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New Orleans Auction galleries

december 10-11, 2016


W i n t e r E s tat e s A u c t i o n : D e c e m b e r 1 0 - 11 , 2 0 1 6

F e at u r i n g P r o p e r t y F r o m : The Estate of George “Dod” Stewart Slidell, Louisiana The Estate of Alice Evans Pratt H o u s t o n , Te x a s T h e C o l l e c t i o n o f Vi r g i n i a Ly n c h Little Compton, Rhode Island

L o t 1111 Cover: Lot 922


SESSION I :

Exhibition

December 10, 2016, Lots 1 - 639

November 28 - December 9 O p e n M o n d a y - S a t u r d a y, 9 a . m . - 5 p . m .

10:00 - 11:00

1

11:00 - 12:00

101

-

200

12:00

-

1:00

201

-

300

1:00

-

2:00

301

-

400

2:00

-

3:00

401

-

500

3:00

-

4:00

501

-

600

Evening Reception:

4:00

-

4:30

601

-

639

T h u r s d a y, D e c e m b e r 8 , 2 0 1 6 , 5 - 8 p . m .

-

100

Closed Sunday

SESSION II : December 11, 2016, Lots 640 - 1138

10:00 - 11:00

640

-

715

11:00 - 12:00

716

-

790

12:00

-

1:00

791

-

880

1:00

-

2:00

881

-

980

2:00

-

3:00

981

-

1080

3:00

-

3:30

1081

-

1138

New Orleans Auction Galleries 333 St. Joseph Street, New Orleans, Louisiana 70130

NewOrleansAuction.com | tel: 504-566-1849 | fax: 504-566-1851 | email: Info@NewOrleansAuction.com LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 | 25% Buyer’s Premium (3% Discount For Prompt Payments Made By Cash, Check, Or Wire)


OCtober 14-16, 2016 Evening reception highlights

1

2

5

4

7

1. Joseph Stone & "Precious"; 2. Lauren Labostrie & Steven Psarellis; 3. Karen & Sebastian Gimenez; 4. Jacque & Alec Windle; 5. Paul & Mary Ann Murphy; 6. Sandy Barrett, Bryan Huffman & Susan D. Sarofim; 7. Taylor Eichenwald, Susan D. Sarofim, Tessa Steinkamp, Randolph Holford & Ashton Thomas; 8. Rick & Lisa Kuebel and Burke

3

6

8


letter from the ceo Tinsel. Just hearing the word transports me to my seventh Christmas as surely as if I was clutching the comforting hand of the ghost of Christmas past. Growing up, Christmas at my house mostly revolved around Christmas tree traditions. Every year on the appointed night, my parents and I would pile into our wood-paneled station wagon and visit at least two tree lots. After much discussion on everyone's part and some negotiation, the (almost) perfect tree would be tied to the top of the car for the trip home. With a great to-do and much huffing and puffing, my dad, a die-hard Navy man, would haul the tree into the house and then string the lights, using some words in the process that perhaps a 7-year-old shouldn't have heard, but this was the one occasion my mom didn't chastise him. Finally came the magical Christmas moment when dad plugged in the lights and the now “vintage-style” bulbs bathed our small den in red, green, blue and gold light. We’d stand for a moment admiring the beauty of the (almost) perfect tree and enjoying the woodsy smell. Hanging the ornaments completed the evening, and we tromped off to bed, weary but full of holiday spirit. The following night, dad would be happily ensconced in his favorite chair, knowing his contribution to Christmas was mostly over, and he could enjoy the rest of the season. But after dinner, mom would start carefully placing tinsel on the tree, one single, sparkly strand at a time. During my earliest years I longed to be a part of this tradition; however, my chubby fingers couldn't handle the tiny, fragile strands. But in my seventh year, my mother announced I, too, could hang the tinsel on the tree. The end result was a tree that glowed and shimmered and was simply, to me, the most breathtaking sight I had ever seen. And every year following, I was equally awestruck. Both my parents worked long and hard so time together was a luxury. But each year, when mom and I would meticulously hang those hundreds of metallic strands, sometimes talking and sometimes just enjoying being together, it was my opportunity to have time alone with her. It was during this tinsel-hanging time I confessed adolescent secrets, including my first love and then heartbreak and my hopes for college and my future.

After the flurry of serving Christmas Eve dinner, the yearly family pictures had been taken in front of the tree and the guests had noisily departed, mom would turn off all the lights in the house. With mugs of hot chocolate, which as the years passed turned into glasses of wine, we would sit together, once again admiring our magnificent (almost) perfect tree and enjoying our special time together. The Christmas tree tradition my mom and I shared is one of the special ways I remember her, holding those memories of our years of putting tinsel on our trees close to my heart. It is in creating traditions we define who we are in relation to our families and society. They give us a framework for our memories and lend a semblance of order to an unpredictable future. Traditions feed our hearts and our souls. At New Orleans Auction Galleries, we have our own holiday traditions, which include decorating a fabulous tree (almost perfect, but with no tinsel, though) that illuminates our preview party. There’s also the famous, much-anticipated Brie soup we serve during the festivities. And, as always, we have the tradition of offering 1,138 amazing auction lots on Saturday, December 10 and Sunday, December 11 starting at 10:00 a.m. each day. A few of my favorite things Santa should promptly load on his sleigh include an extensive collection of Newcomb and Shearwater pottery from the Estate of George “Dod” Stewart, an avid collector of Southern art pottery. As always, it will be a busy season, so don’t forget to mark your calendars for our preview party, Thursday, December 8, beginning at 5:30 p.m. It’s sure to be a night of magical holiday fun, which, to me, is (absolutely) perfect. All of us at NOAG wish you a happy holiday season filled with both old and new traditions, and of course, a Happy New Year!

Susan D. Sarofim CEO


George “Dod” Stewart Slidell, Louisiana

George “Dod” Stewart was an artist, musician, avid art collector, pottery collector and patron of the arts. He pursued all things Arts and Crafts. Guests to his modest home beneath the St. Tammany pines of Slidell, Louisiana, found an overwhelming collection of Newcomb and Shearwater pottery along with a large collection of paintings and furniture. His scholarship on Shearwater Pottery, one of the earliest American art potteries, helped bring further recognition to the work of Walter Anderson, James “Mac” Anderson and Peter Anderson, as well as later generations of Anderson potters and decorators. Dod loved people, and his admiration of the Anderson family is reflected in his book, Shearwater Pottery, an invaluable, authoritative and comprehensive resource for collectors and scholars of Shearwater. His patronage of contemporary artists extended nationwide. As president of the American Art Pottery Association and his participation in the annual Arts and Crafts Conference in Asheville and the Pottery Lovers gatherings in Zanesville each year, Dod met with collectors and contemporary artists alike. Dod generously loaned pieces from his personal collection to museums, including the Smithsonian Institute and the University of Louisiana. Known worldwide in the organ procurement and transplantation community, Dod's vocation took him around the globe many times. Friends and family always enjoyed his dry wit and generosity, usually over a delicious meal. His friends knew of Dod's artistic pursuits and many helped locate possible items of interest. Packages and crates usually beat Dod home, and his dining room always seemed like “Christmas central.” In addition to his many accomplishments in the medical field and as a collector, Dod played piano and guitar, and was an amateur horticulturist. He maintained a greenhouse of orchids as well as many beautiful plants in his home and yard. New Orleans Auction Galleries is honored to offer art pottery, paintings and furniture from the Estate of George “Dod” Stewart.


ALICE EVANS PRATT HOUSTON, TEXAS

Alice Evans Pratt was born January 17, 1915 in Houston, Texas to Joseph W. Evans and Emily Scott Evans. She attended The Kinkaid School and later spent a year at Newcomb College. The Evans family founded Evans & Company Cotton Buyers and Exporters in 1908. Located in the Houston Cotton Exchange Building, Evans & Company remained a major business in Houston throughout the early 20th century. Alice’s father, Joseph, was instrumental in establishing the Port of Houston as an important port for cotton producers and contributed to its current status as an international gateway for essential cargo. Alice had a natural curiosity and love of learning. Her interests included gardening, decorating, medicine and business. She loved dogs, especially Sam, one of the many German Shepherds she owned throughout her life. As a native Houstonian, Alice was dedicated to improving the Houston community. She created the Emily Scott Evans Endowed Professorship in the Special Collections and Archives Department at the University of Houston and also supported the construction of the Emily Scott and Joseph Wood Evans Training Room classroom that provided UH students a place to research and learn from the library’s rare books, archives and manuscripts. Alice was also instrumental in funding the landscaping for the Houston Public Library’s main downtown location. On a national level, Alice was on the board of the National Parks Foundation and established the Wills Foundation to fund medical research for Huntington’s Disease. She was extremely interested in the medical field, specifically genetics, and was excited by genomic advancements. Alice was fascinated with technology and saw new advancements in electronics and their impact on the world as the most important development of her lifetime. Alice loved to travel and had a special appreciation for Turkey, France and New York City. She remained active until the very end of her life, even taking a motorcycle ride to celebrate her 90th birthday. Alice died in June 2016 at 101 years old. New Orleans Auction Galleries is pleased to offer items from the Estate of Alice Evans Pratt in our Winter Estates Auction.


V I R G I N I A M c G a u g h e y L Y N CH L i t t l e C o m p t o n , R h o d e I s lan d

Virginia McGaughey Lynch was a well-known New England art gallery owner. Born in Greenville, Texas in 1916, she attended Baylor University and earned an Undergraduate degree in French. She continued her studies at Baylor, earning a Masters in American Civilization. In 1960, after her first marriage ended in divorce and her children were grown, she moved from Texas to Massachusetts, briefly taking a job at Brandeis University before marrying William Lynch. After William died, she worked in the alumni office of the Rhode Island School of Design (RISD) and later served on the school’s Board of Trustees. Virginia always had an appreciation and love for art, but it wasn’t until she opened Virginia Lynch Gallery in 1983 at 68 years old that she formally pursued a career in that field. Prior to opening the gallery, she had dabbled in the art world by selling paintings by artist Molly Luce out of her home; she continued to represent Luce after opening the gallery and is credited with reviving her career. She represented several hundred artists over the years, including Dale Chihuly, Gretchen Dow Simpson, Molly Luce and many others. Widely celebrated in the art world for her ability to discover and elevate emerging as well as established artists, she received an Honorary Doctorate Degree from RISD in 1997 (alongside renowned artist Chuck Close) and the school honored her with a curatorial retrospective in 2000. New Orleans Auction Galleries is pleased to offer paintings from the collection of Virginia Lynch.

Lot 1078


S e ssion I : S at u r day, De c e m be r 1 0 , 2 0 1 6 Lots 1 - 6 3 9

Lot 3 3 8


1

Louis XV-Style Mahogany Chest, 19th century, the rounded rectangular top above a conforming case fitted with six drawers, raised on shaped toes, h. 58”, w. 24”, d. 18‑1/2”. [1200/1800] Illustrated

2

Regence Walnut Commode, late 18th century, the bowed rectangular top banded and with decorative geometric inlay, above a conforming case fitted with three long drawers, all inlaid with string banding, raised on shaped feet, h. 32‑1/2”, w. 51‑1/2”, d. 26‑1/2”. [1000/1500] Illustrated

3

Louis XV-Style Walnut Armoire, late 19th century, the molded and domed crest with canted corners, above a conforming case fitted with a foliate-carved frieze over two long doors, each inset with a shaped panel, over a floral-basket-carved apron, raised on scrolled toes, h. 103”, w. 60”, d. 28‑1/2”. [800/1200] Illustrated

1

2

2

3


4

Continental School (19th Century), “Extensive Mountain Landscape with Figures”, oil on canvas, unsigned, 52” x 70”. Presented in a cove-molded giltwood frame. [1500/2500] Illustrated

5

Louis XVI-Style Giltwood Mirror, 20th century, French, the molded surround set with carved square corner medallions and a beveled mirror plate, set with a pierced, scrolled crest decorated with a sheaf of wheat and crossed agricultural trophies, h. 63”, w. 32”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated

6

Brussels Hand-Woven Verdure Tapestry, 19th century, park with bridge, buildings and lush foliage, in tones of deep green and brown, 7’ 6” x 5’ 6”. [2000/4000] Illustrated

4

7

Suite of Four Louis XV-Style Polychrome Sidechairs, second quarter 20th century, each with a padded rectangular back surmounted by a floral and foliate crest, the padded seat raised on cabriole legs headed by foliate carving and ending in scrolled toes, upholstered in bold, trapunto-stitched tropical cotton, h. 37‑1/2”. [1200/1800] Illustrated

6

5

7

3


9

8

10

11 12

8

10

9

11

Provincial Louis XVI-Style Oak Commode, late 19th century, the shaped top above a conforming case fitted with three drawers, all with foliate and bellflower carving, the sides paneled and with ribbon carving, raised on paneled tapering square legs, 34‑1/2”, w. 31”, d. 15‑1/4”. [700/1000] Illustrated Mary Kirk Kelly (American/Alabama, 1918‑2013), four ceramic items, including a gourd tureen, signed and dated 1992, h. 8”, w. 14‑1/4”, d. 7‑3/4”, and three pumpkins, signed, the smallest dated 1996, h. 7” to 8”, dia. 4‑3/4” to 5‑1/4”. [800/1200] Illustrated

4

Mary Kirk Kelly (American/Alabama, 1918‑2013), two ceramic items, including a red cabbage covered tureen on stand, signed and dated 1992, h. 9‑3/4”, dia. 14‑3/4”, and a small red cabbage covered bowl, signed, h. 5‑1/4”, dia. 4‑3/4”. [800/1200] Illustrated Mary Kirk Kelly (American/Alabama, 1918‑2013), three ceramic pumpkins, each signed, one dated 1993, h. 7” to 8‑1/2”, dia. 7‑1/2” to 8‑3/4”. [600/900] Illustrated

12

Mary Kirk Kelly (American/Alabama, 1918‑2013), nine ceramic items, including eight yellow, purple and white onions and a lettuce leaf bowl, bowl, h. 5”, w. 13‑1/2”, d. 11”. [500/800] Illustrated


17

13

18

13 14

Mary Kirk Kelly (American/Alabama, 1918‑2013), four ceramic vegetables, including a patty pan squash with a blossom, h. 4”, dia. 5”, an acorn squash, h. 4‑3/4”, dia. 4”, a buttercup squash, h. 4‑3/4”, dia. 5”, and a cushaw squash with a blossom, h. 7”, w. 7‑1/2”, dia. 4‑3/4”. [500/800] Illustrated

14

Mary Kirk Kelly (American/Alabama, 1918‑2013), six ceramic vegetables, including three ears of corn, l. 8‑1/4” to 11‑1/4”, two potatoes, l. 5‑1/2” to 5‑3/4”, and a yam, l. 6‑1/2”, each signed, one potato dated 1993. [500/800] Illustrated

15

Mary Kirk Kelly (American/Alabama, 1918‑2013), three ceramic melons, including a watermelon tureen with a blossom on the handle and a watermelon-colored interior, h. 9‑1/2”, w. 14”, d. 6‑1/4”, and two watermelons, h. 6”, dia. 5” and h. 8‑1/4”, dia. 7‑3/4”, signed. [700/1000] Illustrated 15

16

Mary Kirk Kelly (American/Alabama, 1918‑2013), collection of fifty-two brown speckled life-sized eggs, signed, in a turned yellow pine bowl signed by E. A. Sheppard, De Queen, Arkansas, h. 6‑1/4”, dia. 11‑1/2”. [500/800] Illustrated

17

Mary Kirk Kelly (American/Alabama, 1918‑2013), six ceramic vegetables, including a cauliflower, h. 5”, dia. 6‑3/4”, a head of lettuce, h. 4”, dia. 5‑3/4”, a cabbage, h. 5‑1/2”, dia. 5‑1/2”, and three molded beakers, h. 2” to 4‑1/2”, signed, one beaker dated 1978. [800/1200] Illustrated

18

16

Mary Kirk Kelly (American/Alabama, 1918‑2013), group of fourteen ceramic Osage oranges, most signed, in a turned hackberry bowl signed by E. A. Sheppard, De Queen, Arkansas, bowl, h. 7”, dia. 12”. [500/800] Illustrated

5


20

21

19

19

Spanish School (Fourth Quarter 19th Century), “Still Life with Fruit, Dead Game and a Rifle, in an Exotic Garden”, oil on canvas, signed lower right “R. Brugada”, 16” x 20”. Framed. [1000/1500] Illustrated

20

Henry Schouten (Belgian, 1864/1867‑1927), “Herding the Cattle”, oil on wood panel, signed lower left, 19‑5/8” x 29‑3/8”. Framed. [2000/3000] Illustrated

6

21

Willem Jacobus Boogaard (Dutch, 1842‑1888), “Blacksmith in the Stables”, oil on wood panel, signed lower right, 16‑1/8” x 22‑1/8”. Presented in a period giltwood frame. [1500/2500] Illustrated


22

23

22

Louis XIII-Style Fruitwood Fauteuil a la Reine, 20th century, the tall domed and padded back joined by downswept foliate-carved arms to the padded seat, raised on turned and bulbous legs joined by a shaped X-form stretcher and ending in bun feet, h. 46”. [500/800] Illustrated

23

Louis XIII-Style Mahogany Settee, early 20th century, the padded rectangular back joined by downswept arms and acanthine hand rests to the padded seat, raised on ring-turned circular legs joined by shaped X-form stretchers and ending in bun feet, h. 47‑1/2”, w. 72‑1/2”, d. 30”. [700/1000] Illustrated

24

24

Pair of Provincial Fruitwood Commodes, 19th century, each with an overhanging rectangular top over two long drawers, each inset with two panels, and raised on a pierced bracket base, h. 38”, w. 50”, d. 25‑1/2”. [1500/2500] Illustrated

25

Pair of Provincial Oak Cabinets, mid-19th century, each with a canted rectangular top, hinged and opening to a storage interior, the front with two panels over a single drawer, raised on block feet, h. 32”, w. 26”, d. 17”. [800/1200] Illustrated

25

7


27 26

28

26

Antique Continental Carved Wood Artist’s Lay Figure, in the form of a female, with geometric body parts and fully articulated ball joints, h. 22‑1/4”, w. 6”. Provenance: The Flatt Collection. [500/800] Illustrated

27

Two Antique Continental Pine Artist’s Lay Figures, the first in the form of a female, with carved facial features and articulated rope joint arms and torso, h. 14‑3/4”, w. 3‑1/2”; the second with fully articulated ball joints, h. 6‑3/4”, w. 2‑1/4”. Provenance: The Flatt Collection. [500/800] Illustrated

28

Continental Carved Fruitwood Artist’s Lay Figure, fourth quarter 19th century, in the form of a female, with fully articulated ball joints, h. 26”, w. 7”. Provenance: The Flatt Collection. [500/800] Illustrated

8

29

29

English Carved Pine Artist’s Lay Figure, first half 19th century, with fully articulated ball joints and incised facial features, h. 38‑1/2”, w. 10”, d. 5”. Provenance: The Flatt Collection. [1200/1800] Illustrated


30

32

31

33

30

French Hand-Woven Tapestry, 17th century, of courtiers in a wooded park, with an elaborate figural and floral posy border, executed in deep greens, tans and browns, 9’ 7” x 9’ 8”. [12000/18000] Illustrated

31

Brussels Hand-Woven Tapestry, 18th century, depicting the deposition of a queen outside the town walls, 7’ x 7’ 6”. [10000/15000] Illustrated

32

Brussels Hand-Woven Tapestry of Pilgrims Resting, 19th century, with a stylized floral and acanthine border, 9’ 3” x 7’ 6”. [3000/5000] Illustrated

34

33

French Tapestry of Fruit Pickers in an Orchard, 20th century, machine made, 5’ 1‑1/2” x 4’ 4”. [1500/2500] Illustrated

34

Flemish Hand-Woven Tapestry of a Royal Betrothal, 17th century, with central figures flanked by courtiers and crowned by a lush floral and fruit motif allegorical of fecundity and abundance, a three-quarter border of ripe fruits, 6’ x 9’ 5”. [10000/15000] Illustrated

9


35

36

37

Antal Berkes (Hungarian, 1874‑1938), “The Flower Seller”, oil on canvas, signed lower right, 16” x 20”. Presented in a giltwood and gesso frame. [2500/4000] Illustrated

38

Paul Renard (French/Dutch, 20th Century), “Winter Evening”, oil on canvas, signed lower right, 12” x 20”. Framed. [1500/2500] Illustrated

37

35

Antal Berkes (Hungarian, 1874‑1938), “Boulevard at Twilight with a Woman in White”, 1927, oil on canvas, signed and dated lower left, 29‑3/4” x 39‑5/8”. Presented in a Louis XV-style polychrome frame. [5000/8000] Illustrated

36

G. Otmar (Continental, 20th Century), “London Street Scene at the Beginning of the 20th Century”, oil on canvas, signed lower right, 25” x 36”. Presented in a handsome giltwood and gesso frame. [3000/5000] Illustrated

38

10


41

39

39

George Vuillard (French, b. 1956), “At the Opera”, oil on wood panel, signed lower left, 19” x 25”. Framed. [1200/1800] Illustrated

40

Louis van der Pol (Dutch, 1896‑1982), “Dancing in the Cafe”, oil on canvas, signed lower right, 47” x 36‑3/4”. Framed. [2500/4500] Illustrated

42

41

Kiss Kalman (Hungarian, b. 1878), “Autumnal Landscape”, oil on canvas, signed lower left, 30‑3/4” x 39‑3/8”. Presented in a giltwood and gesso frame. [2000/4000] Illustrated

42

Regence-Style Fruitwood and Marble-Top Commode, the shaped marble top with rounded corners, above a conforming case fitted with two long drawers, each with scrolling acanthine carving, above a pierced like-carved apron, raised on scrolling toes, h. 32”, w. 46”, d. 19‑1/2”. [1000/1500] Illustrated 40

11


43

45

Louis XV-Style Fruitwood Settee, late 19th century, the padded and slightly domed rectangular back surmounted by a shell and foliate crest, joined by downswept arms to the padded seat, raised above a shell- and foliate-carved apron on cabriole legs, joined by shaped X-form stretchers and ending in scrolled toes, upholstered in embroidered toile, h. 42”, w. 69”, d. 26”. [700/1000] Illustrated

Louis XIV-Style Giltwood Mirror, 20th century, French, on pierced scrolled rests, with a pierced swan’s neck pediment decorated with delicately carved flowering vines, an open pierced rocaille-carved arc serving as the finial, each corner carved with pierced scrollwork and flowering vines, h. 58‑1/2”, w. 34‑1/2”. [600/900] Illustrated

44

Louis XV Fruitwood Fauteuil, late 18th century, the shaped foliate- and floral-carved crest above a caned back with an upper padded section, joined by shaped scrolling arms to the caned seat, raised on cabriole legs ending in scrolled toes, h. 40”. [800/1200] Illustrated

44

45

43

12


48

Louis XV-Style Bronze- and Brass-Mounted Kingwood Table-Top Vitrine, late 19th century, the serpentine top with brass edging and a conforming beveled glass panel revealing an interior in celadon plush, the scalloped apron and cabriole legs with bronze mounts, h. 29‑1/2”, w. 30”, d. 19‑1/4”. [500/800] Illustrated

49

Louis XV-Style Kingwood, Parquetry-Inlaid and GiltBronze-Mounted Side Table, early 20th century, attributed to Francois Linke, the shaped top with a cast bronze rim and a parquetry-inlaid surface, one side fitted with a drawer, each bronze mount engraved on its backside with a Roman numeral registration mark corresponding to its mounting location on the table, h. 29‑1/2”, w. 32”, d. 20‑1/2”. [2500/4000] Illustrated For a similar table bearing some of the same bronze mounts, see Francois Linke, 1855‑1946, The Belle Epoque of French Furniture, by Christopher Payne, p. 489, index number 159.

46 pair

48

47

46

Pair of Louis XIV-Style Bronze and Molded Glass Petite Four-Light Chandeliers, mid-20th century, French, the molded glass-clad standards decorated with graduated sprays of drops, the scrolled bronze candle arms set with foliate drip pans and candles, and hung with drops, electrified, h. 19”, dia. 18”. [600/900] Illustrated

47

Louis XV-Style Mahogany Center Table, early 20th century, the banded and quarter-veneered shaped circular top within a brass edging, above a conforming frieze, raised on cabriole legs ending in sabots, h. 28”, dia. 27”. [500/800] Illustrated

49

13


51 50

50

French Baroque Parcel-Gilt Barometer, mid18th century, composed of painted wood trimmed with giltwood scroll- and rocaille work, with a flower carved in the crest and an acanthus leaf at the base, the barometer and thermometer sections decorated with a pale yellow ground, h. 37‑1/4”, w. 11”. [700/1000] Illustrated

51

Louis XVI Boulle Bracket Clock, fourth quarter 18th century, of inverted pear form, the case decorated with boulle work and trimmed with giltbronze mounts of scroll- and rocaille work, the bronze dial with enamel inserts, signed “Courvoisier, Paris”, now set with contemporary electric works, the bronze door decorated with two cupids drinking from cups, a brass-inlaid checked floor behind the door, and the rear door inlaid with scrollwork, h. 29”, w. 14‑3/4”, d. 6”. [1200/1800] Illustrated

52

52

Pair of French Bronze and Cast Iron Chenets, second half 19th century, in the Louis XV taste, the pierced rocaille-molded chenets decorated with molded flowers, the pierced cast iron billet bars signed “G.B.R.G.” on the bronze-clad base, h. 23‑1/2”, w. 19”, d. 22”. [500/800] Illustrated

53

Regence-Style Kingwood and Marble-Top Commode, early 20th century, the rectangular marble top above a bombe base fitted with three long drawers, all banded and with lattice parquetry inlaid panels, raised on splayed feet ending in sabots, h. 35”, w. 46”, d. 20”. [800/1200] Illustrated

53

14


56

57

54

56

Pair of Louis XVI-Style Giltwood Bergeres avec Orielles and a Padded Stool, early 20th century, the chairs each with a padded domed back surmounted by a shell and floral crest, joined by shaped and padded sides and arms to the cushioned seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 40”, together with a conforming padded square stool h. 18”, w. 27”, d. 25”, all richly upholstered in ochre paisley. [1400/1800] Illustrated

Louis XVI-Style Giltwood Overmantel Mirror, mid-19th century, the over-plate surmounted by a floral vase crest issuing floral garlands, surrounded by a molded frame with applied scrolling acanthine patterns with pendant side scrolling feet, h. 46”, w. 44”. [1000/1500] Illustrated

57

French Provincial Parcel-Giltwood, Metal and Crystal Eight-Light Chandelier, 20th century, the turned, carved and parcel-gilt standard set with scrolled metal candle arms set with molded glass drip pans and candle sockets, a row of glass flowers above the candle arms holding swags of glass prisms hung with drops, a spray of prisms at the top, h. 34”, dia. 35‑1/2”. [700/1000] Illustrated

55

Louis XV-Style Ormolu-Mounted Fruitwood and MarbleTop Commode, early 20th century, the shaped marble top above a conforming bombe case fitted with two long drawers, quarter veneered and with a central floral inlay, raised on splayed legs ending in sabots, h. 34”, w. 47”, d. 21‑1/2”. [500/800]

54

15


58

Louis XV-Style Ormolu-Mounted Fruitwood and Marble-Top Commode, late 19th century, the shaped marble top above a conforming bombe base fitted with two long drawers, both with an inlaid floral spray within an ormolu banding, raised on splayed legs ending in sabots, h. 33‑1/2”, w. 48”, d. 20‑1/2”. [500/800] Illustrated

59

60 pair

59

Continental Painted and Parcel-Gilt Mirror in the Neoclassical Taste, ca. 1900, the surround with a gray ground and decorated with gilt-edged panels and scrolled flourishes, with a panel of fruit on the base and a swan’s neck crest with carved acanthus leaves, flanking an urn of flowers as the finial, h. 46‑1/2”, w. 28‑3/4”. [1500/2500] Illustrated

60

Pair of Louis XVI-Style Painted Panels, early 20th century, each of tall rectangular form and featuring colorful floral arrangements in a fanciful architectural setting, h. 80”, w. 34”. [2000/4000] Illustrated 58

16


61

64

61

Pair of French Neoclassical-Style Gilt-Bronze, Marble and Porcelain Urns, fourth quarter 19th century, now mounted as lamps, on bronze-trimmed cylindrical marble bases, the porcelain urns handpainted with flowers and set in leaf-molded gilt-bronze bases, with goat-head handles on each side, base, h. 17”, overall, h. 22‑1/2”, w. 9”, d. 5”. [800/1200] Illustrated

62

Louis XV-Style Kingwood and Marble-Top Commode, late 19th century, the shaped rectangular marble top within a brass banding, above three drawers with floral inlay, joined to a like-inlaid stretcher shelf by cabriole supports continuing to splayed legs ending in sabots, h. 28‑1/2”, w. 18‑1/2”, d. 12‑1/2”. [700/1000]

63

Alfred Emile Godchaux (French, 1860‑1933), “Still Life of Pansies in a Pottery Vase”, oil on canvas, 16” x 10‑3/4”. Presented in a handsome giltwood exhibition frame. [5000/8000] Illustrated

64

Albert John Sherman (British/Australian, 1882‑1971), “Still Life with Peonies, Grapes and Peaches”, oil on canvas, signed lower right, 30” x 34”. Presented in an attractive giltwood frame. [1200/1800] Illustrated 63

17


65

66

Pair of Continental Brass Andirons and a Pierced Fender in the Renaissance Revival Taste, ca. 1900, resting on paw feet, with pierced scrollwork framing the fire pot, molded dolphins on each side, set with flame-form finials, h. 26‑1/2”, w. 59”, d. 6”. [500/800] Illustrated

65

65

Louis XVI-Style Five-Piece Giltwood Parlor Suite, 20th century, consisting of a settee and four bergeres, each with a patera-carved crest centered by a floral basket, joined by closed and padded acanthine-carved arms to the padded seat, raised on fluted tapering circular legs ending in peg feet, richly upholstered in ruby cut-velvet on a toast ground, settee, h. 44”, w. 62‑1/2”, d. 23”, bergeres, h. 43”. Provenance: “Buzz” Harper Antiques, Natchez, Mississippi. [2500/4000] Illustrated 66 pair

18


67

68

70

69

67

Set of Four “Jeweled” French Bronze Sconces of Rococo Inspiration, 20th century, on vasiform and molded backplates decorated with pierced scrollwork, the molded and pierced scrolled arms terminating in prism-hung drip pans decorated with “diamonds”, set with faux candles, both the arms and upper backplate hung with drops and prisms, h. 29‑1/2”, w. 17‑1/4”, d. 9‑3/4”. [900/1200] Illustrated

68

Russian-Style Gilt-Bronze, Crystal and Opaline Glass Six-Light Chandelier, 20th century, Continental, the standard set with an opaline glass vasiform insert, under rings and sprays of drops, the gilt-bronze scrolled candle arms set with vasiform candle cups and drip pans, alternating with glass spires, the base with graduated gilt-bronze swags hung with drops, with an opaline pendant finial, h. 18‑1/2”, dia. 34‑1/2”. [2000/4000] Illustrated

Transitional Louis XV-into-Louis XVI-Style Fruitwood and Marble-Top Secretaire a Abattant, mid-19th century, the rounded rectangular marble top above a conforming case fitted with an ogee-molded drawer over a quarter-veneered drop front, opening to an inset leather writing surface and a variety of drawers and cubbyholes, over two banded and quarter-veneered cupboard doors, raised on cabriole feet ending in sabots, h. 52‑1/2”, w. 29”, d. 15”. [600/900]

71

Pair of French Gilt-Bronze Two-Light Candelabra, ca. 1900, of Louis XV inspiration, on fluted bases with quiver-form standards, wrapped with “vines” terminating in leaf- and berry-molded candle cups and drip pans, the centers decorated with three-dimensional bouquetform finials, previously electrified, h. 17”, w. 8‑3/4”, d. 5”. [1500/2500] Illustrated

69

Louis XV-Style Ormolu-Mounted Kingwood Bureau Plat, 20th century, the shaped rectangular top with an inset tooled leather writing surface and molded brass edging, above a conforming frieze fitted with three drawers on one side and faux drawers on the opposite side, raised on cabriole legs headed by espagnolettes and ending in scrolled sabots, the whole accented with ormolu mounts and hardware, h. 31”, w. 69”, d. 39”. [1500/2500] Illustrated

71

19


72

74

72

Assembled Three-Piece German Porcelain Clock Set, ca. 1861‑1922, comprised of a Meissen clock and a pair of figural candelabra made by C. G. Schierholz, Plaue, Germany, ca. 1900, the inverted pear-form clock decorated with the arms of the Polish-Lithuanian Commonwealth (1569‑1795), encrusted flowers and numerous figures including muses, a Roman warrior and the Christ child holding an orb, the pierced dome top behind a crowned eagle, a symbol of the Kingdom of Poland, h. 25”, w. 11”, d. 7”, the pair of four-light candelabra with figural standards depicting a couple in 18th-century costume and decorated with encrusted flowers, signed with the Schierholz underglaze blue mark, h. 22‑1/2”, dia. 9‑1/4”. [2000/4000] Illustrated

73

Pair of French Aubusson Tapestries, late 18th century, each with a vivid crimson ground with an exuberant central floral motif, a double band border, 14’ 3” x 4’ 10”. [6000/9000] Illustrated

74

Unusual Louis XV-Style Gilt-Bronze SevenLight Chandelier, third quarter 20th century, the gilt-bronze scrollwork frame set with six flowermolded candle sockets and drip pans, electrified and mounted with shades, terminating in the center to a single unelectrified tulip-form candle socket, the arms and frame hung with various crystal drops, h. 24”, dia. 20‑1/2”. [800/1200] Illustrated 73

20


75

75

French Belle Epoque Overmantel Mirror in the Rococo Taste, fourth quarter 19th century, the double-arched top decorated with a putto in a pierced scroll-molded crest, the sides and lower corners with pierced scrollwork, h. 69‑1/2”, w. 49‑1/2”. [1000/1500] Illustrated

77

77

76

Brussels Hand-Woven Verdure Tapestry, 17th century, of cranes in a forest setting, executed in subdued tones of green, olive, tan and brown, 8’ 2” x 5’ 10”. [5000/8000] Illustrated

Pair of Louis XV-Style Giltwood Console Tables, early 20th century, each with a shaped top with an inset zebra-patterned fabric panel, with a conforming glass top, above a conforming shell- and foliate-carved shaped frieze, raised on cabriole legs joined by a shell-centered stretcher and ending in scrolled toes, h. 34”, w. 44”, d. 18”. [1500/2500] Illustrated

76

21


80

78

79

78

Flemish Hand-Woven Verdure Tapestry, 17th century, of a lush landscape with ruins in the background, with a floral vine border, 9’ 8” x 8”. [5000/8000] Illustrated

