.0 grams

581 Tourmaline and Diamond Earrings 14k yellow gold, the earrings mounted with elongated emerald-cut bi-color tourmalines weighing approximately 9.06 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.19 carats in total. l. 1”, total weight 6.0 grams $1,200‑$1,800 582 Tourmaline and Diamond Ring 14k yellow gold, the ring mounted with a bluish-green cushioncut tourmaline weighing approximately 5.49 carats, flanked on either side by round brilliant-cut diamonds weighing approximately 0.47 carats in total, approximate color E-F and clarity VS1‑VS2. size 5‑1/2, total weight 5.0 grams $1,200‑$1,800

$1,200‑$1,800

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583 Emerald and Diamond Ring 14k yellow gold, the ring mounted with an emerald-cut treated emerald weighing approximately 0.74 carats, flanked to either side by an emerald-cut diamond weighing approximately 2.03 carats in total, approximate color E-G and clarity SI1‑SI2, accented by single-cut diamonds weighing approximately 0.26 carats. size 8, total weight 7.5 grams

587 Emerald and Diamond Ring 14k yellow gold, the ring mounted with an oval-cut treated emerald weighing approximately 1.03 carats, accented by round brilliant-cut diamonds weighing approximately 0.61 carats in total. size 7, total weight 6.0 grams $1,000‑$1,500

$1,400‑$1,800 584 Emerald and Diamond Earrings and Bracelet 18k yellow gold, the earrings mounted with treated ovalcut emeralds weighing approximately 9.10 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.22 carats in total, l. 2‑1/2”, and the bracelet mounted with treated oval-cut emeralds weighing approximately 3.78 carats in total, accented by round-cut diamonds weighing approximately 2.17 carats in total, inside circumference 7”. total weight 28.0 grams $1,800‑$2,500 585 Emerald and Diamond Ring 18k yellow gold, the ring mounted with a treated emerald cabochon weighing approximately 4.58 carats, accented on either side by three kite-cut treated emeralds weighing approximately 0.24 carats in total, and further accented by round single-cut diamonds weighing approximately 0.52 carats in total. size 7‑1/2, total weight 14.0 grams $3,500‑$5,000 586 Emerald and Opal Ring 14k yellow gold, the ring mounted with a central oval-cut treated emerald weighing approximately 0.90 carats, accented with an opal mosaic overlay. size 7, total weight 8.0 grams $1,200‑$1,800

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588 Diamond Collar Necklace 14k yellow gold, the necklace composed of gold flat links with beaded edges, finished at the bottom with round brilliant-cut diamonds weighing approximately 0.90 carats in total. l. 17”, total weight 51.0 grams $1,400‑$1,800 589 Watermelon Tourmaline and Diamond Ring 14k yellow gold, the ring mounted with an emerald-cut watermelon tourmaline weighing approximately 3.38 carats, accented by round brilliant-cut diamonds weighing approximately 0.33 carats in total. size 7, total weight 5.0 grams $1,000‑$1,500

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590 Italian Gold Necklace 18k yellow gold, the necklace composed of sections of anchor-link chain with a florentine finish alternating with round beads with a polished finish. l. 24”, total weight 93.0 grams $2,000‑$4,000 591 Gold Ear Clips 18k yellow gold, the custom earrings with a florentine finish and a high polish swirl design. l. 1”, total weight 19.0 grams $1,000‑$1,500 592 Italian Woven Gold Earrings 18k white/yellow gold, the diamond-shaped earrings with a white and gold basketweave pattern. l. 1”, total weight 11.0 grams $1,000‑$1,500 593 Tiffany & Co. Atlas Ring 18k yellow gold, the wide band stamped with Roman numerals. size 7, total weight 14.0 grams $1,000‑$1,500

594 Patek Philippe Lady’s “Nautilus” Wristwatch 18k yellow gold, the case and band with a hidden deployant clasp stamped “Nautilus, Patek Philippe, Geneve, 750”, with Swiss hallmarks, the dial with horizontal stripes and a calendar, signed “Patek Philippe, Geneve”, the watch with a quartz movement and with inner and outer boxes with “Certificate of Origin”, reference #4700/1, movement serial #1,523,XXX. inside circumference 6‑1/2”, total weight 82.5 grams $8,000‑$12,000 595 Carrera y Carrera Gold Cuff Bracelet 18k yellow gold, the bracelet with an elephant motif. inside circumference 6”, total weight 38.0 grams $2,500‑$4,000 596 Enamel and Diamond Leopard Ring 18k yellow gold, the ring in the form of a leopard’s head with fine red enamel, the eyes mounted with round-cut treated emeralds weighing approximately 0.02 carats in total and accented with round brilliant-cut diamonds weighing approximately 0.16 carats in total. size 5, total weight 20.0 grams $3,000‑$5,000

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597 Fourteen-Karat Yellow/White Gold, Ruby and Diamond Ring the large ring with a contemporary domed design, mounted with forty-six round-cut rubies, with an approximate total weight of 3.22 carats, and twenty-four round-cut diamonds, with an approximate total weight of 0.20 carats, approximate color H-I and clarity SI1‑SI2. size 9, total weight 14.0 grams

600 Ruby and Diamond Earrings 14k yellow gold, the earrings mounted with oval-cut treated rubies weighing approximately 3.60 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.75 carats in total. l. 1”, total weight 7.0 grams

$1,000‑$1,500

$1,800‑$2,500 601 Ruby and Diamond Ring 14k rose gold, the ring mounted with round-cut treated rubies weighing approximately 2.70 carats in total, each surrounded by a halo of round brilliant-cut diamonds weighing approximately 1.70 carats in total. size 8-1/2, total weight 9.5 grams $1,500‑$2,500 602 Diamond and Ruby Ring 18k white gold, the ring mounted with a central round brilliant-cut diamond weighing approximately 1.16 carats, approximate color F and clarity I2, surrounded by a halo of trapezoid-cut treated rubies weighing approximately 1.29 carats in total, and an outer halo of round brilliant-cut diamonds weighing approximately 0.37 carats in total. size 6‑1/2, total weight 5.1 grams 604

598 Ruby and Diamond Necklace 14k yellow gold, the necklace mounted with oval-cut treated rubies weighing approximately 40.31 carats in total, accented by round brilliant-cut diamonds weighing approximately 5.31 carats in total. l. 17”, total weight 36.9 grams $4,500‑$7,000 599 Ruby and Diamond Bracelet 14k yellow gold, the bracelet mounted with oval-cut treated rubies weighing approximately 9.83 carats in total, accented by round brilliant-cut diamonds weighing approximately 2.33 carats in total. l. 7‑1/2”, total weight 15.1 grams $1,800‑$2,500

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$3,500‑$5,000 603 Ruby and Diamond Ring 18k yellow gold, the ring with an oval-cut treated ruby weighing approximately 0.82 carats, mounted on a wide band set with baguette-cut diamonds weighing approximately 0.80 carats in total. size 8-3/4, total weight 8.8 grams $1,800‑$2,500 604 Ruby and Diamond Bracelet 14k white gold, the hinged bracelet mounted with a pear-cut treated ruby weighing approximately 12.48 carats, accented by round brilliant-cut diamonds weighing approximately 6.25 carats in total, approximate color E-G and clarity VS2‑SI2. inside circumference 7”, total weight 45.0 grams $2,500‑$4,000

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605 Natural Ruby and Diamond Ring platinum, the ring mounted with an oval-cut natural ruby weighing 1.60 carats, GIA report #5192087773, accented by round brilliant-cut diamonds weighing approximately 0.53 carats in total. size 7, total weight 7.4 grams

610 Emerald and Diamond Ring 18k white gold, the ring mounted with an emerald-cut treated emerald weighing approximately 1.09 carats, surrounded by round brilliant-cut diamonds weighing approximately 0.65 carats in total. size 7, total weight 3.9 grams

$3,000‑$5,000

$1,500‑$2,500

606 Diamond and Ruby Earrings sterling silver, the earrings in the form of feathers, mounted with oval-cut pink tourmalines weighing approximately .60 carats in total and accented with rose-cut diamonds weighing approximately 1.20 carats in total. l. 3‑1/4”, total weight 12.8 grams

611 Emerald and Diamond Ring 18k white gold, the ring mounted with an emerald-cut treated emerald weighing approximately 5.25 carats, accented by baguette- and round brilliant-cut diamonds weighing approximately 1.03 carats in total. size 6‑3/4, total weight 6.2 grams

$1,000‑$1,500

$8,000‑$12,000

607 Diamond Bracelet with Diamond and Ruby Earrings sterling silver, the hinged bracelet mounted with baguette-cut diamonds weighing approximately 1.75 carats in total, inside circumference 6‑3/4”, and the earrings mounted with oval-cut treated rubies weighing approximately 2.40 carats in total, accented by rose-cut and baguette-cut diamonds weighing approximately 1.50 carats in total, l. 2”. total weight 21.8 grams $1,000‑$1,500 608 Diamond, Emerald and Ruby Earrings sterling silver, the earrings mounted with oval-cut treated rubies weighing approximately 0.90 carats in total, marquisecut treated emeralds weighing approximately 0.94 carats in total and rose-cut diamonds weighing approximately 2.40 carats in total. l. 3”, total weight 13.4 grams

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$1,000‑$1,500 609 Tsavorite, Ruby and Diamond Bangle Bracelet sterling silver, the hinged bracelet mounted with sliced diamonds weighing approximately 4.00 carats in total, and oval-cut treated rubies weighing approximately 1.40 carats in total and treated tsavorite garnets weighing approximately 3.60 carats in total. w. 7/8”, inside circumference 7‑1/4”, total weight 72.7 grams $1,000‑$1,500

612 Emerald and Diamond Ring 14k white gold, the ring mounted with an emerald-cut treated emerald weighing approximately 3.20 carats, accented by round brilliant-cut and baguette-cut diamonds weighing approximately 1.41 carats in total. size 5‑3/4, total weight 5.6 grams $3,500‑$5,000

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613 Zircon and Diamond Earrings 14k white gold, the earrings mounted with cushion-cut blue zircons weighing approximately 8.84 carats in total, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.72 carats in total. l. 1/2”, total weight 5.3 grams $1,400‑$1,800 614 Blue Zircon and Diamond Ring 14k white gold, the ring mounted with a cushion-cut blue zircon weighing approximately 7.54 carats, accented by round brilliant-cut diamonds weighing approximately 0.69 carats in total. size 7, total weight 5.3 grams $1,400‑$1,800

616 Aquamarine and Diamond Ring 14k white gold, the ring mounted with a large oval-cut treated aquamarine weighing approximately 16.71 carats, accented by round brilliant-cut diamonds weighing approximately 0.24 carats in total. size 7, total weight 11.0 grams $1,200‑$1,800 617 Aquamarine and Diamond Earrings 18k white gold, the chandelier earrings mounted with pearcut aquamarines weighing approximately 7.50 carats in total, accented with round brilliant-cut diamonds weighing approximately 1.00 carat in total. l. 2‑3/8”, total weight 18.6 grams $4,000‑$7,000

615 Blue Zircon Ring platinum, the ring mounted with a round-cut blue zircon weighing approximately 8.84 carats, mounted on an engraved band. size 5, total weight 4.0 grams

618 Aquamarine and Diamond Ring 18k white gold, the ring mounted with a rectangular-cut treated aquamarine weighing approximately 13.33 carats, accented by round brilliant-cut diamonds weighing approximately 0.74 carats in total. size 8, total weight 13.0 grams

$2,000‑$4,000

$6,000‑$9,000

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619 Sapphire and Diamond Belt Bracelet 18k white gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 0.40 carats in total, and table-cut sapphires weighing approximately 1.00 carat in total. l. 7”, total weight 12.4 grams $4,500‑$7,000 620 Sapphire and Diamond Earrings 18k white gold, the earrings mounted with oval-cut treated sapphires weighing approximately 1.94 carats in total, accented with round brilliant-cut and baguette-cut diamonds weighing approximately 0.45 carats in total. l. 1”, total weight 3.0 grams $1,800‑$2,500 621 Natural Sapphire and Diamond Ring platinum, the ring mounted with a natural oval-cut sapphire weighing 3.95 carats, GIA report #2195432660, accented by baguette- and round brilliant-cut diamonds weighing approximately 1.15 carats in total. size 7‑3/4, total weight 8.0 grams

622 Two Sapphire, Tsavorite Garnet and Diamond Bangle Bracelets sterling silver, the hinged bracelets mounted with sliced diamonds weighing approximately 7.00 carats in total, ovalcut tsavorite garnets weighing approximately 1.80 carats in total and pear-cut treated sapphires weighing approximately 5.20 carats in total. w. 5/8”, inside circumference 7”, total weight 101.5 grams $1,000‑$1,500 623 Sapphire and Diamond Necklace 14k white gold, the necklace mounted with graduated ovalcut treated sapphires weighing approximately 37.13 carats in total, accented by round brilliant-cut diamonds weighing approximately 7.21 carats in total. l. 17‑1/2”, total weight 33.4 grams $5,000‑$8,000

$2,000‑$4,000

205

624 Sapphire and Diamond Bracelet 14k white gold, the bracelet mounted with oval-cut treated sapphires weighing approximately 12.70 carats in total, accented by round brilliant-cut diamonds weighing approximately 2.73 carats in total. l. 7”, total weight 17.8 grams $2,500‑$4,000

628 Sapphire and Diamond Tassel Necklace 18k yellow gold, the tassel composed of sapphire roundels measuring approximately 2.50 mm in diameter, and accented on the bail with round brilliant-cut diamonds weighing approximately 0.33 carats in total, l. 4‑1/2”, suspended from a 30” gold chain accented with round brilliant-cut diamonds weighing approximately 0.17 carats in total. total weight 24.0 grams $2,500‑$4,000

625 Sapphire and Diamond Bracelets sterling silver, two of the hinged bracelets mounted with roundcut treated sapphires weighing approximately 4.50 carats in total and the other mounted with rose-cut diamonds weighing approximately 2.60 carats in total. inside circumference 7‑1/4”, total weight 47.5 grams $1,000‑$1,500 626 Sapphire and Diamond Earrings 14k white gold, the earrings mounted with treated ovalcut sapphires weighing approximately 0.75 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.00 carat in total. l. 1‑1/4”, total weight 6.6 grams

624

$3,000‑$5,000 627 Two Diamond and Sapphire Bracelets gold vermeil, the hinged bracelets mounted with square-cut treated sapphires weighing approximately 7.04 carats in total, accented by round-cut diamonds weighing approximately 1.60 carats in total. inside circumference 6‑3/4”, total weight 21.0 grams $1,000‑$1,500

629 Sapphire and Diamond Bracelet and Earrings sterling silver/14k yellow gold, the hinged bracelet mounted with oval-cut treated sapphires weighing approximately 6.12 carats in total, accented by round-cut diamonds weighing approximately 1.26 carats in total, inside circumference 7”, and the earrings mounted with oval-cut treated sapphires weighing approximately 7.50 carats in total, accented with round-cut diamonds weighing approximately 1.10 carats in total, l. 1‑3/4”. total weight 29.4 grams $1,000‑$1,500

206

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628

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629

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630 633

631

632

634

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630 Diamond, Tsavorite and Black Onyx Leopard Ring 14k white/rose gold, the bypass-designed ring mounted with round brilliant-cut diamonds weighing approximately 0.50 carats in total, with black onyx accents for the spots and tsavorite garnets for the eyes. size 7‑3/4, total weight 7.2 grams $1,400‑$1,800 631 Diamond Earrings 18k rose gold, the earrings mounted with round brilliant-cut diamonds weighing approximately 4.50 carats in total. l. 2”, total weight 12.0 grams $5,000‑$8,000 632 Diamond Ring 14k white/rose/yellow gold, the ring with a cross-over design and mounted with round brilliant-cut diamonds weighing approximately 0.77 carats in total. size 7‑1/4, total weight 8.0 grams

633 Morganite and Diamond Pendant with Chain 14k rose gold, the pendant mounted with a cushion-cut morganite weighing approximately 14.66 carats, accented by round brilliant-cut diamonds weighing approximately 2.14 carats in total, l. 1‑5/8”, suspended from an 18” rose gold chain. total weight 14.4 grams $3,000‑$5,000 634 Morganite and Diamond Ring 14k rose gold, the ring mounted with a large cushion-cut morganite weighing approximately 10.94 carats, accented by round brilliant-cut diamonds weighing approximately 1.98 carats in total. size 7‑1/4, total weight 10.6 grams $2,500‑$4,000

$1,000‑$1,500

209

635 Gentleman’s Baume & Mercier Wristwatch 18k yellow gold, the round watch with a quartz movement and a champagne dial marked “Baume & Mercier, Geneve” and “Saudia”, with a Saudia Arabia emblem and Arabic writing, the case marked “18k, 15146, 1, 532, XXX”, case, 32.0 mm without crown. total weight 28.8 grams $1,000‑$1,500 636 Gentleman’s Rolex Diamond Dial Datejust Wristwatch 18k yellow gold/stainless steel, the mechanical self-winding automatic movement with quick change date, the champagne color dial with diamond markers and signed “Rolex, Oyster Perpetual, Datejust, Superlative Chronometer Officially Certified”, the jubilee band with a hidden deployant clasp stamped “Rolex, Geneva, Swiss Made, Steelinox, Rolex S. A. 666”, the watch with inner and outer boxes with guarantee and papers, reference #116233, serial # on bezel 9440WXXX. inside circumference 7‑1/4”, total weight 136.5 grams $1,800‑$2,500

637 Diamond Dress Set 14k white gold, the set with a fluted design and mounted with round-cut diamonds weighing approximately 0.25 carats in total. cufflink l. 1”, total weight 26.0 grams $1,200‑$1,800 638 Gentleman’s Diamond Ring 14k white gold, the ring mounted with round brilliant-cut diamonds weighing approximately 1.00 carat in total, approximate color E-F and clarity SI1‑I1. size 14, total weight 12.0 grams $1,000‑$1,500 639 Pair of Diamond and Sapphire Cufflinks 18k white gold, the octagonal-shaped cufflinks with hinged swivel backs, mounted with round brilliant-cut diamonds weighing approximately 2.00 carats in total, and calibre-cut sapphires weighing approximately 1.80 carats in total. l. 3/4”, total weight 16.4 grams $1,800‑$2,500 640 “The Royal Diamond” Gentleman’s Diamond and Sapphire Wristwatch 18k white gold, the case with an octagon design and a quartz movement, the white guilloche dial mounted with diamond markers and the case bordered with round brilliant-cut diamonds, with an approximate total diamond weight of 2.50 carats, and an inner row of calibrated-cut sapphires weighing approximately 2.50 carats in total, width without crown is 35.0 mm. total weight 65.0 grams $4,000‑$7,000

640

210

641 Gentleman’s Cartier Stainless Steel “Pasha” Wristwatch the mechanical self-winding automatic movement with quick change date, the black dial signed “Cartier, Automatic”, the Pasha “Seatimer” with a stainless steel and black rubber band with a double deployant clasp stamped “Cartier, Swiss made, Stainless Steel”, the case back stamped “Pasha de Cartier, Automatic Swiss Made, 2790 Water Resistant 100m/330 ft, Stainless Steel”, serial #579398LX, with two additional links. inside circumference 5‑7/8”, total weight 151.0 grams $2,500‑$4,000

638

635

639

636

637

641

211

642

643

643

646

645

212

642 Patek-Philippe Open Face Pocket Watch 18k yellow gold, the 18-1/2 Lignes 21 jewels nickel damascus movement with bimetallic balance and wolftooth stem wind and set, signed on the movement: “Patek Philippe & Co., Geneve, No 38374”, the inside of the case stamped “0.750, PP.Co, 38374, AA”, the back of the case engraved with a stylized monogram, the white porcelain dial with black Roman numerals and unsigned, diameter without stem 48.0 mm. total weight 99.0 grams

645 Patek-Philippe Gentleman’s Watch 18k yellow gold, the manual wind mechanical eighteen jewels movement signed “Patek Philippe, Geneve, 215 Eighteen Jewels, Adj. to Isochronism, heat, cold, Five 5 Pos. 1,327XXX” and the seal of Geneva, the gold dial with black Roman numerals and signed “Patek Philippe Geneve”, the inside of the case signed “Patek Philippe, Geneve, 3618/1, 18k, 750, 2772, XXX”, the mesh band and clasp marked “Patek Philippe” with the Calatrava logo. l. 7”, total weight 85.0 grams

$2,500‑$4,000

$4,500‑$7,000

643 Bulgari “Diagono” Chronograph Wristwatch 18k yellow gold, the quartz movement set in a heavy gold case signed “BVLGARI” in the bezel, the back signed with the model #CJ35G and “BVLGARI, Fabrique en Suisse, F1727”, the 18k gold buckle signed “BVLGARI”, the diameter of the watch without the crown is 36.0 mm. total weight 94.0 grams

646 H. A. Favre Hunting Case Pocket Watch 18k yellow gold, the key-wind and key-set fifteen jewels Swiss 18 Lignes nickel damascus movement with a bimetallic balance wheel, the case engraved “H. A. Favre, Locle, Chronometer, No 15221, Regulated Compensation” and stamped “18 Warranted Carat Fine, 15221”, the white porcelain dial with black Roman numerals is unsigned, diameter without stem and bow is 48.0 mm. total weight 93.0 grams

$3,500‑$5,000

$1,200‑$1,800

644 Gentleman’s Emerald and Diamond Ring 14k yellow gold, the ring mounted with a treated oval-cut emerald weighing approximately 1.26 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.25 carats in total. size 11, total weight 12.0 grams

647 Group of Two Black Crocodile Cases including a Bijan Couture Porosus black crocodile travel case, ca. 1980s, American, lined in tan leather with one interior zippered compartment, with a Bijan label attached to the interior and hanging from the key, h. 11‑1/2”, w. 19‑1/4”, d. 10‑1/2”, together with an Asprey black crocodile briefcase, with four interior compartments, lined with tan leather, marked “Made in Austria for Asprey, London” on the interior, h. 11‑1/2”, w. 16”, d. 1‑1/2”.