79

Flemish Tapestry of a Bucolic Meandering River Landscape, 19th century, machine woven, 6’ 6” x 20’ 2”. [5000/8000] Illustrated

22

80

William and Mary-Style Fruitwood Side Table, late 19th century, the rectangular top above a frieze fitted with a single drawer, raised on turned and tapering circular legs, joined by a shaped X-form stretcher and ending in bun feet, h. 29‑3/4”, w. 27”, d. 18‑1/4”. [500/800] Illustrated


82 81

81

Queen Anne Oak Highboy, 18th century, the upper section fitted with two short drawers over three long drawers, the lower section fitted with a short center drawer flanked to either side by a deeper drawer, raised on cabriole legs ending in pad feet, h. 61‑3/4”, w. 40”, d. 20‑1/2”. [800/1200] Illustrated

82

Pair of George II-Style Giltwood Torcheres, late 19th century, the scrolled, leaf-carved feet supporting tapered standards decorated with bellflowers on a diapered ground, the turned, carved and reeded upper portion set with tops carved with egg-and-dart edges, h. 53”, dia. 22”. [1500/2500] Illustrated

83

Georgian Walnut Chest, 18th century, the rectangular double-banded, quarter-veneered top above a conforming base fitted with two short drawers over three graduated long drawers, all with decorative banding, raised on bun feet, h. 37”, w. 36”, d. 18”. [800/1200] Illustrated 83

23


84

85

84

Suite of Eight Queen Anne-Style Fruitwood Sidechairs, each with a carved crest above a balusterform splat, the padded seat raised on cabriole legs ending in pad feet, h. 42”. [800/1200] Illustrated

85

After Gavin Hamilton (Scottish,1723‑1798), “Portrait of a Lady”, ca. 1740s, oil on canvas, unsigned, artist identified en verso on “Thomas Wilson, Fine Art Auctioneer and Valuator” label, 30‑3/8” x 25‑1/8”. Unframed. [1000/1500] Illustrated

86

86

George II Walnut Chaise Lounge, mid-18th century, the padded seat with a padded back-scrolled end, and raised on a shaped frieze centered by a gilt shell, above cabriole legs headed by like shells and ending in fluted feet, h. 33”, w. 24”, l. 56”. [1500/2500] Illustrated

87

English Oak Mule Chest, late 18th century, the hinged rectangular top opening to a void interior, above a conforming case fitted with graduated faux drawers over two long graduated faux drawers with a single drawer below, all drawers bi-paneled and with molded banding, raised on block feet, h. 37”, w. 40‑1/4”, d. 22‑1/2”. [600/900] Illustrated

24

87


88

British School (First Quarter 18th Century), “Portrait of a Girl with a Basket” and “Portrait of a Boy with His Dog”, pair of oils on canvas, both unsigned, former with a “Caelt Gallery, London, UK” gallery label en verso, former: 29‑1/2” x 24‑1/2”, latter: 31” x 24‑1/4”. Presented in matching oval frames. [2500/4000] Illustrated

89

Queen Anne Chinoiserie Secretary Bookcase, 18th century and later, the molded and double-domed cornice above two domed doors, each inset with a panel depicting an orientalist landscape, opening to a variety of slatted compartments and drawers surrounding a central cupboard, with two small candle slides below, the lower section fitted with a paneled drop front opening to a variety of drawers and cubbyholes flanking a central cupboard, with two short drawers and three graduated long drawers below, raised on bracket feet, the whole with accents in the orientalist taste, h. 87”, w. 41”, d. 21‑1/2”. [3500/5000] Illustrated

89

88 one of two

88 two of two

89 detail

25


90 92

90

Continental School (20th Century), “Full Cry”, oil on canvas, illegibly signed lower right, 24” x 36”. Framed. [1000/1500] Illustrated 91

91

Gordon King (British, b. 1939), “The Fox Hunt”, oil on canvas, signed lower right, 20” x 40”. Framed. [1000/1500] Illustrated

92

Anton Nicolaas Marie Karssen (Dutch, b. 1945), “Resting in the Pen”, oil on wood panel, signed lower left, 17‑3/4” x 14‑3/4”. Framed. [1500/2500] Illustrated

93

Edward Benjamin Herberte (British, 1857‑1893), “Horses, Sheep and Cows Resting in the Stableyard”, 1879, oil on canvas, signed and dated lower left, 36‑1/4” x 61”. Framed. [1500/2500] Illustrated

93

26


94 97

94

George III-Style Burled Walnut and Mahogany Partner’s Desk, of ovoid form, the burlwood cross-banded top over a pair of conforming pedestals fitted with beaded drawers and doors, h. 31”, w. 73”, d. 39‑1/2”. Provenance: Manheim Galleries, New Orleans, Louisiana. [700/1000] Illustrated

95

George III Mahogany Architect’s Table, late 18th century, the rectangular top hinged and with an adjustable easel back, above a frieze fitted with a single end drawer, the underside fitted with a circular candle slide to either side, raised on a turned columnar standard to three splayed legs ending in pad feet, h. 32”, w. 32”, d. 22”. [1500/2500]

97

Georgian-Style Mahogany Desk Chair, the rounded back over three pierced splats, joined by downswept arms to the padded seat, raised on tapering square legs ending in brass caps on wheel casters, h. 35”. [800/1200] Illustrated

98

George III Mahogany Linen Press, late 18th century, the molded cornice above two doors, each inset with a flamed panel, the lower section fitted with two short drawers over a single long drawer, raised on shaped bracket feet, h. 70”, w. 51‑1/2”, d. 26”. [600/900] Illustrated

96

George III-Style Mahogany Side Table, early 20th century, the rectangular top above a conforming frieze fitted with a central frieze drawer flanked to either side by two small graduated drawers, all with string inlay, raised on tapering square legs, h. 30‑1/2”, w. 37‑1/2”, d. 18”. [500/800] Illustrated

96

98

27


103

101

99

George III-Style Mahogany Commode, third quarter 19th century, the line-strung top over a shallow beaded drawer and tambour door, with a deep drawer below, modeled as a pair of faux drawers, on flaring Hepplewhite legs, h. 29”, w. 22”, d. 17”. [700/1000]

100

George III-Style Band-Inlaid Mahogany Chest, 20th century, of diminutive proportions, with a bank of three drawers, each with perimeter inlaid banding, raised on bracket feet, h. 30”, w. 22‑1/2”, d. 14‑1/2”. [500/800]

101

Susan Hall (American/New York/California, b. 1943), “The Interior”, 1978, acrylic on paper laid down on wood board, signed, dated and titled en verso along with a “Neil G. Ovsey Gallery/Los Angeles” label en verso, 30” x 25”. In a thin gallery frame. [1000/1500] Illustrated

102

Pierre Guillaume (Dutch, b. 1954), “Pantai Goa Lawah”, Bali, 2005, oil on canvas, signed lower right, signed, titled and dated en verso, 47‑1/2” x 51”. Framed. [3000/5000] Illustrated

103 102

28

Helen Thomas Dranga (British/American, 1866‑1940), “Bay View, Hawaii”, oil on canvas board, signed lower right, 17‑3/4” x 22”. Framed. [5000/8000] Illustrated


104

105

104

Remo Farruggio (American, 1904‑1981), “Through a Window”, oil on canvas, signed lower left, 20” x 24”. Presented in a mid-century, wide, hardwood frame. [1000/1500] Illustrated

105

Attributed to Madeline von Foerster (American, b, 1973), “Contemporary Eve in Emeralds and Rubies”, oil and tempera on wood panel, unsigned, monogrammed “AW” center right, and indecipherably inscribed on frame, 24” x 18‑3/4”. Presented in a custom-made wood frame. [2000/4000] Illustrated 106

106

French Patinated Bronze of “Le Chagrin”, first half 20th century, after the ca. 1891‑1895 “Monument aux Morts” by Albert Bartholome (French, 1848‑1928) erected in 1899 at the end of the main walkway of Pere Lachaise Cemetery, Paris, cast signature along self-base, with two ball legs and holes for mounting, h. 16‑1/4”, w. 13”, d. 4‑1/2”. [800/1200] Illustrated The dolorous figure presented here is from the right side of the monument, which depicts the recently deceased about to enter the tomb.

107

Continental Mahogany and Rosewood-Veneered Bar Cart/Coffee Table, second half 20th century, in the Art Deco taste, the rectangular top with curved handles at each end and fitted with a shelf below, h. 22‑1/2”, w. 47”, d. 17‑1/2”. [1500/2500] Illustrated 107

29


108

109

110

108

109 detail

Pair of Italian Mid-Century Ebonized Armchairs, ca. 1950, with unusual shaped arm rests and down-curved legs ending in brass caps, covered in cut-velvet paisley upholstery, h. 34”, w. 28”, d. 32”. [3500/5000] Illustrated

109

Alex Shtelman (Ukranian/Canadian, b. 1958), “Cello Player”, patinated bronze, incised signature “A.Sh” and numbered “5/18” at back of cello, on a black granite base, overall, h. 21‑1/2”, w. 14‑3/8”, d. 14‑1/4”. Provenance: Klim Art Publishers, Ltd., Ontario, Canada; Private collection. [1500/2500] Illustrated A native of Soviet-controlled Ukraine, Alex Shtelman spent several years in the Soviet army before attending art school and eventually obtaining work as an art instructor. Seeking a less constrained life for himself, he moved first to Israel in 1990, before settling permanently in Toronto, where he works in a variety of media including bronze.

30

110

Pair of Empire-Style Argente Bronze and Granite Occasional Tables, each with a circular charcoal granite top supported by fluted flat square legs headed by a Greek-key-style capital with pendant ring and ending in hoof-on-ball feet, h. 29‑1/2”, dia. 25‑1/2”. [2500/4000] Illustrated


112

111

114

111

Guan Zeju (Chinese, b. 1941), “Musical Repose” oil on canvas, signed lower right, 30” x 36”. Framed. Provenance: Private collection, Baton Rouge, Louisiana. [3000/5000] Illustrated

112

Gabriella Binazzi (Italian/Florence, Contemporary), silvered bronze and shell bowl in the form of a stork, the body made from a large melon diadema shell, and silvered bronze with natural beak and glass eyes, the underside marked “Binazzi/Firenze” and with retailer’s label “Galleria Raggi/Romas, h. 11‑3/4”, w. 12”, d. 7‑1/2”. [500/800] Illustrated

113

Nakashima Walnut Conoid Dining Chair, New Hope, Pennsylvania, with canted stiles, spindle back and dished seat, unmarked, h. 35‑1/4”. [1500/2500] Illustrated

114 113

Contemporary Smoked Glass and Chrome-Plated Steel Cocktail Table, of ovoid form, the glass top on geometric supports, joined to a base with a matching glass shelf, h. 21”, w. 46”, d. 22”. [500/800] Illustrated

31


115

115

Pair of Directoire-Style Argente Metal and Slate-Top Occasional Tables, each with a brass-banded canted square top with inset slate, and raised on square legs joined by vertical X-form stretchers and ending in paw feet, h. 28‑1/2”, w. 24”, d. 24”. [1000/1500] Illustrated

116

116

Bohemian Enameled and Crackled Art Glass Vase, ca. 1900, attributed to Moser Harrach, the pale gold ground enameled with fish and aquatic plants, h. 4‑3/4”, dia. 2‑1/2”. [500/800] Illustrated

117

Two Bohemian Jugendstil Art Glass Vases, first quarter 20th century, the larger example decorated with green and mauve threading on a pink/gold ground, attributed to Pallme-Konig, h. 6”, dia. 5‑1/2”, and the smaller ruffled vase with oil-spot decoration on a cobalt ground, attributed to Loetz, h. 3”, dia. 3”. [500/800] Illustrated

118

Vintage Suite of Six Milo Baughman-Style Chromed Steel and Suede Dining Chairs, comprised of a pair of armchairs and four sidechairs, each with an upholstered back and seat cushion on a metal frame, h. 40‑1/4”. [700/1000] Illustrated

32

117

118


119

Vintage Set of Knoll International Chrome-Plated Steel “Lounge Chairs” and Matching Ottoman, 1970s, designed by Florence Knoll in 1954, the chairs and ottoman each with a loose cushion, upholstered in royal blue Pierre Frey linen and cotton velvet, each piece bearing a paper label: “Knoll International, 320 Park Avenue, New York, N.Y., 10022” and the large “K” within a red circle, chair, h. 29‑1/2”, ottoman, h. 17”, w. 26”, d. 26”. [1000/1500] Illustrated

120

Vintage Pair of Knoll International “657” Sling Arm Chairs, 1970s, designed by Charles Pollock in 1960, with chromeplated tubular steel frames, the cognac leather slings fitted with black lambskin seat cushions, the arms and stretchers of blackcoated cast aluminum, both chairs bearing a paper label: “Knoll International, 320 Park Avenue, New York, N.Y., 10022” and the large “K” within a red circle, h. 28”. [1200/1800] Illustrated

121

121

Pair of Contemporary Continental Lucite Table Lamps, 20th century, in the form of stacked lozenges, with alternating frosted and clear sections, overall, h. 30”, w. 10‑1/4”, d. 4‑1/2”. [500/800] Illustrated

120

119

33


122

124

123

122

Partial Service of Steuben Model “6268‑2” Cut Crystal Stem and Tableware, 20th century, New York, including fourteen finger or berry bowls, dia. 4”, twelve luncheon plates, dia. 8‑1/2”, twelve wine goblets, h. 5”, and thirteen aperitif glasses, h. 4‑1/2”. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [700/1000] Illustrated

123

Set of Eight Lalique “Algues Noir” Black Glass Plates in the “Tree of Life” Pattern, 20th century, French, the plates decorated with frosted trees molded in bas relief, signed “Lalique, France” in engraved script, pre-1978, dia. 11‑1/4”. [500/800] Illustrated

34

124

Jorge Luis Cuevas (Mexican, b. 1922), “Seated Woman”, 1987, patinated bronze, incised signature, dated, and numbered “II/IX” along proper right edge, overall, h. 17‑1/4”, w. 12”, d. 12‑1/2”. [1800/2500] Illustrated Jose Luis Cuevas was a precocious, self-taught artist who emerged as a challenger to Muralism, the then-predominant art movement in Mexico. Believing that the muralists, including almost all of the most successful and critically acclaimed artists of the time, had elevated journalism at the expense of art, Cuevas looked to the indigenous, the impoverished, the powerless of Mexico City for artistic inspiration. Reference: Lucie-Smith, Edward. Latin American Art of the 20th Century. Thames and Hudson: New York, 2004.


125

Pair of Stylish Modern LeatherUpholstered and Rosewood Club Chairs, each of box form with back, side and seat cushions above a beaded apron, raised on tapering square legs, h. 26”. [6000/9000] Illustrated

126

Patinated Bronze of the “Pan of Rohallian”, first quarter 20th century, after the 1890 sculpture by Frederick William MacMonnies (French/American, 1863‑1937), cast signature and dated “1890” at back, marked “RBW” for Roman Bronze Works along edge of self-base, now on a black marble plinth, h. 11”, w. 5”, d. 5”. [700/1000] Illustrated

127

Vintage Venini-Style Lucite Hall Lantern, 20th century, hung from a hexagonal giltmetal frame, set with looped lucite bands, h. 51‑1/2”, dia. 14”. [500/800] Illustrated

127

126

128

Contemporary Marble and Chromed Steel Oval Table Desk, designed by Florence Knoll (b. 1917), the oval black marble top with white veining, on a columnar pedestal joined to four canted legs, attributed to Knoll International, East Greenville, Pennsylvania, h. 28‑1/4”, w. 96”, d. 53‑1/2”. [1200/1800] Illustrated

128

125

35


130 129

131

129

Oscar Zanetti (Italian/Murano, b. 1961), Calcedonia Molded Glass Torso, third quarter 20th century, the clear glass front with yellow, plum and green striations of color at the back, incised signature “Zanetti Oscar” at front edge of black columnar base, h. 13‑3/8”, w. 5‑1/4”, d. 3‑1/4”. [500/800] Illustrated A native of Murano, Oscar Zanetti apprenticed with several prestigious glass artists before entering his family’s glass studio. Obtaining master status in 1989, Zanetti eventually took over the studio upon his father’s retirement in 1990.

130

Suite of Six Tulip-Form Molded Dining Chairs and a Table, after a design by Eero Saarinen (Finnish American, 1910‑1961), comprised of an oval table, h. 29”, w. 55‑1/4”, d. 40‑1/8”, and six chairs with inset quilted leather backs and seats, and raised on tulip-form bases, h. 43”. [2000/4000] Illustrated

36

132

131

Contemporary Bronze and Glass Figural Center Table, the circular glass top with a beveled edge and supported by three cherub figures modeled standing on a concave molded tripartite base, h. 31”, dia. 53‑1/2”. [700/1000] Illustrated

132

Suite of Four Ludwig Mies van der Rohe BRNO Chairs, of flat bar steel with black leather upholstery, the bottoms of each chair with a dust cover painted with the “Knoll” name, and a label indicating manufacture by Knoll International, h. 31‑1/2”. This chair was originally designed by van der Rohe for Tugendhat House, BRNO, Czech Republic. [700/1000] Illustrated


133

Pair of Chinese Export Peach Blossom Vases, first quarter 20th century, mounted as lamps, with neoclassical-style beaded rim mounts, set with two-light sockets and standards, h. 24‑1/2”, dia. 6‑1/2”. [800/1200] Illustrated

134

Finn Wandahl (Danish, 1900‑1985), “A Young Boy Playing the Pan Flute”, 1929, patinated bronze, incised signature along edge of self-base, h. 11‑1/4”, w. 5”, d. 4‑3/4”. [500/800] Illustrated

134

133

135

French Patinated Bronze of “La Ballerine”, first quarter 20th century, the figure dancing in the Spanish style with castanets, after the sculpture by Alfred Boucher (French, 1850‑1934) now at the Musee Paul Dubois-Alfred Boucher, Nogent-sur-Seine, France, cast signature at edge of self-base, on a round black marble base, overall, h. 27”, w. 6‑1/2”, d. 10”. [3000/5000] Illustrated

135

37


Clyde Connell, the eldest of nine children of a Louisiana cotton planter, was a self-taught abstract expressionist artist. She briefly attended Brenau College in Gainesville, Georgia, before leaving that institution to raise her family and independently study art. Her earliest paintings and drawing were expressive documentary depictions of the society and culture around her. In the mid-50s, inspired by the Abstract Expressionist artists such as Jackson Pollack and Adolph Gottlieb, Connell began to move away from figural representation. Connells’s often larger than life sculptures required materials that were plentiful, inexpensive, and easily manipulated by the diminutive artist, and these were ultimately to be found in the environment around her the brown earth, red clay, and wood of the Louisiana countryside. Frequently incorporating found objects and materials into her assemblages, she created powerful works evocative of ritual. Mystical and often spiritual, but not indicative of a particular dogma, these sculptures integrate symbols and hieroglyphs with geometric and linear elements, allowing for the viewer’s personal interpretation.

136

Clyde Connell (American/Louisiana, 1901‑1998), “Bistineau Sentinel No. 1”, 1992, mixed media on wood, signed, titled and dated, h. 84”, w. 11‑1/4”, d. 11‑1/4”. Provenance: Descended in the family of the artist. [5000/8000] Illustrated

136

38


137

Clyde Connell (American/ Louisiana, 1901‑1998), “Small Wall Object No. 22”, 1994, mixed media on wood, signed, numbered and dated en verso, 17‑1/4” x 3‑1/2” x 1‑3/4”. Provenance: Descended in the family of the artist. [1000/1500] Illustrated

137

138

Clyde Connell (American/Louisiana, 1901‑1998), “Tripod No. 1”, 1993, mixed media on wood, signed, numbered and dated, h. 38”, w. 13”, d. 13”. Provenance: Descended in the family of the artist. [2500/4000] Illustrated

138

39


A native of Connecticut, David Hayes received his BA from the University of Notre Dame before enrolling in the Graduate Program at Indiana University, Bloomington, Indiana, where he studied with the abstract expressionist artist David Smith (1906-1965). Inspired by the geometric metal sculptures produced by Smith, Hayes began to create large scale steel sculptures of abstracted organic forms, suggestive of their natural inspiration. His earliest works were constructed of welded steel – a distinctly industrial material; Hayes had trained with a blacksmith in Indiana, and he forged and constructed the steel constructs himself. As his style evolved, Hayes began to turn more frequently to cut steel, which he painted and frequently textured. With these sculptures, composed of curving, asymmetrical elements, Hayes explored the relationship of form and space, shapes and colors.

One of the most acclaimed contemporary American sculptors, Hayes was awarded the Logan Prize for Sculpture from the University of Chicago, and was the recipient of a Fulbright Scholarship and a Solomon R. Guggenheim Fellowship. His works are in numerous public and private collections, including the Museum of Modern Art, New York; Guggenheim Museum, New York; University of Connecticut, Storrs; Hirschorn Museum and Sculpture Garden, Washington, D.C.; Wadsworth Athenaeum, Hartford; and the Museum of Fine Arts, Houston, Texas. References: Wiregrass Museum of Art Exhibition Catalogue. Sculpture by David Hayes. The Argian Press: New York, 2013; Dunne , Susan, “Coventry Sculptor David Hayes Dies”. Hartford Courant. April 11, 2013.;Byrnes, Richard A., “The Art Of Friendship:David V. Hayes”. Notre Dame Magazine; Autumn, 2013;Wiregrass Museum of Art Exhibition Catalogue. Sculpture by David Hayes. The Argian Press: New York, 2013.

139

David Hayes (American, 1931‑2013), “Quadraped”, 2000, painted steel, signed, dated and copyright-marked along edge of one red element, h. 68”, w. 44”, d. 49”. Provenance: Estate of David Hayes, Coventry, Connecticut and Fort Pierce, Florida. Exhibited: Dothan Area Botanical Garden, Dothan, Alabama. Literature: Wiregrass Museum of Art Catalogue, Art Around Dotham - Sculpture by David Hayes. New York: Argian Press, 2013. illustrated p. 9. [5000/8000] Illustrated

139

40


140

David Hayes (American, 1931‑2013), “Hanging Sculpture #54”, 2010, painted steel, signed, dated and copyright-marked along bottom element, h. 53”, w. 42”, d. 11”. Provenance: Estate of David Hayes, Coventry, Connecticut and Fort Pierce, Florida. Exhibited: Troy University Dothan, Alabama campus. Literature: Wiregrass Museum of Art Catalogue, Art Around Dotham - Sculpture by David Hayes. New York: Argian Press, 2013. illustrated p. 23. [2000/4000] Illustrated

141

David Hayes (American, 1931‑2013), “Untitled #100”, 2001, rusted steel, signed, dated, inscribed “100” and copyright marked on base, h. 77”, w. 53”, d. 26”. Provenance: Estate of David Hayes, Coventry, Connecticut and Fort Pierce, Florida. [6000/9000] Illustrated

142

David Hayes (American, 1931‑2013), “Untitled”, 2009, painted steel maquette, signed, dated and copyright marked, h. 17‑1/2”, w. 10‑3/4”, d. 12”. Provenance: Estate of David Hayes, Coventry, Connecticut and Fort Pierce, Florida. [1500/2500] Illustrated 140

142

141

41


143

145

143

Bolivar Mena Franco (Ecuadorian, 1913‑1995), “Horno de Ladrillos”, oil on canvas, signed and dated lower right “53”, titled on label en verso, 27” x 34‑1/2”. Framed. [7000/10000] Illustrated

144

Bolivar Mena Franco (Ecuadorian, 1913‑1995), “Untitled”, oil on paper laid on board, signed lower left, 51” x 53‑1/2”. Framed. [3000/5000] Illustrated

145

Herbert Richard Mears (American/Texas, 1923‑1999), “Untitled”, oil on board, signed upper right, 29‑1/2” x 24”. Framed. [1500/2500] Illustrated

144

42


148

146

146

Rosemarie Beck (American/New York, 1923‑2003), “Le Maquillage IX”, 1962/3, oil on canvas, signed lower right, signed, dated and titled on stretcher, a “Peridot Gallery/New York” label en verso, 67‑1/4” x 48”. Framed. [2000/4000] Illustrated

147

Raya Sorkine (French, b. 1936), “Vie au Toujours”, oil on canvas, signed lower right and in Hebrew lower left, signed and titled en verso canvas, 31‑3/4” x 39‑1/4”. Now mounted and presented in a polychrome frame. [3000/5000] Illustrated

149

148

Charles Apt (American/New York, b. 1933), “The Orchestra”, oil on canvas, signed lower left, titled on a “Grand Central Art Galleries/New York” label en verso, 20‑1/4” x 24‑1/4”. Framed. [1500/2500] Illustrated

149

Melissa Zink (American/New Mexico, 1932‑2009), “Magnum Opus: The Roots of Knowledge”, cast resin and mixed media, pencil-signed lower right, titled and numbered “18/20” en verso, a “The Parks Gallery/Taos, NM” label en verso, 15‑1/2” x 12”. [1000/1500] Illustrated 147

43


151

150

152

150

John Carroll (American, 1892‑1959), “Mrs. Morrissey and Children”, oil on canvas, signed lower left, verso frame with a “Galerie Georges Giroux, Bruxelles”, 54” x 40”. Framed. [2500/4000] Illustrated

151

Anthony Quinn (Mexican/American, 1915‑2001), “Fayum Portrait”, ink wash on paper, signed lower right, sight 10” x 8”. Matted and in an elaborate double-framed glazed shadowbox. [1000/1500] Illustrated

44

152

Spanish-Style Mahogany Guard Room Table, the thick rectangular top raised on shaped end supports joined by a scrolling iron stretcher and ending in shaped block feet, h. 30”, w. 25”, l. 76”. [600/900] Illustrated


153

153

Continental Pine Settee Bench, late 18th/early 19th century, the tall bead-board back with a bold molded crest rail and with a plank seat and scalloped ends, h. 55”, w. 65”, d. 16”. [500/800] llustrated

155

154

Italian Baroque Walnut Demi-lune Console Table, 17th/18th century, the demi-lune top with a molded edge and raised on shaped lyre-form end supports joined by intersecting stretchers and ending in shaped feet, h. 31‑1/2”, w. 42”, d. 21‑1/2”. [1000/1500] Illustrated

155

Pair of Italian Carved, Painted and Parcel-Gilt Wood Architectural Fragments, 17th century, mounted as brackets, with carved polychrome winged angel heads under ogee-molded gilt shelves, the undersides painted with blue decoration, h. 12”, w. 13”, d. 10‑1/4”. [700/1000] llustrated 154

45


156

157

156

Pair of Italian Baroque-Style Carved Wood Mirrors, fourth quarter 19th century, the pierced frames decorated with scrollwork and retaining traces of silver gilt, and set with antique mirror glass, h. 20”, w. 11‑1/2”. [800/1200] Illustrated

157

Gilt-Bronze and Crystal Fifteen-Light Chandelier of Baroque Inspiration, first quarter 20th century, the glassclad standard set with a single socket, the bellflower-molded bronze frame terminating with bold acanthus leaves at the top, two light sockets on one side and five sockets on the other two, within scrollwork molded with leaves and flowers, h. 48‑1/4”, w. 43”, d. 25‑1/2”. [1000/1500] Illustrated

158

Patinated Metal Sculpture of the Madonna, 20th century, the figure with one hand extended and the other over her heart, cast signature “G. Mancini” at back of self-base, on a marble and slate plinth, overall, h. 33‑1/2”, w. 14”, d. 15”. [800/1200] Illustrated

158

46


160 159

159

Follower of Titian (Titian, b. ca. 1485/90‑1576), “Mary Magdalene”, oil on canvas, 19th century, 29” x 24”. Presented in an antique giltwood and gesso frame. [1000/1500] Illustrated

160

Russian Orthodox Gilt-Brass, Giltwood, Painted Wood and Glass Icon Depicting Christ the Pantocrator, fourth quarter 19th century, the painted wood icon with a gilt-brass oklad, in a giltwood ogeemolded frame decorated with a dove, all encased in a faux-grained shadowbox with a glass cover, h. 12”, w. 8‑3/4”, d. 2‑3/4”. [500/800] Illustrated

161

161

Iberian Ebonized, Tortoiseshell, Oak and Fruitwood Papeleira Vargueno, 17th century, the breakfront molded cornice above a projecting architectural-form center section featuring a portico of stepped columns surrounding a central niche with an ormolu mount of the Madonna, the entire center section opening to reveal five small drawers, all with double-diamond pattern inlay, flanked to either side by a bank of four drawers, raised on parcel-gilt bun feet, the sides fitted with handforged iron handles, h. 29‑1/2”, w. 50‑1/2”, d. 18”, the whole resting on a Spanish mahogany and walnut guard room table, 18th century, the rectangular top with panel banding surrounding inlaid diamond patterns, raised on bobbin-turned legs joined by scrolling iron stretchers and ending in bulbous feet, h. 33”, w. 60”, d. 23”. Provenance: B. F. Bonner Estate, Houston, Texas. [3000/5000] Illustrated

47


162

162 details

48


162

David Teniers, the Younger (Flemish, 1610‑1690), “The Temptation of St. Anthony”, oil on oval-form wood panel, monogrammed D.T. in a circle far center right, various labels in German, French and English en verso, including a reproduction of the painting in a gallery sale catalogue ca. 1900, 16‑1/2” x 22”. Framed. Provenance: By repute Prince Pavel Demidov, Villa San Donato, 1881, and Pierre Eugene Secretan, “Vente de Secretan” by Galerie Sedelmeyer, Paris, 1889; then Christie’s, London, March 11, 1911, lot 130; Isaac Newton Fleischner Collection, Portland, Oregon. [25000/40000] Illustrated

David Teniers, the Younger was a prolific artist of the Flemish Baroque period, believed to have painted nearly 2,000 paintings in his lifetime, including the small landscapes, poignantly dubbed “afternoons,” which he was rumored to have executed in half a day. Teniers was admitted as a “master” into the Guild of St. Luke in Antwerp in 1632, he later presided over it in 1644, and was appointed painter and curator to the Archduke Leopold Wilhelm, painting and buying artwork across Europe for his collection. His lasting legacy, aside from the numerous paintings he created, was the founding of the Royal Academy of Fine Arts in Antwerp in 1663. Teniers trained under his father, an artist of equal merit, and was influenced by Peter Paul Rubens, Adrien Brouwer and his father-in-law Jan Brueghel the Elder. The latter two artists’ style of genre painting, which depicted “lower class” individuals comically engaged in various vices and acts of debauchery- prostitution, drinking, smoking, card/ dice playing and fighting- greatly informed Teniers’ works , but instead of drawing upon tavern and village scenes to stage a parody of Dutch proverbs, like Brueghel, the Elder’s famous “Topsy Turvy World” (1559), Teniers preferred the biblical scenes illustrated two centuries before by Hieronymous Bosch. Two of his favorite stories, which he visited numerous times in his life, are “The Rich Man in Hell” and the “Temptation of St. Anthony.” The painting offered here represents one of his five prototypes of the Temptation recognized by John Smith in his catalogue raisonné (1829-1842). While all are set in the eponymous cave of the 3rd century hermit, the arrangement and consort of demons, monsters and women the Devil sends to distract St. Anthony from his worship vary. Recurring figures, also seen here, are the temptress with her flesh and chalice, a cloaked and beaked demon, jousting amphibians, and bird and ass hybrids. This scene of the Temptation is as colorful as the history recorded in its labels en verso. There is a very old and faint handwritten inscription in German that dates the painting to the 1640s, followed by a mid-to-late 19th century label titled in French- joining them are a stamp notating “Collection W. Thom Smith” from ca. 1940, and most striking of all- a printed reproduction of the painting from a ca. 1900 English catalogue/

book stating that its provenance is from the Villa San Donato sale of Prince Demidov and the Sécretan sale in 1889. In 1881, a large part of the Demidov Collection housed in fourteen rooms in the Villa was auctioned with the property that also included numerous collections from Count Nicholas, Anatole and Prince Paul over a period of six weeks. Pierre Eugène Secrétan a French industrialist and major art collector, purchased many works of art at the San Donato sale in Italy, including at least three Teniers (one of which was a “Temptation of St. Anthony”). After the copper crash of 1889, Sécretan was forced to liquidate his collection, which he sold through Galerie Sedelmeyer during the 1889 Universal Exposition in Paris. Much of the collection to be auctioned was published in an impressive catalogue, designed to attract French and American investors. The “Temptation of St. Anthony” painting by Teniers that was auctioned in the sale as lot 171 is not the one offered here, as it is not on copper. It is quite possible that Sécretan, an avid collector of Dutch/ Flemish Baroque painting, sold this “Temptation” to Sedelmeyer prior to the sale. Until the first part of the 20th century, the painting’s provenance is unknown. It was published and illustrated either shortly before or after it was auctioned at Christie’s, London in 1911 where it was purchased by Isaac Newton Fleischner (1859-1927) of Portland, Oregon. Fleischner, a Austrian/American businessman, was an avid art collector and partner in Mayer & Company, the largest wholesale dry goods house on the Pacific coast. From where the painting went after Fleischner is not known (Collection of W. Thomas Smith?). This Teniers painting continues to dazzle and bedevil viewers centuries later, tempting greater inquiry. References: Smith, John. A Catalogue Raisonné of the Works of the most Eminent Dutch, Flemish and French Painters, London: Smith and Son, 1829-42; Art Prices Current, vol. 4. London: Wm Dawson and Sons Limited, `1910-1911, p. 306; Catalogue de tableaux anciens et modern…formant célèbre collection de M.E. Sécretan. Paris: Galerie Sedelmeyer, 1889; Annual Report of the Portland Art Association for the Year Ending June 1, 1909. Portland: Portland Association, 1909. Catalogue of Ancient and Modern Pictures and Drawings, the Property of Mrs. Murray Guthrie, of Duart Castle, Isle of Mull, N.B., who is Giving Up Her Residence, 9 Upper Berkeley Street, W., Also Old Pictures, the Property of the Rev. H. B. George, Deceased Late of Holywell Lodge, Oxford and from Numerous Private Collections and Different Sources. London, 1911.

49


163

164

163

Pierre Uselding (French, b. 1849), “Un Lutrin”, 1877, oil on wood panel, inscribed “Uselding fecit/1877/Lectitice/Italis Suae 28/AMDG” mid-right, incised inscription en verso panel “Un Lutrin au 18th siecle/ peint par Pierre Uselding/Paris/1877/ne a Paris le 13 Juillet 1849/ Faubourg Saint Antoine 89”, 21” x 18‑3/4”. Presented in an incised polychrome and giltwood frame. [5000/8000] Illustrated

164

Continental Baroque-Style Inlaid Pine Hanging Cupboard, first quarter 20th century, the paneled door inlaid “XLX, 1703”, set between tapered pilasters under a dentillated cornice, the pilasters decorated with inlay, with like decoration above and below the door, with an open shelf at the bottom and turned carrying handles mounted on each side, h. 35‑1/2”, w. 37‑1/4”, d. 10‑1/2”. [700/1000] Illustrated

165

Continental Giltwood Mirror, fourth quarter 19th century, covemolded and decorated with Dutch-style ripple molding, set with a contemporary beveled mirror plate, 69‑1/2” x 49”. [500/800]

166

Pair of Continental Bronze Lamps in the Baroque Taste, first quarter 20th century, on tripartite bases decorated with applied shields, the bold faceted standards composed of vasiform and spherical elements, h. 34”, w. 8”, d. 8”. [700/1000] Illustrated

50

166


170 169

167

Continental Art Deco Copper, Bronze and Marble Planter, first quarter 20th century, on copper feet with bronze appliques, set with marble and supporting twistreeded bronze feet, the planter bowl set with lion’s-head ring pulls and trimmed with copper, h. 26”, dia. 12‑1/2”. [500/800] Illustrated

171

168

Italian Fruitwood and Faux-Bois Commode, in the Renaissance taste, the rectangular top above a paneled frieze drawer, over three recessed drawers flanked to either side by barley-twist uprights, raised on a molded base to bracket feet, h. 36‑1/4”, w. 23”, d. 11”. [500/800]

169

French Bronze Six-Light Hall Lantern of Baroque Inspiration, second quarter 20th century, the cylindrical lantern set with segmented glass and supported by a turned, scrolled frame, a rod-form chain supporting six scrolled candle arms set with drip pans and sockets, electrified, h. 49‑1/2”, dia. 21‑1/2”. [800/1200] Illustrated

170

Follower of Pieter de Hooch (Dutch, 1629‑1688), “Interior Scene with an Elegant Couple and a Servant”, oil on canvas, late 19th/early 20th century, unsigned, 24‑3/8” x 21‑1/2”. Presented in a Dutch Baroque-style frame. [1000/1500] Illustrated

171

167

Italian Patinated Bronze Bust of Dante Alighieri, ca. 1900, after the poet’s “death mask” (now believed to be a casting from a much later lost sepulchral sculpture) conserved at the Palazzo Vecchio in Florence, on a green marble plinth, overall, h. 15”, w. 18”, d. 8‑1/2”. [500/800] Illustrated

51


172

176

174

172

Italian Rococo-Style Giltwood Mirror, early 20th century, the rounded rectangular plate surmounted by a foliate crown crest and surrounded by a molded frame and foliate floral patterns, with a foliate pendant, h. 45”, w. 31‑1/2”. [800/1200] Illustrated

173

Suite of Six Spanish Colonial Hacienda-Style Mahogany Chairs, comprising two 18th-century examples and four fourth quarter 19th-century examples, the tall padded backs above like seats with tassel skirts, raised on molded scrolling legs joined by like H-form stretchers and ending in in-scrolled toes, h. 51”. [600/900]

174

Continental Oak Refectory Table, the thick rectangular top raised on shaped end supports centered by a stylized shell and joined by a shaped stretcher, ending in molded bases, h. 30‑1/2”, w. 42”, l. 108”. [1800/2500] Illustrated

52

175

175

Continental Gilt-Bronze and Cased and Cut Glass Centerpiece of Renaissance Inspiration, 20th century, the gilt-bronze base supporting a ruby cased and cut glass standard, the bowl decorated with bull’s eyes, palmettes and diamond cutting, each side mounted with a gilt-bronze wyvernform handle, h. 24”, dia. 19”. [1000/1500] Illustrated

176

Pair of Baronial-Style Giltwood Armchairs, each with a tall crest consisting of a carved shield flanked by rampant sphinxes, above a padded back, joined by dolphin-carved arms to the padded seat, raised on a curule-form base centered by a carved masque and ending in paw feet, h. 50”. Provenance: “Buzz” Harper Antiques, Natchez, Mississippi. [1500/2500] Illustrated


178 177

177

Continental School (First Quarter 20th Century), “The Royal Hunting Party”, oil on canvas, 55” x 42”. Presented in an unusual Baroque Revival giltwood and gesso frame. [2500/4000] Illustrated

178

Renaissance Revival-Style Bronze and Marble FourLight Candelabra, third quarter 19th century, French, now mounted as a lamp, the tripartite contrasting giltand patinated bronze base decorated with scrolls and strapwork, and set with a cluster-column white marble standard and pierced scrolled candle arms, the molded patinated candle cups with gilt bobeches, mounted with a custom fringed and pleated silk shade, designed by Robert Denning, of Denning & Fourcade, New York, h. 29”, dia. 16‑1/2”. [500/800] Illustrated

179

Pair of Italian Renaissance-Style Bronze Figural Andirons, 20th century, with the figures of, respectively, Eros and Psyche raised on pierced bases employing mythological creatures as feet, with cavorting cupids framing a figure of “winter” and molded standards decorated with ram’s heads and poised figures, h. 32‑1/2”, w. 17”, d. 11‑1/2”. [700/1000] Illustrated

179

53


181

180

180

Continental Giltwood Frame Mounted with a Mirror, mid-19th century, with serpentine sides, the outside edges lined with beading, the corners molded with scrollwork and cabochons, the swan’s-neckmolded sides decorated with applied scrollwork, set with an antique mirror plate, 41” x 34‑1/2”. [600/900] Illustrated

181

Painted Plaster Figure of a Sleeping Child, in the manner of Francois Duquesnoy (Flemish, 1597‑1643), ca. 1939, the figure depicting sleeping and holding an apple, dated on the bottom, h. 10”, w. 22‑1/2”, d. 9”. [500/800] Illustrated

182

Italian Baroque Giltwood Mirror, second quarter 18th century, on pinecone-carved rests, the upper and lower edges of the sides carved with leaves and scrollwork, the triangular crest set with an oval mirror with a ribbon and bowknot crest and carved flowers, accented with green paint in the recesses of the mirror frame, h. 37‑3/4”, w. 25‑1/2”. [500/800] Illustrated

182

183

Continental Neoclassical Polychrome Settee, early 19th century, with four shield backs, all with lyre splats, joined to the padded seat by shaped arms, raised above a foliate-painted frieze on tapering square legs, h. 37”, w. 64‑1/2”, d. 19”. [900/1200] Illustrated

183

54


184

Continental Polychromed Pine Trestle Table, the plank top supported by paired baluster-form pedestals joined by a stretcher, h. 30”, w. 38”, l. 91”. [1200/1800] Illustrated

185

French Baroque-Style Silver Giltwood, Metal and Rock Crystal Eight-Light Chandelier, 20th century, of lantern form and set with silvered metal candle arms hung with rock crystal drops, the sides of the lantern set with rock crystal flowers, and the corners with glass medallions, under sprays of drops, the top with a spray of rock crystal drops, h. 35‑1/2”, w. 24‑1/2”, d. 24‑1/2”. [6000/9000] Illustrated

185

186

Pair of Continental Polychrome Corner Cabinets, early 20th century, each with a heavily molded cornice above a case fitted with a single long bi-paneled door, each panel featuring a polychrome floral spray, flanked to either side by paneled uprights, raised on block feet, h. 91‑1/2”, w. 39”, d. 16”. [1000/1500] Illustrated

186

184

55


190

Italian Grisaille Oil on Canvas Panel, late 19th century, of a couple in a waterfront rocky ruin, with a fisherman in the foreground and a cliff-top castle in the background, 50‑1/2” x 25‑1/2”. Framed. [800/1200] Illustrated

187

187

Continental School (First Quarter 19th Century), “Mountain Valley Landscape with Figures, a Village in the Distance”, oil on canvas, unsigned, 34” x 43”. Framed. [2000/4000] Illustrated

188

Dutch or Flemish Molded Brass Mirror in the Baroque Taste, fourth quarter 19th century, the surround set with raised panels of mirror plate framed with flower- and scroll-molded brass, the pierced corners decorated with cabochons, dolphins and fruit, the pierced brass mirror-backed crest with a cabochon molded with a harp, flanked by hippocampi trimmed with scrollwork and fruit, h. 58”, w. 35‑1/2”. [1000/1500] Illustrated

188

189

Italian Rococo Polychrome and Marble-Top Console Table, late 18th century, the shaped marble top above a frieze with a central floral shield flanked to either side by a pendant floral swag, raised on paneled shaped legs with acanthine carving, joined by a foliatecentered stretcher and ending in foliate bulb feet, h. 42”, w. 53”, d. 24”. [1500/2500] Illustrated

56

189

190


191

Extensive Haviland Limoges Partial Dinner Service in the “Ranson” Pattern, ca. 1893‑1930, French, the gold and white set including twelve dinner plates, dia. 9‑3/4”, twelve luncheon plates, dia. 8‑1/2”, twelve soup bowls, dia. 7‑1/2”, twelve salad plates, dia. 7‑1/4”, twelve dessert dishes, dia. 5”, twelve butter pats, dia. 3”, twelve cups, h. 2‑1/2”, with twelve saucers, dia. 5‑1/4”, a nest of four graduated platters, w. 8‑1/4” to 18”, d. 5” to 12‑1/2”, a round covered vegetable dish, h. 5”, dia. 8‑1/2”, an oblong covered vegetable dish, h. 5”, w. 9‑3/4”, a pair of open vegetable dishes, h. 2‑1/2”, w. 10”, a butter dish with liner, h. 4‑1/4”, a gravy boat with integral stand, h. 3‑1/4”, a cream jug, h. 4”, and a covered sugar bowl, h. 5”. [800/1200] Illustrated

191

192

Victorian Fruitwood Cabinet, mid-19th century, the rectangular top with a shaped front, over a case fitted with two cupboard doors, each with a pierced wooden lattice panel with fabric backing, raised on tapering circular feet, h. 35”, w. 49”, d. 16”. [800/1200] Illustrated

193

Suite of Six Nineteenth-Century British Dried Botanical Specimens”, collected as part of a herbarium by a botanist, sheet size 15” x 10”. Matted and framed en suite. [700/1000] Illustrated

194

Edwardian Satinwood Work Table, early 20th century, the oval lift-top with a watercolor and graphite sketch under glass, over a conforming line-strung and cross-banded apron, raised on tapering legs joined by turned stretchers, fitted with a pleated yarn bag, h. 30”, w. 19”, d. 13”. [500/800] Illustrated

193 one of six

193 two of six

192 194

57


195

Set of Twelve George Jones Enameled Dinner Plates, ca. 1891‑1920, English, each with a wide tealblue border decorated with panels of raised enamel fruit against delicate gilt vines and flowers, and a center panel with a raised enamel basket of fruit, marked on the back, dia. 10‑1/4”. [500/800] Illustrated

195

196

Edwardian-Style Burlwood, Brass and Mahogany Three-Tier Trolley, second half 20th century, of ovoid form, the burlwood shelves with cross-banded perimeter, on brass columns extending to casters, each end with a cast gilt-brass handle, h. 31”, w. 39”, d. 27”. [500/800]

197

Cased Edwardian Sterling Silver-Mounted Royal Worcester Tea Set, the porcelain Stoke-on-Trent, 1903‑1904, decorated with pink and blue rosebuds, rickrack and ribbons, the silver mounts by William Comyns, London, 1904‑1911, and decorated with openwork palmettes and floral ribbon scrolls, comprising six teacups, dia. 3‑1/4”, six saucers, dia. 5”, a teapot, l. 9‑1/2”, a sugar bowl, w. 6”, and a creamer, l. 4‑1/4”, with six silver “Hanoverian” teaspoons, l. 4‑3/8”, and sugar tongs, l. 4‑1/4” (hallmarked Sheffield/London, 1894‑1906), presented in a fitted claret velvet and cream satin-lined case, 5” x 24” x 16”. [2500/4000] Illustrated

197

197 detail

58


199

198 pair

198

Pair of Unusual English Modern Gothic Parcel-Gilt Mirrors, fourth quarter 19th century, the wooden frames in the form of lancet pointed arches, with a giltwood surround, framing gilt and painted oak leaves and acorns on a black ground, h. 46”, w. 31‑1/2”. [2500/4000] Illustrated

199

Carder Steuben Acid-Etched Glass and Gilt-Bronze Boudoir Lamp, ca. 1903‑1933, Corning, New York, the mauve glass lamp acid-etched with a passion flower and signed on the side with Steuben’s fleur-de-lis acid-cut mark, the fret-molded gilt-bronze base of deco chinoiserie inspiration, as is the finial depicting an immortal, h. 20‑1/2”, w. 5‑1/4”, d. 2‑3/4”. [500/800] Illustrated

202

200

Handsome Bronze Repeater Carriage Clock, first quarter 20th century, the case set with beveled glass panels, the rectangular handle with a reeded insert, with an alarm function, unmarked, h. 7‑1/4”, w. 4”, d. 3‑3/4”. [700/1000]

201

Collection of Ten English and Continental Canes, 19th/20th century, including a narwhal tusk example, a rosewood cane with a Bacchus masque handle, a segmented cane, a Victorian cane with a silver handle mount dated London, 1888, a small cane with a gold cap, hallmarked London, 1912‑13, a cane with a hand grip, and four others, l. 28” to 33”. [600/900] Illustrated

202

Collection of Four English Mother-of-Pearl and Abalone Objects, mid-19th century, including a tea caddy veneered with mother-of-pearl and abalone in a checked pattern, the hinged cover with a raised panel, opening to reveal two interior compartments with matching covers, h. 5‑3/4”, w. 7‑1/4”, d. 4‑1/4”, a like-decorated small jewel box with a band of abalone framing the cover, h. 1‑3/4”, w. 3‑1/2”, d. 2‑1/2”, and two card cases, one with scalloped sides, veneered in checked mother-of-pearl, and one decorated with incised scrollwork and flowers, h. 3‑3/4”, w. 2‑1/2” and h. 4”, w. 3”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated 201

59


205

203

Regency-Style Mahogany Corner Etagere, consisting of four graduated bowed shelves joined by slender turned uprights, the bottom shelf banded and raised on scrolling feet, h. 30‑1/2”, w. 27”, d. 18‑1/2”. [600/900]

204

Edwardian Mahogany Games Table, early 20th century, the demi-lune top hinged and opening to a larger gaming surface above a conforming frieze, raised on ring-turned tapering circular legs ending in teardrop feet, h. 28‑1/2”, w. 35‑1/2”, d. 17‑1/2”. [700/1000] Illustrated

204

60

205

Royal Copenhagen Partial Dinner Service in the “Brown Iris” Pattern, ca. 1960, Denmark, including twelve dinner plates, dia. 10”, eleven luncheon plates, dia. 9”, twelve bread-and-butter plates, dia. 6”, eleven cream soup bowls, h. 2”, dia. 5”, and twelve matching underplates, dia. 6‑3/4”, the plates with Royal Copenhagen marks, with wavy blue lines, as well as decorator’s marks. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [600/900] Illustrated

206

Edwardian-Style Mahogany Settee, the doublechairback back with a turned crest rail above a fluted and patera-carved frieze and pierced splat, joined by molded arms to the padded seat, raised on tapering circular legs ending in toupie feet, h. 33”, w. 48”, d. 20”. [500/800] Illustrated

206


207

Alfred Augustus Glendening, Jr. (British, 1861‑1907), “Feeding the Swans”, oil on canvas, monogrammed lower left, 35” x 24‑1/2”. Framed. [4000/7000] Illustrated

208

Edwardian-Style Fruitwood and Satinwood Side Table, the narrow rectangular top with a decorated frieze, and joined by turned and bulbous supports to a lower shelf, raised on bulbous legs ending in casters, h. 36”, w. 45”, d. 14‑1/4”. [900/1200] Illustrated

207

209

209

Edwardian-Style Satinwood Cabinet, the demi-lune top with a polychrome laurel leaf banding, above a conforming case fitted with a single drawer over two cupboard doors, each with a polychrome oval panel depicting classical maidens within a laurel wreath, raised on tapering circular legs ending in block and toupie feet, h. 36”, w. 48”, d. 20”. [1000/1500] Illustrated

208

61


212

210

210

Edwardian Satinwood Corner Cabinet, early 20th century, the broken swan’s neck pediment and molded canted crest above a conforming case fitted with a frieze with inlaid oval floral panels, over two astragalglazed doors, each centered by a polychrome panel of a classical maiden, the lower section fitted with two paneled cupboard doors, each with an urn-inlaid oval panel, raised on splayed block feet, h. 87”, w. 41‑1/2”, d. 22”. [700/1000] Illustrated

211

Edwardian Satinwood Bureau de Dame, early 20th century, the superstructure fitted with a single cupboard door, flanked to either side by a tall, narrow pull-out compartment and three small drawers, the lower section with a hinged front opening to a fabriclined surface, above a single frieze drawer and a small drawer to each side, raised on tapering square legs, the whole accented with delicate floral patterns, h. 45”, w. 31”, d. 15”. [1000/1500] Illustrated

212

William Stephen Coleman (British, 1829‑1904), “Young Girl with Flowers by a Reflecting Pool”, oil on canvas, signed lower right, an old “Reeves and Sons/London” stamp en verso canvas, 16” x 20‑1/8”. Framed. [1000/1500] Illustrated

211

62


213

213

Louis Basset (French, b. 1948), “Belle Epoque”, oil on panel, signed lower right, 30” x 38‑1/2”. Handsomely framed. [2000/4000] Illustrated

214

Willem Heytman (Dutch, b. 1950), “1932 Lewes Speed Trials, Great Britain”, oil on canvas, signed lower left, monogrammed and titled en verso, verso canvas with “Atelier Heytman” stamp, 23‑1/2” x 31‑1/2”. Framed. [1200/1800] Illustrated

214

215

Willem Heytman (Dutch, b. 1950), “Cafe Les Deux Magots, Paris”, oil on canvas, signed lower right, titled en verso, verso canvas with “Atelier Heytman” stamp, 23‑1/2” x 31‑1/2”. Framed. [1200/1800] Illustrated

215

63


217

218

Unusual Pair of Continental Art Deco-Style Walnut- and Mahogany-Veneered Circular Side Tables, second half 20th century, each fitted with a cabinet door in the form of four faux drawers, raised on beehive-turned legs, h. 24”, dia. 23‑1/2”. [4000/7000] Illustrated

216

216

Pair of French Art Deco Rosewood and Chrome Torchere Lamps, ca. 1930s, each with a funnelshaped shade mounted to a tapering standard and circular plinth base, h. 74‑1/2”, dia. 19”. [5000/8000] Illustrated

217

Pair of French Walnut and Macassar Ebony Side Tables in the Art Deco Taste, 20th century, each with a curved side wall and fitted with a drawer, the design in the manner of Etienne Kohlmann, h. 26”, w. 17‑1/2”, d. 17‑1/2”. [2500/4000] Illustrated

218

64


219

219

Jean Lormier (French, 20th Century), “Danseuses aux Voiles”, second quarter 20th century, patinated bronze, incised signature along back edge of drapery, on a stepped black marble plinth, overall, h. 9”, w. 17‑3/4”, d. 5‑1/2”. [2000/4000] Illustrated

221

220

Art Deco Ebonized and ParquetryVeneered Three-Piece Parlor Suite, comprised of a sofa, h. 32”, w. 78”, d. 34”, and two armchairs, h. 32‑1/4” and 37”, each with a reeded crest rail, arms and arm supports, the reeding resuming on the legs, each side in parquetry palisander veneers, the seat, back and closed arms upholstered. [1500/2500] Illustrated

221

Art Deco Marquetry-Inlaid Macassar Ebony and Acajou Cabinet, second quarter 20th century, the case with a pair of doors, each with a floral and foliate inlay, over a bank of three drawers, retaining their bone pulls, on shaped legs, h. 59‑1/4”, w. 39‑1/4”, d. 14‑3/4”. [1500/2500] Illustrated 220

220

65


222

Attributed to William Hunt Diederich (Austrian/American, 1884‑1953), Art Deco gilt and patinated iron music or magazine rack, with a central motif of a figure with a wolfhound, h. 20”, w. 14‑7/8”, d. 4‑7/8”. [4000/7000] Illustrated The son of a Hungarian father and American mother (who was a member of the prominent Hunt family of Boston; her father was the acclaimed artist William Morris Hunt), Diederich spent his childhood in Switzerland before briefly attending the Boston Art School and the Pennsylvania Academy of the Fine Arts. Formal schooling held little interest for the young man, and Diederich spent several years traveling across the American West working as an itinerant cowboy. He eventually traveled to Africa and Europe, studying in Paris with the great animalier Emmanuel Fremiet. Diederich exhibited in the Paris Salons of 1911 and 1912, and at the Salon d’Automne in 1914. Upon his return to the United States, Diederich settled in New York City where he began to produce silhouettes, sculptures, and carefully composed iron and metal items. A believer that even the most mundane could-and should--be beautiful, he dedicated much of his career to creating gracefully rendered utilitarian objects, such as fire screens, gates, racks and trivets. Incorporating into his work elements of the various cultures he had encountered during his travels, Diederich was inspired by everything from Native American pottery to Roman architecture. His elegant figural pierced metal pieces were much admired by New York society in particular, and his work was frequently exhibited at the Whitney Studio Club (which evolved into the Whitney Museum of American Art), and Ferargil Galleries, New York, New York.

222

223

Paul Jacoulet (French/Japanese, 1902‑1960), “Le Priere de Minuit - Lama Mongol”, color woodblock, signed, stamped and titled, sight 18‑1/2” x 14”. Glazed and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1000/1500] Illustrated

224

Art Deco-Style Mahogany Occasional Table, 20th century, the circular top on three shaped supports, joined to a base of like shape, h. 23”, dia. 23‑1/4”. [600/900] Illustrated

225

French Art Deco Opaline Glass and Nickel-Plated Four-Light Chandelier, second quarter 20th century, with stalactite-molded matching shades, signed “Ezan”, and stalactite appliques to the upper rim and drops on the arms, the metal elements all in the Art Moderne manner, h. 23‑1/2”, w. 31”. [700/1000] Illustrated

223 224

66


227

225

226

Pair of Continental Art Deco-Style Macassar EbonyVeneered and Ebonized Side Tables, second half 20th century, each with a circular top mounted to a fluted and ebonized cluster-column standard and ending in a circular plinth base, h. 26”, dia. 32”. [3000/5000] Illustrated

227

Two Lalique Molded and Frosted Crystal Bird Figures, 20th century, French, including a pigeon gand, h. 6”, w. 9‑1/2”, d. 3‑1/2”, and a cockerel, h. 8‑1/2”, w. 5”, d. 2‑1/2”, each with an engraved mark. [500/800] Illustrated

228

228

Pair of Lalique Molded and Frosted Crystal Cats, 20th century, pre-1978, French, the resting cats marked “Lalique, France” with an engraved signature, h. 3‑3/4”, w. 8‑1/2”, d. 4‑3/4”. [500/800] Illustrated

229

Six Pieces of Lalique Molded and Frosted Crystal, 20th century, French, including a timori elephant, h. 6‑1/4”, a gregoire toad, h. 3”, a swan ring tray, h. 3‑3/4”, an anemone candle holder, h. 3”, a figure of two female nudes, h. 5‑1/2”, and a “dampiere” footed bowl with birds, pre-1975, dia. 4‑1/2”, all marked. [500/800] Illustrated 229

230

Two Lalique Frosted Crystal Figures, fourth quarter 19th century, French, including a rhinoceros on a black glass base, h. 4‑3/4”, w. 11‑3/4”, d. 4”, and a pair of charging goats, h. 3‑1/2”, w. 10”, d. 2‑3/4”, each inscribed “Lalique/ France” on base. [500/800]

226

67


231

Pair of Art Deco-Style Armchairs, each with a barrel back, closed arms and shaped seat and back cushion, in red microsuede upholstery, h. 28‑1/2”. [700/1000] Illustrated

232

French Art Deco Occasional Table, third quarter 20th century, the oval top on a pair of curule uprights, joined to a shaped plinth, h. 24”, w. 34‑1/2”, d. 19‑3/4”. [700/1000] Illustrated

233

233

French Patinated Bronze of “Lionne Marchant”, second quarter 20th century, after Georges Raoul Garreau (French, b. 1885), cast signature on proper right flank, on a black marble base, overall, h. 9‑3/4”, w. 27‑1/2”, d. 7‑1/2”. [800/1200] Illustrated

234

234

French Art Deco Macassar Ebony and Bone-Inlaid Server/ Console Table, second quarter 20th century, in the manner of Jacques-Emile Ruhlmann (French, 1879‑1933), the rectilinear top with a shaped edge, with line and diamond bone inlay over a pair of drawers, each with a cloth-lined partitioned interior, raised on square legs with bone inlay at the top and brass base caps, h. 29‑7/8”, w. 55”, d. 15‑3/4”. [3000/5000] Illustrated

232

68

231


235

Continental Art Deco Macassar Ebony Bar Cabinet, second quarter 20th century, the interior fitted with a mirrored back and the doors with galleried shelves for drink glasses, the mid-section with a pull-out mirrored work surface, raised on slender out-curved legs, h. 55”, w. 36”, d. 17”. [3000/5000] Illustrated

236

Art Deco-Style Glass, Aluminum and Inlaid Macassar Ebony Torchere, ca. 1975, the aluminum shade on glass balls, joined to a stepped hexagonal standard adorned with bone inlay, h. 74‑1/2”, w. 12”, d. 12”. [3000/5000] Illustrated

237

Pair of Art Deco-Style Glass, Aluminum and Inlaid Macassar Ebony Lamps, ca. 1975, each with an aluminum shade on glass balls, joined to a hexagonal pedestal, h. 35‑1/2”, dia. 10‑3/4”. [1000/1500] Illustrated

236

235

237

69


238

Pair of Art Deco-Style Brass-Mounted Palisander Stools, third quarter 20th century, of mushroom form, the circular top with a cushioned leather pad, the supporting column adorned with a trio of brass bands, h. 15”, dia. 16”. [1000/1500] Illustrated

239

Art Deco-Style Satinwood-Banded Macassar Ebony Dining Table, late 20th century, the circular top with a satinwood perimeter band, and supported by a column with a faux-ivory top and bottom and joined to an octagonal base, h. 30‑3/4”, dia. 52”. [3000/5000] Illustrated

239

240

Suite of Four Art Deco-Style Macassar Ebony Dining Chairs, late 20th century, each with a shaped concave back, shaped stiles and subtle cabriole legs with fauxivory feet, h. 39”. [2000/4000] Illustrated

238

240

70


241

Art Deco Mahogany Buffet/Vitrine, mid-20th century, the portoro marble top on a case with a gentle bow front and a central beveled glass door over a pair of drawers, flanked by conforming doors, retaining its stylish chrome-plated drawer pulls and keys, h. 40‑1/2”, w. 61”, d. 19‑1/4”. [1200/1800] Illustrated

242

Pair of French Art Deco-Style Macassar Ebony and Faux Suede-Upholstered Club Chairs, mid-20th century, with padded backs and seats, the arms trimmed in macassar ebony veneers, h. 30”, w. 28”, d. 34”. [4000/7000] Illustrated

243

Pair of Art Deco-Style Aluminum, Parcel-Ebonized and Shagreen Torcheres, late 20th century, the open-top aluminum shade joined to an ebonized sphere on a flaring triangular ivory skin-clad standard, on a base of like shape, h. 75”, dia. 17‑3/4”. [2500/4000] Illustrated

243

244 242

241

Art Deco-Style Acajou Wall-Mounted Headboard, the domed crest above a back with an inlaid satinwood starburst pattern emanating from a sphere, h. 55”, w. 77”. [2000/4000] Illustrated

244

71


247

245

245

Art Deco-Style Palisander and Brass Occasional Table, third quarter 20th century, the circular top on a pedestal with brass columns joined to an X-form frame, on a circular base, h. 31”, dia. 23‑1/4”. [700/1000] Illustrated

246

Pair of Art Deco Palisander and Marble-Top Night Stands, mid-20th century, each with a breche africaine marble top on a case with a bank of three drawers and a serpentine cupboard door, with a pedestal on a shaped platform base, h. 25”, w. 24‑1/2”, d. 13‑1/2”. [1000/1500] Illustrated

247

Jean Lefort (French, b. 1948), “Barefoot in the Surf”, oil on canvas, signed lower left, 32” x 39”. Framed. [1500/2500] Illustrated

248

248

Claude-Marie Buford (French, b. 1946), “Children Playing on the Beach”, oil on wood panel, signed lower right, 20” x 24”. Framed. [1000/1500] Illustrated

249

249

246

72

Niek van der Plas (Dutch, b. 1954), “Naples Beach”, oil on wood panel, signed lower right, 7” x 9”. Framed. [1000/1500] Illustrated


250

252

251

254

250

Antique Shirvan Carpet, 4’ x 6’. [500/800] Illustrated

251

Semi-Antique Sarouk Carpet, 7’ 8” x 12’. [700/1000] Illustrated

252

Louis XV-Style Needlepoint Carpet, 12’ x 19’. [800/1200] Illustrated

253

Semi-Antique Kerman Carpet, 10’ x 14’ 4”. [800/1200]

254

Semi-Antique Mahal Carpet, 10’ 9” x 14’ 7”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [2500/4000] Illustrated

73


256

257

259

255

Peshawar Sultanabad Runner, 2’ 7” x 18’ 1”. [600/900]

256

Persian Sarouk Carpet, 9’ x 12’. [1200/1800] Illustrated

257

Turkish Oushak Runner, 2’ 9” x 10’ 5”. [800/1200] Illustrated

258

Antique Amirtzar Carpet, 9’ 3” x 12’. [4000/7000] Illustrated

259

Turkish Angora Oushak Carpet, 10’ x 13’ 9”. [1200/1800] Illustrated

260

Turkoman Carpet, 8’ 6” x 11’ 11”. [800/1200]

261

Turkish Angora Oushak Carpet, 8’ 1” x 10’. [800/1200] Illustrated

262

Tabriz Silk Carpet, depicting the Tree of Life, 3’ 6” x 5’. [500/800] Illustrated

263

Fine Agra Serapi Carpet, 11’ 9” x 15’ 3”. [2500/4000] Illustrated

264

Semi-Antique Sarouk Carpet, 9’ x 12’. [800/1200] Illustrated 258

74

265

Semi-Antique Shirvan Runner, 4’ 4” x 14’ 4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [600/900] Illustrated


261

263

262

264

265

75


266

Empire-Style Mahogany and Ebonized Center Table, 19th century, the rectangular top with shaped corners and raised on four large supports in the form of winged lions on an X-form stretcher base, h. 31”, w. 52”, d. 29”. [1200/1800] Illustrated

267

Jacques-Edouard Gatteaux (French, 1788‑1881), “Napoleon et le Soleil d’Austerlitz”, fourth quarter 19th century, bronze relief medallion, cast signature along lower edge, dia. 17‑1/2”. [600/900] Illustrated

268

Pair of Impressive French Gilt- and Patinated Bronze Six-Light Candelabra, third quarter 19th century, on pierced and molded gilt-bronze feet set with patinated metal plinths, the patinated metal cluster-column standards resting on pierced gilt- and patinated bronze bases decorated with lions and scrollwork, the pierced candle arms terminating in molded patinated candle cups and pierced gilt-bronze drip pans, h. 33‑3/4”, dia. 13‑1/2”. [1200/1800] Illustrated

269

269

French Empire-Style Gilt-Bronze and Tole SevenLight Chandelier, second quarter 20th century, on a tole base, the lower section with pierced honeysuckle mounts and an artichoke finial, mounted with cornucopia-form candle arms decorated with lotus leaves and flowers, the center set with a socket under a frosted glass shade, supported by bronze chains from a feather-molded corona, h. 25‑1/2”, dia. 26‑1/2”. [1000/1500] Illustrated

267

266

76

268


270

Empire-Style Ebonized Library Table, early 20th century, the rectangular top with a gilttrimmed deep red leather surface within an annulated edge, above a conforming frieze fitted with two side drawers, the frieze with applied giltwood griffin, masque and foliate patterns on all four sides, raised on tapering square legs headed by masque mounts and ending in toupie feet, h. 32‑1/2”, w. 71‑1/2”, d. 42”. [800/1200] Illustrated

271

Empire-Style Rosewood Side Table, 20th century, the rectangular top above a plain frieze and raised on parcel-gilt scrolling acanthine carved supports to a concave plinth base, h. 36”, w. 38”, d. 16”. [1000/1500] Illustrated

272

271

272

Pair of Empire-Style Gilt Metal and GraniteTop Tabourets, each with an inset circular granite top supported by three dolphin-form supports to a concave tripartite base, h. 18”, dia. 20‑1/4”. [1200/1800] Illustrated

273

273

Pair of Monumental French Restauration Bronze Dore et Patine Candelabra, second quarter 19th century, resting on molded paw feet on tripartite bases, the column-form reeded standards with Corinthian capitals terminating with molded acanthus leaves on spherules, the pierced scrolled candle arms decorated with medallions and terminating with gilt drip pans, and reeded, patinated candle cups, h. 34‑1/2”, dia. 13”. [900/1200] Illustrated 270

77


274

Pair of French Restauration Bronze Dore et Patine EwerForm Garnitures, second quarter 19th century, on bronze dore engine-turned bases, the patinated bronze bodies with engineturned trim and eagle mounts, the pouring spouts with masque mounts, and the handles molded in the form of cockerels, h. 16‑3/4”, w. 3‑1/2”, d. 7”. [1200/1800] Illustrated

276

274

275

Directoire-Style Ormolu-Mounted Marble-Top Low Table, the circular figured marble top edged by a brass gallery, the apron with panels with X-form inlaid stringing, raised on paneled legs with brass caps, h. 18”, dia. 35”. [700/1000] Illustrated

277

276

Pair of Continental Malachite Obelisks, 20th century, on stepped bases, the plinths with raised panels, h. 19‑3/4”, w. 5”, d. 5”. [1800/2500] Illustrated

277

Restauration Mahogany and Marble-Top Pier Table, ca. 1825, the marble top over a frieze fitted with a single drawer mounted with bronze pulls and escutcheon, the scroll legs on carved paw feet, joined to a convex platform base, h. 34”, w. 29‑1/2”, d. 16”. [800/1200] Illustrated 275

78


278

Louis-Philippe Bronze Dore et Patine Figural Mantel Clock, mid-19th century, the gilt-bronze base decorated with molded scrollwork, shells and acanthus leaves, and supporting a patinated bronze rocky outcropping set with the clock, with a black marble dial, and a figure of a young woman in classical dress, holding her cloak against the wind and carrying a basket of fruit, a rubbed signature on the dial, h. 15‑1/4”, w. 11”, d. 4”. [500/800] Illustrated