$1,400‑$1,800

Provenance: The Flatt Collection. $1,000‑$1,500

647

213

648 Mikhail Markianovich (Bubelo) Germachev (Russian/French, 1868-1930) “Winter Landscape with Cottage” oil on canvas signed lower left, “Blanchet” artist supplier label en verso Framed.

25‑3/4” x 32”, framed 32‑1/2” x 38-1/2” Provenance: Christie’s, New York, New York, April 18, 2007, lot 112. $15,000‑$25,000 648

649 Ivan Fedorovich Choultse (Russian/French, 1877‑1939) “Winter Day in St. Moritz” oil on canvas signed lower right, stretcher with “Galerie du Carlton, Cannes” and “Artisana, Geneve” gallery labels.

Framed.

21‑1/2” x 25‑3/4”, framed 31‑1/2” x 35‑1/4” Provenance: Estate of Dr. Vladimir Sokolovsky (1916‑2003), Chicago/Palatine, Illinois; Private collection, Chicago, Illinois. $14,000‑$18,000

649

214

650 After Vassili Yacovlevitch Grachev (Russian, 1831‑1905) “The Returning Cossack” patinated bronze ca. 1900, cast signature in Cyrillic along front edge, a “Woerffel/St. Petersbourg” foundry inscription along back edge. h. 9‑1/4”, w. 8”, d. 5‑1/2” Provenance: Private collection, New Orleans, Louisiana. $2,500‑$4,000

650

651 Feliks Khodorovich (Russian, 1840‑1913) “Russian Soldier Moving His Family” patinated bronze fourth quarter 19th century, cast signature along side and a “Woerffel/St. Petersbourg” foundry inscription along back edge of selfbase. h. 19‑1/8”, w. 19”, d. 9‑1/2” Provenance: Private collection, New Orleans, Louisiana. $6,000‑$9,000

651

215

652

216

652 Grigory Gluckmann (Russian/California, 1898-1973) “Debut” oil on canvas signed lower right, titled on”Dalzell Hatfield Galleries, Los Angeles” label on stretcher, frame backing with labels from Palm Springs Desert Museum, Christie’s, New York, and New York shipper.

Framed.

30‑1/2” x 36‑1/4”, framed 41‑1/2” x 47‑1/4” Provenance: “Art for the Executive and for the Museum”, exhibition and sale, Dalzell Hatfield Galleries, Los Angeles, California, 1957; Private collection, California; Sotheby’s, New York, October 6, 1998, lot 225; Christie’s, New York, April 24, 2009, lot 225.

Exhibited: Art for the Executive Museum. April-June 1957, Dalzell Hatfield Galleries, Los Angeles, California; Grigory Gluckmann - Contemporary Classicist. Nov. 3‑Dec. 3, 1972, Palm Springs Desert Museum, Palm Springs, California.

Literature: Illustrated on front page, Los Angeles Times, Sun., April 28, 1957, and listed in accompanying article “Art for Executive Offices”. Listed and illustrated in exhibition catalogue, Grigory Gluckmann - Contemporary Classicist, November 3‑December 3, 1972. Palm Springs: Palm Springs Desert Museum, 1972. $250,000‑$350,000

In the introduction to the catalogue the Palm Springs Desert Museum produced for their Grigory Gluckmann exhibit, in which the present lot was shown, Ruth Dalzell Hatfield described the artist’s bravura for capturing movement and feminine beauty as a dance of “multitudinous shades, tones, and nuances” that enabled him to produce “evocative poetic tones beyond the reality of the figure itself.

Though Gluckmann painted a variety of subjects, from the almost obligatory atmospheric Parisian street scenes, to coy nudes and voluptuous still lives, it was his luminous, glowing depictions of ballerinas which captured the attention and admiration of critics and collectors alike.

Employing the laborious technique espoused at the Moscow School of Art, Gluckmann used numerous layers of paint allowing each layer to dry completely before the application of

the next. This resulted in works with an intense depth of color. The success of this technique is evident in these two lots, where the various textures of the fabrics - the layers of tulle of the skirt, the satin of the shoes, the silk of the ribbons - are clearly delineated.

An emigre several times over, Gluckmann was born in Vitebsk, Belarus (then part of Russia), a contemporary of that town’s most famous son, Marc Chagall. He enrolled at the Moscow School of Painting, Sculpture and Architecture, studying for several years under Abram Arkhipov (1862‑1930), before fleeing to Berlin during the Russian Revolution. He soon made his way to Paris, where he began to exhibit in earnest - at the Galerie Druet, Galerie Charpentier, Salon d’Automne, amongst numerous others. In 1941 he fled once again, this time to New York to escape the Nazis. He eventually permanently settled in Los Angeles.

217

653

653 Grigory Gluckmann (Russian/California, 1898-1973) “Red Shoes: In the Dressing Room” oil on board signed lower right, titled on”Dalzell Hatfield Galleries, Los Angeles” label on frame backing.

Framed.

16” x 14‑1/2”, framed 26‑3/4” x 24‑3/4” Provenance: Dalzell Hatfield Galleries, Los Angeles, California; Christie’s, New York, April 18, 2007, lot 103. $125,000‑$250,000

218

654 Boris Dmitrievich Grigoriev (Russian/American/French, 1886‑1939) “Portrait of a Man”, 1935 gouache and graphite on board signed lower left.

Matted, glazed and framed. sight 21‑1/4” x 14”, framed 32‑1/2” x 25‑1/4” Provenance: Shapiro Auctions, New York, New York, February 28, 2015, lot 112.

Literature: T. Galeyeva, Boris Grigoriev, (Saint Petersburg: Zolotoy Vek; Khudozhnik Rossii, 2007), illustrated, no. 208. $30,000‑$50,000

654

655 Sacha Moldovan (Russian/American, 1901‑1982) “Portrait of a Woman” oil on canvas signed en verso.

Framed.

22” x 14‑3/4”, framed 32” x 24‑7/8” Provenance: Burrell Galleries, New York, New York, 1982; Private collection, New York, New York; Christie’s, New York, New York, September 10, 2008, lot 131. $5,000‑$8,000

655

219

656

656 David Davidovich Burliuk (Russian/American, 1882‑1967) “Florida Harbor Scene with a Still Life and Figures” oil on canvas signed lower center.

Framed.

27‑1/2” x 40”, framed 34‑1/8” x 48” Provenance: Private collection, New York; Shapiro Auctions, New York, New York, October 25, 2014, lot 201. $15,000‑$25,000 657 David Davidovich Burliuk (Russian/American, 1882‑1967) “Port Scene with Fishing Boats” oil on canvas signed lower right.

Framed.

16” x 20”, framed 18-3/4” x 22‑1/2” $3,000‑$5,000

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657

658

658 Tatiana Nazarenko (Russian, b. 1944) “Triptych: Little Orchestra”, 1989 oil on canvas two monogrammed lower right, one signed and dated lower right, all signed, dated, titled and further inscribed en verso.

Each framed and set into a removable screen. the first: 55” x 39‑1/2”, framed 58-1/2” x 42‑1/4”; the second: 55” x 43”, framed 58-1/2” x 46‑1/8”; the third: 55” x 35‑1/2”, framed 58-1/2” x 38-1/8” Provenance: Gifted by the Frederick Weisman Company to the New Orleans Museum of Art, 1989; Christie’s, London, U.K., November 26, 2008, lot 469. $25,000‑$40,000

658 detail

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659 Pair of Legras Scenic Enameled Art Glass Vases ca. 1900, French, each depicting a tranquil pond or lake scene, signed “Legras” near the bottom, with ground pontil mark and a ground upper edge. h. 14‑1/4”, w. 5‑3/4”, d. 3‑3/4” $1,000‑$1,500

659

661

660 Neoclassical-Style Brass Vitrine on Stand the dentillated cornice over a reeded frame adorned with leaves, fitted with glass shelves. h. 103”, w. 38”, d. 15” $2,000‑$4,000 661 Neoclassical Bronze and Steel Lamp mid-20th century, in the style of Maison Jansen, the bronze base decorated with pierced anthemia and lotus leaves, and supporting the quiver-form standard terminating in molded bronze leaves, set with a tole shade. h. 29”, dia. 20” $700‑$1,000

660

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662

662 Set of Four Gray-Painted Metal Tree Tubs with tapered sides, each set with a pair of ring handles secured with strapwork. h. 24”, w. 23‑1/2”, d. 23‑1/2” $1,000‑$1,500

663 Pair of Continental Marble and Metal Argente Temple-Form Garnitures

663

20th century, in the neoclassical style, the temple-form bases composed of metal argente and stone fitted with Corinthian columns, the tops supporting polished marble spheres. h. 18-3/4”, dia. 6‑3/4” Provenance: Loyd-Paxton, Dallas, Texas; Christie’s, April 18, 2000, lot 22; The Flatt Collection, Baton Rouge, Louisiana. $800‑$1,200

664 Pair of Polychrome Circular Bar Stools in the Regency Taste each covered in faux brown leather and raised on turned and reeded legs joined by a circular molded stretcher/footrest. h. 25”, dia. 20” $1,000‑$1,500

664

223

665 Near Pair of Leather Chesterfield Club Chairs each with tufted arms and back, loose seat cushion and bun feet, upholstered in oxblood leather. h. 28”, w. 42”, d. 33‑1/2” $1,000‑$1,500

665

666 Rare Art Deco Silvered Bronze and Cut and Enameled Glass Scale second quarter 20th century, Uruguay, with impressive eagle-molded bronze corners, the glass base cut with Art Deco ornament and enameled, with five weights, signed “Negri Y Cia / Juan Negri / Montevideo”. h. 12‑1/2”, w. 28”, d. 11” $3,000‑$5,000

666

667 Pair of Chesterfield Leather Club Chairs each with a tufted back, seat and arms, and adorned with brass tacks, raised on ebonized bun feet. h. 27‑3/4” $1,200‑$1,800

667

668 Unusual Continental Satinwood Drop-Leaf Table 20th century, the narrow rectangular top with like narrow drop leaves, raised on tapering square legs. h. 29‑1/2”, w. 20‑1/2”, ext. w. 37”, l. 72” $1,000‑$1,500

668

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669

669 Interesting Mid-Century Modern Natural Oak Writing Desk the slightly incurved top with bowed ends and fitted with three drawers along one edge, the sides with curved slats joined by through-mortised bars, raised on shaped cabriole legs. h. 30‑1/2”, w. 60”, d. 29” $1,200‑$1,800

670

670 Barbara Hodgkins (American/Contemporary) “Ammonoid” fossil, sterling silver and mahogany on an integral support base, artist plaque on base with incised signature and quote from Saki “Oh Fossil wrought and formed/how long the eons past your shade/ bring now reflections of a glorious age”. overall h. 63‑1/2”, w. 21”, d. 17” $1,000‑$1,500

671 Alfonso Castillo Orta (Mexican, 1944‑2009) “Tree of Life”, 1999 painted pottery signed, dated, and localized Izucar de Matamoros, Puebla, Mexico at back. h. 32‑1/4”, w. 28”, d. 9” $1,000‑$1,500 671

225

672

672 Pedro Friedeberg (Mexican, b. 1937) “Left Hand” and “Right Hand” pair of gold leaf over carved wood sculptures each signed along the interior edge of the base. right hand h. 37‑1/4”, w. 19‑1/2”, d. 21”, left hand h. 36‑1/4”, w. 18-1/2”, d. 21” $15,000‑$25,000

226

673 Meret Oppenheim (Swiss, 1913‑1985) “Traccia” Table ca. 1970s, with an oval gold-leaf top mounted to polished bronze bird legs. h. 25‑1/2”, w. 26‑1/2”, d. 20‑3/4” $2,500‑$4,000 Meret Oppenheim was a Swiss surrealist artist who first created the design for this table in 1939. It was later reproduced by the Simon International firm of Italy in the 1970s. The claw feet of the table legs mimic the footprints on the top of the table. Oppenheim’s works are in the Museum of Modern Art, Manhattan, and an example of this table is in the Collection of the Kirkland Museum of Fine and Decorative Art, Denver, Colorado.

674 American Mahogany Desk 20th century, bench-made by Enrique Alferez (Mexican/ American, 1901‑1999), of rectangular form and fitted with a long, slender drawer with two stacked graduated drawers on either side, each with carved totem-form pulls of various symbols including an owl and a monkey, on a plinth base. h. 31”, w. 52”, d. 29‑3/4” $2,000‑$4,000

673

674

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675 Enrique Alferez (Mexican/Louisiana, 1901‑1999) “Female Standing Nude” painted terracotta on a carved wood support base. h. 28”, w. 10‑1/2”, d. 7‑1/2”, overall h. 30” $8,000‑$12,000

675

676 Mario Villa (Nicaraguan/Louisianian, b. 1953) “Figure Draped”, 1996 glazed and painted papier-mache signed and dated at right corner of base. h. 73‑1/4”, w. 24”, d. 16” Provenance: Collection of Mario Villa, New Orleans, Louisiana; Private collection. $1,500‑$2,500

676

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677 Caracole “Emilee” Linen-Upholstered King Bed contemporary, the camel-back headboard with gently incurving sides, the headboard and frame trimmed with “Auric” silver-leaf carved wood and upholstered in “Heathersage” floral linen by Ralph Lauren Home, raised on square-tapered silver-leaf feet, with a custom pleated blue raw silk skirt. h. 62”, w. 94‑1/4”, d. 90‑1/2”, floor to top of footboard and side rail h. 17” $1,500‑$2,500

678 Pal Fried (American/Hungarian, 1893‑1976) “Dark-Haired Beauty” oil on canvas signed lower left.

Framed.

30” x 24”, framed 39‑3/4” x 33‑3/4”

678

$1,500‑$2,500

677

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679 Regency-Inspired Inlaid Mahogany, Rosewood and Bronze-Mounted Coffee Table 20th century, the rectangular top inlaid with rosewood crossbanding, a central medallion and anthemia, all within a brass gallery, and raised on classical-style legs with bronze female busts and feet. h. 18”, w. 48”, d. 23” $1,000‑$1,500 679

680 Pair of French Marble and Bronze Potpourri Urns first quarter 20th century, the verde antique marble urns of ginger jar form and set with pierced bronze necks, leafmolded covers, lion’s-head handles framed with laurel wreaths and molded bronze bases. h. 15‑1/4”, w. 7”, d. 5‑3/4” $2,000‑$4,000

680

681 Pair of Contemporary Tufted Leather Writer's Chairs of generous proportions, in the "Ralph Lauren" style, each with a tufted concave back extending to closed arms, with a loose seat cushion and turned feet. h. 37‑1/2” $1,400‑$1,800

681

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682 James-Jacques-Joseph Tissot (French/British, 1836‑1902) “Entre les Deux Mon Coeur Balance” etching and drypoint signed and dated “1877” in plate lower right.

Matted, unframed. sheet 14‑7/8” x 22‑1/4”, plate 9‑7/8” x 13‑3/4” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,000‑$1,500

682

683 Camille Pissarro (French, 1830‑1903) “La Sarcleuse” etching a posthumous impression with an estate initial stamp lower right and numbered “11/13” lower right.

Matted, unframed. sheet 12‑7/8” x 9‑7/8”, plate 6‑1/2” x 4‑3/8” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,000‑$1,500

683

684 Childe Hassam (American, 1859‑1935) “Church Doorway in Snow”, 1916 etching signed with a cypher and inscribed “imp.” lower right, annotated “HKII” lower left.

Matted, unframed. sheet 9‑7/8” x 7‑5/8”, plate 7” x 5‑3/8” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,000‑$1,500

684

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685 George Bellows (American, 1882‑1925) “Jean in a Black Hat II”, 1924 lithograph edition of 31, signed in pencil lower right, titled lower center, signed by the printer lower left “Bolton Brown, imp.” lower left.

Matted, unframed. sheet 15‑5/8” x 12” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,000‑$1,500

685

686 George Bellows (American, 1882‑1925) “Study of Mrs. R. (Mrs. Walter Richter)”, 1923 lithograph on paper pencil-signed, titled and signed by printer Bolton Brown lower margin, a typewritten label with artist, title and date en verso.

Matted, glazed and framed. sight 14‑3/4” x 11‑3/4”, framed 25” x 21” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,000‑$1,500

687 Thomas Hart Benton (American, 1889‑1975)

686

“Sunday Morning”, 1939 lithograph signed in pencil lower right.

Matted, unframed.

11‑3/4” x 16” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,000‑$1,500

687

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688 Thomas Hart Benton (American, 1889‑1975) “Edge of Town”, 1938 lithograph on paper pencil-signed lower right, signed in plate lower left, published by Associated American Artists, label with artist, title and date en verso.

Matted, glazed and framed. sight 9‑3/4” x 11‑3/4”, framed 18-3/4” x 20” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,500‑$2,500

689 Gene Kloss (American, 1903‑1996)

688

“Return of the Processional”, 1967 drypoint artist proof, signed lower right, titled and inscribed “artist proof” lower left.

Matted, unframed. sheet 15‑7/8” x 21‑3/8”, plate 12‑3/4” x 17‑3/4” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,000‑$1,500

689

690 Leonetto Cappiello (Italian, 1875‑1942) “Nitrolian (fast drying paint)”, 1929 color lithograph poster signed and dated in print lower right, De Keyn Freres, S.A., Bruxelles, printed by Devambez, Paris.

Glazed and framed.

63” x 46‑3/4”, framed 66” x 50‑1/2” $2,000‑$4,000

690

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691 Theo Tobiasse (Israeli/French, 1927‑2012) “Femme Rassemblee autour de Son Calice”, ca. 1981 oil on canvas signed lower center and titled upper right.

Framed.

25‑5/8” x 32”, framed 34‑5/8” x 41‑1/4” $8,000‑$12,000

691

692 Edward Whiteman (American/Louisiana, b. 1938) “Silver Things”, 1971 acrylic and mixed media on board initialed and dated lower right, verso with a “Simone Stern” label, title, date, material and artist.

Thin gallery frame.

21‑3/4” x 28-1/2”, framed 22‑1/4” x 29” $1,000‑$1,500

692

693 Jesus Rafael Soto (Venezuelan, 1923‑2005) “Perceptions” silkscreen in colors pencil-signed and numbered “59/95” lower right.

Matted, glazed and framed. sight 34” x 34”, framed 42‑1/2” x 42‑1/2” Provenance: Treadway Toomey Galleries, Cincinnati, Ohio, February 11, 2001, lot 799; Private collection, New Orleans, Louisiana. $1,000‑$1,500

693

234

694 After Robert Wogensky (French, b. 1919) “Taillevent”, ca. 1960 Aubusson tapestry woven by Pierre Legoueix’s atelier, with woven signature “Wogensky” lower left, “L’Atelier Pierre Legoueix, Aubusson” label en verso.

50‑1/4” x 62‑1/8” Provenance: The corporate collection of Freeport-McMoRan, New Orleans, Louisiana. $1,400‑$1,800

694

695 Wook-Kyung Choi (Korean, 1940‑1985) “Untitled” acrylic on canvas unsigned.

Stretched and unframed.

24‑1/2” x 36‑1/2” Provenance: Estate of the artist $3,000‑$5,000

695

696 Wook-Kyung Choi (Korean, 1940‑1985) “Untitled” acrylic on canvas unsigned.

Stretched and unframed.

23” x 22” Provenance: Estate of the artist. $2,000‑$4,000

696

235

697 American School (Mid-20th Century) “Circle: Abstraction” oil on board signed “Shaw” mid-right, handwritten label identifying artist as Charles Green Shaw.

Framed.

34” x 28”, framed 36‑1/4” x 30‑1/4” $3,000‑$5,000 698 American School (Mid-20th Century) “Abstraction” oil on masonite signed “Morris” lower right.

Framed.

19” x 27‑1/2”, framed 23” x 32” $2,000‑$4,000 697

698

699 Jean Xceron (Greek/New York, 1890‑1967) “Peinture” oil on canvas initialed “J.K.” lower right.

Period slate frame.