279

278

Empire-Style Mahogany Mirror, late 19th century, the molded pyramidal crest above an ormolu-applied frieze with projecting corners, over the rectangular plate, flanked to either side by engaged pilasters headed by ormolu maiden’s heads and ending in ormolu feet, h. 84”, w. 45‑1/2”. [1500/2500] Illustrated

280

Empire-Style Mahogany and Marble-Top Commode, 19th century, the rectangular marble top above a conforming case fitted with a single frieze drawer over three long recessed drawers, flanked to either side by a columnar upright, raised on block feet, h. 36‑3/4”, w. 39‑3/4”, d. 23‑1/2”. [800/1200] Illustrated

281

French Marble, Bronze and Porcelain Encrier, fourth quarter 19th century, in the Directoire style, on a lozenge-form Siena marble base, mounted with a pair of engine-turned bronze inkpots flanking a biscuit figure of a cupid wearing a tricorne hat, preparing to strike a drum fitted with a clock, h. 8‑1/2”, w. 9‑3/4”, d. 4”. [800/1200] Illustrated

279

280

281

79


282

Empire Mahogany Lit du Jour, early 19th century, the headboard and footboard each with a columnar crest rail above a panel fronted by an ormolu-mounted columnar standard, joined by convex rails, raised on tall block feet raised on casters, h. 45”, inside, w. 48”, l. 78”, outside, w. 50”, l. 80”. [700/1000] Illustrated

283

Empire-Style Walnut Commode, mid-19th century, the banded rectangular top above a conforming case fitted with a long frieze drawer over three recessed drawers flanked to either side by ormolu-mounted uprights, raised on turreted feet, h. 36”, w. 45‑1/2”, d. 21‑1/2”. [800/1200] Illustrated

284

Pair of French Restauration Giltwood Pier Mirrors, second quarter 19th century, the cove-molded frames decorated with anthemia and lined with lotus leaves, and set with two-part antique mirror plates, h. 70”, w. 37”. [1500/2500] Illustrated

284 pair

283

285

285

282

80

Exceptional French Gothic Revival Bronze Dore et Patine Mantel Clock, second quarter 19th century, on anthemion-molded feet, the casketform case with a Gothic mount with knights flanking the center, beneath a “rose window” dial, all with delicate Gothic casting, the trim with additional Gothic detailing above a stepped base, set with a silk-string suspension movement, h. 15”, w. 8‑3/4”, d. 5”. [700/1000] Illustrated


286

Pair of Louis-Philippe Bronze and Patinated Metal Figural Three-Light Candelabra, second quarter 19th century, now mounted as lamps, the standards depicting, respectively, a sultan and sultana in Middle Eastern costume, standing on patinated metal drum-form bases decorated with bronze masques, the candle arms with bronze leaves and set with floriform candle cups, h. 27‑1/2”, dia. 9‑1/4”. [500/800] Illustrated

287

Charles X Mahogany and Marble-Top Cabinet, second quarter 19th century, the rounded rectangular charcoal marble top above a conforming case fitted with a cushion frieze drawer over two paneled cabinet doors, raised on ball feet, h. 40‑1/2”, w. 48”, d. 21‑1/2”. [500/800] Illustrated

286

289

287

288

Restauration Parcel-Gilt Mahogany and Marble-Top Center Table, second quarter 19th century, the circular dished marble top supported by a reeded baluster-form pedestal, over a tripodal base, the legs with foliate-carved knees and paw feet, h. 29”, dia. 35‑1/2”. [1200/1800] Illustrated

289

Restauration Walnut and Marble-Top Commode, mid19th century, the rectangular marble top with a reeded edge, above a conforming case fitted with a cushion frieze drawer over three long drawers, with a concealed apron drawer below, raised on molded block feet, h. 36‑1/2”, w. 50‑1/4”, d. 22‑1/2”. [500/800] Illustrated

288

81


290

291

290

Pair of Restauration-Style Mahogany Gondola Chairs, late 19th century, each with a caned and reeded crest ending in swan’s necks, above a padded back joined by downswept sides and arms to the cushioned seat, raised on sabre legs, h. 37”. [800/1200] Illustrated

291

Charles X Mahogany Recamier, second quarter 19th century, the long padded seat with one raised padded in-curved end, terminating in swan’s necks, above a plain frieze, raised on scrolled feet, h. 36”, w. 27”, l. 59”. [700/1000] Illustrated

293

292

Charles X Mahogany Dressing Table, second quarter 19th century, the oval mirror within a banded frame and held by swan’s head supports, the lower section with a superstructure of three small drawers and a rectangular marble top above a conforming frieze fitted with a single frieze drawer, joined to a concave stretcher shelf on turned columnar uprights ending in block feet, h. 58”, w. 38”, d. 19”. [800/1200] Illustrated

293

292

82

Pair of Louis-Philippe Gilt-Bronze Figural Four-Light Candelabra, second quarter 19th century, with molded standards depicting the God Apollo and the Goddess Diana, the vasiform bases with molded acanthus leaves and engine turning, the figures holding aloft scrolled and pierced candle arms decorated with honeysuckle and terminating in dog’s heads, the laurel-molded drip pans set under candle cups with bas-relief stags and hunting hounds, h. 26”, dia. 9”. [2500/4000] Illustrated


294

Lapis Lazuli and Gilt-Bronze Boudoir Clock in the Empire Taste, 20th century, set with quartz works, the stone case decorated with a giltbronze masque and mounts of a swag of laurel, one with pierced leaves, h. 4”, w. 3”. [500/800] Illustrated

295

French Neoclassical-Style Giltwood Mirror, ca. 1900, the surround lined with ribbon carving and supporting a rectangular tablet decorated with panels of mirror-backed interlocking rings, flanking a portrait of Minerva, Roman goddess of war, on a stippled ground, h. 59‑3/4”, w. 39”. [900/1200] Illustrated

295

296

Directoire-Style Polychrome Window Seat, late 19th century, the padded rectangular seat flanked to either end by a padded outswept side, raised on fluted tapering circular legs ending in peg feet, h. 31”, w. 32”, l. 64‑1/2”. [1000/1500] Illustrated

294

296

83


298 four of twelve

298

George Brettingham Sowerby, II (British, 1812‑1884), “Collection of Twelve Hand-Colored Engravings from the “Sowerby Conchological Publications”, London, 1847‑1887, including four illustrations of “Fissurella”, three of “Bulinus”, two "Cyproea”, “Chiton”, “Cordinum” and “Cancellaria”, each sight 4‑1/4” x 7‑5/8”. Glazed, matted and framed alike. [1000/1500] Illustrated

299

Pair of Regency-Style Mahogany Armchairs, late 19th century, each with a solid crest over two pierced ovoid splats, joined by reeded, downswept arms to the padded seat, raised on reeded tapering circular legs ending in teardrop feet, h. 34”. [500/800] Illustrated

297

297

Directoire-Style Brass, Gilt-Bronze and MarbleTop Occasional Table, the circular marble top within a bronze banding, and raised on slender supports joined by vertical X-form stretchers and ending in paw feet, h. 26‑1/2”, dia. 17‑1/2”. [600/900] Illustrated

299

84


300

300

Partial Service of Ashworth Brothers Ironstone with Imari Decoration, ca. 1862‑1890, English, decorated with gilt-trimmed orange and blue borders in the Imari taste, some pieces with both impressed and printed marks, the set including fifteen dinner plates, dia. 10‑1/4”, three soup plates, dia. 10‑1/4”, twelve luncheon plates, dia. 8‑1/2”, a sauce tureen and stand, h. 6”, w. 8‑3/4”, and a small platter, w. 10”, d. 7‑3/4”. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [500/800] Illustrated

301

302

Regency Mahogany Breakfront Bookcase, first quarter 19th century, the cornice centered by an arched wheat-carved panel flanked to either side by urn finials and foliate-carved arched panels, above a drop finialcarved frieze, over four astragal-glazed doors, all with oval patterns and corner-carved floral patera, the lower section fitted with two central short drawers over two long drawers, flanked to either side by a paneled cupboard door, the whole raised on a plinth base, h. 96”, w. 104”, d. 18‑1/2”. [3000/5000] Illustrated

303

Late Regency Mahogany and Parcel-Gilt Center Table, second quarter 19th century, the circular top above a conforming frieze and raised on a ribbed vasiform standard to a concave base ending in gilt paw feet on casters, h. 27‑1/2”, dia. 44”. [1000/1500] Illustrated

302

301

Franco-Japanese Imari Vase, ca. 1900, now mounted as a lamp, the vase decorated with peonies and a panel with a willow tree, accented with gilt, and mounted with a pierced French bronze base and scalloped French bronze trim at the lip, vase, h. 14”, overall, h. 28”, dia. 8”. [500/800] Illustrated

303

85


304

304

305

Handsome Regency Giltwood Girandole Mirror, first quarter 19th century, the cove-molded frame set with gilt spherules and a reeded, ebonized liner, with a displayed eagle finial, and candle branches on each side, set with period mirror glass, h. 31”, w. 22‑1/2”. [800/1200] Illustrated

305

Pair of Regency-Style Giltwood Two-Light Sconces, second quarter 20th century, Italian, with tasseled ribbon backplates, and featuring displayed eagles on scroll-carved plinths supporting scrolled candle arms decorated with carved giltwood medallions and terminating in carved giltwood candlecups, electrified, h. 35”, w. 13‑1/2”, d. 10‑1/4”. [700/1000] Illustrated

306

Regency-Style Giltwood and Marble-Top “Eagle” Console Table, mid-20th century, the shaped top with a conforming verde marble and supported by a large displayed eagle, and mounted to a stepped and carved plinth base, h. 34”, w. 40”, d. 18”. [700/1000] Illustrated

307

George III-Style Mahogany Triple-Pedestal Dining Table, the top with a reeded edge and raised on three turned tripodal pedestals with reeded legs and cup casters, h. 30‑1/2”, w. 41”, l. 98”. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [1400/1800] Illustrated

86

307

306


311

Regency Mahogany Sofa Table, first quarter 19th century, the rectangular top with decorative banding and two rounded drop leaves, above a frieze fitted with two drawers to one side and two faux drawers to the other, raised on end supports to splayed legs ending in brass paws on casters, h. 28”, w. 36”, d. 25”, extended width 60”. [700/1000] Illustrated

309

308

308

Late Regency Mahogany Sideboard, second quarter 19th century, with a back brass rail supported by urn-topped uprights, the D-form top with inlaid string banding and a banded edge, above a conforming case fitted with a central cutlery drawer flanked to one side by a cupboard and to the other by a deep drawer, raised on ribbed tapering circular legs ending in toupie feet, h. 49”, w. 72”, d. 28‑1/4”. [900/1200] Illustrated

310

309

Six Graduated Pairs of Chinese Export Fruit Baskets on Stands, first quarter 19th century, the reticulated and handled baskets decorated with mazarin blue borders highlighted with gilt scrollwork, and hand-painted flower bouquets and sprigs on the baskets and stands, h. 3‑1/2” to 4‑3/4”, w. 8‑1/4” to 10‑3/4” (twelve total pieces). [1000/1500] Illustrated

310

Regency-Style Mahogany Linen Press, late 19th century, the molded rectangular cornice above a drop finial frieze, with two doors below, each banded and centered by an oval panel, the lower section fitted with two short drawers over two graduated long drawers, all paneled, raised on splayed legs, h. 80”, w. 51”, d. 23”. [1500/2500] Illustrated

311

87


312

Regency-Style Rosewood Side Table, 20th century, the circular top with a pierced brass gallery and fitted with a single drawer, and supported by four fluted and tapering standards mounted to a circular shelf with an embossed leather insert, and raised on four out-curved legs ending in brass paw feet, h. 28‑1/2”, dia. 27”. [500/800] Illustrated

313 316

English Regency Inlaid Mahogany Coal Bucket, second quarter 19th century, the hourglass-form bucket on ball feet, with pierced sides and an inlaid top, set with a brass swing handle, formerly fitted with a removable liner, h. 17‑1/2”, dia. 14‑1/2”. [500/800]

315

317

314

Handsome Pair of Chinese Export Porcelain Ginger Jars on Stands, 20th century, in the famille rose palette, decorated with pairs of phoenix birds and peonies, with blue on pink borders, on carved wooden stands, h. 27‑3/4”, dia. 10‑1/2”. [2500/4000] Illustrated 314

315

Pair of Chinese Pink Quartz Covered Vases, first quarter 20th century, now mounted as lamps, on oval brass bases, the vases carved with bas-relief scrollwork and set with Chinese fret handles, the covers set with bold knops depicting foo dogs grasping balls, base, h. 15‑1/2”, overall, h. 23‑1/2”, w. 7‑1/2”, d. 4‑3/4”. [800/1200] Illustrated

316

Pair of Herend Porcelain “Chinese Bouquet” Covered Bean Pots, post-2012, Hungarian, decorated with sprigs and garlands of rust-colored flowers, gilt-trimmed and signed on the bottom, h. 7”, dia. 7‑1/2”. [600/900] Illustrated

317

Regency-Style Mahogany Serving Table, early 19th century, the rectangular banded top with a bowed front and breakfront center, above a conforming frieze fitted with a central drawer and two side drawers, all banded, raised on ring-turned circular legs ending in peg feet, h. 36”, w. 64”, d. 26‑1/2”. [1500/2500] Illustrated

88

312


318

Regency Bronze Dore et Patine Fire Fender, second quarter 19th century, with a central rod, the ends decorated with images of a lion wrestling with a snake, after James Northcote (English, 1746‑1831), resting on kettle-form plinths, with lotus leaves decorating the center rod, h. 12‑1/2”, w. 56‑1/2”, d. 5”. [700/1000] Illustrated

319

Handsome William IV Parcel-Gilt Overmantel Mirror, second quarter 19th century, the oval parcel-gilt and ebonized mirror decorated with carved beading and lotus leaves, and resting on a stand carved with scrolls and pierced anthemia on each side, h. 44‑1/2”, w. 49‑1/2”. [800/1200] Illustrated

318

320

Suite of Six Regency-Style Ebonized Sidechairs, 20th century, each with a curved polychrome crest above a foliatecarved and gilt-accented splat, the padded seat raised on sabre legs, h. 33‑1/2”. [700/1000] Illustrated

319 320 detail

320

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321 323

324

322

321

Set of Seven Crown Chelsea Dinner Plates, ca. 1912‑1928, English, decorated with urns and scrollwork on a cobalt ground, framed with raised gilt, marked with the company’s silver signature, dia. 10‑1/4”. [500/800] Illustrated

322

American Federal-Style Inlaid Mahogany Fold-Over Games Table, early 20th century, the serpentine apron with a central inlaid urn and flanked by inlaid banded panels, raised on string-inlaid tapered legs, h. 30”, w. 36”, d. 19”, extended d. 38”. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [500/800] Illustrated

90

323

Late Regency Mahogany Drop-Leaf Table, first quarter 19th century, the rectangular top with two rounded leaves, above a single suspended drawer, raised on ribbed and bulbous turned legs joined by a platform stretcher to four splayed legs ending in brass paws on casters, h. 28”, w. 42”, l. 18”, extended l. 48”. [800/1200] Illustrated

324

Regency-Style Mahogany Triple-Pedestal Banquet Table, first half 20th century, the top with a satinwood and rosewood banded edge and supported by vasiform turned standards with four downswept reeded legs ending in brass paw feet, accompanied by two 20” leaves, h. 30”, w. 48”, l. 120”, extended l. 160”. [1000/1500] Illustrated


326

325

325

Regency Mahogany Chest, first quarter 19th century, the rectangular top with a reeded edge, above a conforming case fitted with two short drawers over three graduated long drawers, flanked to either side by inlaid uprights, raised on bracket feet, h. 41”, w. 46‑3/4”, d. 20‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [800/1200] Illustrated 328

326

Partial Service of Mason’s Ironstone Tableware in the Imari Palette, post-1891, English, including twelve dinner plates, dia. 10‑1/4”, twelve soup plates, dia. 10‑1/4”, twelve luncheon plates, dia. 9‑1/4”, twelve salad/dessert plates, dia. 7‑3/4”, a pair of sauce tureens on stands, h. 5”, w. 7‑1/4”, a pair of covered vegetable dishes, h. 5”, w. 10”, and a nest of six graduated platters, w. 10” to 18‑1/4”, d. 8” to 14‑3/4”, with Mason’s crown and banner mark in brown, with “England” and hand-painted pattern numbers “2566”. Provenance: The collection of Lucy Nunnally, Baton Rouge, Louisiana. [1200/1800] Illustrated

327

Regency Stenciled and Ebonized Quadruple Chairback Settee, first quarter 19th century, each back section with a foliate-stenciled upper and lower rail bisected by a carved panel, extending to curved arms on turned supports, the bowed seat rail on shaped turned legs, now fitted with a loose cushion in apricot upholstery, h. 32”, w. 71”, d. 22”. [1000/1500] Illustrated

328 327

Regency Faux-Bois and Cane Kneeling Bench, early 19th century, the long caned seat flanked to either side by an outswept caned end, raised on sabre legs, h. 16”, w. 60”, d. 12‑1/2”. [600/900] Illustrated

91


330

329

331 333

329

Regency-Style Mahogany Library Steps, with three rounded rectangular treads with gilt borders, joined by scrolling and ribbed supports and raised on bulbous toupie feet, h. 41‑1/4”, w. 17‑1/2”, d. 19‑3/4”. [500/800] Illustrated

330

William IV Mahogany Bed Steps, second quarter 19th century, with three steps, each with an inset leather surface, the upper two opening to a storage interior, raised on bulbous turned feet, h. 26‑1/4”, w. 32”, d. 18”. [700/1000] Illustrated

92

331

William IV Mahogany Tiered Server, second quarter 19th century, the shaped backpiece with four turned corner finials above a rectangular top, joined to two like-shaped lower shelves by bulbous turned supports, raised on like legs to casters, h. 44”, w. 51”, d. 19”. [800/1200] Illustrated

332

William IV Mahogany Bench, second quarter 19th century, the cushioned and caned rectangular seat raised on bulbous, turned and tapering circular legs ending in peg feet, h. 20‑1/2”, w. 30‑1/2”, d. 14”. [500/800]


335 336

333

William IV Walnut Demi-lune Etagere, second quarter 19th century, the superstructure with an upper small galleried shelf over five graduated shelves, all with spiral-ribbed supports and fronted by ribbed molding, the lower conforming section fitted with a single cushion frieze drawer, joined to a lower shelf by barleytwist uprights, raised on ribbed bun feet, h. 81‑1/2”, w. 54”, d. 37”. [1500/2500] Illustrated

334

Pair of William IV Mahogany-Veneered Pole Screens, second quarter 19th century, on pierced and scrolled feet with turned standards, the square screens with serpentine edges and set with floral needlepoint, h. 57‑3/4”, w. 18”, base dia. 13”. [500/800] Illustrated

335

334

Handsome Georgian Anglo-Indian Writing Box, first quarter 19th century, the walnut-veneered exterior over a rosewood cover, the exterior with a patera, the fitted interior inlaid with Islamic micromosaics, a baize-lined writing surface in the lower drawer, the sides set with silverplated bail handles, h. 6”, w. 17”, d. 11”. [500/800] Illustrated

336

Nine-Piece Collection of English Porcelain, early 19th century, including a signed Worcester pitcher, ca. 1805‑1811, signed in gilt script, decorated with gilt sprigging, orange borders and presentation initials, h. 7‑3/4”, dia. 6”, three Derby cups, h. 4”, and saucers, dia. 5‑1/2”, decorated with pink anthemia, an unmarked oval sugar bowl decorated in gilt and red, h. 6”, w. 5‑1/4”, and an unmarked shell dish with orange and gilt meandering vines, w. 8‑1/2”, d. 8‑1/2”. [500/800] Illustrated

337

William IV Mahogany Server, second quarter 19th century, the paneled backpiece centered by a scrolling acanthine crest and with like end carving, the long rectangular top above a plain frieze, raised on massive foliate scrolling supports to paw feet on a runner base, h. 55”, w. 96”, d. 25”. [2000/4000] Illustrated

337

93


338

338

Brett James Smith (American/Louisiana/Montana, b. 1958), “Getting Ready”, oil on panel, signed lower right, titled on artist label en verso, 24” x 36”. Framed. [6000/9000] Illustrated

94


339

Herb Booth (American/Texas, 1942‑2014), “Teal Hunt”, watercolor on paper, signed lower right, 21” x 28”. Glazed, matted and framed. [2000/4000] Illustrated

339

340

David Hagerbaumer (American/ California, 1921‑2014), “Mallards and Pintails”, 1959, watercolor on paper, signed and dated lower right, sight 19” x 27”. Glazed, handsomely matted and framed. [3000/5000] Illustrated

340

95


341

Brett James Smith (American/ Louisiana/Montana, b. 1958), “Lake Camp”, oil on canvas, signed lower right, signed and titled en verso, 8‑3/4” x 12”. Framed. [3000/5000] Illustrated

342

Gerald Harvey (American/Texas, b. 1933), “Evening Lights in the City”, gouache on paper, signed lower right, sight 6‑1/2” x 5‑3/4”. Glazed, handsomely matted and framed. [5000/8000] Illustrated

341

342

96


344

William Alther (American/Texas/ Colorado/Arkansas, b. 1959), “Pond Swan”, oil on board, signed upper left “Alther”, signed and titled en verso, 9” x 12”. Framed. [2000/4000] Illustrated

344

343

William Hollywood (British, 1923‑2007), “Mallards in Flight”, oil on canvas, signed lower left, canvas stamped “’Herga’/Winsor & Newton, Ltd./London, U.K.”, 20” x 30”. Framed. [3500/5000] Illustrated

343

345

Clyde Aspevig (American, b. 1951), “Blackwaters - Magnolia Gardens”, oil on canvas mounted on board, signed lower left, signed and titled en verso, 24” x 30”. Presented in an attractive giltwood frame. Provenance: Private collection, Winston-Salem, North Carolina. [12000/18000] Illustrated

345

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349

346 348

347

346

Fine George III Mahogany Tilt-Top Tea Table, third quarter 18th century, the scalloped top with a piecrust edge supported by a turned and carved standard, and raised on three outstretched cabriole legs with shell- and acanthine-carved knees and unusual shell-carved feet, h. 27”, dia. 27‑1/2”. [1200/1800] Illustrated

347

Suite of Eight George III-Style Mahogany Dining Chairs, late 19th century, in the Sheraton style, consisting of two armchairs and six sidechairs, each with a domed crest above a pierced wheat sheaf-carved splat, the padded seat raised on tapering molded legs ending in block feet, h. 38”. [900/1200] Illustrated

98

348

Chinese Export Porcelain Box on a Wooden Stand, ca. 1900, the box decorated with scrollwork and lotus blossoms, with gilt medallions on the cover, signed on the bottom, overall, h. 3”, w. 7”, d. 4‑1/4”, box, h. 2‑1/2”, w. 6‑1/4”, d. 3‑1/2”. [500/800] Illustrated

349

Pair of Chinese Eggshell Porcelain Bowls, first quarter 20th century, decorated with raised enamel peonies and various other flowers, signed in blue characters on the bottom, h. 2‑1/2”, dia. 6”. [500/800] Illustrated


352

350

350

353

354

George III-Style Mahogany Bookcase, 18th century and later, the broken swan’s neck pediment with pierced accents above a fluted and dentillated frieze with two astragal-glazed doors below, the lower section fitted with a fluted frieze over two paneled cupboard doors, raised on shaped bracket feet, h. 99‑1/2”, w. 45‑1/2”, d. 21‑1/2”. [1800/2500] Illustrated

351

George III-Style Mahogany Settee, 19th century, the tripledomed back with floral crests and pierced splats, and joined to the padded seat by shaped arms, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 38‑1/2”, w. 74”, d. 22”. [2000/4000] Illustrated

352

Pair of Chinese Export-Style Blue-and-White Tea Canisters, 20th century, now mounted as lamps, on wooden bases, the hexagonal lamps decorated with birds, peonies and prunus branches, base, h. 13‑1/4”, overall, h. 28‑1/2”, dia. 8”. [500/800] Illustrated

353

Chinese Export Blue-and-White Ginger Jar, ca. 1800, decorated with plum branches, the neck with scrollwork, h. 16‑1/2”, dia. 8‑1/4”. [800/1200] Illustrated

354 351

Chinese Porcelain Moon Flask, second quarter 20th century, set with molded and pierced handles, decorated with a medallion of iron-red scrollwork on a field of blue and iron-red flowering vines, signed in characters on the base, h. 16”, w. 11”, d. 5‑1/2”. [700/1000] Illustrated

99


358

357

356

355

355

Georgian-Style Mahogany and Marble-Top Side Table, early 20th century, the long rectangular breakfront marble top above a conforming scalloped frieze fitted with three drawers, raised on molded tapering square legs headed by bellflower carving and ending in spade feet, h. 35”, w. 89”, d. 24‑1/2”. [600/900] Illustrated

357

356

358

Georgian-Style Mahogany and Marble-Top Side Table, early 20th century, the long rectangular breakfront marble top above a conforming scalloped frieze fitted with three drawers, raised on molded tapering square legs headed by bellflower carving and ending in spade feet, h. 35”, w. 89”, d. 24‑1/2”. [600/900] Illustrated

100

Unusual George III-Style Ebonized Window Seat, 19th century, the long caned seat flanked to either side by a canted and pierced shield-form end and raised on ring-turned tapering circular legs ending in toupie feet, the whole with polychrome floral accents, h. 32”, w. 49”, d. 12‑1/2”. [600/900] Illustrated Suite of Eight George III Mahogany Dining Chairs, 18th century, in the Hepplewhite taste, consisting of two armchairs and six sidechairs, each with a shield-form back with a pierced splat above the padded seat, raised on tapering square legs joined by an H-form stretcher, h. 38”. [700/1000] Illustrated


361

360

359

362

359

Alfred Augustus Glendening, Sr. (British, ca. 1840‑1910), “Keston Common, Kent”, 1903, oil on canvas, signed and dated lower right, 18” x 32”. Presented in a period giltwood and gesso exhibition frame, with a “Marshall Field & Company” label , “The Cooling Galleries, 92 New Bond Street London” label and a dedication plaque by the “Board of Directors and Senior Council of the Chicago Association of Commerce and Industry”. Provenance: Estate of Mr. and Mrs.G. Ellerd, White Bear Lake, Minnesota. [1800/2500] Illustrated

360

Frederick William Hulme (British, 1816‑1884), “Stepping Stones - Cader Idris, North Wales”, oil on canvas, signed lower right, 23‑3/4” x 35”. Presented in a giltwood frame stenciled with the painting title and artist’s name. [4000/7000] Illustrated

361

Henry Garland (British, 1834‑1913), “Highland Cattle on Road to Argyllshire”, 1870, oil on canvas, signed and dated lower left, 30” x 48”. Presented in an ornate cove-molded gesso and giltwood frame. [1000/1500] Illustrated

362

Edmund John Niemann (British, 1813‑1876), “Yorkshire Landscape with Richmond Castle in the Distance”, oil on canvas, signed lower right, 30” x 50”. Presented in an antique gesso and giltwood frame. [1400/1800] Illustrated

101


363

Suite of Fourteen George III-Style Mahogany Dining Chairs, consisting of two armchairs and twelve sidechairs, each with a shaped foliate-carved crest above a pierced and interlacing splat, the padded seat raised on cabriole legs headed by foliate carving and ending in ball-and-claw feet, h. 41”. [2500/4000] Illustrated

364

George III-Style Mahogany Triple-Pedestal Banquet Table, each section with a tilt top, the tops with figured mahogany with cross-banded and line-strung perimeters and reeded edges, on tapering saber-form legs ending in hairy paw cup casters, accompanied by two 24” wide leaves, h. 29‑1/4”, w. 45‑1/4”, l. 108”, extended l. 156”. [2500/4000] Illustrated

365

Attributed to William Traies (British, 1789‑1872), “The Becky Falls, River Wray, South Devon”, oil on canvas, unsigned, 36” x 28”. In an attractive gesso and giltwood frame. [1500/2500] Illustrated

366

Continental Neoclassical Walnut and Fruitwood Commode, late 18th century, the banded rectangular top with a molded edge, above a conforming case fitted with a long narrow frieze drawer over three long drawers, all with decorative banding, raised on bracket feet, h. 38”, w. 57‑1/2”, d. 25‑1/4”. [2000/4000] Illustrated

363 365

364

366

102


367

Pair of Neoclassical-Style Fruitwood and Mixed Woods Commodes, each with a rectangular top with banding and floral inlays, above a conforming case fitted with a frieze drawer over two long drawers, all banded and with inlaid accents, raised on tapering square legs, h. 22‑1/4”, w. 48‑1/2”, d. 35”. [1000/1500] Illustrated

368

Pair of Italian Carved Giltwood and Silver Gilt Appliques, mid-20th century, in the Baroque taste, carved in the form of graduated baskets of fruit, the lower ones resting on fringed shelves, all supported by tassels, h. 40”, w. 12”, d. 4”. [1000/1500] Illustrated

369

Italian Parcel-Gilt Mirror in the Neoclassical Taste, mid20th century, the carved giltwood surround inset with salmoncolored panels and surmounted by a ribbon-pierced finial flanked by gilded pinecones, the lower section with pierced gilt scrollwork, h. 59”, w. 33‑1/2”. [800/1200] Illustrated

369

368

367

103


372 373

370

370

Pair of Neoclassical-Style Creme-Peinte and Parcel-Gilt Fauteuils, each with a curved reeded crest above a foliatecarved frieze and padded back, joined by padded arms to the like seat, raised on fluted tapering circular legs headed by foliate capitals and ending in ball feet, h. 40”. [800/1200] Illustrated

371

Pair of Neoclassical-Style Creme-Peinte and Parcel-Gilt Fauteuils, each with a curved reeded crest above a foliatecarved frieze and padded back, joined by padded arms to the like seat, raised on fluted tapering circular legs headed by foliate capitals and ending in ball feet, h. 40”. [800/1200] Illustrated

104

371

372

Neoclassical Polychrome Pedestal Cabinet, 19th century, the circular faux-marbre top with a molded edge, above a tapering circular base fitted with a single cupboard door and with polychrome classical maidens, raised on a waisted standard to a molded base, h. 32”, dia. 17‑1/2”. [800/1200] Illustrated

373

Italian Brass Sculpture of a Roman Patrician Woman, fourth quarter 19th century, stamped “Nelli Roma”, for the Fonderia Nelli, at back, h. 27”, w. 9‑1/2”, d. 9‑1/2”. [600/900] Illustrated


376

375

375 374

374

Italian Patinated Bronze of the “Venus de Milo”, 20th century, with cast “Fonderia Chiurazzi/Napoli” tag and foundry mark at back of self-base, after the ca. 130‑100 BCE marble believed to be by Alexandros of Antioch now at the Musee de Louvre, Paris, h. 78”, w. 27”, d. 25”. [5000/8000] Illustrated Reference: Mattusch, Carol. C. Classical Bronzes - The Art and Craft of Greek and Roman Statuary. Ithaca: Cornell University Press, 1996; p. 117.

Italian Patinated Bronze of “Narcissus”, fourth quarter 19th century, after the antique sculpture excavated in 1862 at Pompeii now at the Museo Archeologico Nazionale, Naples, Italy, a “Chiurazzi/Napoli” foundry mark and numbered “8299” at self-base, h. 24‑1/4”, w. 12”, d. 9‑3/4”. [500/800] Illustrated

376

Continental School (First Quarter 19th Century), “Staged Battle in the Colosseum, With Gladiators, Horses and Wild Animals”, oil on canvas, unsigned, 56” x 152”. In an antique gesso and carved wood frame. Provenance: The French Quarter residence of Lenny Kravitz; Private collection, Houston, Texas. [3500/5000] Illustrated

105


377

Continental Patinated Bronze of Mars, 20th century, on a black marble base, h. 11‑1/4”, w. 6‑1/2”, d. 4‑1/4”. [800/1200] Illustrated

378

Neoclassical-Style Mahogany Window Seat, 19th century, the long cushioned seat flanked to each side by padded outswept ends, raised on splayed tapering square legs, h. 36”, w. 23‑1/2”, l. 69”. [600/900] Illustrated

379

William IV Oak Library Table, second quarter 19th century, the rounded rectangular top with an inset leather surface, above a conforming frieze fitted with two drawers to one side and two faux drawers to the other side, raised on pierced and shaped end supports to reeded ball feet on casters, h. 28‑1/4”, w. 50‑1/2”, d. 28”. [500/800]

380

Italian Carrara Marble Bust of the “Capuan Venus”, fourth quarter 19th century, variant after the antique now conserved at the Museo Archeologico Nazionale Napoli (itself after a 4th century BCE bronze), h. 25”, w. 22‑1/2”, d. 10”, presented on a green marble Solomonic column, bust, h. 40‑1/2”, overall, h. 65‑1/2”. [1800/2500] Illustrated

377

380

378

106


382 381

381

Biedermeier-Style Burlwood Bookcase, early 20th century, the cove-molded cornice above a scroll-inlaid frieze, with two doors below, each inset with an upper glazed panel and a lower inlaid panel, raised on bracket feet, h. 66”, w. 39‑1/2”, d. 14”. [1200/1800] Illustrated

382

Italian Neoclassical Fruitwood and Inlaid Mixed Woods Slant-Lid Desk, late 18th century, the slant-front with a quarter-veneered panel centered by a parquetry oval panel, opening to an inset leather writing surface, the interior fitted with drawers and cubbyholes, raised on tapering square legs, h. 37”, w. 34‑1/2”, d. 17‑1/2”. [1200/1800] Illustrated

383

383

Continental Mahogany Games Table, 19th century, the demilune banded top with a parquetry inlay, hinged and opening to a baize-lined surface, above a conforming frieze with ormolu mounts in the Empire taste, raised on tapering square legs ending in foliate feet, h. 30”, w. 31”, d. 15”. [500/800] Illustrated

107


384

Suite of Six Neoclassical-Style Burlwood Sidechairs, 19th century, each with a padded back surmounted by a backswept crest, the padded seat raised on tapering square legs, h. 36”. [700/1000] Illustrated

385

Pair of Biedermeier-Style Blonde Wood Side Tables, each with a rectangular top with a shaped front, above a conforming frieze fitted with a single drawer, raised on tapering square legs joined by an X-form stretcher and ending in splayed feet, h. 30”, w. 24”, d. 12‑1/2”. [500/800] Illustrated

386

Continental Giltwood Mirror in the Neoclassical Taste, first quarter 20th century, on trumpet-form feet molded with feathers, the sides with pierced scrollwork, the cove-molded frame with leaves, the pierced swan’s-neck-form crest molded with acanthus leaves and molded medallions, the center finial molded with overlapping leaves, h. 44”, w. 29‑1/2”. [1000/1500] Illustrated

385 386

384

108


387

389

388

390

Pair of Marble, Brass and Glass Six-Light Candelabra, ca. 1900, Russian or Swedish, the marble column-form bases set with six brass candlecups alternating with metal sprays holding swags of crystals, the black spherical glass standards set with arched sprays of crystals set around cut glass spire finials, with sprays of drops at the top of each, h. 27‑1/4”, dia. 12”. [1500/2500] Illustrated Pair of Continental Three-Light Sconces in the Maria Theresa Style, 20th century, each with a silver-gilt metal frame with glass beading and hung with swags of beads and drops, fitted with glass drip pans, electrified, h. 23‑1/4”, w. 13‑1/2”, d. 7‑1/4”. [800/1200] Illustrated

Good Biedermeier Walnut Demi-lune Cabinet, first quarter 19th century, the demi-lune top hinged and opening to a storage interior, the front edged with an ebonized penwork band, the conforming case fitted with two cupboards doors, raised on tapering square feet, the whole accented with decorative penwork bands and uprights, h. 36”, w. 33‑3/4”, d. 18”. [2000/4000] Illustrated Continental Regency-Style Fruitwood Center Table, first quarter 19th century, the circular top above a plain conforming frieze, and raised on an ebonized acanthine-carved standard to a concave tripartite base on molded bun feet, h. 30‑1/2”, dia. 31‑1/2”. [500/800] Illustrated

388 387

390 389

109


391 detail

391

393 392

391

Thirteen-Piece Collection of Royal Copenhagen “Flora Danica” Porcelain, 20th century, Danish, comprising twelve salad/dessert plates, model “3573”, each with a hand-painted wildflower identified on the back, ten with a 1967 date mark, one with a 1924‑34 mark and one with a 1962 mark, dia. 7‑1/2”, and a bateau-form pickle dish, model “3544”, also hand-painted with a wildflower identified on the back, and bearing the 1963 mark, h. 2‑1/4”, w. 8”, d. 4‑1/4”. [1000/1500] Illustrated

110

392

Continental Neoclassical Fruitwood Commode, early 19th century, the rectangular top banded and inlaid with two quarter-veneered panels, above a conforming case fitted with three long drawers, all bi-paneled and with decorative banding, raised on short fluted circular legs, h. 38”, w. 49‑3/4”, d. 24‑1/2”. [1000/1500] Illustrated

393

Baltic Mahogany and Giltwood Mirror, second half 18th century, with a carved and gilded liner, the pierced crest inset with a giltwood phoenix and trimmed with gilt scrollwork, the lower portion with a pierced shell and leaf fronds, and applied gilt scrollwork, h. 59”, w. 32‑1/2”. [800/1000] Illustrated


395

396

394

Biedermeier Mahogany Secretaire a Abattant, second quarter 19th century, the stepped pyramidal crest above a cupboard door inset with an oval ebonized ormolu mounted panel and flanked to either side by two columns, above a single drawer and paneled drop front, opening to an architectonic interior, with a center cupboard flanked by columns and above a stair-step drawer, surmounted by a single drawer and flanked to either side by a storage space over two drawers, over three long drawers, raised on block feet, h. 79”, w. 43”, d. 23”. [1000/1500] Illustrated

395

Italian Walnut Tabernacle in the Neoclassical Taste, first quarter 19th century, with a tombstone-form door flanked by pairs of ebonized pilasters with giltwood capitals and bases, the pitch pediment cornice decorated with silver gilt carved sun rays, the interior lined with old white silk, h. 23‑3/4”, w. 14”, d. 9‑3/2”. [700/1000] Illustrated

396

Pair of Malachite Obelisks, mid-20th century, French or Russian, the bases with raised panels, with a deep reveal under the obelisks, h. 18‑3/4”, w. 4‑1/4”, d. 4‑1/4”. [1000/1500] Illustrated

394

111


397

Pair of Italian Polychrome Panels, early 20th century, each of rectangular form with canted upper corners and featuring a partial classical ruin, all within an annulated frame, h. 35‑1/2”, w. 15”. [600/900] Illustrated

398

French Neoclassical Parcel-Gilt Candlestick, first quarter 19th century, now mounted as a lamp, resting on paw feet, the tripartite base with ebonized panels set with giltwood leaves, the fluted standard with an ebonized band set with giltwood flowers over a leaf-carved base, the standard terminating with carved guilloche under a reeded drip pan, h. 45”, dia. 8‑1/2”. [700/1000] Illustrated

399

Italian Baroque Carved and Parcel-Gilt Mirror, ca. 1700, the bowed and tapered mirror carved with gilded and pierced scrollwork against a faux-bois-painted ground, with carved leaves lining the hexagonal mirror plate, the scrolled pediment crest with a shell-form finial, h. 27‑3/4”, w. 27‑1/2”. [1000/1500] Illustrated

400

Pair of Continental Polychrome Side Tables, partially constructed of antique elements, each with a rectangular faux marble top with projecting corners, above a conforming frieze fitted with a single drawer, paneled and with polychrome floral accents, raised on fluted tapering circular legs headed by block capitals and ending in bulbous feet, h. 30‑1/2”, w. 35”, d. 19”. [1500/2500] Illustrated

397 pair

401

Unusual Pair of French Belle Epoque Terracotta, GiltBronze and Marble Three-Light Candelabra, ca. 1900, on gilt-bronze and gray marble bases, the terracotta standards molded as classical flower sellers holding aloft baskets set with gilt-bronze tulip-form candlecups interspersed with molded flowers and leaves, h. 37‑1/2”, w. 9‑1/2”, d. 6‑3/4”. [1500/2500] Illustrated 398

399

401 400

112


405 404

402

402

Continental Polychrome Commode, 19th century, the banded rectangular top centered by a polychrome medallion depicting whispering courtiers, above a conforming case fitted with two small drawers over two long drawers, all with floralpatterned panels, raised on tapering square legs, h. 35‑1/4”, w. 44‑1/2”, d. 19‑1/2”. [1000/1500] Illustrated

403

Continental Provincial Polychrome Cabinet, 19th century, the rectangular faux-marbre top above a conforming case fitted with a single cupboard door, the door inset with a panel depicting a castle, raised on bracket feet, h. 57‑1/4”, w. 43‑1/2”, d. 18‑1/2”. [500/800] Illustrated

403

404

Italian Giltwood Mirror in the Baroque Taste, third quarter 20th century, composed of giltwood on a green-painted substructure, the serpentine sides and base decorated with gadrooning and shells, with pierced mirror-inset scrolled corners, the elaborately pierced crest decorated with a basket of flowers set into rocaille and scrollwork, trimmed with floral flourishes, h. 76‑1/2”, w. 37‑3/4”. [900/1200] Illustrated

405

Pair of Continental Carved Walnut Appliques, mid-20th century, carved with trailing fruit and flowers, supported by pierced bowknots, h. 19”, w. 8‑3/4”. [600/900] Illustrated

113


407

408

406

Dutch Mahogany and Marquetry Diminutive Work Table, 19th century, the rectangular top with an elaborate floral and foliate inlay, hinged and opening to a compartmented and mirrored interior, with a fabric storage well below, joined by slender legs to a lower shelf, raised on splayed legs, the whole with inlaid floral and foliate patterns, h. 24‑1/2”, w. 17”, d. 13‑1/4”. [700/1000] Illustrated

407

Dutch Mahogany and Marquetry Cabinet, late 18th century, the domed and molded cornice centered by a carved portrait medallion issuing foliate garlands, above a case fitted with two paneled doors, each with an inlaid floral vase and carved portraits, the lower kettle-form base fitted with three long drawers, all with elaborate floral inlays, raised on splayed feet, h. 90”, w. 64”, d. 24”. [1800/2500] Illustrated

408

Italian Rococo-Style Giltwood Mirror, 19th century, the shaped plate surmounted by a pierced floral crest and surrounded by a molded and mirrored panel frame and applied foliate and floral panels, h. 53‑1/2”, w. 28‑1/2”. [600/900] Illustrated

114

406

409

Set of Seventeen Hand-Painted “Black Knight” Dinner Plates, ca. 1925‑1941, Hohenberg, Germany, decorated with oval panels of baskets of flowers on a black ground and swags of flowers on a cerulean ground, framed with richly decorated raised gilt with “Black Knight” marks, the backs with an export mark from the C. M. Hutschenreuther company, dia. 9‑1/2”. [500/800]


410

Pair of Meissen-Style Corbeilles, ca. 1930‑1950, by R. & E. Pech, Kronach, Bavaria, each standard molded as a cupid holding aloft a cornucopia set with a pierced basket with scrolled edges and swags of encrusted flowers, marked with an underglaze blue “R” over crossed swords, h. 22”, dia. 10‑1/2”. [700/1000] Illustrated

411

413

Northern Italian Oak and Fruitwood Secretary, late 18th century, the molded broken swan’s neck pediment above two arched doors, each banded and with a parquetry panel, the lower section fitted with a like parquetry panel and opening to a central cupboard flanked to either side by a band of three short drawers over three long serpentine drawers, raised on shaped bracket feet, h. 92”, w. 45”, d. 22‑1/2”. [900/1200] Illustrated

412

Exceptional Pair of Continental Neoclassical-Style Bronze Dore et Patine Andirons, ca. 1900, on hairy paw feet, the fluted baluster-form standards mounted with gilt-bronze leaves terminating in blocks mounted with lion’s heads grasping rings, the tops with flame finials, mounted with bronze flame log stops, h. 29‑3/4”, w. 15‑1/2”, d. 22‑1/2”. Provenance: Williams Antiques, Atlanta, Georgia. [800/1200] Illustrated

413

Pair of Italian Giltwood and Alabaster Sconces in the Baroque Taste, first quarter 20th century, the shield-form backplates with winged angel-head finials and holding scrollform arms wrapped in grapevines, each of the two alabaster shades bas-relief-carved with putti playing at Bacchanalian pursuits, and concealing electric sockets, h. 15‑3/4”, w. 8‑3/4”, d. 11”. [600/900] Illustrated

410

412

411

115


414

Italian Giltwood Mirror, 19th century, the rectangular plate surmounted by a phoenix crest and surrounded by a molded frame with applied scrolling patterns and a pierced pendant, h. 47”, w. 21‑1/2”. [1000/1500] Illustrated

415

Unusual Continental Fruitwood Desk Chair, the narrow rectangular padded back of adjustable height, joined to the cushioned caned seat by shaped arms, raised on cabriole legs, h. 46”. [800/1200] Illustrated

416

Continental Walnut and Fruitwood Commode, late 18th century, the banded and bowed top above a conforming case fitted with two short drawers over two long drawers, all banded, raised on cabriole legs, h. 35”, w. 51”, d. 24”. [1500/2500] Illustrated

417

Continental Burl Wood Commode, late 18th century, the rectangular top with a serpentine front, above a conforming case fitted with three long banded drawers, raised on cabriole feet, h. 34”, w. 51”, d. 23”. [1500/2500] Illustrated

415

414

417

116

416


418

Italian Rococo-Style Giltwood Mirror, the rectangular plate surmounted by a pierced foliate crest and surrounded by a molded frame and pierced scrolling foliate patterns, h. 35‑1/2”, w. 25‑1/2”. [800/1200] Illustrated

419

Pair of Italian Rococo-Style Giltwood Appliques, 18th century, deeply carved as ribbon-bound roses, signed indistinctly on the back, and bearing an old Christie’s auction tag, h. 43”, w. 7‑1/4”, d. 4”. [600/900] Illustrated

420

Continental Rosewood and Marble-Top Cabinet, early 20th century, the rounded rectangular top above a conforming case fitted with two cabinet doors, each paneled with an incised polychrome floral spray, raised on cabriole legs ending in sabots, h. 36‑1/2”, w. 53”, d. 17‑1/2”. [500/800] Illustrated

418

419

420

117


421

424

421

Attributed to Giuseppe Ponga (Italian/Venetian, 1856‑1925), “Venetian Canal Scene with a View of St. Mark’s Cathedral”, oil on canvas, unsigned, 13‑1/2” x 19‑3/4”. Framed. Provenance: Estate of Elmira Ann Harrison Parnell Gregorie, Baton Rouge, Louisiana. [1500/2500] Illustrated 422

422

Attributed to Giuseppe Ponga (Italian/Venetian, 1856‑1925), “Venetian Canal Scene with a View of Basilica Santa Maria della Salute”, oil on canvas, unsigned, 13‑1/2” x 19‑3/4”. Framed. Provenance: Estate of Elmira Ann Harrison Parnell Gregorie, Baton Rouge, Louisiana. [1500/2500] Illustrated

423

Attributed to Giuseppe Ponga (Italian/Venetian, 1856‑1925), “Venetian Canal Scene with a View of the Church of San Stae”, oil on canvas, unsigned, 19‑1/2” x 27”. Framed. Provenance: Estate of Elmira Ann Parnell Gregorie, Baton Rouge, Louisiana. [2500/4000] Illustrated

424

Italian Silver Giltwood and Metal Twelve-Light Chandelier, 20th century, the turned silver gilt standard set with scrolled metal candle arms with candles on two levels, the drip pans with pierced metal drip pans, h. 30”, dia. 26”. [700/1000] Illustrated

423

118


427

426

428

425

427 425

Pair of Italian Gilt-Metal and Giltwood “Sheaf of Wheat” Lamps, third quarter 20th century, on Baroque-style bases with fluted, vasiform standards, h. 27‑1/4”, dia. 10‑1/4”. [500/800] Illustrated

426

Italian Baroque Carved Silver Gilt Mirror, first half 18th century, the shield-form mirror surround carved with pierced scrollwork, acanthus leaves and a swan’s neck crest, set with an antique mirror glass, h. 22”, w. 16”. [600/900] Illustrated

Villery and Boch Majolica Blackamoor-Form Garden Seat, fourth quarter 19th century, modeled as a kneeling blackamoor dressed in a polychrome skirt and turban, wearing jewelry and supporting a scarlet “cushion” decorated with Islamic patterns, with an unidentified brown transfer mark, h. 20”, w. 12‑1/4”, d. 18‑1/2”. [2000/4000] Illustrated

428

Italian Polychrome Blackamoor Pedestal, mid-19th century, the shaped square top with a frieze mimicking draped fabric and supported by a blackamoor figure in traditional colorful garb, raised on a waisted standard to a circular base on paw feet, h. 40”, dia. 15‑1/2”. [700/1000] Illustrated

119


429

Unusual Italian Polychrome Console Table, mid-19th century, the shaped top modeled as a brightly colored piece of fabric, above a frieze with pendant wooden tassels, joined by a draping fabric-modeled support to a shaped “rocky crag” base featuring two frolicking youthful blackamoor figures, raised on a molded base, h. 37‑1/2”, w. 53”, d. 25”. [6000/9000] Illustrated

430

Italian Baroque-Style Carved Giltwood Dressing Mirror, mid-20th century, in three hinged sections, on carved scrolled feet, the frame carved with rocaille work, flowers and scrolls, h. 29‑1/4”, w. 22” to 27”, d. 9‑1/2”. [600/900] Illustrated

431

Georges Lapchine (Georgii Aleksandrovich Lapshin, Russian/French, 1885‑1940), “Mediterranean Seascapes with Fishing Boats”, oil on panel, signed lower right, 9‑1/2” x 13‑7/8”. Framed. Provenance: Galerie Atalante, Paris, France. [1500/2500] Illustrated A Neo-Impressionist, Lapchine studied at the Stroganov School in Moscow, as well as Paris, in the studio of Fernand Cormon. He traveled and exhibited extensively throughout his native Russia and Europe, moving to Paris permanently in 1924, where he exhibited continuously at the “Salons des Artistes Independants”. Lapchine favored vibrant Mediterranean landscapes, as well as scenes of Venice, Paris and his native Russia.

431

430 429

120


432 one of two

432 two of two

433

432

Frederick William Scarborough (British, 1860‑1939), “On the Midway, Chatham” and “Front Arrival”, pair of watercolors on paper, former signed lower right, latter signed lower left, each titled en verso, each sight 13” x 9‑1/4”. Glazed and framed alike. [1000/1500] Illustrated

433

434 one of a pair

Christian Mollgaard (Danish, 1919‑2003), “Harbor Scene”, oil on canvas, signed lower right, 24‑3/4” x 36”. Presented in a giltwood and gesso frame. [2500/4000] Illustrated

434

Pair of Louis XV-Style Giltwood Mirrors, fourth quarter 19th century, the surrounds with scroll carving on a trellised ground, and lined with rectangular beading, the serpentine crest with pierced scrollwork on each side, and rocaille work and flowers in the center, h. 37‑1/4”, w. 24‑1/4”. [500/800] Illustrated

121


435

Louis XV-Style Polychrome Bergere, late 19th century, the padded and domed back surmounted by a floral spray and joined by padded downswept arms to the cushioned seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 39”. [900/1200] Illustrated

436

Louis XV-Style Creme-Peinte and Parcel-Gilt Stool, 19th century, the padded square top above a shaped floral-carved frieze, raised on molded cabriole legs headed by floral carving and ending in foliate toes, h. 18”, w. 20‑1/2”, d. 20‑1/2”. [700/1000] Illustrated

438

437

Continental Bisque Figural Group, first quarter 20th century, depicting Eros on a pedestal with offerings of roses and a basket of lovebirds, and two female figures with offerings to the god, with a pierced bronze border, and an incised spurious Sevres mark, an impressed “R” and an impressed number, h. 13‑3/4”, w. 8‑3/4”, d. 6‑1/4”. [500/800] Illustrated

438

Louis XVI-Style Creme-Peinte Trumeau Mirror, the molded cornice above a ribbon and musical motif carved panel, above the mirror plate, the whole flanked to either side by a paneled upright, h. 56”, w. 36”. [500/800] Illustrated

437

436

435

122


439

Suite of Twelve Louis XVI-Style Polychromed and ParcelGilt Dining Chairs, consisting of two armchairs and ten sidechairs, each with a tapering rectangular back with paneled vertical splats, the padded seats raised on fluted tapering circular legs ending in ring-turned bulbous feet, h. 43‑1/2”. [900/1200] Illustrated

440

Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded shield-form back surmounted by a ribband and torchere crest and flanked by fluted uprights, joined by padded arms to the like seat, raised on stop-fluted tapering circular legs ending in peg feet, h. 37”. [500/800] Illustrated

441

French White Marble and Gilt-Bronze Petite Three-Piece Clock Set, ca. 1900, in the Louis XVI style, the lyre-form clock with gilt-bronze beading, a swag of flowers and a sun-form finial with a masque of Medusa, h. 13‑1/2”, w. 4‑3/4”, d. 3”, flanked by a pair of three-light candelabra on marble bases with beading and toupie feet, and fitted with standards supporting pierced, scrolled candle arms set with swag-decorated candle cups, electrified, h. 15‑1/2”, w. 9”, d. 3‑1/4”. [800/1200] Illustrated

441

440

439

123


443

444

442

445

442

Pair of French Marble and Gilt-Bronze Garniture Urns, ca. 1900, in the Louis XVI style, the fluted urns fitted with bronze Bacchus-head handles supporting swags of flowers under fluted necks, the tops with grape-molded knops, the bases with pierced panels and toupie feet, marked “France” on the bottom, h. 14‑1/2”, w. 5”, d. 4”. [800/1200] Illustrated

443

Empire-Style Polychrome and Marble-Top Cocktail Table, early 20th century, the canted rectangular top above a conforming patera-applied frieze raised on splayed legs headed by ram’s heads, joined by a rope-form stretcher and ending in hoof feet, h. 17‑1/2”, w. 41‑3/4”, d. 21‑1/2”. [600/900] Illustrated

124

444

Pair of Louis-Philippe-Style Polychrome Fauteuils, early 20th century, each with a molded crest above a foliate-carved frieze and padded back, joined by scrolling downswept arms to the padded seat, raised on sabre legs, h. 39”. [700/1000] Illustrated

445

Suite of Six Empire-Style Creme-Peinte and Parcel-Gilt Chairs, late 19th century, consisting of one armchair and five sidechairs, each with a floral crest above an anthemioncarved frieze and padded back, the padded seat raised on bulbous circular ring-turned legs ending in ball feet, h. 35‑1/2”. [2000/4000] Illustrated


446

448

447

449

446

Constantin Kluge (French, 1912‑2003), “Cafe Terrace at Champs-Elysees, Paris”, oil on canvas, signed lower right, verso stretcher inscribed “Le Rond Point”, 26” x 32”. Framed. [8000/12000] Illustrated

448

447

449

Niek van der Plas (Dutch, b. 1954), “Still Life of Flowers in a Blue Vase”, oil on wood panel, signed lower right, 31‑1/4” x 26‑1/4”. Framed. [2000/4000] Illustrated

Niek van der Plas (Dutch, b. 1954), “Vondelpark, Amsterdam”, oil on wood panel, signed lower right, titled en verso, 22‑1/2” x 31”. Framed. [2000/3000] Illustrated Niek van der Plas (Dutch, b. 1954), “At the Sidewalk Cafe”, oil on wood panel, signed lower right, 11‑1/4” x 8‑3/4”. Framed. [1200/1800] Illustrated

125


450

Louis XV Provincial .958 Silver Platter, marked Bordeaux, 1756‑1759, by David Hebert (master 1747, d. 1773), of decagonal form with gadrooned rim, dia. 11‑7/8”, 20.74 t. oz. [700/1000] Illustrated

451

Good Pair of French Empire First Standard (.950) Silver Candelabra, 1809‑1819, Paris, by Jean-Pierre-Nicolas Bibron, in the neoclassical taste, each with a tapering standard of square section with Bacchante bust herms and lion’s paw feet, surmounted by an inverted bell-form nozzle fitted with a superstructure of a central standard surrounded by three scrolling arms with Apollo Sol masques and laurel scrolls, all terminated in nozzles en suite with detachable bobeches, all decorated with leaf-and-dart and anthemion banding, the whole raised on a circular foot, banded with anthemion rinceaux and hippocampi, h. 16‑1/8”, w. 12‑1/8”, 73.92 total t. oz. [6000/9000] Illustrated

450

452

126

452

Good French Restauration Provincial First Standard (.950) Silver Tureen, 1815‑1830, Reims, by Sebastien Joseph Dupuis (1783‑aft. 1836), in the neoclassical taste, of hemispherical form, with bellflower- and acanthus-mounted openwork squared handles and raised above a gadrooned knop and waisted circular foot. the fitted, domed lid with openwork palmette- and anthemion-mounted pyriform finial opening to reveal a conforming liner, the whole decorated with palmette-and-dart, leaf-and-dart and floral milled banding, h. 11‑1/2”, dia. 10‑18”, w. 13‑1/4”, 96.46 t. oz. [4000/7000] Illustrated

453

Dutch First Standard (.934) Silver Waiter, marked Amsterdam, 1824, by Widow Jacob Hendrik Stellingwerff (Gesina Voorthuis), of rounded rectangular form, with finely gadrooned rim and raised on oblate spherical feet, the plateau engraved with double armorial, l. 12‑1/8”, w. 9‑3/4”, 23.93 t. oz. [700/1000] Illustrated

451

453


455

454

454

Good Pair of Italian Second Standard (.800) Silver Candlesticks, second quarter 19th century, Genoa, no maker’s mark, in the neoclassical taste, each with a tapering standard surmounted by a thistle-form candlesocket with detachable circular bobeche and raised above an ogee-domed circular base, decorated throughout with palmette, gadroon, laurel, diapered, floral and leaf-and-dart banding, h. 11”, dia. 5‑1/2”, 20.80 total t. oz. [800/1200] Illustrated

455 455 detail

Five-Piece Christofle First Standard (.950) Silver Tea Set with Silverplate Tray, 1897‑1898, Paris, designed in 1889 by Joseph-Francois Joindy (1832‑1906), in the “Louis XV Celerie” pattern, including a teapot, h. 8”, l. 10”, a coffeepot, h. 9‑1/4”, l. 7‑3/4”, a chocolate pot, h. 10‑1/2”, l. 8‑1/4”, a creamer, h. 5‑7/8”, l. 5‑1/4”, and a covered sugar bowl, h. 7‑3/4”, w. 7‑1/4”, each with inverted pear-shaped body, spiral fluted and decorated with elaborate acanthus scrolls, 125.36 total t. oz., the silverplate tray curved with reed-andacanthus rim and handles, the plateau engraved with acanthus and grapevine scrolls, l. 27‑1/2”, w. 22” (six total pieces). [4000/7000] Illustrated

456

French First Standard (.950) Silver Sauceboat-on-Stand, first quarter 20th century, by Tetard Freres, Paris, of batteau form with beaded banding, the sides with upswept handles centering a pierced laurel cartouche mantled with acanthus scrolls extending around the rim, fitted to a navette-shaped stand en suite, monogrammed “CEA”, conjoined, h. 4‑1/4”, w. 6‑3/4”, l. 12‑1/2”, 42.56 t. oz. [2000/4000] Illustrated

456

127


459 459 detail

457

459

460

457

Austrian Third Standard (.800) Silver Wall Plaque, fourth quarter 19th century, Vienna, in the form of an elaborately scrolled openwork rococo shield, with a void central cartouche surrounded by four others, each finely engraved with an architectural landmark, h. 24‑1/4”, w. 16”, 37.93 t. oz. [1000/1500] Illustrated

458

Collection of Eight Dutch and Other Continental Silver and Silverplate Decorative Serving Pieces, late 19th/early 20th century, including Dutch .833 silver pieces: a 1906 serving spoon with windmill finial (blades lacking), l. 7‑3/8”, and a 1910 serving spoon with sailing ship finial, l. 7‑3/4”, both B. Dijkstra, Groningen, and a serving fork with character figural finial, 1899, G. Schoorl, Amsterdam, l. 9”, a Dutch silverplate serving spade with figural windmill finial, H. Hooijkaas, Schoonhoven, l. 7‑3/4”, a German .800 silver caddy spoon with character figural finial, Gebr. Dingledein, Hanau, l. 4‑1/4”, a French .800 silver berry spoon with “Louis XV” handle, Ravinet d’Enfert, Paris, l. 9‑1/4”, an unmarked serving spoon with character figural finial, l. 8”, and an unmarked tomato server with “bamboo” handle, l. 9‑1/4”, 9.18 total t. oz. (weighable silver). [500/800]

128

Danish Twenty-Four-Piece Cased Sterling Silver Gilt and Enamel Dessert Set, 1893, by Peter Hertz, Denmark, comprising twelve dessert forks, l. 6‑3/4”, and twelve dessert knives, l. 7‑1/4”, each with a shaped rococo handle decorated with opaque white and blue and translucent green and red champleve enamel, 36.30 total t. oz., presented in a handsome mother-of-pearl-inlaid kingwood and bird’s-eye maple case, the fitted interior with lift-out tray and lined with burgundy velvet, h. 4‑3/4”, w. 11‑3/4”, d. 9”. [900/1200] Illustrated

460

Cased Set of Hermes-Retailed .800 Silver Gilt Placecard/ Menu Holders, first quarter 20th century, manufactured by Ravinet d’Enfert, Paris, each with a period Louis XV silver jeton, most Rouennaise, on a plain cenotaph-form base, h. 1‑1/2”, 11.37 total t. oz., presented in the original ecru grosgrain, satin and velvet fitted case with Hermes retailer’s stamp, 12” x 7‑1/4”. [500/800] Illustrated

461

Swiss .875 Silver Four-Piece Coffee and Tea Set, first quarter 20th century, by Bossard & Sohn, Lucerne, including a coffeepot, h. 7”, a teapot, h. 6‑1/4”, a cream jug, h. 3‑3/4”, and a covered sugar bowl, h. 4‑1/2”, each with a pear-shaped body decorated with panels alternately chased with framed shells and scrolls on a matte ground, the pots with hinged, domed lids, “gooseneck” spouts and wooden crested “S”-scroll handles, the cream jug with “duck’s beak” spout and arched reeded handle, the sugar bowl with a fitted lid and opposing reeded handles, 42.89 t. oz. (including wooden handles). [2000/4000] Illustrated


462

463

Set of Four Continental Bronze Argente Fighting Cockerel Table Garnitures, first half 20th century, realistically detailed in combative postures, the largest, h. 5‑3/4”, l. 7‑3/4”, the smallest, h. 3‑3/4”, l. 5‑3/4”. [500/800] Illustrated

Assembled Continental Silver and Glass Decanter Set, including an Italian .800 silver-mounted decanter, first half 20th century, the fluted pear-shaped body with exaggerated tall and narrow neck and raised on a circular foot, clad in an openwork vintage scroll mount with bacchante handle, the silver-capped cork retained by a long chain to the handle, h. 16”, dia. 4‑1/4”, and an Israeli sterling silver coaster, second half 20th century, HaZorfim, Kfar Daniel, of shaped circular form with an embossed “vintage”-banded rim, dia. 7‑1/4”, 4.44 t. oz. (coaster only). [600/900] Illustrated

464

Contemporary Continental Silverplate Wine Trolley, in the form of a gun carriage, the cheek and trail decorated with a griffin and rinceaux, with functioning spoked wheels, the bottle coaster with beaded rims and chained collar, h. 9”, l. 12”. [500/800] Illustrated

463 464

461

462

129


465

Unusual Continental .900 Silver Ice Trolley, second half 20th century, in the form of a carriage with spherical body and scalloped rim, fitted in a scrolling tubular frame and decorated with chased flowers and applied scrolling acanthus leaves and female masques, with arched handle and raised on four working wheels, h. 12”, l. 12‑1/2”, w. 8”; together with a pair of claw-end ice tongs en suite, l. 8‑3/4”, 59.92 total t. oz. [1000/1500] Illustrated

466

467

Four Pieces of Georg Jensen Sterling Silver Tableware, first half 20th century, Copenhagen, Denmark, including an ornamental pattern #83 cake knife with stainless steel blade, l. 11‑1/8”, a “Beaded” (“Kugle”) pattern cake knife with stainless steel blade, l. 10‑3/4”, and an ornamental pattern #41 sugar spoon, designed ca. 1917 by Georg Jensen, l. 4‑3/4”, all designed by Georg Jensen, 1914‑1920, and an “Albertus” compote, pattern #468C, designed in 1926 by Gundorph Albertus, h. 3‑1/4”, dia. 6‑1/4”, 9.37 total t. oz. (excluding cake knives). Provenance: Estate of Alice Evans Pratt, Houston, Texas. [500/800] Illustrated

467

Georg Jensen Sterling Silver Waiter, with the post-1945 Jensen mark, Copenhagen, Denmark, model 519E, designed by Oscar Gundlach-Pedersen (1886‑1960), of lobed circular form with “hammered” finish, dia. 9‑7/8”, 24.44 t. oz. [800/1200] Illustrated

468

Sixty-Eight-Piece Set of Georg Jensen “Acanthus” Sterling Silver Flatware, the pattern designed in 1917 by Johan Rohde (1856‑1935), Copenhagen, comprising a dozen six-piece place settings (four teaspoons lacking), no monograms, 62.20 total t. oz. (weighable silver). Provenance: Estate of Alice Evans Pratt, Houston, Texas. Detailed listing of pieces available on request. [2000/4000] Illustrated

469

469

Italian .800 Silver Wine Cooler, contemporary, by Rino Greggio, Rubano Padua, of cylindrical form with annular bands at the base and collar, fitted with a detachable insulated plastic liner, h. 9”, dia. 5”, 21.34 t. oz. (excluding liner). [500/800] Illustrated

466

465

130

468 detail


471

472

470

473

475

470

Antique Lilihan Carpet, 6’ 6” x 13’ 1”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [800/1200] Illustrated

473

471

474

472

475

Persian Bidjar Carpet, 4’ 5” x 7’. [700/1000] Illustrated Tabriz Silk Carpet, 4’ 1” x 6’ 4”. [500/800] Illustrated

Turkish Sivas Carpet, 13’ x 18’ 7”. [2500/4000] Illustrated Turkish Oushak Runner, 2’ 6” x 11’ 6”. [600/900] Turkish Oushak Carpet, 10’ 1” x 13’ 9”. [1500/2500] Illustrated

131


477

482

480

484

479

481

476

Semi-Antique Baluch Carpet, 5’ 1” x 8’ 8”. [600/900]

477

Early Twentieth-Century Mohtasham Kashan Carpet, 9’ 1” x 13’ 11”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [3000/5000] Illustrated

478

Turkish Angora Oushak Carpet, 8’ 1” x 10’. [800/1200]

479

Turkish Oushak Carpet, 11’ 4” x 14’ 9”. [3000/5000] Illustrated

480

Antique Persian Heriz Carpet, 6’ 2” x 9’ 3”. [1800/2500] Illustrated

132

481

Antique Sultanabad Carpet, 9’ x 11’ 6”. [4000/7000] Illustrated

482

Turkish Angora Oushak Carpet, 8’ x 9’ 10”. [800/1200] Illustrated

483

Semi-Antique Bokhara Carpet, 10’ 8” x 15’ 4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [800/1200]

484

Tabriz Silk Carpet, 3’ 5” x 5’ 8”. [700/1000] Illustrated


486

485

487 488

485

French Gilt-Bronze and Crystal Twelve-Light Chandelier, 20th century, in the Louis XIV taste, the scrolled bronze frame supporting two tiers of candle arms, the lower tier alternating with cut glass spires, set with foliate drip pans and cylindrical candle cups, hung with prisms, two sprays of drops decorating the upper portion, h. 33”, dia. 27”. [800/1200] Illustrated

486

French Giltwood Oval Mirror in the Louis XV Taste, fourth quarter 19th century, the surround molded with scrollwork on a stippled ground, the crest decorated with a molded shell framed with pierced scrollwork, supported by acanthus leaves, a smaller version mounted on the base, set with a beveled mirror plate, h. 51”, w. 37”. [1200/1800] Illustrated

487

Pair of Louis XVI-Style Mahogany and Mixed Woods Occasional Tables, each with a parquetry-veneered circular top within a full heart-pierced brass gallery, joined to a like lower shelf by paneled square supports continuing to splayed legs to sabots, h. 28”, dia. 24”. [700/1000] Illustrated

488

Louis XVI-Style Parquetry-Inlaid Mahogany and MarbleTop Commode, the variegated salmon marble top with canted corners, above a conforming case with a bank of three drawers, the drawers and returns adorned with parquetry, raised on cabriole legs headed by ormolu mounts and ending in sabots, h. 30‑3/4”, w. 27‑1/4”, d. 14‑1/2”. [700/1000] Illustrated

133


489

Louis XVI-Style Fruitwood Bergere avec Orielles, mid-19th century, the domed back surmounted by a floral crest, joined by shaped and padded sides and arms to the cushioned seat, raised on fluted tapering circular legs headed by floral block capitals and ending in foliate toupie feet, h. 42”. [700/1000] Illustrated

490

Louis XVI-Style Giltwood Four-Fold Screen, early 20th century, each panel slightly arched and with a shell crest, with fabric on both sides within a molded frame, h. 61”, w. 94”. [900/1200] Illustrated