26” x 14”, framed 26‑1/4” x 14‑1/2” $2,500‑$4,000

236

699

701 David Shapiro (American, 1944‑2014) “Suki II”, 1979 color lithograph on rag paper pencil-signed and dated lower center and titled lower right, numbered “13/35”.

Framed. sheet 25” x 20‑1/2”, framed 33” x 28-1/2” Provenance: The corporate collection of FreeportMcMoRan Inc., New Orleans, Louisiana. $1,000‑$1,500

700

700 After Pablo Picasso (Spanish/French, 1881‑1973) “Bouteille et Fleur (Fleur Dans une Boite de Fer)”, 1938 color lithograph pencil-signed and numbered “145/150” lower margin, titled and dated on “The Art Cellar Gallery, Banner Elk, NC” label en verso.

Matted, glazed and framed. sight 10‑1/2” x 11‑1/2”, framed 21” x 28” $1,500‑$2,500

701

702 Arthur Luiz Piza (Brazilian, 1928-2017) “Composition” and “Composition” two color etchings on embossed paper pencil-signed and numbered “2/20” lower margin, former unsigned and paper embossed lower right.

In matching, modern metal frames. sight 11” x 19‑1/2”, sheet 22” x 30”, framed 18” x 27”, 30‑1/2” x 37‑3/4” Provenance: The corporate collection of FreeportMcMoRan, New Orleans, Louisiana. $1,000‑$1,500

702

237

703 Terrell James (American/Texas, b. 1955) “Untitled Triptych” plaster and mixed media on board with integral wooden support notes with artist name and display directions en verso. each h. 74”, w. 14”, 26‑1/2” and 26‑1/2”, respectively Provenance: Private collection, Houston Texas. $4,000‑$7,000

703

704 Ronnie Cutrone (American, 1948-2013) “Hello Sunshine”, 1988 watercolor and mixed media signed and dated lower left and right, respectively; together with a copy of the letter of authenticity issued at the time of purchase by C & L Fine Arts, New York.

Glazed and float-mounted in frame.

41” x 29‑1/2”, framed 55‑1/2” x 43‑1/2” Provenance: C & L Fine Arts, Inc., New York, New York, 2000. $1,200‑$1,800

704

238

Ronnie Cutrone, a figurehead of the Pop and Post-Pop art scenes, was Andy Warhol’s assistant at the Factory atop the Decker Building from 1972‑1980, and worked closely with Roy Lichtenstein, combining stylistic elements of both. Cutrone’s large-scale paintings of American cartoon icons, like Mickey Mouse, Felix the Cat, and Woody Woodpecker (featured in this lot) further reinvented kitsch and popular media in terms of fine art. Executed in fluorescent monochromatic colors with the finesse of mass-produced silkscreen and prints, Cutrone’s works are the reverse of tromp-l’oeil; they use fine art media (watercolor, pastel, crayon - on high-quality paper) to celebrate, rather than hide, the artifice of their subjects. “Everything is cartoon for me”, Cutrone is noted for saying, even “ancient manuscriptsÖ[they] are taken very seriously, but they are also cartoons.”

Cutrone’s works are exhibited and conserved in numerous galleries and museums worldwide, including the Whitney Museum; the MOMA (New York), the Museum of Contemporary Art (Los Angeles) and Museum Boijmans van Beuningen (Rotterdam).

705 Larry Rivers (American, 1923‑2002) “Last Civil War Veteran”, 1978 color lithograph signed, dated and numbered “A.P. 8/15” lower right.

Matted, glazed and framed. sight 34” x 25”, framed 45‑3/4” x 33‑1/8” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,000‑$1,500 706 Natvar Prahladji Bhavsar (Indian/American, New York, b. 1934) “Saryoo III”, 1977 oil on canvas signed, titled and dated en verso.

Framed.

88” x 114”, framed 88-1/2” x 114‑5/8” Provenance: The corporate collection of FreeportMcMoRan, New Orleans, Louisiana.

705

$18,000‑$25,000

706

239

707 Elizabeth Chandler (American, b. 1941) “Maya: Blue and Gray”, 1994 mixed media on canvas now backed with a wood panel support, signed and dated lower right, “Gremillion/ Houston, Texas” gallery label with title en verso.

Framed.

36” x 72”, framed 38” x 74” Provenance: Gremillion & Co. Fine Art, Inc./ Houston, Texas; Private collection. $1,500‑$2,500 707

708 Carlos Jose Ledda (Argentinian, b. 1932) “La Posta”, 2004 oil on canvas signed and dated “MMIV” lower left.

Framed.

11‑3/4” x 19‑1/2”, framed 17” x 24‑3/4” $1,000‑$1,500

708

709 Carlos Jose Ledda (Argentinian, b. 1932) “El Vuelo”, 2004 oil on canvas signed and dated “MMIV” lower left, “Bryant Galleries/New Orleans” label en verso.

Framed.

12” x 19‑1/2”, framed 15‑1/2” x 23‑3/16” $1,000‑$1,500

709

240

711 Leonid Sokov (Russian, 1941‑2018) “Marilyn and Russian Bear” silkscreen with mixed media signed lower right, numbered “10/99” lower left.

Glazed and framed.

30‑3/4” x 22‑1/2”, framed 34‑1/2” x 26‑1/4” $3,000‑$5,000

710

710 Carlos Jose Ledda (Argentinian, b. 1932) “The Bubble”, 2004 oil on canvas signed and dated “MMIV” lower left, “Bryant Galleries/ New Orleans” label en verso.

Framed.

15‑1/2” x 11‑3/4”, framed 19‑3/8” x 15‑1/4” $1,000‑$1,500

711

712 Leonid Sokov (Russian, 1941‑2018) “Russian Bear”, 1990 lithograph in colors with gold paint on paper pencil-signed and dated lower right, numbered “10/99” lower left.

Framed.

30” x 22”, framed 34‑1/2” x 26‑1/4” $3,000‑$5,000

712

241

714

713

713 Good American Sterling Silver Covered Cup

715 Two Tiffany & Co. Sterling Silver Coffee Pots

dated 1901, by William B. Durgin Co., Concord, New Hampshire, for J. E. Caldwell & Co., Philadelphia, Pennsylvania, in the neoclassical taste, the ovoid reticulated body decorated with applied acanthus frond calyx, laurel swags and reed-and-ribbon banding, with satyr-masque handles, the fitted, domed lid with acanthus decoration and vasiform finial, raised on a pedestal foot above a reticulated plinth, with fitted cobalt glass liner, the plinth underside engraved with 25th anniversary inscription “C.M. & A.P.S. / 1876 Dec 28th 1901”. h. 14”, w. 7”, dia. 6”; 46.70 t. oz. (excluding liner)

New York, the first 1892‑1902, a small (1‑1/2 gills) pot of tapering “turtleback” section with domed lid, flared and molded base, crested handle and tall “gooseneck” spout, h. 6‑3/4”, l. 5‑1/8”, w. 2‑3/4”, the second third quarter 20th century, a large (4 pints) pot of American colonial “lighthouse” form, with molded base, domed lid, crested “gooseneck” spout and carved wood handle and finial, h. 13‑1/2”, l. 9‑3/4”, dia. 5‑3/8”.

61.42 total t. oz. (including wooden elements) $1,000‑$1,500

$1,000‑$1,500

714 Two Pairs of Tiffany & Co. George II-Style Sterling Silver Candlesticks the pattern introduced in 1913, New York, New York, after the 1739 London original by David Willaume, one pair before 1947, the other 1947‑1956, each with a waisted baluster standard of shaped-square section, surmounted by a cannon-form nozzle and raised above a “Chippendale”-molded base, with detachable socket en suite. h. 9”, w. 4‑3/4”, 73.84 total t. oz. $2,000‑$4,000

242

715

717 718

716 Two Pieces of Tiffany & Co. Acid Engraved Sterling Silver Tableware the patterns introduced in 1913‑1914, New York, New York, including a small compote with rose banding and pedestal foot, and a circular sandwich plate with stylized radiant petals and molded edge and foot ring. compote h. 2‑1/2”, dia. 6‑1/2”; plate dia. 9‑1/2”; 22.01 total t. oz. $1,000‑$1,500

717 Two Tiffany & Co. Sterling Silver Bowls second quarter 20th century, New York, New York, including a vegetable bowl, the pattern introduced in 1910, oval with upswept reeded ends, monogrammed “LDW”; and a fruit bowl, the pattern introduced in 1939, hemispherical with incised edge and applied stylized modernist openwork floral handle and plain foot ring, monogrammed “GJL”.

11‑3/8” x 6‑3/4” and dia. 8-5/8”; 27.47 total t. oz. $1,000‑$1,500

718 Kirk “Repousse” Sterling Silver Flatware Set mid-20th century, Baltimore, Maryland, including nine four-piece place settings with nine additional place pieces and twenty-two serving pieces, some monogrammed, together with five pieces of Stieff “Rose”.

72 pieces (67 Kirk plus 5 Stieff) 87.84 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,200‑$1,800

716

243

719 Six-Piece Shreve & Co. Sterling Silver Coffee and Tea Set mid-20th century, San Francisco, California, in the American colonial taste, including a coffeepot, h. 10‑1/2”, a teapot, h. 9‑1/4”, a covered sugar bowl, h. 7‑1/2”, a cream jug, h. 6‑1/2”, a waste bowl, h. 4‑7/8”, and a tray 26‑1/2” x 15”, the hollowware of oval section with cavetto shoulders, tall domed lids with ovoid finials, arched handles, gooseneck spouts and conforming pedestal feet, the tray navette shaped with molded rim, integral handles and glazed wood plateau, each piece with applied monogram “H”.

80.72 total t. oz. (excluding tray) $1,000‑$1,500

720

720 State House “Stately” Sterling Silver Flatware Set the pattern designed in 1948 by Grosvenor Noyes Allen (1874‑1954) and Mary Parker Fleming (1900‑1986), manufactured by Oneida Silversmiths, Sherrill, New York or State House, Newark, New Jersey, including a dozen ten-piece place settings, with an additional dozen teaspoons, three place pieces and fourteen serving pieces, no monograms, presented in a fitted, Pacific cloth-lined walnut case, 3‑3/4” x 16” x 11‑1/2”.

149 pieces 130.21 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,500‑$2,500

720 detail

719

244

721 723

721 Pair of Gorham Sterling Silver Candelabra first quarter 20th century, Providence, Rhode Island, special order code “ARM”, each with a baluster standard flanked by elaborate rococo scrolling arms, each surmounted by a circular drip pan and urn-form nozzle, the whole raised above a shaped and domed base and decorated with embossed rococo scrolls and flowers, with detachable bobeches. h. 8-1/2”, w. 15‑1/4”, base dia. 6‑3/8”; weighted

723 Reed & Barton “Francis I” Sterling Silver Luncheon Set the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including eight six-piece place settings (four teaspoons lacking) and two additional pieces, removed monograms, presented in a fitted, plum velvet-lined fitted wooden case with lift-top, 4” x 17” x 11‑1/2”.

46 pieces 50.74 total t. oz. (weighable silver)

$1,800‑$2,500 722 Frank M. Whiting Four-Piece Sterling Silver Tea Set mid-20th century, North Attleboro, Massachusetts, including a coffeepot, h. 10‑1/4”, a teapot, h. 8-3/4”, a covered sugar bowl, h. 6‑1/4”, and a cream jug, h. 5‑1/4”, each with a pear-shaped body decorated with hand-chased 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)

Detailed list of pieces available on request. $1,500‑$2,500

$1,800‑$2,500

722

245

724

724 Rare Set of Twelve Reed & Barton “Francis I” Sterling Silver Water Goblets the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, this set hand chased, no monograms. h. 6‑3/4”, dia. 3‑3/8”; 97.29 total t. oz. $10,000‑$15,000

725

725 Reed & Barton “Francis I” Sterling Silver Footed Oval Vegetable Bowl the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts. h. 3‑1/4”, l. 12‑1/2”, w. 9‑7/8”; 21.80 t. oz. $1,000‑$1,500 726 detail

726 Large Reed & Barton “Francis I” Sterling Silver Flatware Set the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including twenty sevenpiece place settings (four dinner forks lacking and some variant pieces), with an additional four dozen teaspoons, seventy-two place pieces and fourteen serving pieces, no monograms, presented in a fitted, Pacific cloth-lined wooden case with lift-top, 3‑1/2” x 17” x 11‑1/4”; and a Chippendale-style silver chest-onstand with lift-top and two drawers, with two fitted and one flat covered Pacific cloth inserts, 34” x 18” x 14”.

270 pieces 324.95 total t. oz. (weighable silver)

726

Detailed list of pieces available on request. $6,000‑$9,000

246

727 Early American Pine and Carved Oak Hadley Chest 17th century, coastal Massachusetts, the lift lid opening to a void interior, the paneled front with applied moldings, ornamentations and ebonized accents. h. 26”, w. 50”, d. 19‑1/2” $1,000‑$1,500 728 Two Early American Lathe-Turned Carver Armchairs 17th century, New England, with spindle backs, turned finials and rush seats. h. 43‑1/2” $1,000‑$1,500 729 Early American Pine and Oak Tavern Table

727

18th century, New England, the two-board top with breadboard ends, mounted to the base fitted with one long drawer and raised on turned legs with box stretchers, mortise and pegged construction throughout. h. 30”, w. 43‑1/2”, d. 32‑1/2” Provenance: The Estate of John Gilman D’Arcy Paul, Baltimore, Maryland. $1,000‑$1,500 730 Early American Stained Pine Chest of Drawers early 18th century, the top with an applied molding over a pair of side-by-side drawers and three graduated long drawers, raised on turned bun feet. h. 40”, w. 38”, d. 20” $1,000‑$1,500

728

730

729

247

731 American William-and-Mary Stained Pine High Chest early 18th century, the top with a molded edge, above two side-by-side drawers and three graduated long drawers, the base fitted with three side-by-side drawers and raised on trumpet-turned legs joined by shaped stretchers. h. 59”, w. 40”, d. 20‑1/2” $1,000‑$1,500

731 732

732 Pair of French Bronze-Mounted Porcelain Ginger Jars fourth quarter 19th century, in the Kangxi style, decorated with panels of vases on a powder blue ground, with reeded bases and covers with pinecone finials. h. 11‑1/4”, w. 5‑1/2” $1,200‑$1,800 733 Early American Walnut Blanket Chest

733

18th century, Harford County, Maryland, the hinged top opening to a void interior with an open till on the left side, the case with chamfered raised panels on the front and sides, the base fitted with two side-by-side drawers and raised on bracket feet, mortised and pegged construction. h. 31‑1/2”, w. 50”, d. 22‑1/2” Provenance: Descended in the Family of John Gilman D’Arcy Paul, Baltimore, Maryland. $1,000‑$1,500 734 Unusual American Chippendale Southern Yellow Pine Cabinet 18th century, the upper case with a pair of raised paneled doors, the base fitted with a pair of side-by-side drawers, over two graduated long drawers, raised on tall ogee bracket feet. h. 97”, w. 66”, d. 23” $1,000‑$1,500

248

734

735

737

735 After Gilbert Stuart (American, 1755‑1828) “Portrait of George Washington” oil on canvas fourth quarter 19th century, unsigned.

30‑1/4” x 25‑1/4”, framed 36” x 30” $1,000‑$1,500 736 American Queen Anne Cherry Bonnet-Top High Chest 18th century, probably Connecticut, with a broken-arch pediment with a central spindle-turned finial, the central top drawer with a carved full-round fan and flanked by two small drawers over four graduated long drawers, the base with a central fan-carved drawer flanked by a drawer to each side, raised on tall Queen Anne cabriole legs. h. 82‑1/2”, w. 34”, d. 19” $1,500‑$2,500 737 Two Early American Fold-Over Games Tables one mahogany in the Chippendale taste, late 18th century, with a serpentine top above a single long drawer with a dentillated molding below and raised on Marlborough legs, h. 29”, w. 34‑1/2”, d. 17” (closed), and the other cherrywood in the Federal taste, ca. 1800, also with a serpentine top over a small drawer outlined with a string-inlaid border, scalloped skirt and raised on tapered legs, h. 29”, w. 35‑1/2”, d. 17‑1/2” (closed). $1,000‑$1,500

736

249

738 American Queen Anne Cherry Bonnet-Top Chest-on-Chest third quarter 18th century, the top with a brokenarch pediment and three flame twist finials, above a central fan-carved drawer and a smaller drawer to each side, over four graduated long drawers, the associated base fitted with four graduated long drawers, the whole raised on short Queen Anne legs. h. 95”, w. 40”, d. 19” $2,000‑$4,000

738

739 American Chippendale Mahogany Slant-Lid Desk 18th century, the lid with a deeply carved fan and opening to a fitted interior with the center drawer having the same carved fan of small proportions, the base fitted with four graduated long drawers and the whole raised on ball-and-claw feet. h. 42‑1/2”, w. 39”, d. 21” Provenance: The Estate of John Gilman D’Arcy Paul, Baltimore, Maryland. $1,000‑$1,500

739

250

740 Attributed to Joseph Blackburn (British/American, 1730‑after 1777, active New England ca. 1755‑1764) “Portrait of a Lady in Russet Silk” oil on canvas unsigned.

Framed.

28-1/4” x 23‑1/4”, framed 34” x 28-3/4” Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana. $2,000‑$4,000

740

When scholars first began to seriously study Early American portraiture within the larger framework of American art history, one of the main debates was how closely it was connected to and influenced by English portraitists; could it be considered a distinct style, or was it merely a location-based variation?

Confusing the issue was the indisputable fact that many of these early American artists had lived, studied, or worked in England. In fact, it was not unusual for an artist to travel back and forth between the two countries and it is often difficult, if not impossible, to definitively track their travels.

One such artist was Joseph Blackburn. Little is known of Blackburn’s education or artistic experience, though it is likely that he apprenticed in the studio of a London portraitist. Much of his earliest work, spanning from his beginnings in England, and including his years in Bermuda and New England, reveal the influence of mezzotints of the 18th-century English masters of portraiture; figures are within a half or full oval surround, and there is a decided emphasis on the fabrics and accoutrements of wealth and prestige, often at the expense of true likeness.

The two portraits offered here reveal several key characteristics of Blackburn’s approach to portraiture: thin compressed lips with distinctive deep dimples at the corners, full cheeks and fleshy, rounded chins, strong linear bridge of nose, and what has been referred to as his “rococo palette” of clear blues, pinks and reds.

They are less opulently dressed than some of his full-length or multi-figural portraits, but are strikingly similar to his “Portrait of a Woman”, ca. 1762, now conserved at the Brooklyn Museum, New York, or “Portrait of Anne Saltonstall”, at the San Antonio Museum of Art, Texas.

References: Miles, Ellen G., ed. The Portrait in EighteenthCentury America. Newark: University of Delaware Press, 1993; Dresser, Louisa, “The Background of Colonial American Portraits: Some Pages from a European Notebook”. Proceedings of the American Antiquarian Society, April 1966, Vol. 76, Issue 1, pp. 19‑58; Barratt, Carrie Rebora. “Faces of a New Nation”, The Metropolitan Museum of Art Bulletin, Summer 2003, Vol. LXI, No. 1, pp. 5‑55.

251

741 American Chippendale Cherry Chest-on-Chest second half 18th century, in two parts, the upper case with a molded cornice and a bank of five graduated drawers, the base with four graduated drawers, a carved apron and ball-and-claw feet. h. 74”, w. 37”, d. 20” $2,000‑$4,000 742 Attributed to Joseph Blackburn (British/American, 1730‑after 1777, active New England ca. 1755‑1764) “Portrait of a Lady in Blue Silk” oil on canvas unsigned.

Framed.

29‑1/2” x 24‑1/2”, framed 35” x 30” Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana. $2,000‑$4,000

742

743

743 Assembled Suite of Eight Windsor-Style Polychromed Armchairs 20th century, consisting of seven matching continuous arm brace-back chairs and one “captain’s”-style armchair, each with a dished saddle seat and bulbous turned legs and stretchers. h. 37‑1/2”, w. 22‑1/2”, d. 20‑1/2” $1,000‑$1,500

741

252

744

744 Suite of Five American Windsor-Style Polychromed Bowback Chairs 20th century, consisting of two continuous armchairs and three side chairs, each of brace-back form, with a dished saddle seat and bulbous turned legs and stretchers, the under-seats bearing the carved name “R. Barrow”. armchair h. 38”, w. 22”, d. 19‑1/2” $1,000‑$1,500

745 Pennsylvania Walnut Chippendale Secretary 18th century, with a broken-arch pediment and three plume-carved finials above a pair of paneled blind doors, the base with a slant lid opening to a fitted interior with five carved shells, the front with four graduated long drawers and raised on ogee bracket feet. h. 94‑1/2”, w. 40”, d. 18”

745

$1,000‑$1,500

746 American Chippendale Walnut Chest of Drawers 18th century, possibly South Carolina, the top with an overhanging molded edge, the front fitted with a pair of side-by-side drawers over four graduated long drawers, raised on ogee bracket feet. h. 36‑1/2”, w. 37‑1/2”, w. 24‑1/2” Provenance: Descended in the Family of John Gilman D’Arcy Paul, Baltimore, Maryland. $1,000‑$1,500

746

253

747

747 Assembled Suite of Six Windsor-Style Pine and Oak Armchairs 20th century, consisting of five matching bench-made brace-back continuous armchairs by Eldred Wheeler, Pembroke, Massachusetts, and bearing his paper label, together with an 18th-century example of nonbrace-back form, each with dished saddle seat and raised on bulbous turned legs and stretchers. h. 37‑1/2”, w. 24”, d. 20‑1/2” $1,000‑$1,500 748 Chinese Canton Export Blue and White Porcelain Foot Basin Converted to a Table second half 19th century, the basin of circular form, with everted sides and broad rim, decorated to the interior with a river scene, within broad cross-hatch borders, the exterior with floral sprays, later mounted within a conforming wooden frame raised on four short tapering legs, with a circular glass top. bowl h. 8-1/2”, dia. 27”, overall h. 18”, dia. 33‑3/4”

748

Provenance: Descended in the Family of John Gilman D’Arcy Paul, Baltimore, Maryland. $1,500‑$2,500 749 American Queen Anne-Style Tiger Maple Double Drop-Leaf Dining Tables bench-made by Eldred Wheeler, Hingham, Massachusetts, and bearing his paper label, consisting of a pair of swing-leg drop-leaf tables designed to attach together to form a larger table. each h. 30”, w. 43”, d. 18”, ext. l. 46” $1,000‑$1,500

749

254

750

751

752

750 American Chippendale-Style Tiger Maple Bonnet-Top Secretary bench-made by Eldred Wheeler, Hingham, Massachusetts, and bearing his paper label, the top with a broken-arch pediment and a central turned finial above a pair of “tombstone” raised panel doors opening to an intricate fitted interior, the slant lid opening to a similarly fitted interior, the base fitted with four graduated long drawers, raised on ogee bracket feet. h. 88-1/2”, w. 38”, d. 22” $1,500‑$2,500 751 American Queen Anne-Style Tiger Maple Bonnet-Top High Chest

752 American Queen Anne-Style Tiger Maple High Chest bench-made by Eldred Wheeler, Pembroke, Massachusetts, and bearing his paper label, of traditional form with a fan-carved drawer flanked by a small drawer to each side, above four graduated long drawers, the base with a narrow long drawer above three smaller drawers, the central one fan-carved. h. 70‑1/2”, w. 36”, d. 19” $1,000‑$1,500

bench-made by Eldred Wheeler, Pembroke, Massachusetts, and bearing his paper label, with a broken-arch pediment with three full-round carved fans in the frieze, above a central drawer with a half-round fan, over four graduated long drawers, the base with a long drawer over three side-by-side drawers, the central drawer with a half-round fan. h. 87”, w. 39”, d. 20” $1,500‑$2,500

255

753 American Queen Anne Maple and Birch Tilt-Top Tea Table 18th century, the circular dished top mounted to a “birdcage” tilt-and-turn apparatus with a turned standard and three outstretched legs. h. 29‑1/2”, dia. 34” $1,000‑$1,500

753

754

754 American Federal Banded Mahogany Bowfront Chest ca. 1800, Baltimore, the top with a banded border above two side-by-side drawers over three graduated long drawers, raised on bracket feet. h. 37‑1/2”, w. 40”, d. 22” Provenance: Descended in the Family of John Gilman D’Arcy Paul, Baltimore, Maryland. $1,000‑$1,500 755 Carved Mahogany Banjo Clock ca. 1900, attributed to E. Howard, No. 5, with a painted tin dial, black and gilt door and throat tablets, unsigned. h. 28-3/4”, w. 10‑3/4”, d. 3‑1/2”

755

Provenance: Descended in the Family of John Gilman D’Arcy Paul, Baltimore, Maryland. $1,000‑$1,500 756 American Federal Inlaid Mahogany and Marble-Top Side Table ca. 1800, Baltimore, the conforming gray marble top over the shaped frame with an alternating maple and mahogany stringing along the lower edge, the tapered legs with sandshaded bellflowers and an ebony dot below. h. 29”, w. 36‑1/2”, d. 23‑1/2” $1,000‑$1,500

256

756

758

757

759

758 American Federal Mahogany and String-Inlaid Sideboard ca. 1800, with curved ends and boldly serpentined front, the conforming top with a line-inlaid border above a central long drawer, above a pair of cabinet doors and flanked by curved cabinets on each side, raised on tapered legs. h. 40”, w. 76‑1/2”, d. 27‑1/2” 757 detail

757 Pair of Colonial Revival Bellflower-Inlaid Knife Urns fourth quarter 19th century, English or American, inlaid with bellflowers laid out in the form of a shield over ebony-inlaid crossed arrows, the ratcheted covers opening to reveal fitted interiors. h. 23‑3/4”, w. 10‑3/4”, d. 10‑3/4” $1,500‑$2,500

$1,000‑$1,500 759 American Federal Inlaid Mahogany Fold-Over Games Table ca. 1790‑1810, New England, purportedly to have been owned by Thomas Jefferson, the shaped top with a banded leading edge above an inlaid oval panel in the front apron and raised on tapered legs with inlaid cuffs. h. 29‑3/4”, w. 36”, d. 16‑1/2” Provenance: The Estate of John Gilman D’Arcy Paul, Baltimore, Maryland. $1,200‑$1,800

257

760 American School (Second Quarter 19th Century) “Portrait of a Woman in a White Lace Bonnet and Black Silk Dress with Sheer Sleeves” oil on canvas unsigned.

Framed.

36” x 30”, framed 43” x 36‑3/4” Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana. $1,500‑$2,500

760

761 American Late Classical Mahogany Four-Post Bed second quarter 19th century, with turned and acanthus-carved foot posts and smooth, turned head posts, the shaped headboard with a central urn-form finial. h. 95”, inside w. 54‑1/2”, l. 61‑1/2”, outside w. 77”, l. 80‑1/2” $2,500‑$4,000

761

258

762 French Marble and Bronze Dore et Patine Clock second quarter 19th century, the verde antique marble clock decorated with a patinated bronze figure of Calliope, muse of epic poetry, leaning on a tablet, and a pair of laurel wreaths, the dial molded with signs of the zodiac outside the chapter ring, signed “Marchand”, set with a silk-string suspension movement. h. 26”, w. 20”, d. 9‑1/4” $1,500‑$2,500

762

763 American Classical Mahogany Pier Table ca. 1825, the stone top over a cyma-molded frieze and raised on figural columns with brass capitals and bases, the shaped low shelf backed by a mirror plate flanked by figural pilasters, on carved turned feet. h. 35”, w. 41‑1/2”, d. 18” $1,000‑$1,500 763

764 American Cast Iron Garden Urn ca. 1900, the large vase-form urn set with two handles. h. 37”, w. 27‑3/4”, d. 18-3/4” $700‑$1,000

764

259

765

765 William Louis Sonntag, Sr. (American, 1822‑1900) “Fishing in the Adirondacks,” 1888 oil on canvas signed and dated lower left, “The Darvish Collection, Inc., Gallery of Fine Art, Naples, FL” label en verso.

Period gilt frame with artist plaque.

20‑1/4” x 31‑1/2”, framed 33‑3/4” x 44‑3/4” $20,000‑$40,000

260

766 After Albert Bierstadt (German/American, 1830‑1902) “The Rocky Mountains, Lander’s Peak, Wyoming, a Shoshone Encampment in the Foreground” oil on canvas fourth quarter 19th century, unsigned.

Framed.

22” x 34‑1/2”, framed 29‑1/2” x 42” $1,000‑$1,500

766

767 Hudson River School (19th Century) “Expansive River Landscape with a Sailboat” oil on canvas unsigned.

Framed.

18” x 24”, framed 24‑1/2” x 30‑1/2” $1,000‑$1,500

767

261

768

768 Albert Bierstadt (German/American, 1830‑1902) “Autumn Morning on the Banks of the Passaic River, New Jersey” oil on canvas signed lower left, titled on early 20th-century handwritten label on frame backing, “Darvish Collection Inc.” label also on frame backing.

Gesso and giltwood frame.

14” x 20”, framed 25” x 31” Provenance: (Probably) Estate of the artist’s brother, Edward Bierstadt (1824‑1906), American Art Galleries, New York, New York, January 22‑23, 1908, lot 230; (probably) Otto Gerdan (1852‑1920), Gerdan Company, New York, New York; Private collection; Christie’s East, New York, New York, September 29, 1999, lot 25; The Darvish Collection, Inc., Naples, Florida; Private collection, North Carolina.

Exhibited: (Probably) American Art Galleries, New York, New York, January 22‑23, 1908.

Literature: American Art Directory, vol. 6. (New York: American Federation of Arts/R.R. Bowker & Co., 1908), pp. iv, 98-100.

A landscape titled “Passaic River” that matches the medium and dimensions of this painting is listed in this text/directory under works offered at sale from the Estate of Edward Bierstadt, the artist’s brother. $80,000‑$120,000

262

Albert Bierstadt, a native of Germany, who emigrated to the United States at a young age with his family, was the most famous and financially successful American Romantic landscape painter of his time. He exhibited annually at the National Academy of Design in New York, and was an advocate of the Hudson River School’s study of outdoor atmospheric lighting. In the 1860s and 1870s, his works earned the highest prices achieved by an American artist. U.S. Congress even allocated $20,000 for one of his paintings. His epic terrains, with dramatic and diffuse lighting, captivated the imagination of 19th-century collectors, because he depicted the rugged American mountains, coasts, frontiers and pastures through the rosy tinted lens of “romantic pantheism.”

For Bierstadt, the landscape was a sublime experience; it was a reflection of God’s creation, and it was a medium for spiritual transcendence that both sanctioned and abated manifest destiny. Though well known for his monumental scenes of the Rocky Mountains and Western frontier, Bierstadt also produced an impressive body of smaller, intimate landscapes of the northeastern United States, which equally attract collectors through their command of soft ethereal lighting. This plein-air study of the Passaic River is another vignette in the annals of this master narrative; it is a tour-de-force of luminist lighting, deftly conveyed through a cool autumn morning in which the mist subtly lifts from the water, and obfuscates all the brushstrokes like a veritable wash, blending the colors and tones into hazy forms that convey the reflective tranquility of their setting.

769 William Samuel Parrott (American, 1843‑1915) “Mt. Hood” oil on canvas signed lower right, a “William A. Kargas Fine Art, Los Angeles, CA” label with artist and title en verso.

Period gilt frame.

42” x 60”, framed 57‑1/2” x 75‑1/2” $6,000‑$9,000

769

770 Robert Atkinson Fox (American/Canadian, 1860‑1935) “Cattle Watering” oil on canvas laid on board signed lower right.

Framed.

19‑3/8” x 29”, framed 24‑5/8” x 34‑1/2” $1,500‑$2,500 770

771 Jack Terry (American/Texas, b. 1952) “Outfitter’s Hideaway”, 1997 oil on canvas signed lower right, signed, titled and dated en verso, “Jackson-Kirkland Fine Arts” gallery label on stretcher.

Framed.

25” x 30”, framed 33‑3/4” x 38-3/4” Provenance: Jackson-Kirkland Fine Arts, Santa Fe, New Mexico. $5,000‑$8,000

771

263

772

264

772 Lynn Bogue Hunt (American, 1878-1960) “Black Ducks, Descent at Dusk” oil on board laid on wood, four-panel screen signed lower right panel.

Framed. each panel 68-1/4” x 16‑5/8”, overall 70‑1/2” x 70‑1/4” Provenance: Private collection, Maryland; Private collection, Georgia. $60,000‑$90,000

Lynn Bogue Hunt was one of the most important and gifted sporting artists of the 20th century. He had an illustrious career as an illustrator, draftsman, painter, hunter and wildlife conservator. Born in Honeoye Falls, New York, Hunt grew up in Albion, Michigan. Aside from preliminary art instruction at Albion College, Hunt was largely self-taught. An assiduous gamesman, his patience and keen observation of both live and mounted examples made him an accomplished waterfowl and fish specialist.

Hunt launched his career in 1897 after Sports Afield published a story he wrote and illustrated on ruffed grouse. Over the next 40 years, he was the definitive figurehead of sporting art in America.

He produced 106 covers of Sports Afield and Field & Stream, illustrated more than 40 books, created 250 cover paintings for 40 different periodicals, and executed hundreds of paintings and murals for corporations and private clients that included Ernest Hemingway, a fellow hunting companion. Hunt was also one of the early proponents of "catch-and-release game fishing" and supported Ducks Unlimited's habitat restoration.

the most successful was Lynn Bogue Hunt... His subjects were simply more real. How do you paint something alive? You paint life. That's what Hunt did. He painted life." Petzal's terse summation captures the power of Hunt's work. His extraordinary ability to rein in the complexity of an animal and a hunt to its most salient movement and setting, executed through strong lines and bold colors.

This rare screen, the only one known of its kind, is a tour-de-force example of Hunt's command of fauna and flora. The rare black ducks, coveted by hunters every season, are captured in an arc of flight in an orb of gold silhouetted against the marsh and cattails - their bills and wing coverts crisply delineated in the waning evening light. Ethereally lit from behind, they fall from the skies like celestial beings from the heavens.

References: Shelly, Kevin. Lynn Bogue Hunt: A Sporting Life.

Lanham: Derrydale Press, 2003; Davis, Tom. "Lynn Bogue Hunt: Angler, Hunter, Artist." Sporting Classic Daily. 13 June 2018.

Web. 21 Sept. 2018.

According to David E. Petzal, the longtime editor of Field & Stream, "Of all our cover artists, the most famous and arguably

265

773 David Hagerbaumer (American/California, 1921‑2014) “Canadian Geese”, 1968 watercolor signed lower right, a “Bendann Art Galleries, Baltimore, MD” label with artist, title and date and printed artist’s biography en verso.

Matted, glazed and framed. sight 21” x 29”, framed 30” x 38” $2,000‑$4,000

774 John James Audubon (American, 1785‑1851) The Birds of America from Drawings Made in the United States and its Territories, 7 volumes of text and plates, first revised octavo edition, published by the author and (partly) issued by J. B. Chevalier, New York and Philadelphia, 1840‑1844 [Herrick 4].

10‑3/4” x 7”

773

Provenance: Descended in the Family of John Gilman D’Arcy Paul, Baltimore, Maryland. $10,000‑$15,000

774

266

777 775

775 After John James Audubon (American, 1785‑1851)

777 After John Singer Sargent (American, 1856‑1925)

“Baltimore Oriole, Plate 12, No. 3”

“Clam Diggers”

hand-colored engraving from Birds of America, Havell edition.

Framed. sight 29” x 23‑1/2”, framed 41‑3/4” x 36”

oil on canvas fourth quarter 19th/first quarter 20th century, signed lower right “Reynaul(d)”.

Period giltwood and gesso frame.

30” x 41”, framed 43‑1/2” x 57‑1/2”

Provenance: Descended in the Family of John Gilman D’Arcy Paul, Baltimore, Maryland.

$2,000‑$4,000

$1,000‑$1,500

776 Frederick Arthur Bridgman (American, 1847‑1928) “The Meeting Place”, 1872 oil on canvas signed and dated lower left, “The Edwards Gallery, North Berwick, Scotland” label with artist and title en verso.

Period frame.

15‑1/4” x 18-1/2”, framed 26‑1/4” x 30‑1/4” $1,400‑$1,800

776

267

778 Nicholas Briganti (American/Italian, 1861‑1944) “Summer Meadows” oil on canvas signed lower left.

Giltwood frame with artist plaque.

12” x 16‑1/8”, framed 17‑1/2” x 21‑1/2” $1,000‑$1,500

779

778

779 Ettore Caser (American, 1880‑1944) “Figures at a Riverbank” oil on board signed lower right, verso with a partial label.

Framed.

22” x 26‑1/4”, framed 32‑1/4” x 36‑5/8”

780

$1,000‑$1,500 780 Walter Griffin (American, 1861‑1935) “Haystacks” pastel on board signed lower right.

Period frame with artist plaque.

12‑1/2” x 14‑1/2”, framed 21” x 19” $1,500‑$2,500 781 Walter Griffin (American, 1861‑1935) “Venice” oil on canvas signed lower right.

Glazed and framed.

33” x 36”, framed 39” x 42” $3,000‑$5,000

268

781

782 Eighteen Pieces of New Orleans, French Silver and Other Flatware including: A Pair of Creole Coin Silver Tablespoons, “Uniplat”, second quarter 19th century, Lamothe Freres, New Orleans, monogrammed “JD”, l. 8-1/4”, 4.00 total t. oz.

Eight Table Knives, French, second quarter 19th century, carved ebony handles, pointed steel blades, seven marked “Bligne Langre”, one marked “Schmidt a Chalon”, l. 9” A Coin Silver Tablespoon, “Fiddle Tipt”, third quarter 19th century, Wood & Hughes, New York, retailed by Henry Peat Buckley, New Orleans, monogrammed “EHB”, l. 8-1/4”, 1.87 t. oz.

Five Coin Silver Teaspoons, “Fiddle Tipt”, third quarter 19th century, Hyde & Goodrich, New Orleans, monogrammed “CS”, l. 5‑5/8”, 2.52 total t. oz.

A Pair of Coin Silver Teaspoons, “Fiddle Swell Tipt”, third quarter 19th century, Bacon & Smith, Boston, monogrammed “Snow”, l. 6‑1/8”, 1.07 total t. oz.

9.46 total t. oz. (weighable silver)

782

$1,000‑$1,500 783 Large Collection of New Orleans “Fiddle Thread” Coin Silver and Other Flatware most pieces marked Hyde & Goodrich, third quarter 19th century, but including pieces marked Melville & Co., Horace E. Baldwin, E. A Tyler and A. B. Griswold of New Orleans, with pieces marked J. W. Spear and Gregg, Hayden & Co. of Charleston, South Carolina, a good set of six single-struck Baltimore standard (.917) dinner forks by Andrew Ellicott Warner, Baltimore Maryland, silverplate pieces by Casimir Rouyer, New Orleans, and others, variously monogrammed/inscribed.

122 pieces 164.42 total t. oz.

Detailed list of pieces available on request. $2,500‑$4,000 783

783 detail

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784

784 American Coin Silver Pitcher of Jewish Interest dated A.M. 5602 (1841/42), by Gale, Wood & Hughes, New York, New York, the inverted pear-shaped body decorated with a wide repousse floral band centering opposing rococo cartouches, with acanthus calyx and milled leaf-and-peg banding at the shoulder, with everted integral collar, crested acanthus-scroll handle and raised on a domed, serpentinelobed circular foot, engraved with inscription: “Presented by / the Single Young Men / of the / Congregation Bnai Jeshurun / Elm St. / to their Pastor / Rev. S. M. Isaacs / as a mark of their high / Estimation and Regard / for his public character and / Private Worth / New York, A.M. 5602”. h. 12”, l. 10‑1/4”, dia. 6‑1/4”; 32.27 t. oz. $2,000‑$4,000

270

784 details

Samuel Meyer Isaacs was born on January 4, 1804, in Leeuwarden, Netherlands but raised and educated in England. He emigrated to the United States in 1839 and was hired the first Rabbi of the B’nai Jeshurun congregation, which had been formed in 1825 - the second in New York and the ninth in the United States - when a group of Ashkenazic members left Shearith Israel to form the new, mostly English, congregation. Isaacs was the first rabbi in New York to conduct services in English and was, as evidenced by this handsome presentation pitcher, much admired by his congregation. However, within two years of its presentation, the congregation was divided as its numbers swelled with new German immigrants, and Isaacs and twelve other Anglo-Dutch families left to form Temple Shaaray Tefila in 1844. Isaacs founded the newspaper Jewish Messenger, in which he promoted Jewish education, orthodoxy, harmony with Christian sects, and anti-slavery. (He was one of the officiants at Abraham Lincoln’s funeral.) Isaacs died on May 19, 1878 and is interred in Salem Fields Cemetery, Brooklyn, New York.

785 Two Pieces of American Coin Silver third quarter 20th century, including an unmarked “Medallion” goblet with bucket-form body decorated with engraved palmette cartouches and opposing neoclassical masque medallions in high relief, above a “medallion”-knopped stem and ogee-domed foot, the rim and base with milled ovolo banding, engraved “Hannah A. Heberd / from her Father / December 2d 1865 /10th Anniversary”; together with a circular waiter by Hyde & Goodrich, New Orleans, Louisiana, with repousse and flat-chased flower and shell rim and molded edge, with later inscription on the underside “Rufus Charles Slocumb / from / Grandfather / Jan’y 89”. goblet h. 6‑1/2”, dia. 3”; waiter dia. 6”; 12.53 total t. oz.