491

Pair of Louis-XVI-Style Giltwood and Marble-Top Occasional Tables, each with a circular marble top inset into a molded edge and above a pierced guilloche frieze, raised on fluted tapering circular legs joined by a stretcher and ending in toupie feet, h. 20”, dia. 18‑1/2”. [500/800] Illustrated

492

Louis XVI-Style Giltwood Mirror, second quarter 20th century, Italian, the coved frame outlined with ribbon-bound reeding, the corners and center decorated with pierced scrollwork decorated with shells, the outside and inside edges lined with molded scrollwork, 56” x 44‑1/2”. [700/1000] Illustrated

492 490

491

489

134


493

Pair of French Gilt-Bronze Six-Light Sconces, ca. 1900, in the Louis XVI style, on corbel-form backplates with pinecone finials, the leaf-molded, scrolled and beaded candle arms set with wheat-molded drip pans and candle cups molded with swags, electrified, h. 25”, w. 10‑1/4”, d. 13‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1000/1500] Illustrated

494

Pair of French Gilt-Bronze Six-Light Sconces, ca. 1900, in the Louis XVI style, on corbel-form backplates with pinecone finials, the leaf-molded, scrolled and beaded candle arms set with wheat-molded drip pans and candle cups molded with swags, electrified, h. 25”, w. 10‑1/4”, d. 13‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1000/1500] Illustrated

495

Pair of Louis XVI-Style Polychrome Fauteuils, mid-19th century, each with a domed and tapering rectangular padded back within a molded frame, joined to the padded seat by likeannulated arms, raised on fluted tapering circular legs ending in toupie feet, h. 38”. [1500/2500] Illustrated

496

Nineteenth-Century French Aubusson Tapestry, 9’ 6” x 11’. [1800/2500] Illustrated

493 496

494 495

135


499

497

500 498

497

499

Continental Giltwood Mirror of Louis XVI Inspiration, 20th century, the segmented, beveled mirror plate framed with beaded giltwood, the pierced crest decorated with a reeded urn set with a sheaf-of-wheat finial, flanked by scrollwork with honeysuckle trailing down each side, h. 66”, w. 40‑1/2”. [700/1000] Illustrated

Four Pirkenhammer Porcelain Service Pieces, first quarter 20th century, Czech, decorated with raised gilt scrollwork on seafoam green borders, the set including a chop plate, dia. 12‑3/4”, two graduated lobed serving bowls, h. 3‑1/4”, w. 8” and h. 4”, w. 9”, and a gravy boat, h. 7‑1/4”, w. 8”, each with a green Pirkenhammer mark. [500/800] Illustrated

498

500

Louis XVI-Style Mahogany Games Table, early 20th century, the demi-lune top with brass banding, hinged and opening to a baize-lined surface, above a plain frieze, raised on fluted tapering circular legs with ormolu bellflowers and ending in brass caps on casters, h. 29‑1/2”, w. 41‑1/2”, d. 20‑1/2”. [900/1200] Illustrated

136

Pair of Louis XV-Style Giltwood Sidechairs, second quarter 20th century, each with a padded rectangular back surmounted by a foliate crest, the padded seat raised on cabriole legs headed by foliate carving and ending in scrolled toes, upholstered with Veraseta apple green silk damask, h. 38”. [1200/1800] Illustrated


501 504

503

502

501

503

502

504

Louis XVI-Style Giltwood Trumeau Mirror, 18th century, the foliate crest surmounting a painted scene of various figures at a table, joined by laurel swags to the large mirrored plate surrounded by a molded frame and flanked to either side by fluted engaged columnar uprights, h. 51‑1/2”, w. 63”. [1000/1500] Illustrated Louis XV Fruitwood Settee, late 18th century, the domed and padded back surmounted by a floral crest, joined by padded scrolling arms to the shaped seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, upholstered in tapestry depicting courtiers and a hunt scene, h. 40”, w. 76”, d. 24”. [1000/1500] Illustrated

Louis XVI-Style Mahogany and Marble-Top Center Table, early 20th century, the circular marble top within a full pierced brass gallery, above a conforming frieze with two small drawers and two leather-inset candle slides, raised on fluted tapering circular legs ending in brass caps, h. 29‑1/2”, dia. 25‑1/2”. [700/1000] Illustrated French Enameled Bronze and Porcelain Six-Light Chandelier, second quarter 20th century, in the form of an enameled bronze flower basket suspended from a ribbon set with vines and porcelain flowers, with porcelain flowers on stems forming the arms, interspersed with other flowers, h. 34”, dia. 21‑1/2”. [1000/1500] Illustrated

137


505

Louis XVI-Style Giltwood Mirror, late 19th century, the oval plate surmounted by a ribbon crest issuing bellflower garlands, surrounded by a molded annulated and guilloche-carved frame, h. 40‑1/2”, w. 34”. [600/900] Illustrated

506

Pair of Louis XVI-Style Bronze Two-Light Sconces, 20th century, French, each with a flower-decorated bowknot and tassel-molded backplate issuing cornucopia-form arms molded with flowers and terminating in leaf-molded candle cups, electrified, h. 21”, w. 9‑1/2”, d. 4‑1/4”. [500/800] Illustrated

507

Fine Art Nouveau Marble and Bronze Dore Bust of “Jeune Femme”, ca. 1900, by Alphonse Henri Nelson (French, 1854‑1919), cast signature along back of bronze, retailed by Tiffany & Co., New York, and with the company’s stamp, on a columnar rouge marble plinth with beaded detailing, overall, h. 24”, w. 15”, d. 9. [2500/4000] Illustrated

508

Unusual Louis XVI-Style Bronze and Crystal Twelve-Light Chandelier, second quarter 20th century, with a vasiform cut glass insert and bronze drapery hung from medallions supporting the arms, the lower tier with scrolled arms termating in sphinx heads holding the molded candle cups, the upper arms leaf-molded, h. 33”, dia. 35”. [500/800] Illustrated

505

508

506

507

138


509

Pair of Louis XVI-Style Mahogany and Fruitwood Occasional Tables, early 20th century, each with a shaped banded circular top with lattice-pattern veneering, above a conforming ormolu-mounted paneled frieze, joined by ormolu caryatid uprights, a tripartite stretcher continuing to tall tapering circular legs ending in ball feet, h. 30‑1/4”, dia. 23”. Provenance: “Buzz” Harper Antiques, Natchez, Mississippi. [1000/1500] Illustrated

510

Pair of French Bronze and Patinated Metal Chenets, fourth quarter 19th century, in the Louis XV style, with leaf- and scrollmolded bases set with patinated metal putti holding tablets, h. 9‑1/2”, w. 11‑3/4”, d. 3”. [500/800] Illustrated

511

Sevres-Style Porcelain Jardiniere on Stand, 20th century, French, the oval-form jardiniere decorated with black-ground panels with frolicking putti, flanked by panels of raised gilt and set with acanthus-molded gilt handles, with a pierced guilloche rim, signed with spurious Sevres marks, h. 9‑1/2”, w. 12‑3/4”, d. 9‑1/2”. [500/800] Illustrated

512

Louis XVI-Style Mahogany Tiered Table, early 20th century, the rectangular top with a full pierced brass gallery and joined by ormolu-mounted Corinthian supports to a like lower shelf, and joined by square supports to the lowest shelf, raised on tapering square legs ending in brass caps, h. 47”, w. 26”, d. 16‑3/4”. [600/900] Illustrated

510

511

509 512

139


516

513

514

515

513

French Marble and Gilt-Metal Figural Mantel Clock, fourth quarter 19th century, in the Louis XVI style, the pink, gray and yellow mottled marble base with gilt-metal trim and toupie feet, and supporting a sleeping cupid resting on an urn and attended by a female figure in neoclassical dress, the clock flanked by a pair of like marble columns with elaborate gilt-metal ornamentation, and having a finial in the form of a cupid holding a shell, h. 21‑1/4”, w. 12”, d. 6‑1/4”. [700/1000] Illustrated

514

Louis XVI-Style Mahogany and Marble-Top Etagere, late 19th century, the bowed white marble top with a three-quarter pierced brass gallery, above a case fitted with four short drawers, all banded and quarter-veneered, and all flanked to either side by two curved and mirrored galleried marble shelves, raised on bulbous ribbed legs, h. 57‑1/2”, w. 35”, d. 15‑1/2”. Provenance: Manheim Galleries, New Orleans, Louisiana. [1000/1500] Illustrated

140

515

Louis XVI-Style Fruitwood and Marble-Top Commode, early 19th century, the shaped rectangular marble top above a conforming case fitted with three small drawers over three long drawers, all banded and with quarter-veneered panels, raised on canted block feet, h. 36”, w. 51”, d. 26”. [1800/2500] Illustrated

516

Pair of French Neoclassical-Style Gilt-Bronze Sconces, second quarter 20th century, on backplates molded as tasseled swags with pierced bowknot finials, the reeded candle arms terminating in acanthus-molded drip pans and tulip-form molded candle cups, set with grape-engraved glass hurricane shades, electrified, h. 21”, w. 10”, d . 5‑1/2”. [500/800] Illustrated


518 519

520

517

517

Louis XV-Style Polychrome and Marble-Top Cabinet, mid19th century, the shaped Breche d’Alep marble top above a conforming bombe case fitted with an ormolu banded frieze over a single cupboard door featuring a polychrome figural scene in the manner of Vernis Martin, raised on splayed legs ending in sabots, h. 45”, w. 35‑1/2”, d. 17”. [800/1200] Illustrated

518

Frederick Vezin (American, 1859‑1942), “Walk in the Garden”, 1887, oil on wood panel, signed and dated lower left, 5‑1/2” x 7”. Framed. [1000/1500] Illustrated

519

Laurence Duncan (British, fl. 1860‑1891), “The Peddler”, 1861, watercolor and gouache on paper, verso with a “C. E. Clifford, Artists’ Colourman, Subscription Gallery of Water Colour Drawings, London” label, sight 19” x 15”. Glazed and presented in a period carved and molded giltwood and gesso frame. [1000/1500] Illustrated

520

Louis XVI-Style Mahogany Vitrine Table, early 20th century, the hinged rectangular top inset with a glazed panel and within an annulated brass edging, opening to a blue velvet-lined interior, above a paneled frieze with applied foliate and scrolling ormolu mounts, raised on tapering circular legs ending in foliate brass caps, h. 33”, w. 38”, d. 23”. [1400/1800] Illustrated

141


521

Louis XVI-Style Giltwood Bergere avec Oreilles, late 19th century, the padded and domed back surmounted by a floral crest and side finials, joined by shaped sides and padded arms to the cushioned seat, raised on imbricate-carved sabre legs, h. 47”. [700/1000] Illustrated

522

French School (19th Century), “Le Promenade”, oil on canvas, signed “R. Buget” lower left, 25‑3/4” x 21‑1/4”. Framed. [1000/1500] Illustrated

523

Exceptional Pair of French Tinted and Enameled Biscuit Figures, third quarter 19th century, attributed to Jean Gille or his successors, Vion et Baury, of a couple in lushly detailed 18th-century costume, each standing on mottled grass supported by black bases, the male wearing a waistcoat trimmed in raised gilt and decorated with carefully detailed flowers, molded ruffles at his cuffs and neck, the female wearing a skirt painted with flower bouquets, trimmed in raised gilt, her bodice with more raised gilt, and mauve plumes in her hair, signed with indistinct molded letters on the base, h. 28‑1/2”, dia. 8‑3/4”. [1000/1500] Illustrated

522

521

523

142


524

Napoleon III Gilt-Bronze, Porcelain and Giltwood ThreePiece Clock Set, third quarter 19th century, all on velvet-lined giltwood bases with various period inscriptions and labels on the bases, the clock resting on bun feet, with laurel-molded ring handles, the dial decorated with a landscape painting on a pink ground, as is the campana-form urn finial with bronze base and handles, set with Japy Freres works, h. 14”, w. 8‑3/4”, d. 5”, the pair of ewer-form garnitures with beaded bronze bases holding the landscape-decorated porcelain ewers, and set with bronze lips and handles, displayed in period glass domes on ebonized bases, h. 15‑3/4”, dia. 4‑3/4”. [600/900] Illustrated

525

English Chippendale-Style Giltwood Pier Mirror, second quarter 20th century, the handsome pierced surround carved with rocaille work and flowerheads, the crest decorated with incised diapering and a shell finial, the upper plate set with an eglomise black- and gilt-painted Mandarin scene, h. 87‑1/2”, w. 39‑1/2”. [800/1200] Illustrated

526

Pair of George III Chinese Chippendale Games Tables, fourth quarter 18th century, each with a rectangular top with a floral-carved edge, opening to a larger leather inset gaming surface, above a blind fret-carved frieze, raised on square legs, h. 29”, w. 33‑1/2”, d. 16‑1/2”. [1000/1500] Illustrated

527

Pair of Chinese Export Porcelain Vases in the “Hundred Antiques” Pattern, ca. 1900, decorated in the famille rose palette, with foo dog handles, the main body depicting pots of peonies and various vases and vessels, h. 53‑1/2”, dia. 7‑3/4”. [1500/2500] Illustrated

524

525

527

526

143


530

528 529

528

George III Mahogany Slant Lid Desk, fourth quarter 18th century, the rectangular top above a slant front, opening to an inset leather writing surface and a variety of drawers and cubbyholes surrounding a central cupboard, over two short drawers and three graduated long drawers, raised on shaped bracket feet, h. 45”, w. 39‑1/4”, d. 21‑1/4”. [500/800] Illustrated

529

Suite of Eight George III-Style Mahogany Dining Chairs, in the Chippendale taste, consisting of two armchairs and six sidechairs, all with shaped and eared crests above a pierced splat, the padded seat raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 38”. [800/1200] Illustrated

144

530

Handsome Thirty-Eight-Piece Hicks and Meigh “Japan” Pattern Ironstone Partial Dinner Service, ca. 1813‑1822, English, decorated with cobalt and orange pots of peonies and lotus blossoms, marked “Stone China No. 6” with a crown in underglaze blue, the set comprised of thirteen dinner plates, dia. 9‑3/4”, eleven soup plates, dia. 9‑3/4”, six salad plates, dia. 8‑1/4”, a platter with a strainer, w. 17‑3/4”, d. 14”, a nest of five graduated platters, w. 10‑1/2” to 17”, d. 8” to 13‑1/4”, a rectangular open vegetable dish, w. 10‑3/4”, d. 8”, and a covered vegetable dish with an artichoke knop, h. 7”, dia. 9‑1/2”. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [1000/1500] Illustrated


531

532

533 534

531

English Chippendale-Style Giltwood Mirror, mid-20th century, the pierced scrollwork surround decorated with ho-ho birds on each side, the serpentine crest with a pagodaform finial and carved stalactites, h. 53‑1/2”, w. 42‑1/2”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [700/1000] Illustrated

532

English Chippendale-Style Giltwood Mirror, mid-20th century, the pierced scrollwork surround decorated with ho-ho birds on each side, the serpentine crest with a pagodaform finial and carved stalactites, h. 53‑1/2”, w. 42‑1/2”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [700/1000] Illustrated

533

Unusual Pair of Chinese Export Garniture Vases, 20th century, painted with mandarin scenes on a black ground, with applied flowers, figural handles and foo dog knops, h. 26”, w. 9”, d. 6‑1/2”. [600/900] Illustrated

534

George III Mahogany Bureau, fourth quarter 18th century, the rectangular top above a drop front, opening to an inset leather surface and a variety of drawers and cubbyholes flanking a central cupboard, over four graduated long drawers, raised on bracket feet, h. 40‑1/2”, w. 39‑1/4”, d. 20”. [500/800] Illustrated

145


535

537

536

538

George III Mahogany Cellarette, fourth quarter 18th century, the octagonal top with line inlay centering a floral medallion, hinged and opening to a compartmented interior, the paneled tapering body raised on tapering square legs ending in casters, h. 26‑1/2”, dia. 20”. [800/1200] Illustrated

George III-Style Mahogany Games Table, early 20th century, the hinged and bowed top opening to a gaming space, above a conforming frieze with patera inlays, raised on string-inlaid tapering square legs, h. 30‑1/2”, w. 36‑1/2”, closed d. 18‑1/4”. [500/800]

George III Mahogany Bowfront Sideboard, early 19th century, the banded and bowed top with sunburst veneers, above a conforming case fitted with a central cutlery drawer over two tambour cupboard doors, flanked to one side by a single deep drawer and cupboard, and to the other side by two small graduated drawers and a cupboard door, all faced as two graduated drawers, raised on tapering square legs ending in spade feet, h. 36‑1/2”, w. 71‑1/2”, d. 29‑1/2”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [700/1000] Illustrated

Rare George III Figured Hardwood Knife Box, ca. 1800, possibly curly ash, the box with a serpentine front and a fitted interior, the edges trimmed with three-part inlaid stringing, set with a silverplated escutcheon and ring handle, h. 14‑1/2”, w. 9”, d. 11‑3/4”. [1000/1500] Illustrated

538

535

536

146


539

540

Suite of Eight George III-Style Mahogany Sidechairs, in the Chippendale manner, each with a shaped and earred foliate crest above an elaborately pierced and intertwining crest, the padded seat raised on cabriole legs headed by acanthine shield carving and ending in scrolled toes, h. 38”. [1000/1500] Illustrated

George III-Style Mahogany Sideboard, late 19th century, the top with a serpentine front and carved edge, above a conforming case fitted with a central cutlery drawer over a recessed well drawer, flanked to one side by a deep drawer and to the other by a cupboard, raised on chamfered tapering square legs ending in spade feet, h. 36”, w. 71”, d. 26”. [1200/1800] Illustrated

540

539

147


541

543

Extensive Spode “Trade Winds” Pattern Partial Dinner Service, ca. 1962‑1993, English, decorated with various ships identified on the back, the set comprised of fourteen dinner plates, dia. 10‑1/4”, fourteen salad/dessert plates, dia. 8”, fourteen bread-and-butter plates, dia. 6”, twelve open rice bowls, h. 2‑3/4”, dia. 4‑1/2”, thirteen London shape cups, h. 2‑1/2”, and fourteen matching saucers, dia. 5‑3/4”, a drumform teapot, h. 5”, w. 8‑3/4”, a lighthouse coffeepot, h. 8‑1/2”, w. 7‑1/2”, a helmet-form cream jug, h. 5‑3/4”, w. 5‑3/4”, a matching platter/undertray, w. 14”, d. 10”, a pair of ashtrays, w. 4‑1/2”, d. 4‑1/2”, and a salad bowl, h. 4‑3/4”, dia. 10”. [700/1000] Illustrated

George III-Style Mahogany Dining Table, early 20th century, the rounded rectangular top with a molded edge, the middle section of drop-leaf form, raised on three pedestals, each with a ribbed baluster-form standard to three splayed and ribbed legs ending in brass caps on casters, h. 29”, w. 56”, l. 127”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [1500/2500] Illustrated

542

James Webb (British, 1825‑1895), “Night”, 1879, signed, titled and dated en verso canvas, 18” x 24”. Presented in a giltwood frame. [1200/1800] Illustrated

542

541 detail

541

543

148


544

Suite of Twelve Georgian-Style Mahogany Dining Chairs in the Chippendale Taste, early 20th century, comprised of a pair of armchairs and ten sidechairs, each with a shell-carved crest, pierced splat and cabriole legs on ball-and-claw feet, h. 43”. [1000/1500] Illustrated

545

British School (19th Century), “Portrait of Georgiana, Duchess of Devonshire”, oil on canvas, unsigned, bears later artist’s plaque with sitter’s name and attribution to George Romney (1734‑1802), 30‑1/4” x 25‑1/4”. Presented in an impressive and heavily decorated gesso and giltwood frame. Provenance: Christie’s, New York, June 4, 2003, lot 164, as Manner of Sir John Hoppner (1758‑1810); “Buzz” Harper Antiques Natchez, Mississippi. [1400/1800] Illustrated

546

George III Mahogany Serving Table, 19th century, the rectangular top with a bowed front and a patera-carved edge, above a conforming frieze fitted with a drawer to each end and a bellflower swag-carved front, raised on paneled tapering square legs with bellflower carving ending in peg feet, h. 34”, w. 60”, d. 32”. [1000/1500] Illustrated 545

544

546

149


547

548

549

550

547

George III Sterling Silver Teapot, hallmarked London, 1791‑1792, by Peter and Ann Bateman, mark overstruck by retailer George Gray, of tapering oval section, with cavetto rim, hinged domed lid, conical spout and wooden finial and crested handle, decorated with milled reeded and bright-cut floral and lozenge banding and opposing cartouches, h. 5‑3/4”, l. 10‑1/2”, w. 3‑3/4”, 12.45 t. oz. (including wooden elements). [700/1000] Illustrated

548

Pair of George III Sterling Silver Wine Coasters, hallmarked London, 1786‑1787, by John Harris III, each of squat cylindrical form with turned wooden base, reticulated and decorated with engraved swags and beaded rim, h. 1‑1/4”, dia. 4‑3/4”. [700/1000] Illustrated

150

549

Late George III Sterling Silver Serving Spade, hallmarked London, 1800‑1801, by William Eley and William Fearn, with threaded handle and twin imbricate-pierced spatulate blades with spring-lever action, l. 12”, 6.64 t. oz. (including filled handle). [500/800] Illustrated

550

Pair of Early Paul Storr (1771‑1844) Sterling Silver Entree Dish Covers, hallmarked London, 1801‑1802, each of rectangular form, with reeded band and ring handle, engraved with the badge of Williams of Temple House, h. 3‑1/4”, l. 11‑1/4”, w. 7‑7/8”, 52.78 total t. oz. [1000/1500] Illustrated


551

Pair of William IV Sterling Silver Soup Plates, hallmarked London, 1822‑1823, by Robert Garrard II (1793‑1881; free 1816), of circular form with gadrooned edge, engraved on the rim with the arms of Plomer of Mayfield and Pentingho, dia. 9‑3/4”, 43.40 total t. oz. [600/900] Illustrated

552

Late George III Sterling Silver Serving Dish, hallmarked London, 1800‑1801, the maker’s mark rubbed, oblong with gadrooned rim, the sloped sides decorated with engraved basketweave and applied rococo cartouches on the long sides, the cartouches engraved with arms (azure three escallops) opposing a crest (out of a ducal coronet, a swan), h. 2‑1/4”, l. 15‑1/8”, w. 6‑7/8”, 26.60 t. oz. [2000/4000] Illustrated

553

Pair of Regency Old Sheffield Plate Candelabra, first quarter 19th century, in the neoclassical taste, each in the form of a Roman brazier with three lion’s masque-crested and paw-footed flat-column legs, with a waisted capital fitted with three scrolling reeded arms surrounding a flammiform finial, and each terminating with a circular drip-pan and urn-form socket with detachable bobeche, decorated throughout with gadrooned banding, the whole presented on a canted concave triangular plinth base, h. 25”, w. 15‑1/2”. [2500/5000] Illustrated

554

William IV Old Sheffield Plate Tureen, second quarter 19th century, of bulbous circular form, decorated with a wide rinceaux band and beaded egg-and-dart rim with addorsed acanthus handles and raised on four winged lion’s-paw feet, the fitted, domed lid with acanthus, shell-and-gadroon band and acanthus bud finial, h. 10‑1/4”, w. 16‑1/2”. [2000/4000] Illustrated

551

552

554 553

151


555

557

556

558

William IV Old Sheffield Plate Four-Piece Coffee and Tea Set, second quarter 19th century, by Waterhouse, Hatfield & Co., Sheffield, comprising a coffeepot, h. 8‑3/4”, l. 9‑1/2”, a teapot, h. 5‑1/4”, l. 11”, an open sugar bowl, h. 4‑1/2”, w. 8‑1/4”, and a cream jug, h. 4‑1/4”, l. 6‑7/8”, each of melon form with everted rim with milled foliate edge, with acanthus crested handles and raised on four “King’s” pattern feet. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [500/800] Illustrated

Early Victorian Sterling Silver Cruet Frame, hallmarked London, 1844‑1845, by Charles Thomas and George Fox, of cinquefoil section with reticulated sides and applied rococo scroll rim, centering a ring-handled standard en suite and raised on five scrolling pad feet, fitted with the original five cut glass sauce bottles with silver collars and pyriform stoppers, with two associated unmarked bottle tickets: “Anchovy” and “Harvey”, overall, h. 9”, dia. 5‑1/2”, 18.39 t. oz. (frame only). [600/900] Illustrated Good Victorian Elkington & Co. Sterling Silver Punchbowl, hallmarked Birmingham, 1896‑1897, of hemispherical form, with gadrooned calyx and embossed band of frolicking putti, with elaborately scrolled acanthus handles and raised on a cavetto-domed and ovolo-and-dart banded foot, h. 13‑1/2”, dia. 13‑1/2”, w. 19‑3/4”, 117.03 t. oz. [7000/10000] Illustrated

Late Victorian Sterling Silver Tray, hallmarked London, 1897‑1898, by Gibson & Langman (Goldsmiths’ & Silversmiths’ Co. Ltd.), of navette form with upswept ends, with pierced foliate and quatrefoil side, gadrooned rim and integral handles, l. 27”, w. 17”, 68.16 t. oz. [6000/9000] Illustrated

555

558

557

556

152


562

560

559

Victorian Silverplate “Aesthetic” Tray, fourth quarter 19th century, by George Bowen & Sons, Birmingham, of rectangular form, the plateau engraved with a central floral band within a broad foliate-scroll, palmette and fan band, with a tubular gallery with shaped handles and sides and spherical connectors, raised on six flattened spherical feet, h. 3‑1/2”, w. 14‑5/8”, l. 20‑3/4”. [500/800]

560

560 detail

560 detail

Fine English Cased One Hundred and Fifty-Piece Sterling Silver “King’s” Pattern Flatware Set, hallmarked Sheffield, 2000, by Carr’s of Sheffield, retailed by Harrods of London, the “Celebration Canteen” edition commemorating the new millenium and Harrods’ 150th anniversary, comprising a dozen eleven-piece place settings and eighteen serving pieces, no monograms, 242.33 total t. oz. weighable silver, presented in the “St. James” model canteen with mahogany finish, lift-top and two drawers, lined in pine green cotton velvet and with sterling silver retailer’s plaque, 12‑1/2” x 20‑3/4” x 16‑3/4”. Detailed listing of pieces available on request. [5000/8000] Illustrated

561

English Silverplate Triple Wine Trolley, contemporary, in the rococo taste, with a trio of coasters with applied rococo scroll rim and turned wooden base, crested by demi-putti, fitted to a wagon-wheel trolley with turned wood stirrup handle h. 5‑1/4”, l. 19‑3/4”, w. 15‑1/4”. [600/900] Illustrated

562

561

Oak and Silverplate Serving Trolley, contemporary, Royal Castle, Sheffield, in the Napoleon III taste, the carved oak base of circular form, above a conforming frieze raised on four toupie legs joined by curved stretchers, fitted with a hemispherical silverplate serving dome, opening to a removable platter, with detachable plate ring, the whole raised on casters, h. 43”, dia. 24‑3/4”. [1500/2500] Illustrated

153


565

563

566 564

563

565

564

566

Handsome Middle Eastern Blown Glass Mosque Light, the blown green glass with red enameled panels and gilt trim, the panels with Islamic script, suspended from brass chains, h. 21‑1/2”, dia. 5‑1/4”. [500/800] Illustrated Handsome Royal Worcester “Patent Metallic” Persian Ewer, fourth quarter 19th century, English, decorated with gilt sprigging on a yellow ground, with molded gilt trim, retaining its original cover, marked “Patent Metallic” along with the standard mark, the date mark partially rubbed, h. 16‑1/2”, w. 6”. [500/800] Illustrated

154

Semi-Antique Middle-Eastern Hand-Embroidered and Pieced Textile, silk and metallic threads on linen/cotton backing, Islamic script through out. 47” x 49”. [600/900] Illustrated French Aesthetic Movement Giltwood Faux-Bamboo Stool, late 19th century, the cushion of octagonal form, above a conforming base with a segmented apron and X-form stretcher, upholstered after the period fashion, h. 15‑1/2”, w. 20”, d. 20”. [500/800] Illustrated


567

569

570 568

567

Circle of Charles Auguste Guillaume Steuben (German/ French, 1788‑1856), “The Sultan’s Favorite”, oil on canvas, mid-19th century, 38‑1/2” x 54”. Presented in an antique, wide, cove-molded giltwood frame. [3000/5000] Illustrated

568

Pair of Middle Eastern Cased and Enameled Decanters in the Bohemian Manner, composed of cobalt-cased colorless glass decorated with enamel scrollwork and flowers, cut with panels and bulls’ eyes and set with spire-form stoppers, trimmed in gilt, h. 19‑1/4”, dia. 5”. [1200/1800] Illustrated

569

After Adolf Schreyer (French/German, 1828‑1899), “The Arab Warriors”, oil on canvas, unsigned, 16” x 20”. Framed. [1000/1500] Illustrated

570

Pair of J. & L. Lobmeyr Decanters, fourth quarter 19th century, Austrian, engraved with scrollwork, wreaths and sprays of flowers, the oval colorless decanters with matching stoppers, each with an engraved Lobmeyr mark on the base, h. 13”, w. 5‑1/4”, d. 2‑3/4”. [1200/1800] Illustrated

155


571

Constantin Stoiloff (Austrian/Bulgarian, 1850‑1924), “Troyka”, ca. 1910, oil on canvas, signed lower left, 20” x 32‑1/4”. Presented in a giltwood and gesso frame affixed with artist plaque. [3500/5000] Illustrated

573

Napoleon III Ebonized Cabinet, third quarter 19th century, the rectangular top with turreted corners, above a conforming case fitted with a single cupboard door, with a fabric-backed grille panel, raised on rounded feet, h. 41”, w. 32‑1/2”, d. 15‑1/4”. [500/800]

572

Suite of Twelve Napoleon III Ebonized Dining Chairs in the Rococo Taste, third quarter 19th century, comprised of a pair of armchairs and ten sidechairs, each with a carved crest over a medallion back, serpentine seat and cabriole legs, now upholstered in striped gold fabric, h. 41”. [1500/2500] Illustrated

571

574

572

156


575

576

578

574

Napoleon III Ebonized and Marble-Top Parlor Cabinet, third quarter 19th century, the rectangular marble top with a recessed center section, above a conforming case fitted with a single cupboard door, centered by a raised oval panel featuring a brass-inlaid classical figure, raised on block feet, the whole accented with decorative brass banding and ormolu mounts, h. 44”, w. 35”, d. 16‑1/2”. [1500/2500] Illustrated

575

Exceptional Napoleon III Gilt- and Patinated Bronze ThreePiece Clock Set, third quarter 19th century, the gilt-bronze serpentine-form clock base on scrolled feet and profusely decorated with deeply molded flowers, the dial framed with rocaille ornamentation and set with Raingo Freres works, the patinated bronze figural top decorated with muses of art, literature and sculpture, around their mother, Mnemosyne, h. 21‑1/2”, w. 24‑3/4”, d. 7‑1/2”, the pair of ten-light candelabra with gilt-bronze bases on scrolled feet, with fluted cove moldings set with roses, the patinated bronze standards representing female Bacchanalian figures supporting scrolled candle arms set with leaf-molded drip pans and tulipform molded candle cups, h. 30‑1/2”, w. 15‑1/2”, d. 11‑3/4”. Provenance: “Buzz” Harper Antiques, Natchez, Mississippi. [7000/10000] Illustrated

576

Napoleon III-Style Metal and Brass Planter, mid-20th century, on a velvet-lined base, the tripod base terminating in hoof feet, with a beaded edge on the top rim, the bowl decorated with wave-form mounts and molded leaves, the standard with a twisted top over brass swags, ending in a molded leaf finial, h. 44”, dia. 14”. [2500/4000] Illustrated

577

Pair of Napoleon III Parcel-Gilt Iron Occasional Tables, third quarter 19th century, each with a circular top above a conforming pierced frieze, raised on scrolling supports joined by a circular stretcher, continuing to square legs ending in turned toes, h. 19”, dia. 14‑1/2”. [500/800]

578

Thirteen-Piece Vienna-Style Partial Dessert Service, post1900, made by Bourdois et Bloch, Paris, decorated with various neoclassical figures, clobbered with polychrome enamels and set into hand-painted landscapes, the teal, maroon and yellow borders accented with gilt flowers, marked with an underglaze blue “beehive”, the set comprised of ten dessert plates, dia. 8‑1/4”, a compote, h. 5”, dia. 8‑1/4”, and a pair of comports, h. 3”. [500/800] Illustrated

157


579 582

581

580

579

French Patinated Bronze and Metal of a Noble Roman Woman, fourth quarter 19th century, the classically draped figure holding an orb in one hand and resting against a vine-covered column, h. 25‑1/4”, w. 19‑1/2”, d. 8”. [600/900] Illustrated

580

Italian Inlaid and Ebonized Cabinet, third quarter 19th century, the crest with a spindled bone gallery surmounted by bone orbs, above a case fitted with a single glazed door with a frame of tortoise panels and ormolu mounts, raised on ball feet, h. 47‑1/2”, w. 29”, d. 16”. [2500/4000] Illustrated

158

581

Unusual French Fin-de-Siecle Marble, Bronze and Brass Centerpiece, fourth quarter 19th century, on a rouge marble base, featuring a patinated bronze figure of a young mermaid supporting a bateau-form patinated brass bowl decorated with gilt trim, h. 15”, w. 13”, d. 8”. [1200/1800] Illustrated

582

Napoleon III Inlaid and Ebonized Cave-a-Liqueur, third quarter 19th century, the ebonized case with a serpentine front inlaid with brass and mother-of-pearl grapevines trimmed with brass stringing, the rosewood and gilt-bronze lift-out trays fitted for four decanters and sixteen glasses, now with a pair of gilttrimmed decanters and fifteen glasses, h. 10‑3/4”, w. 14‑1/4”, d. 10‑3/4”. [700/1000] Illustrated


584

583

585

Pair of Belle Epoque Bronze and Marble Five-Light Candelabra, fourth quarter 19th century, on hexagonal black marble bases, each with a standard in the form of a torchbearing patinated bronze putto, the torches set with gilt-bronze leaf-molded candle branches set with shell-molded candle cups and leaf-molded drip pans, h. 19‑1/2”, dia. 11”. [600/900] Illustrated

584

French Silvered and Gilt-Bronze Tazza in the Neo-Grec Style, third quarter 19th century, on an elaborately molded standard, the base decorated with dolphins, below dancing putti, the bowl set with pierced anthemion-molded handles and a central bronze medal marked “virgilivs apvd mecenaten, tva mecenas havd molua jvssa” around a group of figures in neoclassical dress, h. 12‑3/4”, w. 13‑1/2”, d. 10”. [1200/1800] Illustrated