786

$1,000‑$1,500

786 Three Pieces of South Carolina Coin Silver Hollowware third quarter 19th century, including a Mitchell & Tyler mug, tapering cylindrical form with repousse rococo cartouche, scroll handle and molded rim and base, engraved “Henningham”, h. 4”, dia. 3”, a Mitchell & Tyler cream jug, baluster form with crested scroll handle, h. 4‑3/4”, dia. 3‑1/4”, and a William Carrington mug, cylindrical form with unusual repousse foliate mantled coquille cartouche, crested scroll handle and molded rim and foot, engraved “Daniel Miler Grimes / From / D.M. / February 1853”, h. 4”, dia. 3‑1/4”.

18.23 total t. oz. $1,000‑$1,500 787

787 Boston Coin Silver Three-Piece Tea Set and Creamer second quarter 19th century, the tea set by Lincoln & Foss, including a teapot, h. 8”, a covered sugar bowl, h. 7‑1/2”, and a cream jug, h. 7”, each with a squat inverted pear-shaped body with milled floral band at the shoulder and raised on a domed circular pedestal foot with milled banding en suite, the domed lids with flower finials, each piece monogrammed “NPS” opposing “ESC”; together with a Palmer, Davis & Co. plain baluster-form cream jug, h. 6‑1/2”, with presentation inscription “Nostro Preceptori / E. Bailey / Feb.r 1838 / Serus in calum redeas” and later inscription around the basal edge “Lucretia O. Bailey to Bertha H. Seccomb 1905”.

70.65 total t. oz. $1,500‑$2,500

785

271

789 detail

789 detail

789 detail

788

789

789 Fine Early Tiffany & Co. Sterling Silver Presentation Covered Dish

788 detail

788 St. Louis Coin Silver Presentation Pitcher

dated 1865, by John C. Moore & Son for Tiffany & Co., New York, New York, oval with milled Greek-key rim and palmettecrested stirrup handles, the domed lid with a handle in the form of clasping male and female hands, the whole raised on four palmette-crested claw-and-ball feet, the lid with opposing applied monograms “CVB” and “ERVB”, the base engraved on the underside with a lengthy 25th wedding anniversary inscription (1840‑1865) for Charles and Elizabeth Root Van Benthuysen of Albany, New York. h. 5‑1/2”, l. 10‑1/2”, w. 6‑1/4”; 29.33 t. oz.

The inscription identifies this piece as an award presented by the St. Louis Agricultural and Mechanical Association, founded in 1855 and which conducted the annual St. Louis Exposition from 1856 until 1902.

Charles Van Benthuysen (1817‑1881) of Albany, New York was the son of Obadiah Van Benthuysen. Obadiah was the wealthy operator of several printing concerns, including the printers Packard & Van Benthuysen, the paper mills in Cohoes, Castleton and Bath, and the Albany Type Foundry. As noted in the inscription of this handsome piece, Charles Van Benthuysen married Elizabeth Root (1818-1896) on August 12, 1840, at the second Presbyterian Church of Albany. Charles became a silent partner in Packard & Van Benthuysen upon his father’s death in 1845, remaining in Albany where he became a trustee of several local businesses, including the Albany Insurance Company, the Albany Inebriate Asylum and the Albany, Bennington & Rutland Railroad. The couple had seven children, and the Van Benthuysen name remains prominent today in Albany. Charles and Elizabeth are interred in Albany Rural Cemetery, Menands, Albany county, New York.

$1,000‑$1,500

$1,000‑$1,500

third quarter 19th century, by Eugene Jaccard & Co., the ovoid body with straight collar and integral spout, decorated with repousse flowers and scrolls on a matte ground centering a rococo scroll cartouche, with acanthus-crested handle and domed circular pedestal foot, with milled leaf-and-cabochon banding throughout, engraved on the body with “Premium / St.L.A.M.A.” h. 14‑1/2”, l. 9”, dia. 6‑1/2”; 40.90 t. oz.

272

790 detail

790

790 Two Rare Pairs of Shiebler & Co. Sterling Silver Aesthetic Napkin Rings

791 Good Group of Three Shiebler Aesthetic Sterling Silver Napkin Rings

fourth quarter 19th century, New York, New York, pattern #254, each in the form of a realistically detailed leaf, its ends pinned together with a pin, above which rests a fly (three in copper, one in silver), one pair engraved “Father” and “Mother”. h. 2”, dia. 2”; 6.54 total t. oz.

fourth quarter 19th century, including pattern #209 with milled floral ground and applied copper houseflies centering a circular cartouche monogrammed “EHB”, h. 7/8”, dia. 2‑5/8”; pattern #1388, with hammered finish and applied bamboo, pine, spider, owl and dragonfly, monogrammed “J”, h. 1‑1/4”, dia. 1‑7/8”; and pattern #3006 with applied chrysanthemum and lily, h. 1‑3/8”, dia. 1‑7/8”.

5.06 total t. oz.

A single identical napkin ring by Shiebler is conserved in the Brooklyn Museum of Art, accession number 1993.70.

For more information about this Japonaise pattern (which included a berry bowl, sugar bowl, creamer and probably other items), see Janet Zapata and D. Albert Soffing, “Artistic Wares of George W. Shiebler, Silversmith” in The Magazine Antiques, July 1995.

$1,000‑$1,500

$1,800‑$2,500

791

273

792 Fine and Rare Shiebler Sterling Silver Page Turner/Cutter fourth quarter 19th century, New York, New York, in the “Homeric” pattern, #167X, the engraved handle with hammered finish and gilt neoclassical medallion, with twisted guard, the long, scimitar-shaped blade with openwork scrolls engraved with “motion” lines. l. 15”; 10.03 t. oz.

792

See D. Albert Soeffing, Silver Medallion Flatware (New York: New Books, 1988), p. 72, for more information about this pattern. (A cheese scoop with this gilt medallion variation appears on its cover.)

793 Five-Piece Gorham Coin Silver Coffee and Tea Set with Later Kettle-on-Stand

$1,200‑$1,800

third quarter 19th century, Providence, Rhode Island, retailed

by J. E. Caldwell & Co., Philadelphia, Pennsylvania, including a coffeepot, h. 11‑1/2”, a teapot, h. 9‑1/4”, an open sugar bowl, h. 5‑3/4”, a cream jug, h. 5‑3/4” and a waste bowl, h. 4‑1/8”, each with a conical body with rounded base and decorated at the collar and base with flat-chased arabesque bands of flowers and scrolls on a matte ground, with milled teardrop banding, palmette-crested, arched handles with medallion mounts, palmette-mounted spouts and engraved domed lids with pyriform finials; the matching sterling silver kettle-on-stand second quarter 20th century, by S. Kirk & Son Inc., Baltimore, Maryland, h. 14‑3/4”, each piece monogrammed “CMH” (conjoined).

182.04 total t. oz. $3,000‑$5,000

792 detail

274

793

794 Early Tiffany & Co. Sterling Silver Fruit Stand third quarter 19th century, probably by Grosjean & Woodward for Tiffany, New York, New York, with a circular bowl decorated with a wide band of repousse grapevines centering a foliate boss, the waisted rim with repousse leaf-and-dart banding and scalloped gadrooned edge, the whole raised on a knopped standard above a domed foot en suite, monogrammed “PCE” (conjoined). h. 7‑1/2”, dia. 10‑1/2”; 29.24 t. oz. $1,000‑$1,500 795 Tiffany & Co. Sterling Silver “Chrysanthemum” Serving Tray the pattern designed in 1880 by Charles T. Grosjean (1841‑1888), this example before 1891, New York, New York, of navette form with “Chippendale”shaped recessed plateau, decorated with applied chrysanthemums and raised on a reed-and-leaf banded oval foot ring, monogrammed “CME”.

16” x 8-3/4”; 32.41 t. oz.

794

$3,000‑$5,000 796 Near Pair of Gorham Sterling Silver Entree Dishes fourth quarter 19th century (one with date mark of 1886), Providence, Rhode Island, each with an identical bulbous oval base decorated with repousse floral rococo scrolls and cartouches on a matte ground and raised on four rocaille feet, with variant lobed, domed lids and applied rims decorated en suite, with large acanthus bud finials. one h. 5‑1/2”, l. 11”, w. 9”, the other h. 5‑1/2”, l. 13‑1/4”, w. 10‑1/2”; 76.08 total t. oz. $1,200‑$1,800 796

795

275

797 Five-Piece Gorham Sterling Silver Art Nouveau Desk Set 1901‑1903, Providence, Rhode Island, including a letter rack, h. 5‑3/4”, a paper clip, l. 3”, a blotter, l. 5”, a desk calendar, h. 3‑1/4”, and a silver-cornered desk pad, 19‑1/2” x 16”, each with a sinuous shield shape embossed with scrolling flowers and foliage, monogrammed “EPA”, with the complete original set of celluloid calendar tickets.

11.31 total t. oz. (weighable silver) $1,000‑$1,500 797

798 Gorham Sterling Silver Tea Tray dated 1913, Providence, Rhode Island, retailed by Bigelow, Kennard & Co., Boston, Massachusetts, special order code “BOX”, oval with leaf-and-dart rim and beaded, acanthus-mounted stirrup handles, the rim with engraved and repousse rose-mantled cartouches at the ends, one engraved “S.E.P. / from / A.N.M. / 1913”.

30‑1/2” x 18-1/2”; 137.60 t. oz. $1,800‑$2,500 798

799 Large Pair of Gorham Sterling Silver Japonaise Vases 1902, Providence, Rhode Island, each with ovoid body and tall waisted neck, the body decorated with applied and repousse flowers, the deeply everted rim and domed foot decorated with openwork embossed floral “whiplash” scrolls. h. 20”, dia. 5‑3/4”; 87.99 total t. oz. $2,500‑$4,000

276

799

800 detail

801 detail

800

800 Gorham “Versailles” Sterling Silver Flatware Set the pattern designed in 1888 by Florent Antoine Heller (1839‑1904), Providence, Rhode Island, an assembled set comprising a dozen eight-piece place settings (two pieces lacking and variant knife lengths) and six serving pieces, most pieces monogrammed “AER”, presented in a fitted, Pacific cloth-lined wooden case with lift-top and single drawer, 5‑5/8” x 14‑3/4” x 11‑1/4”.

100 pieces 120.47 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,500‑$2,500 801 Durgin “Madame Royale” Sterling Silver Flatware Set the pattern introduced in 1897, Concord, New Hampshire, this set first quarter 20th century, retailed by Bigelow, Kennard & Co., Boston, Massachusetts, comprising a dozen ten-piece place settings (one seafood/cocktail fork lacking), no monograms, presented in the original fitted, olive green velvet-lined mahogany case with brass fittings and the Bigelow, Kennard & Co. retailer’s stamp, 4‑1/4” x 17‑1/2” x 12” 119 pieces 131.63 total t. oz. (weighable silver) Detailed list of pieces available on request.

801

$1,800‑$2,500

277

803 Francois Marie Perrin du Lac (1766‑1824), Voyage dans les Deux Louisianes

802

802 Pierre Francois Xavier de Charlevoix, S.J. (1682‑1761), Histoire et Description Generale de la Nouvelle France Paris: Nyon fils, 1744; first edition, crown octavo, complete in three volumes, in full tan leather, the later flat spine with raised bands and red and green panels with gilt lettering and decoration, with marbled endpapers and cut and tinted edges, with 20 maps and 22 plates of 96 botanical specimens.

[Sabin 12135; Clark, Old South I 59.4; Howes C307; Graff 650; Sommervogel 1077] 10” x 7‑5/8” Detailed bibliographic description available on request. $1,800‑$2,500

Lyon: Bruysset aine et Buynand, 1805; first edition, crown octavo, in quarter brown leather on black marbled cloth, the flat spine with gilt lettering and rule, with cut edges and marbled endpapers, with two plates “Carte de Missouri” and “Mamouth”, the inside front board with embossed label “Francis Boimare / Law Bookseller / & Stationer / 94 Exchange Alley / New Orleans”, presented in a later double dark blue cloth slipcase, the wrapfolding interior case with full tab, the exterior case with quarter dark-blue leather spine with raised bands and gilt lettering and date.

[Boimare 102; Sabin 61012; Howes P244; Clark, Old South I:52; Graff 3254] book 7‑3/4” x 5‑1/8”; case 8-3/8” x 6” Provenance: The bookplate here of New Orleans bookseller Francis Boimare (1825‑1888) is of particular interest. Born Francisque Marie Boimare, he was the son of bookseller, publisher and bibliographer Antoine Louis Boimare. Born in Paris in 1796, the elder Boimare moved to New Orleans around 1820 and opened a bookstore and circulating library. He compiled the first bibliography of works on Louisiana in 1831; du Lac’s “Voyage” is number 102 in that work. Boimare went bankrupt in 1834 and thereafter traveled between France and New Orleans, settling permanently in France around 1845.

His son Francis remained in New Orleans and opened a law bookstore in 1856 at 94 Exchange Alley between Conti and Bienville. In 1857 he advertised “valuable old works on Louisiana, Florida and Mexico”, returning to the sale of law books the following year; it is likely, then, that the younger Boimare was liquidating his father’s collection, and that the present lot is the elder Boimaire’s reference copy for his bibliography, later sold by his son.

Antoine Louis Boimaire died impoverished in the 17th arrondissement of Paris on May 30, 1875.

Literature: Florence M. Jumonville, “Books, Libraries, and Undersides for the Skies of Beds: The Extraordinary Career of A. L. Boimare”, Louisiana History: The Journal of the Louisiana Historical Association, Vol. 34, No. 4 (Autumn, 1993), pp. 437‑459.

803

Edward Larocque Tinker, “Boimare: First and Still Foremost Bibliographer of Louisiana”, The Papers of the Bibliographical Society of America, Vol. 24, No. 24:1/2 (1930), pp. 34‑42.

Antoine Louis Boimare, Grace King, ed. “Notes Bibliographiques et raisonnes sur les principaux ouvrages publies sur La Floride et l’ancienne Louisiane”, Louisiana Historical Quarterly, Vol. 1, No. 2 (September 14, 1917), pp. 8-78.

An important work on details of the early fur trade in America (although, as noted by Howes, “there is little doubt that du Lac lied like a horse-thief in claiming to have gone on a trading expedition up the Missouri”).

Detailed bibliographic description available on request. $1,000‑$1,500

278

804

804 Arsene LaCarriere LaTour (1778-1837) “Historical Memoir of the War in West Florida and Louisiana” Philadelphia: John Conrad & Co., 1816, octavo, in full tan calf, the spine with green panel and gilt rule and lettering, with lithograph portrait of Andrew Jackson, five of seven handcolored engravings lacking, the other two - plate IV “Plan of the Attack Made by the British Barges on Five American Gun Boats” and plate VII “Plan of the Attack and Defence of the American Lines below New Orleans” - presented separately, all glazed and framed, the book in shadowbox mount opened to the title page and Jackson engraving.

[Sabin 39214; Howes L124; Clark, Old South II 158] Book 8-5/8” x 5‑1/2”; frame 14‑3/4 x 17”; plate IV sight 4” x 6‑3/4”, frame 10‑3/4” x 13‑1/4”; plate VII sight 14‑3/4” x 10‑3/4”, frame 22” x 17‑3/8”.

Provenance: The corporate collection of Freeport-McMoRan, New Orleans, Louisiana.

Detailed bibliographic description available on request. $1,800‑$2,500

805

805 Three Biloxi Antebellum and Civil War Documents of Naval and Masonic Interest including an account statement dated June 8, 1857, New Orleans, Louisiana, J. G. Robinson to C. Braisted & Co., the outside with signature of B. R. Clemens, for sails, tents, awnings, hatch covers, etc. for the yacht Gipsy, 12‑1/8” x 7‑13/16”; a letter dated October 16, 1864, near Sommerville, Georgia, from C. R. Cornelius to B. R. Clemens, in which Cornelius absolves Clemens of responsibility of a reconnaissance on Deer Island, on ruled notepaper 8-3/4” x 6‑7/16”; a letter dated December 6, 1864, Horn Island, Mississippi, from James Maycock to B. R. Clemens, in which Maycock dismisses Cornelius’ absolution of Clemens and rebukes Clemens for interrogating Maycock’s wife and child during the reconnaissance and reminding him of their bonds as brother Freemasons, on ruled folio notepaper, 9‑7/8” x 7‑13/16”. $1,000‑$1,500

Bruno Richard Clemens (1830‑1915) was a native of Hanover, Germany and is very probably the 11‑year-old B. Clemens of Hanover who is recorded as having arrived in New Orleans on June 3, 1843 on board the Maria von Cammenge out of Emden. Clemens became an accomplished boatman, and served as the sailing master of the yacht Gipsy, owned and built in 1857 by John G. Robinson (1801‑1869), one of the founders of the New Orleans Yacht Club and its Commodore in 1858. The first document in the present lot suggests that Clemens was involved in the ship’s rigging and may have worked directly with New Orleans sailmaker Charles D. S. Braisted (1825‑1874). Robinson - English by birth - was sailing the Gipsy under British colors in June 1861 when it was seized by the USS Brooklyn in the Gulf of Mexico; Robinson was released, but Clemens and the crew were detained until forced to sign an oath pledging allegiance to the Union. After their release, Robinson petitioned then Confederate Secretary of War LeRoy Pope Walker to ignore the documents as having been signed under coercion.

There are no service records in the Confederacy for Clemens, but he claimed service as a member of the C.S.A. Torpedo Corps from 1863, stationed in the Gulf where he was able to spend much of his time at home and attend to his duties as called. Such duties are recorded in the second document, a letter from Captain Cader Raby Cornelius, C.S.A. (1839‑1882) to Clemens, confirming that Cornelius sent Clemens on a reconnaissance mission to Deer Island off the coast of Mississippi. Clemens had evidently solicited the letter of Cornelius in August 1864, keen to have proof that the mission was not his doing.

His desire for this proof is evident in the third document, an extraordinary letter to Clemens from English-born Captain James Maycock (1825‑1892), who despite his many commonalities with Clemens - they were both immigrants, both boat pilots, and fellow freemasons - found himself serving as a pilot for the Union Navy, who were keen to recruit pilots familiar with the Gulf and Mississippi River. During the reconnaissance on Deer Island (at which time Maycock was serving as a pilot in the Western Gulf blockade) Clemens met with Maycock’s wife, Mary Carson Maycock (1827‑1900), and daughter Elizabeth Maycock (1850‑1905). Maycock is enraged at this transgression: “You must have known that if I was captured it would result in my ignominious death . . . being unable to intrap me [you] searched the Persons of my Wife and Daughter expecting to find letters about them that would lead to My capture”. In much of the letter Maycock reminds Clemens of his oath as a fellow Mason: “[You] forget one great obligation of the F. & A. M. which is to warn a brother of any danger to himself Wife Daughter Mother or Sister, to do them no injury yourself, and permit another to do so if in your power to prevent it”. Maycock also invokes the fraternal order as the guide of his conscience during the conflict: “My Brother you must be aware that Masons must never be concerned in plots and conspiracies against the government under which he lives, nor to behave himself undutifully to the magistrates of that government. Have you my Brother fulfilled that obligation?

I fear that you have not, but of your guilt and innocence the Great Architect of the Universe will justly judge and will reward either good or evil as each of us may deserve.”

Both Clemens and Maycock remained in Biloxi and lived to advanced ages. Whatever wounds may have been made in the war that pitted Masonic brother against brother were eventually healed; in the 1895 petition of Mary Maycock for a widow’s pension, one deponent was “one of the oldest, most truthful and respected citizens of Biloxi, B. R. Clemens”.

279

806 American Gothic Revival Mahogany Tall-Post Bed mid-19th century, the generous segmented octagonal posts with ring-turned tops, the head posts supporting a headboard with three arched panels beneath a carved crest with carved spires. h. 96”, inside w. 60‑1/4”, l. 77‑3/8”, outside w. 70”, l. 87” $1,000‑$1,500 807 American Rococo Revival Laminated Rosewood Console Table third quarter 19th century, commonly attributed to J. & J. W. Meeks, New York, having a shaped top with a molded edge, the pierced aprons elaborately carved, the cabriole legs with floral-carved knees, the back framed and fitted with mirrors, formerly the base to an etagere. h. 34”, w. 59”, d. 22” $3,500‑$4,000

806

807

808 American Rococo Revival Mahogany Secretary third quarter 19th century, having an arch top with a pierced and carved crest flanked by turned finials, above a pair of conforming arched and glazed doors, a row of three sideby-side drawers above the fold-down writing deck opening to an elaborate fitted interior, the base with a pair of framed and paneled doors over a carved scalloped skirt. h. 105”, w. 51”, d. 21” $1,500‑$2,500

280

808

809 American Rococo Revival Rosewood and MarbleTop Center Table third quarter 19th century, attributed to Alexander Roux, New York, the conforming white marble top above the carved rim, supported by four shaped and in-curved legs, joined to a central complex carved finial, the four outstretched legs each with clusters of fruit. h. 30”, w. 47”, d. 31” $3,500‑$5,000

811

809

810 American Rococo Revival Stained Oak Breakfront third quarter 19th century, the arched center section with conforming glazed doors and flanked by an additional glazed door to each side, the base with three graduated long drawers in the center and a cabinet to each side. h. 128”, w. 89”, d. 23” Provenance: LeDuc Mansion, Hastings, Minnesota. $4,000‑$7,000

811 Renaissance Revival Brass and Patinated Metal Chandelier third quarter 19th century, American or European, the six-light chandelier with a bold turned and molded standard, the molded arms with pierced and leafmolded shade holders. h. 31”, dia. 27” $1,000‑$1,500

810

281

812 American Renaissance Revival Figured Walnut and Marble-Top Music Cabinet third quarter 19th century, attributed to George Henkels, Philadelphia, the paneled door with a carved lion’s masque at the top and two other masques at the upper corners, opening to a fitted interior for sheet music. h. 42‑1/2”, w. 23”, d. 19‑1/2” $1,000‑$1,500 813 Five-Piece American Renaissance Revival Rosewood Parlor Suite third quarter 19th century, generally attributed to the workshop of John Jelliff, Newark, New Jersey, comprised of a settee, h. 45”, w. 76”, d. 32”, a pair of closed armchairs, h. 44”, w. 30”, d. 30”, and a pair of side chairs, h. 40”, w. 21”, d. 22”, each with an elaborately carved crest depicting a central Minerva head and female portrait busts on the arms.

812

814

$2,500‑$4,000 814 American School (Fourth Quarter 19th Century) “Portrait of a Gentleman in a Black Silk Cravat, with Walking Stick and Top Hat” oil on canvas unsigned, remnants of old labels en verso frame.

Framed.

36” x 30”, framed 43” x 36‑1/4” Provenance: Estate of Dr. George Porter III, New Orleans, Louisiana.

813

$1,500‑$2,500

813

282

815 Three-Piece American Renaissance Revival Burl Walnut Half-Tester Bed Set third quarter 19th century, consisting of a half-tester bedstead with a complex molded and paneled canopy, h. 130”, inside w. 59‑1/2”, l. 78”, outside w. 68-1/2”, l. 87”, a matching mirrored double-door armoire, h. 124”, w. 64”, d. 24”, a matching marble-top dressing bureau, h. 108”, w. 55”, d. 22”, and a related burl walnut dressing chair, h. 70”. $5,000‑$8,000

815

815

815

283

816 John F. Peto (American, 1854‑1907) “The Young Peddler”, 1886 oil on canvas signed and dated lower right, further monogrammed on wall in center right background.

Unframed.

36‑1/8” x 27‑1/8” Provenance: Private collection, Chicago, Illinois. $4,000‑$7,000

817 Steinway & Sons, New York, Mahogany “Duo-ArtPianola” Grand Piano and Bench ca. 1924, marked “Style O.R.” with the serial number 234952. piano h. 40”, w. 60”, l. 77”

816

$1,200‑$1,800

817

284

818 James C. Platt (American, ?-1892) “Still Life of Plums, Grapes and Pears” oil on board signed lower right.

Giltwood frame.

7‑1/2” x 10”, framed 12‑7/8” x 14‑7/8” Provenance: Claudia Heath Fine Art, Charlotte, North Carolina. $2,000‑$4,000

818

819 George Henry Durrie (American, 1820‑1863) “Still Life of Fruit with a Fly” oil on board signed en verso.

Period giltwood frame.

8” x 13”, framed 19‑1/2” x 23‑3/8” Provenance: Claudia Heath Fine Art, Charlotte, North Carolina. $2,000‑$4,000

819

820 Arentina Hendrica Arendsen (Dutch, 1836‑1915) “Still Life of Peaches, Grapes and Apricots” oil on canvas signed lower left.

Framed.

12‑3/4” x 17‑1/8”, framed 17‑1/2” x 21‑7/8” $1,500‑$2,500

820

285

821 French Marble and Bronze Japy Freres Mantel Clock fourth quarter 19th century, in the Persian taste, the handsomely decorated case with alternating black and red griotte marble, with bronze columns and a bronze onion dome, the face with a delicate panel of script and strapwork. h. 25‑1/2”, w. 15”, d. 7‑1/4” $1,000‑$1,500

823

821

822 Two Life-Sized Bronze Moorish Water Carrier Fountains 20th century, inspired by the work of Charles-HenriJoseph Cordier (French, 1827‑1905), highlighted with gilt enameling. h. 76‑1/2”, w. 22”, d. 14” and h. 72‑1/4”, w. 21”, d. 9” $4,000‑$7,000 823 Circle of William Merritt Chase (American, 1849‑1916) “Portrait of a Woman” oil on canvas unsigned, “Hackley Art Gallery, Muskegon, Michigan” label on frame backing.

Framed.

21” x 17”, framed 33‑5/8” x 29‑5/8” $2,000‑$4,000 822

286

824 After Frederic Sackrider Remington (American, 1861‑1909) “Coming Through the Rye” patinated bronze cast signature and inscribed “RCS 102/375” along edge of self-base. h. 26‑3/4”, w. 29”, d. 26‑1/2” $2,000‑$4,000

824

825 Wayman Adams (American/New Orleans, 1883‑1959) “French Quarter Balcony” oil on board signed lower right.

Framed.

16” x 12”, framed 19‑3/4” x 15‑3/4” $1,500‑$2,500

825

826 Wayman Adams (American/New Orleans, 1883‑1959) “Wayman ‘Snig’ Adams, Jr. and Naomi Priscilla” oil on board signed upper left, pencil-inscribed “Indianapolis” en verso.

Period frame.

6‑3/4” x 6”, framed 10‑1/4” x 9‑1/2” $2,000‑$4,000 The son of two prominent painters, Wayman Adams, Jr., who was nicknamed Snig, was a frequent subject of his parents. The Johnston Collection of Spartanburg, South Carolina has the large portrait of Wayman Adams, Jr. being held in the arms of his African American nurse Ella and with her daughter Naomi Priscilla. This charming painting depicts Snig as a toddler with a full head of blonde hair and being held on Naomi Priscilla’s lap with his dog nearby.

826

287

827 Colette Pope Heldner (American/New Orleans, 1902‑1990) “Swamp Idyll, Louisiana Bayou Country” oil on canvas signed lower right, titled and signed en verso.

Framed.

20” x 36”, framed 26‑1/2” x 42‑1/2” $1,500‑$2,500

827

828 William Woodward (American/Louisiana, 1859‑1939) “Hazy Morning, Waikiki, Hawaii/ Wave over Waikiki”, 1924 oil on canvas board signed and dated lower right, localized lower left, pencil-signed and titled en verso.

Period frame.

10” x 14”, framed 13” x 17” Literature: Robert Hinkley, William Woodward, American Impressionist, 2009, p. 190, pl. 162. $1,800‑$2,500 828

829 Alexander John Drysdale (American/Louisiana, 1870‑1934) “Pine Trees at Dusk”, 1930 oil on canvas signed and dated lower right.

Framed.

19” x 24”, framed 23‑3/4” x 25‑5/8” Provenance: Private collection, New Orleans, Louisiana. $2,000‑$4,000

288

829

830 After George F. Fuller (American, 1822‑1884) “A Steamboat Race on the Mississippi River (between the Baltic and Diana)”, 1859 lithograph lithography by A. Weingartner, New York.

Framed. sight 17” x 24‑1/2”, framed 26‑3/4” x 34‑1/2” Literature: Illustrated in Ray Samuel and Leonard V. Huber’s 1955 book Tales of the Mississippi River. $1,000‑$1,500

830

831 William Aiken Walker (American/South Carolina, 1839‑1921) “Man and Woman on a Horse” oil on board signed lower left.

Unframed.

9‑1/4” x 12‑1/4” To be included in John Fowler’s forthcoming catalogue raisonne. $5,000‑$8,000 831

832 William Aiken Walker (American/South Carolina, 1839‑1921) “Young Boy on a Mule” oil on board signed lower left.

Unframed.

9‑1/4” x 12‑3/8” To be included in John Fowler’s forthcoming catalogue raisonne. $4,000‑$7,000

832

289

833

833 William “Bill” Traylor (American/Alabama, ca. 1854‑1949) “Four Figures and Basket in Blue” pencil, tempera and conte crayon on cardboard unsigned, “Gallery Ricco/Maresca, New York” and “Carl Hammer Gallery, Chicago” labels with artist and title en verso.

Framed.

11” x 11”, framed 18-3/4” x 18-1/4” $50,000‑$80,000

290

834

834 George Ohr (American/Biloxi, 1857‑1918) collection of four small ceramic vessels, including a bisque pot, a bisque pottery bank, a “burnt baby” pot with ruffled rim, and a puzzle mug with mottled glaze, the pottery bank stamped “G. E. Ohr/Biloxi” on bottom, the bisque pot and mug signed on bottom. bank and vases h. 2” to 2‑5/8”, dia. 2‑1/2” to 3‑3/4”; mug h. 4”, w. 4” Provenance: Jean Bragg Antiques, New Orleans, Louisiana. $2,000‑$4,000 In 1894, a fire burnt George Ohr’s studio in Biloxi, Mississippi, to the ground, destroying all of his work. Like the phoenix rising from the ashes of destruction, Ohr viewed the ruination as a regenerative rebirth that catalyzed the commanding and inventive fluidity of his late work. As such, Ohr was unable to part with his burnt pots, and kept them as keepsakes, affectionately referring to them as his “burnt babies”.

835 Newcomb College Art Pottery

835

matte-glazed vase, 1913, decorated by Alma Mason with daisies in low relief in yellow, green and blue underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, reg. no “FX30”, shape no. “215” and “B” for buff clay body. h. 7”, w. 4‑3/4” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $800‑$1,200 836 Newcomb College Art Pottery matte-glazed vase, 1914, decorated by Sadie Irvine with freesias in white, yellow and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, reg. no “GJ32”, shape no. “170” and “B” for buff clay body. h. 7‑5/8”, dia. 3‑3/8” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,000‑$1,500

836

291

837 American School (First Quarter 20th Century) “Portrait of Henry Wallace Wallingford Todd (1897‑1980)”, ca. 1907 oil on canvas monogrammed “LH” in a circle center left.

Glazed and framed.

25‑1/4” x 21‑1/4”, framed 32‑1/4” x 28-3/4” Provenance: Descended in the Family of John Gilman D’Arcy Paul, Baltimore, Maryland. $1,000‑$1,500 This fine portrait by an unidentified American artist (probably from New York or Baltimore) depicts the young cousin of John Gilman D’Arcy Paul. Henry Wallace Wallingford (Wally) Todd was the son of Dr. Henry Alfred Todd (1854‑1925), a Romance Language professor, who taught at Johns Hopkins and Columbia Universities, and his wife Miriam Gilman (1865‑1945), the younger sister of Charlotte Gilman Paul. For additional information on the Paul family, please see the featured estates and properties listed in the front of the catalogue.

838 Percival de Luce (American, 1847‑1914)

837

“Portrait of a Girl with Chestnut Curls” oil on canvas signed upper right, later inscription by artist’s daughter en verso.

Framed.

12‑1/2” x 9‑1/2”, framed 15‑1/2” x 12‑1/2” $1,000‑$1,500 A native of New York, and grandson of the Londonborn artist Thomas Thompson (1776‑1852), Percival de Luce was raised in a family that appreciated and encouraged his artistic aspirations. He studied with Thomas Seir Cummings (1804‑1894) and Edwin White (1817‑1877) at the School of the National Academy of Design before traveling to Europe where he attended the Royal Academies of Antwerp and Brussels and the Academie Julien in Paris. This rigorous and thorough training is evident in the delightful portrait of a young girl presented here. The painterly brushstrokes of the white collar, the delicately modeled features of the face, and the minimal yet rich color palette are all indicative of a master portraitist.

A frequent exhibitor at the National Academy of Design, de Luce was named an Associate of that august Institution in 1897. The Percival de Luce Memorial Collection is conserved at Northwest Missouri State University.

838

292

839 Carle John Blenner (American, 1862‑1952) “Young Woman with a Posy of Flowers” oil on canvas signed upper right, a “Ralph M. Chait Galleries” label en verso.

Framed.

24‑1/4” x 20‑1/4”, framed 31‑1/4” x 26‑1/4” $1,500‑$2,500 840 Will Henry Stevens (American/New Orleans, 1881‑1949) “Magnolia” pastel on paper signed lower left.

Matted, glazed and framed.

22” x 18”, framed 30” x 25‑1/2” $5,000‑$8,000 841 Julius Edwin Woeltz (American/Texas, 1911‑1956) “French Quarter”, 1934 watercolor on paper signed, dated and inscribed lower right.

Matted, glazed and framed.

25” x 19”, framed 33” x 27”

839

$1,000‑$1,500

840

841

293

842 Will Henry Stevens (American/New Orleans, 1881‑1949) “Trees”, 1932 pastel on paper signed and dated lower right, titled en verso.

Matted, glazed and framed. sheet 20” x 16”, framed 25” x 20‑3/4” $4,000‑$7,000

843 Caroline Spellman Wogan Durieux (American/Louisiana, 1896‑1989) “Three Women at a Table”, 1932 lithograph on paper pencil-signed and dated lower margin, initialed in plate lower left.

Matted, glazed and framed. sheet 13‑3/4” x 16‑3/4”, framed 20‑3/4” x 23‑3/4” 842

Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $800‑$1,200

843

844 George Valentine Dureau (American/Louisiana, 1930‑2014) “Portrait of Elizabeth Tahir” mixed media on paper signed lower right.

Matted, glazed and in a silvered frame. sight 37‑3/4” x 28-1/2”, framed 49‑1/8” x 38-3/4” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,000‑$1,500 844

294

845 Carroll Cloar (American/Arkansas, 1913‑1993) “Brother Ed, Preacher of Holiness” lithograph signed in pencil lower right, titled lower left, with dedication lower center.

Matted, glazed and framed. sight 13‑3/8” x 10‑1/2”, framed 21” x 18-1/4” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,000‑$1,500 846 After Sarah “Sadie” Agnes Estelle Irvine (American/New Orleans, 1887‑1970) “Praline Seller on Washington Avenue” 845

two-sided pencil on paper drawings signed “Sadie Irvine by Wynn Irvine” lower right.

Unframed (plastic stand).

14” x 10” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana.

Wynn Irvine was Sadie Irvine’s brother. $1,000‑$1,500 847 George Rodrigue (American/Louisiana, 1944‑2013) “Female Nude Studies” seven charcoal and pencil drawings each signed lower right or left.

Framed alike. sight 19‑1/2” x 14‑1/2”, framed 26‑3/4” x 21‑3/4” Provenance: Acquired from the artist, New Orleans, Louisiana. $1,500‑$2,500

846

847

295

848 William Tolliver (American/Mississippi, 1951‑2000) “Water Boy” pair of color woodblock prints both signed in pencil lower right, titled lower center and numbered “23/50” and “17/50”, respectively.

Both matted, glazed and framed alike. each sight 12‑3/4” x 9‑3/4”, framed 21‑1/2” x 17‑1/2” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,000‑$1,500 848

849 Robert Gordy (American/Louisiana, 1933‑1986) “Night Garden”, 1980 marker on paper signed and dated lower left.

Matted, glazed and framed. sight 24” x 31”, framed 32” x 38” $1,000‑$1,500

849

850 William Tolliver (American/Mississippi, 1951‑2000) “The Serenade” pastel on paper signed lower right.

Framed. sight 37‑1/2” x 23‑3/4”, framed 52” x 36‑1/2” $4,000‑$7,000

850

296

851

851 George Rodrigue (American/Louisiana, 1944‑2013) “Little Dog in Louisiana”, 2002 acrylic on canvas signed lower right, signed, titled and dated en verso.

Framed.

40” x 40”, framed 51‑3/8” x 51‑3/8” $30,000‑$50,000

297

852

852 Jose-Maria Cundin (Spanish/Louisiana, b. 1938) “Subversive Situation Number 41”, 1968 oil on canvas signed and dated lower center.

In a thin gallery frame.

36‑1/2” x 47”, framed 36‑3/4” x 48-1/4” Provenance: Private collection, New Orleans, Louisiana. $12,000‑$15,000 853 Jose-Maria Cundin (Spanish/Louisiana, b. 1938) “Amadis de Gaula”, 1979 tempera on paper signed and dated lower right, titled lower left.

Matted, glazed and framed. sight 15‑1/8” x 12‑7/8”, framed 23‑3/4” x 20‑3/4” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,000‑$1,500

298

853

854 George Bauer Dunbar (American/Louisiana, b. 1927) “Mirage” oil on board unsigned, artist’s label with title en verso.

Period slate frame.

14‑1/4” x 14‑1/4”, framed 14‑3/4” x 14‑3/4” $1,000‑$1,500

854

855 Jean Seidenberg (American/Louisiana, b. 1930) “Portrait of a Woman”, 1959 oil on canvas signed and dated “1/17/59” mid-left.

Framed.

29‑1/2” x 35”, framed 30‑1/2” x 36‑3/4” Provenance: Private collection, New Orleans, Louisiana. $1,200‑$4,000

855

856 Douglas Bourgeois (American/Louisiana, b. 1951) “Woman Among Angels”, 1976 oil on canvas signed and dated “March 21, 1976” lower center.

Framed.

22” x 18”, framed 23” x 19” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,400‑$1,800

856

299

857 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Cluster Collage #5”, 1976 mixed media on canvas signed and dated lower right, “Moody Gallery, Houston, Texas” label with artist, title and date en verso.

Framed.

17” x 9”, framed 27‑1/2” x 19‑1/2” $4,000‑$7,000

857

858 Shirley Rabe Masinter (American/Louisiana, b. 1932) “Homage to St. Joseph II” 858

oil on canvas signed lower left, handwritten artist label with title en verso.

Framed.

26” x 29‑3/4”, framed 26‑3/4” x 30‑1/2” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,000‑$1,500 859 Theora Hamblett (American/Mississippi, 1895‑1977) “Marbles”, 1973 oil on canvas signed and dated lower right, titled lower center, inscribed “Sold A. Tahir” and typewritten label with artist, title and date en verso.

Framed.

16” x 20”, framed 17” x 21”

859

300

Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $7,000‑$10,000

860 Lin Emery (American/Louisiana, b. 1926) “Spirit”, 1991 polished aluminum kinetic sculpture the based signed “Lin Emery”and inscribed “B. Mavor, F.” for Bryan Mavor, Founder.

Presented on a custom acrylic stand.

Accompanied by a letter of appreciation from Lin Emery as well as the Executive Director of the Imperial Calcasieu Museum in Lake Charles for loaning “Spirit” for the Lin Emery Exhibition. sculpture h. 39‑1/2”, w. 34”, d. 17‑1/2”; stand h. 32”, w. 17‑3/4”, d. 12‑3/4” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Estate of Anne Clarke Gsell, New Orleans, Louisiana.

Exhibited: Imperial Calcasieu Museum, Lake Charles, Louisiana, 1997.

Literature: Angus Lund, “From Scandal to Sculpture”, Times-Picayune. 10 Sept. 1984: B-7 “Sculpture is living, it’s vital, it’s changeable. Even when you walk around it, it can be something different. Drawing is a reflection and coordinating eye and hand, but sculpture is your mind and an idea.” --Lin Emery $20,000‑$40,000

860

301

861 Allison Stewart (American/Louisiana, b. 1941) “New Terrain #3” monotype laid on wood panel signed and titled en verso.

Unframed but fitted for hanging.

12” x 12” $1,000‑$1,500 862 George Rodrigue (American/Louisiana, 1944‑2013) “Bayou Between the Oaks” oil on canvas signed lower left, pencil-signed en verso and titled on stretcher.

Framed.

16” x 20”, framed 23‑1/2” x 27‑1/2”

861

$12,000‑$18,000

862

302

863 Howard Reeve Newton (American/New Orleans, 1912‑1984) “Avery Island Salt Mine” oil on canvas signed lower right.

Framed.

30” x 24”, framed 32‑3/4” x 26‑3/4” Provenance: Descended in the family of Edith Avery Duncan, Avery Island, Louisiana and New Iberia, Louisiana. $1,000‑$1,500 Howard Reeve Newton graduated from the Tulane University School of Architecture and the School of the Art Institute of Chicago. During the Depression, Newton served as Director of the Monkey Hill Project at Audubon Park under the auspices of the Civil Works Administration (the forerunner of the Works Project Association). While the original intention of this project has been debated in recent years, it soon became a beloved playground for the children of New Orleans, who were thrilled at the novelty of a hill.

Newton was able to deftly combine his love of local architecture and landscape with his love of painting, and he soon became known and admired for his precise, intimate depictions of Louisiana. These carefully composed works, rendered in a deep, rich color palette of blues, browns and greens, are steeped in the distinct atmosphere of the region. The painting presented here - of the iconic Avery Island Salt Mine, which by family repute won a local award - was gifted by Newton to his first cousin Edith Avery Duncan sometime in the 1930s. It remained in her possession until her death when it was bequeathed to her daughter.