585

Pair of French Empire-Style Gilt- and Patinated Bronze Centerpieces, 20th century, the cylindrical bases decorated with mounts of putti with butterfly wings, carrying laurel swags set with anthemia, the patinated bronze “Three Graces” standards supporting baskets molded with grapevines, h. 25”, dia. 11”. [6000/9000] Illustrated

586

583

Pair of Mahogany, Faux-Bois and Ebonized Cabinets, early 20th century, in the Adam taste, each with a rectangular top with deeply canted corners and three ebonized panels with gilt floral accents, above a conforming case fitted with three drawers over four paneled cupboard doors, each inset with an ebonized panel with like accents, raised on toupie feet, the whole with gilt band accents, h. 32”, w. 56”, d. 25”. [1500/2500]

159


587

589

588

590

Beaux Arts Gilt-Bronze and Pietra Dura Occasional Table, fourth quarter 19th century, the circular pietra dura top with an inlaid floral wreath, above a deep pierced floral guilloche-modeled frieze, raised on tubular ribbed legs joined by a quatrefoil stretcher and ending in toupie feet, h. 32‑1/2”, dia. 18”. [2500/4000] Illustrated C. F. Sornin de St. Laurent (French, 19th Century), “Apres l’Orage”, oil on canvas, signed lower right, titled on artist plaque, 32” x 40”. Presented in a gesso and giltwood frame. [1000/1500] Illustrated

Napoleon III Mahogany and Onyx Etagere, third quarter 19th century, the superstructure with a single shelf and three-quarter pierced brass gallery and mirrored back, the base with an inset onyx top above two shelves, joined by columnar uprights, raised on tall, tapering circular legs, h. 46”, w. 23”, d. 14‑1/2”. [700/1000] Illustrated French Inlaid Walnut Cave a Liqueur, third quarter 19th century, with an inlaid mahogany fret on the cover and front, and a lift-out rosewood and gilt-bronze fitted tray, now with four cut crystal liqueur decanters, h. 10”, w. 13”, d. 9‑1/2”. [500/800] Illustrated

588

590

587 589

160


591

593

French Bronze and Crystal Eight-Light Chandelier, third quarter 20th century, in the Louis XIV style, the bronze frame with a molded glass-clad standard set with scrolled candle arms terminating in foliate drip pans and turned candle cups hung with drops, the upper portion decorated with a spray of drops, h. 35”, dia. 20‑1/2”. [500/800] Illustrated

Napoleon III Mahogany and Marble-Top Occasional Table, late 19th century, the shaped circular marble top within an ormolu banding above a conforming floral-inlaid frieze, and joined to a like-shaped lower shelf by cabriole supports ending in splayed feet to sabots, h. 27‑1/2”, dia. 17‑1/2”. Provenance: “Buzz” Harper Antiques, Natchez, Mississippi. [600/900] Illustrated

592

594

French Gilt-Bronze Repeater Carriage Clock, ca. 1900, of Louis XV inspiration, set with beveled glass panels, with alarm settings and a repeater button on the top front, marked “Made in France” on the back, h. 6‑3/4”, w. 3‑1/2”, d. 3‑1/2”. [500/800]

Suite of Eight Provincial Louis XV-Style Fruitwood Armchairs, each with a domed and molded crest above a caned back, joined by shaped and scrolling arms to the padded seat, raised on cabriole legs ending in peg feet, h. 40”. [1500/2500] Illustrated

593

591

594

161


595

597

596

596

595

Louis XVI-Style Gilt-Bronze Four-Light Chandelier, ca. 1900, each arm dressed with acanthine decor and the central ring and upper frame with floral swags, fitted with period gold aurene glass trumpet-form shades, h. 38”, dia. 26”. [800/1200] Illustrated

162

Napoleon III Ebonized and Marble-Top Cabinet, third quarter 19th century, the rectangular marble top above a conforming case fitted with an ormolu-applied frieze over two cupboard doors, each paneled and with ormolu banding, surrounding a polychrome floral urn, raised on a shaped plinth base, h. 42‑1/2”, w. 48‑1/2”, d. 18‑1/2”. [1200/1800] Illustrated

597

French Fin de Siecle Large and Elaborately Molded Giltwood Cushion Mirror, fourth quarter 19th century, the mirror-inset frame with an outer edge molded with cabochons and flowers, with shell-and-scroll-molded cartouches joining it to the inner frame, the pierced crest with an oval giltwood portrait medallion of a young woman supported by a pair of fruit-laden cornucopia against a ground of pierced leaves and berries, h. 86‑1/2”, w. 45”. [1500/2500] Illustrated


598

601

600

599

598

Napoleon III Gilt-Bronze Figural Mantel Clock, third quarter 19th century, decorated with a figure of a classical maiden, on a column-form base decorated with swags and laurel, the movement marked “Ch. Les Mt.”, h. 23‑3/4”, w. 9”, d. 9”. [700/1000] Illustrated

599

Impressive French Gilt-Bronze and Crystal Centerpiece, Attributed to Baccarat, ca. 1900, the rocaille-molded and pierced base supporting the crystal bowl with twisted reeding and a scalloped, downturned rim, h. 11‑3/4”, dia. 12‑1/2”. Provenance: “Buzz” Harper Antiques, Natchez, Mississippi. [700/1000] Illustrated

600

Louis XV-Style Polychrome Armoire, late 19th century and later, the molded and domed cornice above a case fitted with two long doors, each inset with three shaped panels, all with gilt and polychrome scenes in the chinoiserie manner, the sides en suite, raised above a shaped apron on scrolled toes, h. 94”, w. 61”, d. 24”. [700/1000] Illustrated

601

Stylish French Painted Wood and Bronze-Mounted Clock, ca. 1900, in the Louis XV taste, retailed by J. E. Caldwell, Philadelphia, the clock case painted with figures in 18th-century costume and scattered flowers, and decorated with molded bronze trim, including a pair of gargoyles on each side, rococo feet, and a chinoiserie figure holding an umbrella serving as the finial, h. 23”, w. 14”, d. 5‑3/4”. [1000/1500] Illustrated

163


602

603

602

Belgian School (Fourth Quarter 19th Century), “Portrait of a Jesuit Missionary in China, Possibly Bishop Ferdinand Hamer”, oil on canvas, unsigned, 42‑1/2” x 34”. Presented in an antique giltwood and gesso frame with a “Ivor and Joan Weiss Framing & Gilding, Colchester, Essex” label. Provenance: “Buzz” Harper Antiques, Natchez, Mississippi. [1500/2500] Illustrated

164

603

Pair of Louis XV-Style Polychrome and Marble-Top Commodes, each with a shaped marble top above a conforming bombe case, the whole accented with polychrome incised designs in the chinoiserie taste, raised on splayed legs ending in acanthine sabots, h. 32”, w. 38”, d. 20‑1/2”. [1500/2500] Illustrated


607

605

604

Turkish Oushak Carpet, 10’ x 14’. [1000/1500] Illustrated 609

605

Semi-Antique Heriz Carpet, signed, 4’ 10” x 9’ 10” . Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [700/1000] Illustrated

606

Nineteenth-Century French Aubusson Carpet, 12’ 10” x 31’ 8”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [2000/4000]

607

Turkish Angora Oushak Carpet, 10’ 3” x 13’ 9”. [1200/1800] Illustrated

608

Semi-Antique Turkmen Carpet, 6’ 10” x 12’ 1”. [600/900]

609

Turkish Angora Oushak Carpet, 9’ 9” x 13’ 7”. [1200/1800] Illustrated

604

165


614

613

611

610

Turkish Angora Oushak Carpet, 8’ x 9’ 11”. [800/1200]

611

Laristan Sultanabad Carpet, 10’ x 14’ 9”. [2000/4000] Illustrated

612

612

Antique Tabriz Carpet, 7’ 9” x 10’ 6”. [4000/7000] Illustrated

613

Peshawar Mahal Runner, 4’ 2” x 14’ 2”. [600/900] Illustrated

614

Turkish Oushak Carpet, 12’ x 33’ 6”. [4000/7000] Illustrated

166


615

619

617

615

Semi-Antique Tabriz Silk Carpet, 6’ x 9’ 7”. [700/1000] Illustrated

616

Turkish Angora Oushak Carpet, 9’ x 12’. [1000/1500] Illustrated

616

617

Semi-Antique Heriz Carpet, 6’ x 9’. [700/1000] Illustrated

618

Semi-Antique Shirvan Carpet, 6’ x 8’ 10”. [500/800]

619

Semi-Antique Heriz Carpet, 3’ 8” x 6’. [500/800] Illustrated

167


622 623

621

622

620

620

Chinese Export Blanc-de-Chine Figure of Guanyin, ca. 1900, the figure holding a scroll representing learning, and borne across the waves atop a dragon base accented with black paint, h. 25‑1/2”, w. 11”, d. 8”. [700/1000] Illustrated

621

Pair of Chinese Blanc-de-Chine Pottery Garden Seats, 20th century, decorated with interlocking bamboo pierced roundels, h. 21”, dia. 18”. [500/800] Illustrated

168

Chinese Coromandel Eight-Panel Folding Screen, early 20th century, each panel decorated with a continuous scene of the emperor surrounded by multiple courtiers in a picturesque pagoda and garden setting, within narrow mirrored qilin pattern, the upper section of each panel having a fan form reserve, depicting various views of a riverside landscape, the reverse with various floral and foliate patterns, raised on square feet, h. 97”, w. 144”. [700/1000] Illustrated

623

Large Chinese Ancestor Portrait Scroll, Qing Dynasty (1644‑1911), probably second half 18th century, ink and color on paper mounted on silk, depicting an official in cap and flowing robes bearing an embroidered pattern denoting rank, right side marked with red seal, roller ends capped with blue and white porcelain caps painted with dragons, 35‑1/4” x 41”, overall, 92” x 67”. [700/1000] Illustrated


624

626

625

627

Japanese Cloisonne Bottle Vase, Meiji period (1868‑1912), decorated with tan scrollwork and flowers on a black ground, the top with turquoise and red scrolls and berries, h. 11”, dia. 3”. [1200/1800] Illustrated Exceptional Japanese Cloisonne Vase, from the Meiji Period (1868‑1915), decorated with a pair of swirling dragons on a black ground, framed with a carefully detailed neck and feet with phoenix birds, scrollwork and flowers, h. 12‑1/2”, dia. 4‑1/2”. [2500/4000] Illustrated

Chinese Hardstone Figure of Two Eagles in a Pine Tree, 20th century, on a carved pine base, mounted with a pale green jade tree and black marble eagles, raised on an ebonized platform, h. 26”, w. 13”, d. 9‑3/4”. [700/1000] Illustrated Pair of Japanese Meiji Period Black Lacquer Dragon Chairs, first quarter 20th century, each with a deep reliefcarved back and arms with dragons clenching balls in their mouths, h. 45”, w. 26”, d. 21”. [700/1000] Illustrated

625 624

626

627

169


629 630

628

Pair of Chinese Terracotta Pottery Roof Tiles, ca. 1900, the rounded ridge tiles with figures of warriors on horseback, glazed in amber and green, h. 15‑1/4”, w. 5‑1/4”, d. 13‑1/2”. [500/800] Illustrated

629

Pair of Chinese Sancai Glazed Square Earthenware Dishes, Liao Dynasty (907‑1125), decorated in amber, green and cream, the dishes with central peonies and green leaves, the flared sides with like decoration, h. 1”, w. 4‑7/8”, d. 4‑7/8”. [1000/1500] Illustrated

630

628

170

Pair of Chinese Carved Jade Vases on Stands, first quarter 20th century, decorated with bas-relief scrollwork and set with dragon’s-head handles grasping rings, the tapered covers with matching decoration, on conforming footed stands carved with scroll- and fretwork decor, h. 13”, w. 5‑1/4”, d. 1‑1/2”. [5000/8000] Illustrated


633

631

Asian Hardwood Altar Table, early 20th century, the banded rectangular top with rounded ends, above a conforming frieze fitted with two drawers and two small end drawers, raised on pierced end supports joined by a stretcher and ending in shaped toes, the whole elaborately carved in various figural foliate patterns, h. 32”, w. 72”, d. 20”. [700/1000] Illustrated

632

Pair of Chinese Carved Rosewood and MarbleTop Stands, ca. 1900, each with a square top and rouge marble insert, the legs and aprons profusely carved in a foliate motif, h. 18‑1/2”, w. 16”, d. 16”. [500/800] Illustrated

632

633

Chinese Painting of a Hunt Scene, Qing Dynasty (1644‑1911), ink and color on silk laid down on board, depicting a hunter on horseback with bow in one hand and quiver of arrows slung across his back, as he gallops over a hilly landscape towards a stag poised in the foreground, 38‑1/2” x 67”. Framed. [3000/5000] Illustrated

631

171


634

635

634

Bronze Figure of the Buddha, 19th century, possibly Thai, seated in the lotus position on a beaded base, with a sash around his neck, h. 16”, w. 11‑1/4”, d. 5”. [1000/1500] Illustrated

635

Thai Bronze Statue of a Standing Deity, 19th Ccntury, modeled in the Ayutthaya style, standing with both hands raised in a gesture of peace and calmness, wearing traditional robes and headdress, on a painted wood pedestal, h. 32”, overall, h. 40‑1/2”. [2000/4000] Illustrated

636

Nepalese Bronze Figure of the Buddha, 19th century, the figure seated on a double lotus throne with a pierced floral halo at the rear, h. 13‑3/4”, w. 7‑3/4”, d. 5”. [500/800] Illustrated

636

172


637

639

637

Tibetan Silver-Plated Copper Portable Prayer Box/Gau, 20th century, decorated with an image of Buddha and dragons, with strap slots on each side, and accompanied with a quilted silk cover, h. 13”, w. 11‑1/2”, d. 4”. [500/800] Illustrated

638

Japanese Faceted Cloisonne Vase, Meiji period (1868‑1912), carefully detailed with panels of phoenix birds and panels of dragons against an orange ground, the neck decorated with flowers on pointed medallions, h. 6”, dia. 2‑1/4”. [700/1000] Illustrated

639

Japanese Amphora-Shaped Cloisonne Vase, Meiji period (1868‑1912), decorated with alternating panels of phoenix birds and dragons on a gray ground, with orange-ground borders, decorated with scrollwork and panels of butterflies, h. 10”, dia. 3”. [700/1000] Illustrated

638

173


Session II : S u nday, De c e m be r 1 1 , 2 0 1 6 Lots 6 4 0 - 1 1 3 8

Lot 8 5 7


Lots 640-662 Collection of Men's Jewelry and Watches from the Estate of James Westerfield, Jackson, Mississippi

646

640

Gentleman’s Fourteen-Karat Yellow Gold Bracelet, the heavy curved link bracelet with an additional link, l. 8‑1/8”, w. 7/16”, 56.0 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1000/1500] Illustrated

641

Gentleman’s Rolex Fourteen-Karat Yellow Gold/ Stainless Steel “Air King” Wristwatch, the mechanical automatic movement with a satin silver dial with a jubilee band with deployant Rolex clasp, the dial marked “Rolex, Oyster Perpetual, Air King”, the crown with the Rolex logo, reference #5501, inside circumference 6‑3/4”, 87.0 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1200/1800] Illustrated

642

Gentleman’s Eighteen-Karat White Gold, Blue Topaz and Diamond Ring, the heavy hand-engraved Florentine mounting set with an emerald-cut London Blue topaz, with an approximate weight of 22.00 carats, flanked by two bezel-set emerald-cut diamonds, each with an approximate weight of 1.00 carat, approximate color E-F and clarity VVS2‑VS1, size 10‑1/2, 33.2 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [2500/4000] Illustrated

643

Gentleman’s Eighteen-Karat Yellow Gold, Star Sapphire and Diamond Ring, the smooth oval mounting set with an oval star sapphire, with an approximate weight of 11.0 carats, surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 1.20 carats, size 11‑1/2, 23.4 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1000/1500] Illustrated

644

Gentleman’s Eighteen-Karat Yellow Gold, Moonstone and Diamond Ring, the oval turtle-shell design mounting set with an oval moonstone cabochon at the center, with an approximate weight of 16.65 carats, flanked by two smaller moonstone cabochons, with an approximate weight of 4.45 carats each, accented by four round brilliant-cut diamonds, with an approximate total weight of 0.40 carats, size 10‑1/4, 29.1 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1200/1800] Illustrated

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Gentleman’s Eighteen-Karat Yellow Gold, Diamond and Sapphire Ring, the smooth square concave mounting set with forty-eight princess-cut diamonds, with an approximate total weight of 2.40 carats, and nine princess-cut treated blue sapphires, with an approximate total weight of 0.50 carats, size 9‑3/4, 24.4 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated

646

Gentleman’s Patek-Philippe Eighteen-Karat Yellow Gold Calatrava Automatic Wristwatch, the round mechanical automatic back wind movement with a textured gold dial matching the case and band, the dial marked “Patek-Philippe, Geneve” and the clasp marked “Patek-Philippe, Geneve,750” with the Calatrava cross, accompanied with an inner and outer Patek-Philippe box, l. 7‑1/2”, dia. 35.0 mm, 98.0 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [4000/7000] Illustrated


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Gentleman’s Eighteen-Karat Yellow Gold and Watermelon Tourmaline Ring, the heavy handengraved mounting set with a square emeraldcut watermelon tourmaline in the center, with an approximate weight of 7.35 carats, flanked by two emerald-cut watermelon tourmalines, with an approximate weight of 1.58 carats each, size 11, 33.8 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1000/1500] Illustrated

648

Gentleman’s Eighteen-Karat Yellow Gold and Amethyst Ring, mounted with a large triangular cabochon-cut amethyst, with a faceted pavilion, with an approximate weight of 15.00 carats, size 10‑1/2, 19.0 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated

649

Gentleman’s Eighteen-Karat Yellow Gold and Rhodochrosite Ring, the wide mounting set with three bezel-set oval rhodochrosite cabochons, measuring approximately 9.0 mm x 11.0 mm, size 10‑1/4, 24.2 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated

650

Gentleman’s Eighteen-Karat Yellow Gold, Sunstone and Diamond Ring, mounted with a large oval cabochon-cut sunstone, with an approximate weight of 32.00 carats, accented with twenty single-cut diamonds, with an approximate total weight of 0.48 carats, size 10‑1/4, 33.6 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated

654

Gentleman’s Fourteen-Karat Yellow Gold and Diamond Ring, the zebra stripe mounting set with fourteen round brilliant-cut diamonds, with an approximate total weight of 1.35 carats, size 11‑1/4, 20.2 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated

655

Gentleman’s Fourteen-Karat Yellow Gold and Diamond Ring, the Florentine mounting gypsy-set with a round brilliant-cut diamond, with an approximate weight of 2.35 carats, approximate color K and clarity VVS2, size 9, 15.6 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [2000/4000] Illustrated

656

Gentleman’s Rolex Eighteen-Karat Yellow Gold and Diamond President Wristwatch, the mechanical automatic non-quick set date movement with a glossy white dial set with eight round brilliantcut diamonds and two diamond baguettes, the dial marked “Rolex, Oyster Perpetual, Day-Date, Superlative Chronometer, Officially Certified”, the bark-finished case with an eighteen-karat white gold bezel set with forty-six round brilliant-cut diamonds, the matching bark-finished president band with a hidden deployment Rolex clasp, with an approximate total diamond weight of 1.25 carats, reference #1807, serial #5,119,xxx, diameter without crown, 36.0 mm, inside circumference 6‑3/4”, 122.3 grams total weight, accompanied with a green inner and outer Rolex box. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [4500/7000] Illustrated

651

Gentleman’s Corum Eighteen-Karat Yellow Gold Wristwatch, the manual wind round mechanical movement marked “Corum, Twenty-one, 21 Jewels, Adjusted three 3 Positions”, the glossy black dial with the Corum logo and marked “Corum”, the heavy case and textured woven eighteen-karat band with a Corum clasp, diameter without crown, 29.0 mm, l. 7”, 88.0 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1800/2500] Illustrated

652

Gentleman’s Fourteen-Karat Yellow Gold and Carnelian Intaglio Armorial Seal Ring, the heavy ribbed oblong mounting set with a carnelian seal measuring 22.0 x 12.5 mm and intaglio engraved with the arms of Fowell of Devonshire, size 10‑1/4”, 31.8 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated

653

Gentleman’s Eighteen-Karat Yellow Gold, Emerald and Diamond Ring, the square sugarloaf treated emerald cabochon, with an approximate weight of 5.00 carats, surrounded by a halo of forty-eight channel-set tapered diamond baguettes, with an approximate total weight of 1.35 carats, size 10, 14.8 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1500/2500] Illustrated

656

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Gentleman’s Eighteen-Karat Yellow Gold and Citrine Ring, the large faceted square cushion-shaped citrine, with an approximate weight of 21.00 carats, set in a twisted mounting with large crawl prongs, size 11‑1/2, 34.4 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [800/1200] Illustrated

658

Gentleman’s Eighteen-Karat Yellow Gold and Bloodstone Ring, the flat cushion-shaped bloodstone measuring 13.0 mm x 13.0 mm and bezel-set in a heavy conforming cushionshaped mounting, size 10‑1/4, 27.6 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated

659

Gentleman’s Eighteen-Karat Yellow Gold and Lemon Quartz Ring, the heavy hand-engraved Florentine mounting set with an emerald-cut lemon quartz, with an approximate weight of 7.85 carats, flanked by two smaller emerald-cut lemon quartzes, with an approximate total weight of 13.65 carats, size 11‑1/2”, 39.6 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [800/1200] Illustrated

662

660

Gentleman’s Eighteen-Karat Yellow Gold and Black Sapphire Ring, the ribbed mounting set with an oval black sapphire cabochon, with an approximate weight of 10.85 carats, size 7‑1/2, 19.2 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated

661

Gentleman’s Fourteen-Karat Yellow Gold and Green Quartz Ring, the smooth heavy mounting set with two triangular faceted green quartzes, with an approximate total weight of 9.50 carats, size 10‑1/4, 33.8 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated

662

Gentleman’s Rolex Fourteen-Karat Yellow Gold/ Stainless Steel Air King Wristwatch, the mechanical automatic movement with satin silver dial and a jubilee band with deployant Rolex clasp, the dial marked “Rolex, Oyster Perpetual, Air King”, the crown with the Rolex logo, reference #5501, inside circumference 6‑3/4”, 87.0 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1800/2500] Illustrated

663

Gentleman’s Chocolate Brown Double-Breasted Mink Coat, with notched collar and on-seam pockets, the set-in sleeves with rolled cuffs, 14” back vent, the black satinlined interior with one chest slip pocket, labeled: “Holmes/ Fine Fashion/Since 1842”, monogrammed, l. 48”. [500/800] Illustrated

664

Three French Eighteen-Karat Yellow Gold Van Cleef & Arpels and Other Bibelots, 20th century, including matching Van Cleef & Arpels cased comb (serial number 76238), l. 5”, and lipstick brush (serial number 81127), l. 3‑1/2”, both in a fine basketweave finish, and a small easel-backed picture frame with similar multicolor gold finish, 1‑3/4” x 1‑1/2”, 49.2 grams (weighable gold). [900/1200] Illustrated

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Three Gentleman’s Gold Accessories, including an antique Continental eighteen-karat yellow gold stickpin with gadrooned navette centering a collet-set cat’s eye measuring 6.9 mm x 5.8 mm, l. 2‑1/2”, a Victorian fifteen-karat yellow gold stick pin in the form of a rapier, the grip enameled in white and pale blue, the pommel set with an old mine-cut diamond weighing approximately 0.10 carats, l. 3”, presented in a tan leather box with retailer’s stamp “A. Lacchini/Roma”, together with a pair of English nine-karat yellow gold chain-link cufflinks, by Deakin & Francis, Birmingham, with canted rectangular faces decorated with guilloche engraving, presented in the original case as retailed by Longmire of London, 5/8” x 3/8”, 12.5 grams total weight. [500/800] Illustrated

666

Fine English Eighteen-Karat Yellow Gold, Crystal and Diamond White Tie Set, mid-20th century, by Longmire of London, including a pair of cufflinks, four vest buttons and three shirt studs, each with a circle of frosted crystal with faceted edge and centering a single-cut diamond (eleven diamonds totaling approximately 0.25 carats) with gold back, presented in the original green velvet- and cream satin-lined green leather box, 4‑1/4” x 3‑1/4”. [500/800] Illustrated

672

668

Gentleman’s Bulgari Carbon Fibre Limited Edition Wristwatch, the mechanical automatic date movement in black carbon fibre case is a limited “Geneve” edition bearing number “099/900”, the black dial signed “Automatic, Geneve, 099/900”, the case signed “BVLGARI”, with exhibition back, the movement signed “BVLGARI, 25 jewels, Swiss made”, size 34.0 mm without crown, x 40.0 mm. [500/800] Illustrated

669

Gentleman’s Fourteen-Karat White Gold and Diamond Wedding Band, mounted with eight round brilliant-cut diamonds, with an approximate total weight of 0.45 carats, approximate color F-G and clarity SI1‑I1, size 9‑3/4, 10.0 grams total weight. [700/1000] Illustrated

670

Gentleman’s Ebel Eighteen-Karat Yellow Gold and Diamond Watch, the rectangular case set with single-cut diamonds, with an approximate total weight of 0.30 carats, the black dial with stick hands and markers, signed “Ebel”, the movement is quartz, the case stamped “182, B81911, 18K, Swiss”, size 27.0 mm, without crown, x 37.0 mm, 32.0 grams total weight. [600/900] Illustrated

671

Gentleman’s Fourteen-Karat Yellow Gold and Diamond Bracelet, with a flexible link design and mounted with channelset round brilliant-cut diamonds, with an approximate total weight of 5.50 carats, l. 8‑1/4”, 44.0 grams total weight. [1000/1500] Illustrated 667

667

Gentleman’s Reversible Chocolate Brown Corduroy Mink and Kidskin Bomber Jacket, with stand-up collar and zipper closure, the horizontally-stitched kidskin cuffs and hem elasticized, the mink side with on-seam pockets, the kidskin side with flange-trimmed armholes, simulated epaulets and angled zipper pockets, l. 28”. [500/800] Illustrated

672

Pair of United States $5.00 Indian Head Gold Cufflinks, each cufflink set with an Indian Head $5.00 gold coin, dated, respectively, 1908 and 1911, dia. 1‑1/8”, 32.2 grams total weight. [1200/1800] Illustrated

673

Fourteen-Karat Yellow Gold and Diamond Ring, with a ribbed design and mounted with a round brilliant-cut diamond, with an approximate weight of 0.67 carats, approximate color O and clarity I1, size 10, 9.0 grams total weight. [600/900] Illustrated

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Eighteen-Karat White Gold, Diamond and Tsavorite Garnet Bracelet, the Art Deco-style flexible bracelet set with round brilliant-cut diamonds, with an approximate total weight of 2.90 carats, accented with ten oval-cut tsavorite garnets, with an approximate total weight of 3.23 carats, l. 7‑3/4”, 31.2 grams total weight. [4500/7000] Illustrated

679

Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with a central emerald-cut emerald, with an approximate weight of 0.77 carats, flanked by ten square-cut emeralds, with an approximate total weight of 0.90 carats, and accented with round brilliant-cut diamonds, with an approximate total weight of 0.19 carats, size 6‑1/2, 3.0 grams total weight. [1000/1500] Illustrated

680

Eighteen-Karat Yellow/White Gold, Emerald and Diamond Line Bracelet, mounted with thirty-three square-cut emeralds, with an approximate total weight of 1.98 carats, and twentyeight round brilliant-cut diamonds, with an approximate total weight of 1.11 carats, approximate color G-I and clarity VS1‑SI1, l. 7‑1/4”, 16.0 grams total weight. [3000/5000] Illustrated

681

674

Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with an oval-cut treated emerald, with an approximate weight of 2.57 carats, accented with thirty-four round brilliantcut diamonds, with an approximate total weight of 1.90 carats, approximate color G-I and clarity SI1‑I2, size 7, 6.8 grams total weight. [4000/7000] Illustrated

674

Coyote and Mocha Kidskin Long Jacket, size 12, with setin sleeves, on-seam pockets, zipper closure and removable kidskin-trimmed snap-on hood, the chocolate brown fabriclined interior with a forward glove pocket, monogrammed, l. 32”. [500/800] Illustrated

675

Sterling Silver, Garnet, Diamond and Bakelite Bracelet, the wide hinged bakelite cuff bracelet with a silver sunburst motif set with a faceted cushion-cut garnet, with an approximate weight of 1.00 carat, accented by rose-cut diamonds, with an approximate total weight of 0.50 carats, inside circumference 6‑3/4”, 68.5 grams total weight. [500/800] Illustrated

676

Fourteen-Karat Yellow Gold and Garnet Necklace, the delicate necklace composed of teardrop-shaped garnets, each separated by two round yellow gold beads, l. 16”, 12.5 grams total weight. [500/800] Illustrated

677

Fourteen-Karat Yellow Gold and Hessonite Garnet Necklace, composed with a section of faceted and graduated teardrop-shaped hessonite garnets, suspended from a fourteen-karat yellow gold chain, l. 18”, 27.4 grams total weight. [500/800] Illustrated

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Fourteen-Karat White Gold, Emerald and Diamond Necklace, mounted with forty oval-cut treated emeralds, with an approximate total weight of 29.49 carats, each with a halo of round brilliant-cut diamonds, with an approximate total weight of 10.81 carats, l. 17‑1/2”, 36.1 grams total weight. [7000/10000] Illustrated

683

Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with an emerald-cut treated emerald, with an approximate weight of 2.39 carats, accented with two baguettecut and eighteen single-cut diamonds, with an approximate total weight of 0.69 carats, approximate color F-I and clarity VVS2‑SI1, size 7‑1/2, 8.0 grams total weight. [1800/2500] Illustrated 683

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684

Beautiful Eighteen-Karat White Gold, Emerald and Diamond Necklace, mounted with an emerald-cut treated emerald, with an approximate weight of 18.20 carats, accented around the stone and on the chain with marquise- and round brilliant-cut diamonds, with an approximate total weight of 30.3 carats, approximate color E-F and clarity VS1‑SI1, l. 18”, 31.0 grams total weight. [55000/80000] Illustrated

685

684

Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with an emerald-cut treated emerald, with an approximate weight of 4.61 carats, flanked by two triangular-cut diamonds, with an approximate total weight of 0.45 carats, and six round brilliant-cut diamonds, with an approximate total weight of 0.13 carats, approximate color F-G and clarity VS1‑SI2, size 7, 5.0 grams total weight. [8000/12000] Illustrated

187


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Fourteen-Karat White Gold, Emerald and Diamond Bracelet, mounted with nineteen pear-cut treated emeralds, with an approximate total weight of 6.94 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 1.74 carats, l. 7”, 11.5 grams total weight. [1800/2500] Illustrated

687

Sterling Silver, Carved Emerald and Diamond Necklace, composed of carved treated emerald roundels, accented with five two-row rose-cut diamond roundels, and finished with a rose-cut diamond clasp, with an approximate total diamond weight of 1.20 carats, l. 19”, 182.5 grams total weight. [500/800] Illustrated

688

Fourteen-Karat White/Yellow Gold, Emerald and White/ Yellow Diamond Ring, mounted with a bezel-set emeraldcut emerald, with an approximate weight of 2.13 carats, the emerald set within a crossed border of twenty-four round brilliant-cut fancy yellowish-green diamonds, with an approximate total weight of 0.47 carats, the whole between a double split shank mounted with thirty-seven round brilliantcut white diamonds, with an approximate total weight of 0.46 carats, size 6, 12.1 grams total weight. [2000/4000] Illustrated

689

Stunning Twenty-One/Eighteen-Karat Yellow Gold Vermeil, Emerald, Ruby and Sapphire Necklace, the customdesigned necklace accented with enamel and mounted with ten cabochon-cut treated emeralds, with an approximate total weight of 27.39 carats, thirty-nine faceted treated emeralds, with an approximate total weight of 1.17 carats, ninety-eight faceted treated rubies, with an approximate total weight of 12.80 carats, and a faceted treated sapphire, with an approximate weight of 0.56 carats, l. 17”, 166.0 grams total weight. [3000/5000] Illustrated

188

690

Pair of Eighteen/Fourteen-Karat Yellow Gold, Emerald and Ruby Earrings, each earring with an oval cabochon-cut treated emerald, with an approximate total weight of 100.0 carats for the pair, suspended from an ornate top mounted with two central oval cabochon-cut treated emeralds, with an approximate total weight of 11.60 carats for the pair, and accented by various shaped treated emeralds, with an approximate total weight of 2.00 carats for the pair, and cabochon-cut treated rubies, with an approximate total weight of 2.24 carats for the pair, l. 2‑1/2”, 39.0 grams total weight. [2000/4000] Illustrated

691

Fourteen-Karat Yellow Gold, Ruby and Diamond Pendant Necklace, the pendant mounted with a rectangular-cut treated ruby, with an approximate weight of 11.73 carats, accented by round brilliant-cut diamonds around the stone and on part of the chain, with an approximate total weight of 7.10 carats, chain, l. 17”, pendant, l. 1‑1/2”, 34.0 grams total weight. [5000/8000] Illustrated

692

Pair of Eighteen-Karat Yellow Gold, Ruby and Diamond Earrings, each earring mounted with two oval-cut treated rubies, with an approximate total weight of 7.88 carats for the pair, accented by round brilliant-cut diamonds, with an approximate total weight of 0.70 carats for the pair, approximate color G-I and clarity VS1‑SI1, l. 1”, 6.0 grams total weight. [3000/5000] Illustrated

693

Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, mounted with a cushion-cut treated ruby, with an approximate weight of 16.55 carats, surrounded by a halo of round brilliantcut diamonds, with an approximate total weight of 1.38 carats, approximate color H-J and clarity SI2‑I1, size 7‑1/4, 12.3 grams total weight. [1800/2500] Illustrated


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Tiffany and Company Eighteen-Karat Yellow Gold, Diamond and Multicolored Stone “En Tremblant” Brooch, the cornucopia-designed brooch mounted with fourteen singlecut diamonds, with an approximate total weight of 0.25 carats, thirty round faceted sapphires, with an approximate total weight of 0.75 carats, eighteen round faceted emeralds, with an approximate total weight of 0.45 carats, and thirty-six round faceted rubies, with an approximate total weight of 0.90 carats, stamped “Italy, Tiffany & Co., 18k”, size 1‑7/8” x 1‑1/2”, 25.8 grams total weight. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [2500/4000] Illustrated

695

Pair of Sterling Silver, Opal, Diamond and Ruby Earrings, each elegant dangling pendant earring composed of ten faceted opals, with an approximate total weight of 12.00 carats for the pair, the opals surrounded by halos of rose-cut diamonds, with an approximate total weight of 1.39 carats for the pair, accented by five round faceted treated rubies, with an approximate total weight of 0.40 carats for the pair, l. 2‑3/4”, 17.2 grams total weight. [500/800] Illustrated