863

864 Niek van der Plas (Dutch, b. 1954) “Brass Band on Bourbon Street, New Orleans” oil on panel signed lower right, signed and titled en verso.

Framed.

11‑3/4” x 15‑3/4”, framed 19” x 23” $1,200‑$1,800

864

303

865

865 Louise Guidry (American/Louisiana, b. 1930) “Stop Motion” acrylic on gallery-wrapped canvas signed lower right.

Unframed.

36” x 36” $1,500‑$2,500 866 Bruce Raymond Brice (American/Louisiana, 1942‑2014)

866

“Portrait of Louis Nelson”, 1969 oil on canvas signed lower right, titled lower left, signed and dated en verso.

Together with two works by Luke Fontana (American/ Louisiana, Contemporary), including “Portrait of Louis Nelson”, oil enhanced photograph on gallery-wrapped canvas, signed lower right, titled lower left, signed and with inscription en verso, and “Portrait of Bruce”, silver gelatin print, numbered “2F” and signed lower right.

Two matted, glazed and framed.

24” x 20, framed 27‑1/2” x 23”; 20” x 13‑1/4”; 13‑1/2” x 8-1/2”, framed 21” x 17”, respectively $3,000‑$5,000 867 Louise Guidry (American/Louisiana, b. 1930) “Trees and Sky” acrylic on gallery-wrapped canvas signed lower right.

Unframed.

48” x 48” $2,000‑$4,000

304

867

868 Louise Guidry (American/Louisiana, b. 1930) “Galaxies” acrylic on gallery-wrapped canvas Unframed.

30” x 24” $1,500‑$2,500 869 David Harouni (American/Louisiana, b. 1962) “King”, 2007 oil on gallery-wrapped canvas signed lower left, signed, dated and inscribed “To a Fan from Gulfport/Harouni/June 23, 2007/For Patrick”.

Unframed.

20” x 15‑3/4” $1,500‑$2,500

868

870

870 Luke Fontana (American/Louisiana, Contemporary) “Atchafalaya Basin” color photograph signed lower right Matted, glazed and framed.

12” x 24”, framed 24‑3/4” x 37‑1/2” $1,000‑$1,500

869

305

871 Arnold Newman (American, 1918-2006) “Georgia O’Keeffe, Ghost Ranch, N.M.”, 1968 silver gelatin print pencil-signed, titled and dated lower margin.

Glazed, matted and framed. sight 13‑1/2” x 9‑1/4”, framed 20‑1/4” x 16‑1/4” $2,500‑$4,000

872 Yousuf Karsh (Armenian/Canadian, 1908-2002) “Georgia O’Keeffe”, 1956 sliver gelatin print signed lower left, “A Gallery for Fine Photography” label en verso.

Matted, glazed and framed. sight 20‑1/2” x 16‑1/2”, framed 29‑3/4” x 24‑1/4”

871

$5,000‑$8,000 The composition is an assemblage of all the familiar O’Keeffe totems. Everything looks so dry, you can almost feel the dust in your mouth. Of course, O’Keeffe’s paintings gorged on life - those fat flowers, the rich, joyous colors. Sensuality written all over them. But Karsh frames the artist as an ascetic, exactly as we’d imagine her to be, serving her muse in that hard-baked landscape.

Sarah Kaufman In 1965, Yousuf Karsh traveled to Abiquiu, New Mexico to photograph Georgia O’Keeffe. Posing her in the doorway of her beloved home, the photographer eschewed the exaggerated, artificial light he normally employed, instead allowing the natural light streaming in from the window to be the only source of illumination. O’Keeffe is presented in profile, her hands - made famous in the numerous images by Alfred Stieglitz - prominently placed at bottom center, partially resting on a chunk of gnarled driftwood. According to the photographer, this now iconic image hung in O’Keeffe’s home until her death.

REFERENCE: Sarah Kaufman, The Washington Post, July 26, 2009.

872

306

873 Howard Norton Cook (American/Santa Fe, 1901‑1980) “River Baptism (Southern Baptism)”, 1936 wood engraving on paper pencil-signed, inscribed “imp” and dated lower right margin, “Tahir Gallery, New Orleans” labels with artist and title en verso.

Matted, glazed and framed. sight 11” x 7‑3/4”, framed 19‑1/4” x 15‑1/2” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,500‑$2,500

875

875 Frank Howell (American/New Mexico, 1937‑1997) “New Mexico Sun”, 1972 tempera and graphite signed and dated lower right, “Gallery Taos, New Mexico” label with artist and title en verso.

Glazed and framed.

6” x 5”, framed 9‑3/4” x 8-1/2” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $800‑$1,200

873

874 Birger Sandzen (Swedish/Kansas, 1871‑1954) “Basilio (Portrait of Basilio Herrera)”, 1947 oil on board signed, titled, dated and inscribed en verso.

Framed.

24” x 20”, framed 29‑3/4” x 25‑3/4” Provenance: Descended to the artist’s daughter Margaret Sandzen Greenough; to Dr. Horace H. Porter, Tulsa, Oklahoma, prior 1970 and descended in family; to private collector through The Birger Sandzen Memorial Gallery, Lindsborg, Kansas, 2007. $18,000‑$25,000

874

307

876 R. C. Gorman (American/New Mexico, 1931‑2005) “Woman at Rest”, 1975 oil and pastel drawing on paper signed and dated lower right, printed artist biography, artist label with title and “S.A.G.A” Inc., an Albuquerque, N.M.” label en verso.

Matted, glazed and framed. sight 22” x 28”, framed 34‑1/2” x 39‑1/2” Provenance: Estate of Mary Elizabeth Tahir, New Orleans, Louisiana. $1,000‑$1,500 877 Billy Hassell (American/Texas, b. 1956)

876

“Untitled” acrylic on paper, a diptych unsigned.

Float mounted and framed. overall sheet 30” x 45‑1/2”, framed 40‑1/8” x 55‑7/8” $1,500‑$2,500

877

878 Angel Botello (Spanish/Haiti, 1913‑1986) “St. Francis of Assisi”, ca. 1955 oil on masonite signed lower right, “Piggins Art Gallery, Montclair, N.J.” label and handwritten note with provenance en verso.

Framed.

15‑1/2” x 10‑1/2”, framed 20” x 15” $2,000‑$4,000

878

308

879 Antique Bijar Carpet 6’ 9” x 16’ $2,000‑$4,000 880 Antique Mir Runner 5’ 8” x 16’ 7” $1,000‑$1,500 881 Antique Serapi Carpet 11’ 6” x 13’ 10” $2,000‑$4,000 882 Agra Sultanabad Carpet 9’ x 12’ $1,500‑$2,500 882

879

880

881

309

883 Heriz Carpet

884 Turkish Angora Oushak Carpet

885 Turkish Angora Oushak Runner

7’ 7” x 11’

9’ 10” x 13’ 9”

2’ 7” x 24’ 3”

$1,200‑$1,800

$1,200‑$1,800

$1,000‑$1,500

883

885

310

884

887 886

886 Semi-Antique Heriz Carpet 12’ x 9’ 2” $1,800‑$2,500 887 Agra Serapi Carpet 9’ x 11’ 10” $1,400‑$1,800 888 Heriz Carpet 8’ 11” x 10’ 11” $1,500‑$2,500

888

311

889

890

889 Heriz Carpet 7’ 8” x 11’ 1” $1,200‑$1,800 890 Heriz Carpet 8’ 9” x 11’ 7” $1,000‑$1,500 891 Turkish Oushak Carpet 12’ x 15’ 2” $1,400‑$1,800

891

312

892 Antique Oushak Carpet 14’ 3” x 15’ 8” $4,000‑$7,000 893 Lavar Kerman Carpet 10’ x 14’ $1,500‑$2,500 894 Heriz Carpet 8’ 2” x 11’ $1,500‑$2,500

892

893

894

313

895 Turkish Angora Oushak Carpet 8’ 10” x 11’ 10” $1,000‑$1,500 896 Heriz Carpet 11’ 2” x 14’ 6” $2,000‑$4,000 897 Antique Tabriz Carpet 6’ 5” x 12’ 5” $1,000‑$1,500

895

897

314

896

898

898 Exceptional English Mixed Woods Inlaid and Carved Oak Coffer 18th century, the lift lid with wrought iron strap hinges and shaped raised panels, each with an inlaid star, the front with inlaid raised panels and various inlaid border motifs, the lower base with a central relief-carved and polychromed panel flanked by a drawer to each side and a scalloped skirt, the ends with shaped raised panels with inlay and fitted with wrought iron handles, the interior retaining its working lock and key and a till on the left side with a secret compartment. h. 31”, w. 60”, d. 27” $2,000‑$4,000

898 detail

899 Large English Oak Gateleg Table 19th century, the oval top supported by blockand-turned swing legs and joined by turned stretchers. h. 30”, w. 67”, closed l. 27”, open l. 74” $1,000‑$1,500

899

315

900 William Powell Frith, R.A. (British, 1819‑1909)

900

“The Last Sunday of Charles II”, 1907 oil on canvas signed and dated lower right.

Giltwood frame.

25” x 39‑1/2”, framed 33” x 47‑1/2” $8,000‑$12,000 “I can never forget the inexpressible luxury and profaneness, gaming and all dissoluteness, and as it were total forgetfulness of God (it being Sunday evening), which this day’s night I was witness of, the King sitting and toying with his concubines, Portsmouth, Cleveland, and Mazarine [sic], etc., a French boy singing love songs, in that glorious gallery, whilst about twenty of the great courtiers and other dissolute persons were at Basset round a long table...Six days later, was all in the Dust.”

Memoirs Illustrative of the Life and Writings of John Evelyn The work presented here is a variant of Frith’s 1866 painting “The Last Sunday of Charles II”, and was created in the last years of the artist’s life when he frequently revisited earlier, favorite paintings. According to Frith’s own diary, he was inspired by Evelyn’s description, excerpted above, of the liveliness and hedonism of the Royal Court on one of the last days of the King’s life (Charles II fell unexpectedly ill the following day, dying several days later). The painting was exhibited at the Royal Academy, where it proved so popular a railing had to be installed to protect it from the throng of visitors. The subject lent itself well to Frith’s grandiose style, and allowed the artist to revel in the various accoutrements of the wealthy Court.

References: Frith, William Powell. My Autobiography and Reminiscences, London: Richard Bentley and Son, 1887; Evelyn, John Memoirs Illustrative of the Life and writings of John Evelyn, London: Henry Colburn, 1819.

316

901

901 Pair of English Painted Dummy Boards 19th century, depicting a couple in Jacobean costume, each with a lace collar, the male carrying a rose and the female a spaniel puppy. h. 37” and 39‑3/4”, w. 15‑1/4” and 22‑3/4” $1,000‑$1,500

902 Jacobean-Style Carved Oak Armchair

905 William-and-Mary-Style Oak Cupboard

19th century, the padded back supported by spiraltwist legs, the arms of similar form and the fronts with carved female portraits, the seat and back covered in 17th-century Brussels tapestry. h. 35”, w. 22”, d. 17”

early 20th century, the rectangular top above a conforming case fitted with two drawers over four cupboard doors, each centered by a molded panel, the whole with applied spindle accents, raised on bracket feet. h. 45”, w. 47‑1/2”, d. 20‑3/4”

$800‑$1,200

$1,200‑$1,800

903 Two Pairs of Chinese Export Blue and White Fitzhugh Porcelain Platters one pair, ca. 1800, with loosely delineated panels associated with early Fitzhugh production, decorated with spear-point borders, w. 10‑1/4”, d. 13‑1/4”, and the other pair, second quarter 19th century, from the same service and comprised of a deep oval platter, w. 14‑1/4”, d. 11‑1/2”, and a flat oval platter, w. 14‑3/4”, d. 12”. $1,000‑$1,500 904 Chinese Blue and White Porcelain Brush Pot possibly Yongzheng period (1723‑1735), of cylindrical form with slightly flared sides, decorated to the exterior with scenes of figures in a picturesque garden setting by a river, within incised scrolling borders to the rim and foot, the base unmarked and unglazed. h. 8-1/4”, dia. 8”

903

Provenance: With receipt to show purchase from Auctionata, Paddle 8 AG, December 2016. $2,500‑$4,000

904

902

905

317

906 Pair of William-and-Mary-Inspired Leather and Fruitwood Wing Chairs each of generous proportions with dramatically flaring arms, loose seat cushion and turned trumpet legs joined by low stretchers, the leather in faux alligator surface. h. 50‑1/2” $1,500‑$2,500 907 Two 18th-Century Oak Chests including a William-and-Mary-style example, the rectangular top above a case fitted with four graduated long drawers, all with geometric-carved fronts, raised on bun feet, h. 35‑3/4”, w. 35‑3/4”, d. 22”, and a George III chest, the rectangular top above a conforming case fitted with two short drawers over three graduated long drawers, all banded, raised on bracket feet, h. 38-1/2”, w. 40”, d. 22‑1/2”

906

$1,000‑$1,500 908 William-and-Mary Oak Gateleg Table early 18th century, the oval top with two drop leaves mounted to a base with block-and-turned legs joined by box stretchers. h. 29‑1/2”, w. 53‑1/2”, l. 20”, ext. l. 64” $1,000‑$1,500

907

908

909 Georgian Oak Corner Cabinet possibly Welsh, 18th century, the molded cornice over a pair of arched raised panel doors, the doors with crossbanded perimeters and on H-form hinges, and opening to reveal a pair of shaped shelves over two tiers of drawers. h. 48”, w. 41”, d. 24” $1,200‑$1,800 909

318

910

910 Painted Wood Hobby Horse

913

ca. 1900, Welsh, set with glass eyes, with a hair mane and tail, laminated and painted construction, on a contemporary metal stand. h. 31”, w. 11‑3/4”, l. 43”

913 British School (Second Quarter 19th Century)

$800‑$1,200

“Portrait of the Artist and Engraver John Martin (1789‑1854) Seated, a Book of Engravings Before Him”

911 English Oak Dresser Base

oil on canvas unsigned.

Antique cove-molded gesso and carved giltwood frame.

36” x 28”, framed 46” x 38”

late 18th century, the rectangular top with a molded edge, above a conforming frieze fitted with three drawers over a scalloped apron, raised on cabriole legs ending in pad feet. h. 30‑1/2”, w. 72‑3/4”, d. 21‑1/2”

$1,500‑$2,500

$1,000‑$1,500 912 Handsome Pair of Chinese Export Porcelain Chargers Qianlong period, ca. 1735‑1796, decorated with blue and white peonies against a ground with scattered gilt bamboo. dia. 14” Provenance: Elinor Gordon, Villanova, Pennsylvania. $1,200‑$1,800 912

911

319

914

915

914 Alexander Chalmers (1739‑1834), ed. “British Essayists” London: Johnson, Nichols & Son et al., 1808, octavo, 44 volumes (of 45; vol. 9 lacking) in tan half leather on marbled boards, the flat spines with gilt lettering and rule, each with armorial bookplate of John Spelman Munnings and plain bookplate of William Stevenson, Sayre, Pennsylvania. overall 6‑5/15” x 3‑7/8” $1,000‑$1,500 915 18kt Gold, Rosewood and Reverse Intaglio Crystal Desk Magnifier contemporary, the magnifying lens set in a gold frame, the turned rosewood handle with gold ferrules at each end, the pommel finial set with an ovoid reverse-painted intaglio crystal of a sporting hound in a glen, backed with nacre and a second conforming crystal joined by a gold band. l. 9‑3/4”, dia. 3‑1/2”, crystal 1‑1/2” x 1‑1/8”; 71.5 gr. (weighable gold)

916

$5,000‑$8,000 916 Regency-Style Parcel-Gilt and Brass-Inlaid Mahogany Desk late 19th century, the tooled leather top in a brass inlaid frame, over a frieze fitted with three drawers, raised on a lyre-form base on saber legs with ornate brass cup casters. h. 30‑1/4”, w. 58”, d. 34” $1,500‑$2,500 917 Regency-Style Faux Marble Wooden Fireplace Surround ca. 1900, the mantel with a carved molding, over a guilloche-carved frieze, the upper corner blocks with a foliate panel, having shaped paneled legs over a projecting paneled bases. h. 48”, w. 62‑1/2”, d. 8”; firebox opening h. 39‑1/4”, w. 38-1/2” $1,000‑$1,500

320

917

918 Pair of English Porcelain Fruit Coolers second quarter 19th century, hand-painted with baskets of flowers on one side and baskets of fruit on the other, against a gilt-trimmed cobalt ground, complete with liners. h. 11”, dia. 8” $1,000‑$1,500

919 918

919 Attributed to George Duncan Beechey (British, 1798-1852) “Portrait of Lady Campbell (nee Jane Harnden), Wife of Lieutenant-General Sir Colin Campbell KCB, Governor of Nova Scotia” oil on wood panel unsigned, a “Berry-Hill Galleries/New York” label en verso.

Framed and with artist plaque.

10‑3/4” x 8-5/8”, framed 15‑3/4” x 13‑3/4” $1,000‑$1,500 920 British School (First Quarter 19th Century) “A Teary-Eyed Child and Her Two Siblings” oil on canvas unsigned, verso with shipping labels.

Handsome, period giltwood and gesso frame.

36” x 27‑1/2”, framed 46‑1/4” x 37‑3/4” $1,500‑$2,500 920

321

921 Labeled Gillows, Lancaster Late Regency Mahogany Tester Bed second quarter 19th century, the molded tester supported by reeded foot posts joined by a reeded and foliate-carved blanket rail, the square head posts with a tripartite paneled headboard with a gadrooned crest flanked by like scrolls ending in floral-carved roundels, stamped “Gillows/ Lancaster”. h. 108-1/2”, inside w. 59‑1/2”, l. 65‑1/2”, outside w. 78”, l. 84” The firm Gillows & Co. was founded by George Gillows in 1728. The firm remained in the family until the early years of the 19th century and continued to operate under the Gillows name until 1897. In the 20th century, the firm became Waring and Gillows. $4,000‑$7,000

921

922 British School (First Quarter 19th Century) Two Portrait Miniatures of Officers each watercolor and gouache including (attr.) to Thomas Hargreaves (1775‑1846), “Young Officer of the 24th Foot Regiment, inside of frame backing pencil-signed “T. Hargreaves pinxt/ Htg”, 3‑3/4”; and an “Officer with Navy Facing and Collar”, unsigned, 3” x 2‑3/8”.

Each glazed and framed 6” x 5‑1/4” and 4‑3/4” x 4”, respectively.

Together in a glass and wood presentation case, 12” x 18” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

322

922

923

924

923 William IV Tortoiseshell Tea Caddy second quarter 19th century, with a slightly bowed facade and cut corners, the cove-molded cover opening to reveal a two-compartment interior with matching covers, on brass ball feet. h. 6”, w. 7‑3/4”, d. 4‑1/2” $1,000‑$15,000 924 Pair of Regency-Style Mahogany Games Tables 19th century, each with a line-inlaid banding and canted corners, hinged and opening to a baize-lined interior, above a conforming like-inlaid frieze, raised on a bulbous columnar standard to a platform on splayed legs ending in brass paws on casters. h. 29‑1/2”, w. 35”, d. 17‑1/4” $1,200‑$1,800 925 Pair of Wedgwood Jasperware Plaques ca. 1780‑1795, probably English, the solid white bodies decorated with a blue wash and white relief molding of frolicking angels and children, each marked “WEDGWOOD”, one with four vent holes on the back and the other with five, in exceptional giltbronze frames decorated with rope-twist edges and leaf-molded inner edges. h. 4‑1/4”, w. 6‑1/2”

925

$1,200‑$1,800 926 Regency-Style Mahogany Cabinet 19th century, the rectangular top above a conforming case fitted with two drawers over two paneled cupboard doors, flanked and separated by engaged ormolu-mounted pilasters, raised on molded block feet. h. 37”, w. 62”, d. 14‑1/2” Provenance: Collection of Marjorie Leverich Moran, New Orleans, Louisiana. $1,000‑$1,500

926

323

929

929 928

927 William IV Figured Mahogany Bonnet-Top Tall Case Clock early 19th century, the hood with a broken-arch pediment and brass eagle finial, the mid-section with a bowfronted figured mahogany door and chamfered corner case, the base with a scalloped front and sides, and fitted with an eight-day brass time-and-strike movement and calendar dial. h. 82”, w. 17‑1/2”, d. 9” $1,000‑$1,500 928 British School (19th Century) “Travelers Resting” oil on canvas unsigned.

Framed.

20” x 25‑1/2”, framed 22” x 28-1/4” $1,000‑$1,500 929 Robert Stone (British, 1820‑1870) “Hunt Scene I” “Hunt Scene II” pair of oils on beveled wood panel one signed lower right, the other signed lower left, each with an old stamp en verso.

Framed alike.

10‑1/4” x 5‑1/4”, framed 14” x 8-3/4” $1,500‑$2,500

324

927

932 Adrien Ferdinand de Braekeleer (Belgian, 1818-1904) “The Fox Hunt” oil on canvas signed lower right.

Framed.

26‑1/4” x 32‑1/2”, framed 33‑1/2” x 40” $1,800‑$2,500 933 Donald Ayres British, b. 1936) “The Hunt” 930

oil on canvas signed lower left.

Framed.

24” x 36”, framed 28-1/2” x 40‑1/2” $1,000‑$1,500

932

930 John McLeod (British, 1800‑1871)

931

“The White Thoroughbred”, 1847 oil on canvas signed and dated lower right.

Presented in an antique giltwood frame.

16‑1/8” x 22‑1/8”, framed 19‑1/4” x 25‑1/2” Provenance: Collection of James Harris, PhD, Oklahoma City, Oklahoma. $1,500‑$2,500 931 After Alfred Dubucand (French, 1828-1894) “Horse and Hunting Dogs” patinated bronze 20th century, cast signature along self-base. h. 17‑1/4”, w. 15‑1/4”, d. 8” $1,500‑$2,500

933

325

934 Louise Steffens (Belgian, 1841‑1865) “The Fox Hunt” oil on canvas signed lower right.

Framed.

27” x 41‑1/2”, framed 33” x 47‑1/2” $3,000‑$5,000

934

935 Pair of Napoleon III-Style Cast Iron Garden Figures modeled as hunting dogs seated on plinths with game birds at their feet. h. 38”, w. 37”, d. 15‑3/4” $1,000‑$1,500

935

936 Henry Schouten (Belgian, 1864/67‑1927) “The Hunt” oil on canvas signed lower left.

Framed.

31‑5/8” x 23‑7/8”, framed 44‑3/4” x 37‑1/4” $4,000‑$7,000

326

936

937

937 Anton Nicolaas Marie Karssen (Dutch, b. 1945) “Litter of St. Bernard Puppies” oil on canvas signed lower left.

Framed.

25” x 36‑1/2”, framed 29‑3/8” x 41”

938

$2,000‑$4,000 938 William IV Bronze Dore et Patine Chenets with Integral Adjustable Fender second quarter 19th century, English, each chenet with a lion attacking a snake, supported on a bombe plinth decorated with molded scrollwork, the center rod with molded lotus leaves. h. 13‑1/4”, w. 64”, d. 4‑1/2” $1,000‑$1,500 939 William IV Rosewood Book Mill/Canterbury mid-19th century, the rectangular top above sectioned bookshelves, above a spindled canterbury section with a single drawer below, raised on toupie feet to casters. h. 37”, w. 18”, d. 14‑1/2” $700‑$1,000

939

327

940

942

942 Henry Perlee Parker (British, 1795‑1873) “Portrait of a Chelsea Pensioner Reading the Naval and Military Gazette” oil on canvas signed and dated “1837(?)” lower right.

Framed.

30” x 24”, framed 39” x 34” 940 detail

940 Edwardian Inlaid Mahogany Display Table

$5,000‑$8,000 Traditionally, the term “Chelsea pensioner” was used to refer to any retired military member residing at the Royal Hospital Chelsea. Such portraits often depicted the former soldiers and seamen in red coats, reading up on the exploits of their active compatriots.

early 20th century, the square top bi-sected and opening to a lift-out glass tray, above a deep paneled frieze, raised on fluted circular legs joined by a concave shelf and ending in brass caps and casters, the whole with delicate inlaid scrolling foliate patterns, the inside bearing the stamp: “Harrods / Manufacturing / Silversmiths/ Electroplaters & Cutlers / London / S.W.”. h. 31‑1/2”, w. 26‑1/2”, d. 28” $1,000‑$1,500 941 William IV Mahogany and Leather-Upholstered Library Armchair second quarter 19th century, of generous proportions, the tufted concave back joined to curved arm rests, on baluster-form supports, raised on cylindrical and ringturned front legs, may have originally been fitted as a reclining chair. h. 45” $1,000‑$1,500

328

941

943

944

943 Fifty-Five Volumes of British Literature including Works of Robert Burns with His Life by Allan Cunningham, London: Cochrane and McCrove, 1834, incomplete in 7 of 8 volumes, boards half calf and fabric, spines with gilt lettering and design, and Scott’s Novels, Edinburgh: Adam and Charles Black, 1853/4, complete in 48 volumes, boards half calf and marbled paper, spines with gilt lettering and design. former 6‑3/4” x 4‑1/4”, latter 6‑1/2” x 4‑1/4” $1,000‑$1,500 944 Edwardian Mahogany Bracket Clock first quarter 20th century, with a silver-gilt chapter ring and a silver-gilt globe set above the dial, in a Georgianstyle case with molded gilt-bronze spandrels, the top with bronze acorn-form finials. h. 18”, w. 10‑3/4”, d. 7” $1,000‑$1,500 945 Edwardian Inlaid Mahogany Tall Case Clock late 19th century, the hood with a central brass eagle-onball finial, above a circular convex glass door flanked by classical inlaid pilasters, the central door and base with floral inlays, set with a brass time-and-strike movement. h. 88”, w. 18”, d. 9” $1,500‑$2,500

945

329

946 Victorian Mahogany Tripod Table late 19th century, the tilting floriform top with a raised edge and central molding with inlaid brass and bone accents, and raised on a turned columnar standard to three splayed cabriole legs headed by acanthine brass inlay and ending in like-inlaid pad feet. h. 30”, dia. 35” $1,000‑$1,500 947 Pair of Victorian Giltwood and Marble-Top Occasional Tables mid-19th century, each with a circular white marble top above an acanthine frieze, raised on a bulbous standard to three splayed foliate- and floral-carved legs ending in acanthine toes. h. 31”, dia. 17”

947

946

$1,000‑$1,500 948 Pair of Exceptional English Bronze-Mounted Porcelain Vases fourth quarter 19th century, probably Coalport, now mounted as lamps, the bottle vase-form lamps mounted with gilt-bronze putti handles, the bodies with hand-painted topographical landscapes on the obverse and putti on the reverse, the molded bronze bases decorated with porcelain cabochons, set with shades. overall h. 28”, dia. 13” $1,200‑$1,800 949 Eight-Piece Collection of English Coalport Topographical Porcelain ca. 1891‑1920, all with hand-painted, identified scenes on a cobalt ground richly decorated with giltwork, including four cabinet plates with T. Goode & Co., London retailer’s marks, dia. 8”, a three-handled tray, w. 9”, d. 5‑3/4”, a covered urn with ram’s-head handles, h. 10‑1/4”, w. 5‑1/4”, d. 4”, a similar smaller urn, h. 7‑1/4”, w. 4”, d. 3”, and an urn with lion’s-head handles, h. 7”, w. 4‑1/4”, d. 3”.

948

$1,000‑$1,500

330

949

950 Victorian Chinoiserie-Decorated Lacquered Center Table second half 19th century, the shaped top with gilt chinoiserie and raised on a baluster-form pedestal with tripodal base, in like decor. h. 25‑1/4”, w. 50‑3/4”, d. 41” $800‑$1,200 951 British School (Third Quarter 19th Century) “Portrait of a Young Boy with Sausage Curls, Family Pet by His Side”

950

oil on canvas unsigned.

Fine antique giltwood cove-molded frame.

50” x 36‑1/2”, framed 63” x 49” $1,500‑$2,500

952

953 Suite of Ten Italian Rococo Fruitwood Dining Chairs 18th century, each with a shell-carved crest over a shaped splat, serpentine seat with a dramatic scalloped and carved apron, cabriole legs and ball-and-claw feet, bench-made with pegged construction throughout. h. 40‑3/4” $1,800‑$2,500

951

952 Victorian Mahogany “Rent” Table third quarter 19th century, of octagonal form, the top with a molded edge and the frieze fitted with a drawer along each edge, supported by a turned and carved standard with four carved outstretched legs. h. 29‑1/2”, dia. 52” $1,000‑$1,500

953

331

954 Partial Meissen Porcelain Dinner Service ca. 1860‑1924, the pattern K24L service decorated with hand-painted flowers and comprised of twelve dinner plates, dia. 9‑3/4”, twelve soup plates, dia. 9‑3/4”, twelve salad plates, dia. 8-1/2”, twelve bread-and-butter plates, dia. 6‑3/4”, twelve teacups, h. 2‑1/2”, with twelve saucers, dia. 5‑1/4”, eleven demitasse cups, h. 1‑3/4”, with twelve saucers, dia. 4”, an oval platter, w. 15‑1/2”, d. 11‑1/2”, and a bateau-form open dish, w. 13‑1/4”, d. 6‑1/4”.

954

$1,200‑$1,800

955

955 Dutch Mahogany and Marquetry Games Table and Commode the games table, late 19th century, with a shaped rectangular top with an urn-centered scrolling foliate marquetry inlay, hinged and opening to a like interior, above a conforming shaped frieze, raised on cabriole legs ending in pad feet, h. 30‑1/2”, w. 32‑1/2”, d. 17‑1/2”, and the small commode, 19th century, with a rectangular stepped top with a floral basket inlay, above a conforming case fitted with two long drawers, raised on cabriole legs ending in pointed toes, h. 19‑1/2”, w. 20”, d. 13‑3/4”. $1,000‑$1,500

956 Dutch Mahogany and Marquetry Vitrine-on-Chest 19th century, the molded and domed cornice centered by a fleur-de-lis carving, above a single glazed cupboard door and glazed sides, the lower bombe section fitted with three graduated long drawers, raised on hairy hoof feet, the whole richly accented with foliate marquetry inlays. h. 79”, w. 37”, d. 19‑1/2” 956

332

$1,000‑$1,500

957 detail

957

958

957 Dutch Mahogany and Marquetry Bureau early 19th century, the shaped backpiece above a bombe case fitted with a slant front, opening to a variety of drawers and cubbyholes, over a small central drawer and a single long frieze drawer, raised on cabriole legs, the whole richly accented in floral and foliate marquetry patterns. h. 46”, w. 36‑1/2”, d. 19” 959

$800‑$1,200 958 KPM Porcelain Jardiniere post-1882, German, the oxblood jardiniere trimmed with raised turquoise enamel flowers and raised rope trim at the base, with an underglaze blue baton mark with “Selb”, and bearing a Gilman Collamore & Co., New York, retailer’s label. h. 13‑1/4”, dia. 12” $1,000‑$1,500 959 Dutch Neoclassical Brass-Mounted and Marquetry-Inlaid Mahogany Secretaire a Abattant 19th century, with a drawer over a fall front and a pair of paneled doors below, flanked by canted corners and adorned throughout with floral and foliate urn inlay, the front opening to reveal a partitioned interior with bands of three drawers flanking a central door, the drawers now with segmented velvet bottoms fitted for intaglios or medals. h. 61‑3/4”, w. 37”, d. 17‑1/2”

959 detail

$1,500‑$2,500

333

961

962 Dutch Marquetry-Inlaid Mahogany Corner Cupboard early 20th century, in the rococo taste, the molded arched cornice over a pair of doors opening to reveal a pair of serpentine shelves and inlaid masques on the interior door panels, on a base with a pair of paneled doors, inlaid throughout with traditional floral leaf and vine marquetry. h. 90‑1/2”, w. 43”, d. 25‑1/2” $1,800‑$2,500

960

960 Dutch Marquetry-Inlaid Tall Case Clock 18th century, the hood with a carved keystone cartouche above a blind fretwork frieze, the case and hood profusely inlaid in the traditional style, fitted with an eight-day timeand-strike movement bearing the engraved name “Jas Johnson, London”. h. 92”, w. 21”, d. 11” $2,500‑$4,000 961 Dutch Mahogany and Marquetry Pedestal Desk mid-19th century, of Georgian form, the rectangular top with a three-quarter gallery, above a frieze with three drawers, raised on two pedestals, each fitted with a paneled cupboard door, one opening to four short drawers, the other to shelves, raised on plinth bases, the whole inlaid throughout with marquetry scrolling foliate and floral urn panels. h. 35”, w. 55‑1/2”, d. 33” $800‑$1,200

334

962

963

964

963 Semi-Antique Sarouk Carpet 10’ x 15’ 6” $1,500‑$2,500

964 Laristan Sultanabad Carpet 8’ 1” x 10’ $1,000‑$1,500

965 Agra Serapi Carpet 11’ 7” x 16’ 5” $1,500‑$2,500

965

335

966

967

966 Peshawar Bakshaish Carpet 7’ 8” x 9’ 8” $1,400‑$1,800

967 Heriz Carpet 7’ 7” x 9’ 8” $1,000‑$1,500

968 Turkish Angora Oushak Carpet 9’ x 11’ 6” $1,000‑$1,500

968

336

969

970

969 Mahal Carpet 11’ x 13’ 8” $1,000‑$1,500

970 Peshawar Sultanabad Carpet 10’ x 13’ 8” $1,200‑$1,800

971 Agra Mahal Carpet 12’ x 14’ 7” $1,200‑$1,800

971

337

972

973

972 Agra Sultanabad Carpet 10’ x 14’ $2,000‑$4,000 973 Agra Serapi Runner 2’ 7” x 30’ 2” $1,000‑$1,500 974 Sultanabad Carpet 8’ 8” x 11’ 11” 974

338

$1,000‑$1,500

975 Agra Serapi Carpet 6’ x 8’ 7” $1,000‑$1,500 976 Turkish Angora Oushak Carpet 10’ 3” x 13’ 8” $1,200‑$1,800 977 Turkish Angora Oushak Runner 2’ 7” x 29’ 1” $1,000‑$1,500

975

976

977

339

978 Chinese Green Glaze Ceramic Ewer possibly Liao period (907‑1125), of “chicken crested” form, having compressed sides, centrally pierced at the top, and a single short spout, with all-over green glaze, raised on a circular unglazed foot. h. 9‑1/2”, w. 6‑1/4” $1,500‑$2,500

979 Chinese Porcelain Plaque second half 19th century, of rectangular form, depicting a scholar, possibly Wang Xizhi, in a garden setting, sitting at a table covered with scholarly objects, with two young students and a pair of geese, in the famille rose palette with over-glaze areas, mounted within a hardwood frame. h. 15”, w. 9‑5/8”

978 979

$1,000‑$1,500

980 Southeast Asian Bronze Rain Drum the circular top with a central sunburst surrounded by rings of panels in shallow relief, the perimeter of the top adorned with four frogs, the tapering pedestal fitted with handles, now with a circular glass top for use as a cocktail table. h. 19”, dia. 26‑1/4”, glass top dia. 28” $1,000‑$1,500

981 Chinese Panel-Top Low Table 20th century, the single-panel, rectangularform top inlaid with mother-of-pearl, coral and various other hardstones, depicting birds perched amid blossoming branches stemming from rockwork, with butterflies hovering in the surround, raised on four short legs terminating in scroll feet, with scroll detail to the frieze. h. 14‑3/4”, w. 59‑1/2”, d. 21‑1/4”

980

$1,200‑$1,800

981

340

982 Pair of Chinese Famille Verte Porcelain Fish Bowls late Qing Dynasty (1644‑1912), decorated with orange lotus blossoms and lily pads, the borders with green latticework and flowers, the sides with molded handles of foo dogs grasping rings. h. 17‑3/8”, dia. 21‑5/8” $1,000‑$1,500

983 Two Chinese Embroidered Silk Wall Hangings

982

mid-20th century, each of narrow rectangular form, depicting scholarly figures in a terraced garden setting surrounded by flowers and foliage, one example with birds flying overhead, with a foo dog prowling below, the other example showing a deity amid clouds, and deer, representing longevity, beneath a tree below, all in silks of various hues on a red ground with deep blue border.

95‑5/8” x 20” and 96‑7/8” x 20‑1/8” $1,000‑$1,500

984 Hardwood Occasional Table in the Chinese Style fourth quarter 18th/first quarter 19th century, having a square top within a thick, conforming outer frame, over a solid frieze carved in light relief with elongated cartouches to each side, on four stylized cabriole legs joined by a carved and pierced foliate apron, the whole raised on a simple square frame base. h. 27‑1/4”, w. 31‑1/4”, d. 31‑1/4” $1,000‑$1,500

984

983

341

985 Chinese Ancestral Portrait (Fourth Quarter 19th/First Quarter 20th Century) ink and color on paper the figure of a seated emperor, possibly a depiction of the Emperor Kangxi, posing in traditional dragon robes on a throne covered with animal skins, mounted within a wooden frame.

63‑1/2” x 39”, framed 68-7/8” x 43” Provenance: Descended in the Family of John Gilman D’Arcy Paul, Baltimore, Maryland. $1,200‑$1,800 986 Interesting Chinese Exotic Hardwood Two-Post Cabinet 19th century, the pierced and carved crest with dragons chasing the flaming pearl, with ruyi bats and “shou” characters in the frieze, the upper case fitted with a series of open shelves, and the base with glazed doors and side panels. h. 100”, w. 53”, d. 23” $2,500‑$4,000

985

987

987 Large Japanese Meiji Cloisonne Charger late 19th century, the central panel depicting moths amidst branches with peonies, chrysanthemums and various flowers, the rim in brocade decor. h. 3‑1/2”, dia. 24” $1,200‑$1,800

342

986

988 Large Chinese Embroidered Silk Wall Hanging first half 20th century, of rectangular form, the vertical design depicting birds and butterflies perched amid and hovering around blossoming branches, in silk threads of various hues, all on a deep scarlet ground.

129‑1/2” x 57‑1/4” $1,200‑$1,800

989

989 Chimu-Style Silver Beaker

988

possibly 1000‑1500 AD, having a splayed foot gently tapering into a neck with flared rim, the lower body with stylized repousse work facial features, unmarked. h. 7‑1/4”, dia. top 2‑1/2”, base dia. 3‑1/2” $2,000‑$4,000 990 Southeast Asian Rosewood Side Table early 20th century, the shaped backpiece with a carved and pierced scrolling foliate design, the shaped top with a foliate edge, over a carved and pierced apron, raised on cabriole legs headed by masque carving, joined by a carved and pierced X-form stretcher and ending in foliate scrolled toes. h. 40”, w. 56”, d. 21‑1/2”

991

$1,000‑$1,500 991 Carved Wood Figure of a Manticore possibly 17th century and of Middle Eastern origin, depicted as having a lion’s body with split ‘scorpion’ tail, modelled in repose, with head raised, the back with a carved section suggesting it was once mounted. h. 10”, w. 19”, d. 5” $1,000‑$1,500 990

343

Conditions of Sale: ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below).

These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows: • An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG; • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot; • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction; • “Buyer’s Premium” is defined in Section 4 below; • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction; • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction; • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges; • A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below; • The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot; • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot; • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed

by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

Rev. 01/04/17

(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.)

All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

Rev. 01/04/17

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. (d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires] by the end of the day on the fifteenth calendar day following the conclusion of the Auction - note that there is no discount for LiveAuctioneers and Invaluable bidders) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction.

Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision.

In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or antiterrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

Rev. 01/04/17

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required

by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved. (i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. Severability If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. Data Collection In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. Law and Jurisdiction The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

Rev. 01/04/17

New Orleans Auction Galleries

333 Saint Joseph Street, New Orleans, LA 70130 | 504-566-1849 | Fax: 504-566-1851 | info@neworleansauction.com

ABSENTEE / TELEPHONE BID FORM Name (Please Print): ______________________________________________

Date: ______________________

Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _______________________________ Address: ____________________________________________________________________________________ City: _____________________________________________

State: ____________ ZIP: ___________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_______________ E-mail Address: _________________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue.

Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted

by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ Expiration Date: _____________ CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires], the buyer’s premium shall be discounted 3% of this 25%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): ___________________________________________________________________ Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com

Susan D. Sarofim CEO

Tessa Steinkamp Director of Auctions

Ashton Thomas President

Jelena Restovic James Director of Fine Art

Ireys Bowman General Consignments

Greg S. Kowles General Consignments

Kim Lemon Fine Jewelry Specialist

Michele Carolla Fine Art Specialist

Nicole Casi, PhD Fine Art Specialist

Rebecca Moss Asian Arts Specialist

Thomas Halverson American Furniture Specialist

Burke Designer

Taylor Eichenwald Marketing & Public Relations

Charles C. Cage Silver Specialist & Office Manager

Colleen Ryan Director of Human Resources

AUCTIONEERS

CONSULTANTS

Tessa Steinkamp, #1265 Ashton Thomas, #1833 Taylor Eichenwald, #1922 Michael DeGeorge, #1774

Ellen McKenzie English & Continental Furniture Ira Savoie Independent Certified Gemologist Appraiser Claudia Kheel Fine Art

ADMINISTRATION Denise Haik Christa Ougel Office Administration Graphic Designer Gary Michael Gittelson Bettina Bausa Photographer Graphic Designer Grace Connors Manager of Cakebread Auction

OPERATIONS Cedric Roberts | Sean Ranson Bennie Amos | Eddie Daigrepont Emmitt Kendrick, Jr. Gerald Hampton | Juanita Bazile Sol Carter | Thomas Johnson Theadrow Mark