694

696

Gold Vermeil, Opal, Diamond and Sapphire Cuff Bracelet, the wide hinged bracelet set with 123 opals, with an approximate total weight of 15.5 carats, 280 rose-cut diamonds, with an approximate total weight of 1.00 carat, forty round faceted treated pink sapphires and twenty-five round faceted treated white sapphires, with an approximate total sapphire weight of 1.15 carats, inside circumference 6‑7/8”, w. 1”, 60.5 grams total weight. [500/800] Illustrated

697

Eighteen-Karat Yellow Gold, Opal and Diamond Ring, mounted with a central cabochon-cut opal, with an approximate weight of 3.09 carats, accented by sixteen round brilliant-cut diamonds, with an approximate total weight of 0.35 carats, size 6‑1/2, 9.0 grams total weight. [1200/1800] Illustrated

698

Custom-Made Fourteen-Karat Yellow Gold, Opal and Diamond Pendant/Pin, the convertible pendant/pin accented with black enamel and mounted with ten oval-shaped cabochon-cut opals, with an approximate total weight of 3.70 carats, and twenty-seven round brilliant-cut diamonds, with an approximate total weight of 1.08 carats, l. 2‑1/4”, 15.0 grams total weight. [1200/1800] Illustrated

701

Set of Three Platinum, Diamond and Sapphire Stack Rings, one band mounted with two round-cut sapphires, with an approximate total weight of 0.60 carats, and three round brilliant-cut diamonds, with an approximate total weight of 0.61 carats, and two bands each mounted with five round brilliantcut diamonds, with an approximate total weight of 1.02 carats for both, approximate diamond color H-I and clarity VS2‑SI1, size 5‑1/2, 18.0 grams total weight. [3000/5000] Illustrated

702

Fourteen-Karat White Gold, Sapphire and Diamond Necklace, mounted with 218 oval-cut treated sapphires, with an approximate total weight of 49.96 carats, and round brilliantcut diamonds, with an approximate total weight of 2.72 carats, l. 17”, 45.5 grams total weight. [6000/9000] Illustrated

699

Platinum, Opal and Diamond Ring, mounted with a cabochon-cut natural GIA-certified opal, with a weight of 8.79 carats, GIA report #1166540652, accented by round brilliantcut diamonds in a halo around the stone and on the split shank of the ring, with an approximate total weight of 0.69 carats, size 8, 13.3 grams total weight. [2500/4000] Illustrated

700

Pair of Eighteen-Karat White Gold, Sapphire, Diamond and Tsavorite Garnet Earrings, each dangling oval pendant earring mounted with a pear-shaped sapphire and round faceted sapphires, with an approximate total weight of 2.93 carats for the pair, twenty-two round faceted tsavorite garnets, with an approximate total weight of 0.51 carats for the pair, and twenty-three round brilliant-cut diamonds, with an approximate total weight of 0.49 carats for the pair, l. 1‑5/8”, 10.8 grams total weight. [1200/1800] Illustrated

700

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Fourteen-Karat White Gold, Sapphire and Diamond Ring, mounted with an oval-cut treated sapphire, with an approximate weight of 4.88 carats, surrounded by twenty-four round-cut treated sapphires, with an approximate total weight of 1.68 carats, and twenty-four round brilliant-cut diamonds, with an approximate total weight of 0.55 carats, approximate color E-G and clarity VS1‑SI1, size 6‑3/4, 8.0 grams total weight. [3000/5000] Illustrated

704

Eighteen-Karat White Gold and Diamond Ring, the long triple-loop ring mounted with round brilliant-cut and baguettecut diamonds, with an approximate total weight of 0.87 carats, size 5‑1/2, 3.0 grams total weight. [1400/1800] Illustrated

705

Pair of Eighteen-Karat White Gold, Diamond, Sapphire and Tsavorite Earrings, each dangling oval pendant earring set with round faceted blue sapphires, with an approximate total weight of 1.44 carats for the pair, round faceted tsavorite garnets, with an approximate total weight of 0.75 carats for the pair, and round brilliant-cut diamonds, with an approximate total weight of 0.32 carats for the pair, l. 1‑3/4”, 7.7 grams total weight. [1200/1800] Illustrated

708

706

Beautiful Platinum, Sapphire and Diamond Ring, mounted with a central oval-cut natural GIA-certified sapphire, GIA report #2173526919, with a weight of 4.11 carats, accented with round brilliant-cut diamonds in a double halo around the stone and on the split shank, with an approximate total weight of 1.41 carats, size 7‑1/4, 10.5 grams total weight. [5500/8000] Illustrated

707

Fourteen-Karat White Gold, Sapphire and Diamond Pendant with Chain, the pendant mounted with five pear-cut sapphires, with an approximate total weight of 1.33 carats, and sixteen round brilliant-cut diamonds, with an approximate total weight of 0.72 carats, dia. 1/2”, suspended by an 18” white gold chain, 2.0 grams total weight. [600/900] Illustrated

708

Eighteen-Karat White Gold, Sapphire and Diamond Ring, mounted with a central oval-cut treated sapphire, with an approximate weight of 1.96 carats, accented by eighteen calibrated-cut treated sapphires, with an approximate total weight of 1.31 carats, the whole mounted with round brilliantcut diamonds, with an approximate total weight of 0.48 carats, size 7, 6.0 grams total weight. [2500/4000] Illustrated

709

Pair of Platinum, Sapphire and Diamond Earrings, each earring mounted with an oval-cut treated sapphire, with an approximate total weight of 3.24 carats for the pair, surrounded by round brilliant-cut diamonds, with an approximate total weight of 5.07 carats for the pair, approximate color E-G and clarity VS1‑SI1, l. 3/4”, 10.0 grams total weight. [5000/8000] Illustrated

710

703

192

Beautiful Platinum, Sapphire and Diamond Ring, mounted with an oval-cut treated sapphire, with an approximate weight of 5.88 carats, surrounded by thirty-six round brilliant-cut diamonds, with an approximate total weight of 2.49 carats, approximate color E-G and clarity VVS2‑VS1, size 9, 10.0 grams total weight. [9000/12000] Illustrated


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Eighteen-Karat White Gold and Diamond Hinged Bangle Bracelet, with a cross-over design and mounted with baguettecut diamonds, with an approximate total weight of 2.65 carats, each row bordered by round brilliant-cut diamonds, with an approximate total weight of 1.55 carats, approximate color E-I and clarity VS1‑VS2, inside circumference 7”, 39.0 grams total weight. [10000/15000] Illustrated Eighteen-Karat White Gold, Sapphire and Diamond Ring, mounted with a cabochon-cut sapphire, with an approximate weight of 4.57 carats, accented with twenty-two single-cut diamonds, with an approximate total weight of 0.44 carats, size 6, 6.9 grams total weight. [1800/2500] Illustrated

194

Eighteen-Karat White Gold and Diamond Bracelet, the custom-designed bracelet mounted with twenty-nine marquise-cut diamonds, with an approximate total weight of 3.42 carats, and 232 round brilliant-cut diamonds, with an approximate total weight of 4.13 carats, approximate color E-G and clarity VS2‑SI2, w. 3/4”, l. 7”, 32.0 grams total weight. [6000/9000] Illustrated Eighteen-Karat White Gold and Diamond Ring, in the form of overlapping leaves and mounted with sixteen marquise-cut and thirty baguette-cut diamonds, with an approximate total weight of 2.81 carats, approximate color D-E and clarity VS1‑VS2, size 7‑1/4, 8.0 grams total weight. [3500/5000] Illustrated


715

Platinum, Sapphire and Diamond Ring, mounted with a cushion-cut natural GIA-certified sapphire, GIA report #5172679211, with a weight of 1.38 carats, accented with round brilliant-cut diamonds in a halo around the stone and on the ring shank, with an approximate total weight of 0.85 carats, size 7‑1/2, 7.2 grams total weight. [3000/5000] Illustrated

716

Patek-Philippe Eighteen-Karat White Gold/Platinum and Diamond Wristwatch, the round eighteen-karat gold case with an attached platinum band set with seventy singlecut diamonds and twelve marquise-cut diamonds, with an approximate total weight of 2.42 carats, the silver satin dial signed “Patek-Philippe, Geneve”, the manual mechanical movement signed “Patek-Philippe & Co. Geneve, No 947,xxx” and the case signed “Patek-Philippe & Col, Geneve, Swiss, 750, 592072, 3215/1” with hallmarks, l. 6”, 29.0 grams total weight. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [3000/5000] Illustrated

715

717

Beautiful Fourteen-Karat White Gold and Diamond Two-Stone Pendant, the pendant mounted with a pearcut diamond, with an approximate weight of 3.65 carats, approximate color E and clarity SI2, suspended from a round brilliant-cut diamond, with an approximate weight of 1.50 carats, approximate color F and clarity SI1, l. 1”, 3.0 grams total weight. [12000/18000] Illustrated

716

718

Art Deco Platinum and Diamond Brooch, the custom-made brooch mounted with twenty-one marquise-cut diamonds, with an approximate total weight of 15.52 carats, eleven round brilliant-cut diamonds, with an approximate total weight of 2.82 carats, and seventy-seven baguette-cut and tapered baguette-cut diamonds, with an approximate total weight of 4.35 carats, all diamonds with an approximate color of D-F and clarity VVS2‑VS2, size 1‑1/2” x 2‑1/4”, 33.0 grams total weight. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [25000/40000] Illustrated

718 717

195


719

Art Deco Platinum and Diamond Bracelet, the custom-made flexible bracelet mounted with three emerald-cut diamonds, with an approximate total weight of 4.23 carats, approximate color E-F and clarity VVS2‑VS1, 516 round brilliant-cut diamonds, with an approximate total weight of 9.55 carats, eighteen single-cut diamonds, with an approximate total weight of 0.13 carats, twelve square-cut diamonds, with an approximate total weight of 0.27 carats, eightyfour baguette-cut diamonds, with an approximate total weight of 3.78 carats, and six trapezoid-cut diamonds, with an approximate total weight of 1.55 carats, all with an approximate color of E-I and clarity of VVS2‑VS2, w. 3/4”, l. 7‑1/4”, 63.0 grams total weight. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [30000/50000] Illustrated

720

Beautiful Platinum and Diamond Ring, mounted with a central round brilliant-cut diamond, with an approximate weight of 3.25 carats, approximate color E and clarity SI3, accented with round brilliant-cut diamonds in a double halo around the center stone and on the ring shank, with an approximate total weight of 0.78 carats, approximate color D-E and clarity VS1‑VS2, size 7‑1/4, 5.9 grams total weight. [14000/18000] Illustrated

720

721

Platinum and Diamond Brooch, the hand-made brooch mounted with ten round brilliant-cut diamonds, eleven single-cut diamonds, twenty-three baguette-cut diamonds and thirty-seven marquisecut diamonds, with an approximate total weight of 8.04 carats, approximate color E-F and clarity VVS1‑SI1, size 2” x 1‑3/8”, 19.8 grams total weight. [3000/5000] Illustrated

721

719

196


724

723

725

722

722

Lady’s Cartier Stainless Steel Tank Francais Wristwatch, the mid-sized stainless steel quartz movement watch with a classic off-white and black Roman numeral dial, signed with the secret “Cartier” signature in Roman numeral “VII”, the double deployant clasp signed “Cartier”, the case measuring 25.0 mm without the sapphire crown, x 31.0 mm, stamped “Cartier, water resistant, stainless steel, 767, XXX CE, 2465”, l. 6”. [1200/1800] Illustrated

723

Pair of Fourteen-Karat White Gold and White/Black Diamond Earrings, the bold dangle earrings mounted with round brilliant-cut white diamonds, with an approximate total weight of 4.59 carats, approximate color E-G and clarity VS2‑SI2, accented with meandering lines mounted with round black diamonds, with an approximate total weight of 1.77 carats, l. 2‑1/2”, 36.0 grams total weight. [9000/12000] Illustrated

724

Sterling Silver, Black Spinel and Diamond Necklace, the twenty-four-strand necklace composed of 2.0 mm faceted black spinel roundels, finished with a flower-shaped clasp mounted with round single-cut diamonds, with an approximate total weight of 0.64 carats, l. 18”, 91.2 grams total weight. [500/800] Illustrated

725

Pair of Sterling Silver and Diamond Quatrefoil Earrings, each dangling pendant earring composed of four quatrefoilshaped pendants, mounted with single-cut diamonds, with an approximate total weight of 1.85 carats for the pair, l. 2‑1/4”, 7.2 grams total weight. [500/800] Illustrated

197


727

734

731

733

729

730

198

728


731

Pair of “R. Stone” Eighteen-Karat Yellow Gold and Diamond Bracelets, each hinged cast bracelet with a twisted rope design, one set with five round brilliant-cut diamonds, with an approximate total weight of 0.10 carats, each stamped “R. Stone 18k”, inside circumference 6‑1/2”, 34.0 grams total weight. [900/1200] Illustrated

732

Fourteen-Karat Yellow/White Gold and Diamond Necklace, the lariat-style necklace composed of a snake chain, accented at the center with three round brilliant-cut diamonds, with four cascading dangling drops, each accented at the end by a round brilliant-cut diamond, the necklace with an approximate total diamond weight of 0.05 carats, necklace, l. 15”, longest drop, 3‑1/2”, 6.8 grams total weight. [500/800] Illustrated

733

Pair of Eighteen-Karat Yellow/White Gold and Yellow/White Diamond Earrings, each earring mounted with four round brilliant-cut fancy yellow diamonds, with an approximate total weight of 1.52 carats for the pair, approximate clarity VS2‑SI1, surrounded by a halo of round brilliant-cut white diamonds, with an approximate total weight of 0.44 carats for the pair, approximate color E-G and clarity VS2‑SI1, l. 3/8”, 4.1 grams total weight. [1800/2500] Illustrated 726

726

Eighteen-Karat White Gold and Diamond Ring, mounted with round brilliant-cut and baguette-cut diamonds, with an approximate total weight of 2.27 carats, approximate color D-E and clarity VVS1‑VS2, size 7, 7.0 grams total weight. [3000/5000] Illustrated

734

Fourteen-Karat Yellow Gold and Diamond Ring, with a round cluster design and mounted with a central round brilliantcut diamond, with an approximate weight of 0.40 carats, surrounded by eighteen round brilliant-cut diamonds, with an approximate total weight of 1.30 carats, size 6‑3/4, 6.1 grams total weight. [700/1000] Illustrated

727

Fourteen-Karat Yellow Gold and Rock Crystal Necklace, composed of faceted rock crystal beads separated by twisted gold beads, finished with a twisted gold clasp, l. 18”, 125.1 grams total weight. [500/800] Illustrated

728

Gold Vermeil/Sterling Silver and Diamond Wide Bangle Bracelet, the openwork bracelet mounted with sliced-cut and rose-cut diamonds, with an approximate total weight of 11.9 carats, w. 1‑1/2”, inside circumference 7‑1/4”, 84.2 grams total weight. [500/800] Illustrated

729

Fourteen-Karat Yellow/White Gold and Diamond Ring, the double-row ring mounted with ten round brilliant-cut diamonds, with an approximate total weight of 1.11 carats, approximate color H-I and clarity VS2‑SI1, size 8‑1/4, 5.0 grams total weight. [900/1200] Illustrated

730

Eighteen-Karat Rose/White Gold and Diamond Ring, the three-stone ring mounted with a central European-cut diamond, with an approximate weight of 0.93 carats, flanked by two round brilliant-cut diamonds, with an approximate total weight of 0.21 carats, approximate color H-I and clarity VS2‑SI1, size 5‑1/2, 4.0 grams total weight. [1200/1800] Illustrated

732

199


735

Fourteen-Karat Yellow Gold Geneva Bracelet/Wristwatch, the bracelet with a quilted design and a spring-loaded lid opening to reveal the hidden watch, the seventeen-jewel manual wind mechanical movement signed “Hamilton Watch Co.” and the satin silver dial signed “Geneva”, l. 7‑1/8”, 49.3 grams total weight. [900/1200] Illustrated

735A

Fourteen-Karat Yellow Gold and Diamond Ring, mounted with a central round brilliant-cut diamond, with an approximate weight of 2.78 carats, approximate color J and clarity SI3, in a mounting with a freeform design and set with six round brilliantcut diamonds, with an approximate total weight of 0.16 carats, size 5‑1/4, 11.0 grams total weight. [6000/9000] Illustrated

736

Eighteen/Fourteen-Karat Yellow/White Gold and Diamond Knotted Bow Brooch, in the form of an interwoven knot and mounted with round brilliant-cut diamonds, with an approximate total weight of 5.75 carats, approximate color E-F and clarity VVS2‑VS1, size 1‑3/4” x 2”, 43.0 grams total weight. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [4000/7000] Illustrated 738

738

Eighteen/Fourteen-Karat Yellow Gold and Diamond Brooch, in a leaf design and mounted with forty-five round brilliant-cut diamonds, with an approximate total weight of 2.03 carats, approximate color E-F and clarity VVS2‑VS2, size 1‑1/4” x 2‑1/4”, 23.0 grams total weight. [1200/1800] Illustrated

739

Cartier Fourteen-Karat Yellow Gold Necessaire Box, mid20th century, of rectangular form, decorated with finely incised lines, the hinged lid with thumb latch set with thirteen graduated rose-cut diamonds totaling approximately .10 carats, 2‑7/8” x 2”, 8.20 grams total weight. [1500/2500] Illustrated

740 736

Eighteen-Karat Yellow Gold and Diamond Brooch, mounted with thirteen round brilliant-cut diamonds and forty-one marquise-cut diamonds, with an approximate total weight of 4.98 carats, size 1‑5/8” x 1‑1/2”, 14.5 grams total weight. [2500/4000] Illustrated

741

737

Marvin Schluger Eighteen-Karat Yellow/White Gold and Diamond Bracelet, the six-strand rope bracelet segmented by five white gold bars, each set with five round brilliant-cut diamonds, with an approximate total weight of 1.50 carats, l. 7”, w. 3/4”, 50.4 grams total weight. [2500/4000] Illustrated

200

Eighteen-Karat White/Yellow Gold and White/Yellow Diamond Earrings, each earring mounted with a central radiant-cut fancy yellow diamond, with an approximate total weight of 1.75 carats for the pair, approximate clarity SI1‑SI2, surrounded by a border of round brilliant-cut fancy yellow diamonds, with an approximate total weight of 0.26 carats for the pair, and two rows of round brilliant-cut white diamonds, with an approximate total weight of 1.97 carats for the pair, approximate color E-G and clarity VS2‑SI1, l. 3/4”, 12.0 grams total weight. [12000/18000] Illustrated


735 detail

735

735A

740

741

737

739

201


746 744

743

749

745 detail

745

747 detail

202

747


746

Eighteen-Karat Yellow Gold and Yellow/White Diamond Pendant with Chain, the teardrop-shaped pendant mounted with round brilliant-cut fancy yellow diamonds, with an approximate total weight of 0.84 carats, suspended from a bail mounted with round brilliant-cut white diamonds, with an approximate total weight of 0.43 carats, l. 1‑3/4”, the whole suspended from a yellow gold chain, l. 16”, 11.0 grams total weight. [2000/4000] Illustrated

747

Fourteen-Karat Yellow/White Gold, Diamond and Black Onyx Necklace, the wide beaded necklace with a white/ yellow gold buckle clasp set with two round 4.5 mm black onyx cabochons and forty-five round brilliant-cut diamonds, with an approximate total weight of 0.45 carats, l. 16‑1/2”, 46.2 grams total weight. [1800/2500] Illustrated

748

742

Fourteen-Karat Yellow Gold Cigarette Case, second quarter 20th century, by Gold, Most & Fogel, New York, of canted rectangular form, decorated all over in a guilloche diapered pattern, opening by a patented compression spring mechanism to reveal two hinge-barred compartments, 3‑1/2” x 2‑7/8”, 116.4 grams total weight. [1800/2500] Illustrated

742

Stunning Fourteen-Karat Yellow Gold and Diamond Ring, mounted with a round brilliant-cut diamond, with an approximate weight of 5.70 carats, approximate color L and clarity VVS2, size 6, 4.2 grams total weight. Provenance: The Flatt Collection. [25000/40000] Illustrated

743

Pair of Eighteen-Karat Yellow/White Gold and Yellow/ White Diamond Earrings, each teardrop dangle earring mounted with round brilliant-cut fancy yellow diamonds, with an approximate total weight of 1.10 carats for the pair, suspended from a pear-shaped top mounted with round brilliant-cut white diamonds, with an approximate total weight of 0.26 carats for the pair, l. 1”, 4.0 grams total weight. [1400/1800] Illustrated

744

Eighteen-Karat White/Yellow Gold and White/Yellow Diamond Necklace, the lariat-style necklace with two drops mounted with round brilliant-cut fancy yellow diamonds, with an approximate total weight of 2.72 carats, suspended from a likeshaped drop mounted with round brilliant-cut white diamonds, with an approximate total weight of 0.55 carats, l. 4”, the whole suspended from a white gold chain, l. 18”, 13.0 grams total weight. [3500/5000] Illustrated

745

Tiffany and Company Eighteen-Karat Yellow Gold Necklace, in the “Russian Braid” design, the long reeded and braided curve-link necklace stamped “Tiffany & Co., 18k, made in Italy” on the clasp, l. 26‑1/4”, 69.5 grams total weight. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [2000/4000] Illustrated

748

749

Fine Antique American Fourteen-Karat Yellow Gold, Onyx and Seed Pearl Bar Pin, fourth quarter 19th century, in the Aesthetic taste, formed of a rectangular section of polished onyx mounted with a gold scroll-mantled bar with pendant fan, set with twenty-three spilt seed pearls, each 2.5 mm, the back with gold pin and fish-hook catch, 2‑1/4” x 1/2”, 14.1 total grams, presented in the possibly original cream satin-lined black leather-covered box from Tiffany & Co., Union Square. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated

203


750

Fourteen-Karat Yellow Gold and Diamond Brooch/ Pendant, with a sunburst design and set with a central round brilliant-cut diamond, with an approximate weight of 1.00 carat, approximate color G and clarity SI2, surrounded by eight round brilliant-cut diamonds, with an approximate total weight of 0.41 carats, approximate color G-I and clarity SI1‑SI2, dia. 1‑1/2”, 6.7 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1500/2500] Illustrated

751

Continental Eighteen-Karat Yellow Gold Box, first quarter 20th century, of rectangular form, engraved with narrow threads and rococo scrolls, 2‑1/2” x 1‑1/2”, 39.6 grams total weight. [900/1200] Illustrated

752

Fourteen-Karat Yellow/Green/Rose Gold Buckle Bracelet, the expandable tassel bracelet with a buckle applied with green and rose gold foliage, expanding to 8‑3/4”, 44.4 grams total weight. [1500/2500] Illustrated

753

Cartier Fourteen-Karat Yellow Gold Bracelet, the 6.0 mm round rope bracelet attached to a 6.0 mm round tubular bar, the bracelet retailed by Cartier and stamped on the clasp “Cartier, 14K”, and “DFS” in circles, the bar hand-stamped with serial #16,xxx, l. 8‑1/4”, 31.1 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated 754

754

Fourteen Karat Yellow Gold Lady’s Slide Chain, in the Victorian taste, with flat-link chain and engraved slide and fob, the clasp fitted with a watch key, the bail in the form of a hand and now suspending a period Victorian engraved goldfilled locket with carnelian face, chain, l. 18”, locket, l. 1‑3/8”, 25.3 grams (slide chain only). [500/800] Illustrated

755

Eighteen-Karat Yellow Gold, Coral and Diamond Earrings, each earring mounted with an oval-shaped coral cabochon, with an approximate total weight of 10.38 carats for the pair, surrounded by round brilliant-cut diamonds, with an approximate total weight of 1.76 carats for the pair, l. 1”, 23.0 grams total weight. [2000/4000] Illustrated

756

Eighteen-Karat Yellow Gold, Coral and Diamond Necklace, the triple-strand necklace composed of 8.0 mm coral beads, interspersed with gold twisted roundels, and finished with a clasp mounted with an oval-cut coral cabochon, with an approximate weight of 12.88 carats, surrounded by twenty-two round brilliant-cut diamonds, with an approximate total weight of 0.99 carats, l. 25”, 152.0 grams total weight. [2000/4000] Illustrated

757

Eighteen-Karat Yellow Gold, Coral and Diamond Ring, mounted with an oval-shaped coral cabochon, with an approximate weight of 11.13 carats, surrounded by eighteen round brilliant-cut diamonds, with an approximate total weight of 1.03 carats, size 9‑1/2, 15.0 grams total weight. [1800/2500] Illustrated

204

751

758

Pair of Fourteen-Karat Yellow Gold, Coral and Diamond Earrings, each dangling pendant earring mounted with an oval coral cabochon measuring 9.5 mm x 13.0 mm and a round coral cabochon measuring 9.5 mm in diameter, accented with round brilliant-cut diamonds, with an approximate total weight of 2.00 carats for the pair, l. 1‑7/8”, 15.8 grams total weight. [2500/4000] Illustrated


756

755

757

750

753

758

752

205


762

759

Fourteen-Karat Yellow Gold, Coral, Black Onyx and Diamond Ring, set with a 10.0 mm round coral cabochon and two conforming calibre-cut black onyxes, paveset with forty round brilliant-cut diamonds, with an approximate total weight of 0.21 carats, size 7‑1/4, 7.2 grams total weight. [700/1000] Illustrated

759 761

760

Baroque Pearl and Swarovski Crystal Necklace, composed of baroque freshwater pearls, each with an incised circle of Swarovski crystals, l. 21‑1/4”. [500/800] Illustrated

761

Pair of Eighteen-Karat Rose Gold, South Sea Pearl and Diamond Earrings, each earring mounted with a 15.0 mm white/rose-colored South Sea pearl with a high luster, suspended from crossed “leaves” mounted with round brilliant-cut diamonds, with an approximate total weight of 1.50 carats for the pair, centered by a triangular-cut pink tourmaline, with an approximate total weight of 12.61 carats for the pair, l. 1‑1/2”, 30.0 grams total weight. [3000/5000] Illustrated 760 detail

760

206

762

Eighteen-Karat Yellow Gold and Baroque Freshwater Pearl Necklace, composed of thirty-nine eighteen-karat gold-backed pearls and twenty pearl pendulettes, the necklace extended with a fourteen-karat gold chain and clasp, l. 19‑1/2”, 57.0 grams total weight. [1000/1500] Illustrated


763

Beautiful Tiffany and Company Platinum, Diamond and Tourmaline Pendant Necklace, the pendant mounted with a pear-cut pink tourmaline, with an approximate weight of 13.02 carats, suspended from a necklace mounted with 227 round brilliant-cut diamonds, with an approximate total weight of 4.76 carats, approximate color F-G and clarity VVS1‑VS1, pendant, l. 1”, necklace, l. 17”, 44.0 grams total weight, together with the inner and outer Tiffany and Company boxes, along with the original papers. [14000/18000] Illustrated

764

Eighteen-Karat White Gold, Pink Tourmaline and Diamond Ring, mounted with a rectangular cushioncut tourmaline, with an approximate weight of 3.50 carats, surrounded by round brilliant-cut diamonds, with an approximate total weight of 0.31 carats, approximate color G-I and clarity VS2‑SI1, size 6‑3/4, 5.0 grams total weight. [1800/2500] Illustrated 763 764

207


765

765

Bold Eighteen-Karat White Gold, Tourmaline, Ruby and Diamond Bib Necklace, the large openwork necklace mounted with oval cabochon-cut treated pink tourmalines, with an approximate total weight of 197.44 carats, round cabochoncut treated rubies, with an approximate total weight of 49.36 carats, and single-cut round diamonds throughout, with an approximate total weight of 7.52 carats, l. 17”, bib drop 2‑3/8”, 222.0 grams total weight. [18000/25000] Illustrated

766

Fourteen-Karat White Gold, Ruby and Diamond Bangle Bracelet, with a scalloped design and mounted in the center with baguette-cut treated rubies, with an approximate total weight of 6.08 carats, bordered on each side with round brilliant-cut diamonds, with an approximate total weight of 3.10 carats, approximate color E-G and clarity VS1‑VS2, inside circumference 8”, 18.0 grams total weight. [8000/12000] Illustrated

208

766


767

Beautiful Fourteen-Karat White Gold, Ruby and Diamond Ring, mounted with an oval cabochon-cut treated ruby, with an approximate weight of 7.80 carats, surrounded by round brilliant-cut diamonds, with an approximate total weight of 2.28 carats, approximate color E-G and clarity SI1‑I1, size 6‑3/4, 10.0 grams total weight. [8000/12000] Illustrated

768

Eighteen-Karat White Gold, Ruby and Diamond Bracelet, the flexible bracelet mounted with fifty-two oval cabochoncut treated rubies, with an approximate total weight of 51.72 carats, accented with round brilliant-cut diamonds, with an approximate total weight of 2.70 carats, approximate color G-I and clarity VS1‑VS2, l. 7”, 35.0 grams total weight. [8000/12000] Illustrated

769

Stunning Platinum, Burma Ruby and Diamond Ring, mounted with an oval-cut treated Burmese ruby, with a weight of 8.29 carats, AGTA report #93015002, surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 3.30 carats, approximate color F-G and clarity VS1‑SI1, size 6, 11.0 grams total weight. [40000/80000] Illustrated

767

769

768

209


770

Unusual Fourteen-Karat White Gold, Sapphire, Ruby and Diamond Flip Ring, designed to flip from a side mounted with nine invisible-set square faceted sapphires, with an approximate total weight of 0.36 carats, surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 0.36 carats, to the other side mounted with nine invisible-set square faceted rubies, with an approximate total weight of 0.36 carats, surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 0.36 carats, size 7, 10.0 grams total weight. [1500/2500] Illustrated

771

Fourteen-Karat Yellow Gold, Ruby and Diamond Bracelet, mounted with thirteen graduated cushion-cut treated rubies, with an approximate total weight of 28.75 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 3.95 carats, l. 7”, 32.3 grams total weight. [4000/7000] Illustrated

772

770

Fourteen-Karat Yellow Gold, Ruby and Diamond Necklace, mounted with thirty-four square-cut treated rubies, with an approximate total weight of 71.47 carats, accented by 756 round brilliant-cut diamonds, with an approximate total weight of 10.20 carats, approximate color I-K and clarity I1‑I2, l. 17”, drop, l. 1‑3/4”, 68.0 grams total weight. [9000/12000] Illustrated

773

Pair of Fourteen-Karat Yellow Gold, Ruby and Diamond Earrings, mounted with six cushion-cut treated rubies, with an approximate total weight of 13.61 carats for the pair, accented with round brilliant-cut diamonds, with an approximate total weight of 1.61 carats for the pair, l. 1‑1/2”, 14.1 grams total weight. [1800/2500] Illustrated

774

Platinum, Alexandrite and Diamond Ring, mounted with a cushion-cut natural GIA-certified alexandrite, with a color change from brownish yellowish green to yellowish brown, with a total weight of 4.18 carats, GIA report #7223994325, accented on either side by three baguette-cut diamonds, with an approximate total weight of 0.49 carats, approximate color D-F and clarity VS1‑SI1, size 7, 6.2 grams total weight. [5000/8000] Illustrated

770 detail

775

Stunning Platinum, Alexandrite and Diamond Ring, mounted with a GIA-certified round brilliant-cut alexandrite, with a color change of dark orangey brown to dark greenish brown, with a weight of 15.42 carats, GIA report #2194637111, accented by eighty-four round brilliant-cut diamonds, with an approximate total weight of 0.87 carats, approximate color D-F and clarity VS1‑VS2, size 7‑3/4, 15.6 grams total weight. [30000/50000] Illustrated

776

Eighteen-Karat White Gold, Alexandrite and Diamond Ring, mounted with an oval-cut alexandrite, with an approximate weight of 0.49 carats, with a color change from pine green to raspberry red, accented by two baguette-cut and twenty-six round brilliant-cut diamonds, with an approximate total weight of 0.34 carats, size 7, 4.0 grams total weight. [1400/1800] Illustrated 774

210


776

773

775

771

772

211


781

778

783

782

780

777

212


777

Fourteen-Karat Rose Gold and Amethyst Necklace, composed of faceted diamond-shaped amethysts, separated by rose gold roundels, l. 35”, 132.1 grams total weight. [500/800] Illustrated

778

Lady’s Cyma Fourteen-Karat White Gold and Diamond Wristwatch, the round mother-of-pearl dial signed “Cyma” and outlined by thirty-two full-cut diamonds, with an approximate total weight of 0.33 carats, the rice-link band with a singed Cyma clasp, the movement is quartz, diameter without crown, 21.0 mm, l. 6‑1/4”, 34.3 grams total weight. [700/1000] Illustrated

779

Eighteen-Karat White Gold, Aquamarine and Diamond Ring, mounted with an oblong cushion-cut aquamarine, with an approximate weight of 9.35 carats, flanked by six princess-cut diamonds and ten baguette-cut diamonds, with an approximate total weight of 0.40 carats, size 7‑1/4, 7.3 grams total weight. [3500/5000] Illustrated

784

781

Platinum and Diamond Tennis Bracelet, mounted with thirty-six round brilliant-cut diamonds, with an approximate total weight of 9.45 carats, approximate color F-G and clarity VS2‑SI1, l. 6‑3/4”, 20.0 grams total weight. [6000/9000] Illustrated

782

Pair of Sterling Silver, Aquamarine and Diamond Earrings, each dangle earring mounted with an oval- and emeraldcut aquamarine, with an approximate total weight of 10.85 carats for the pair, accented with single-cut diamonds, with an approximate total weight of 1.35 carats, l. 1‑3/4”, 8.8 grams total weight. [500/800] Illustrated

783 779

780

Custom-Designed Eighteen-Karat White Gold and Diamond Ring, in a basketweave pattern and mounted with round brilliant-cut diamonds, with an approximate total weight of 0.29 carats, and baguette-cut diamonds, with an approximate total weight of 1.10 carats, size 6‑1/2, 8.0 grams total weight. [1200/1800] Illustrated

Platinum and Diamond Ring, mounted with a central round brilliant-cut diamond, with an approximate weight of 0.80 carats, approximate color F and clarity SI1, accented by twenty-eight round brilliant-cut diamonds, with an approximate total weight of 0.37 carats, approximate color D-F and clarity VS1‑VS2, size 7‑1/4, 3.5 grams total weight. [3000/5000] Illustrated

784

Pair of Eighteen-Karat White Gold, Aquamarine, Tanzanite and Diamond Earrings, each pendant earring mounted with an oval faceted aquamarine, with an approximate weight of 1.62 carats for each, one pear-cut and eight navette-cut tanzanites, with an approximate total weight 3.35 carats for the pair, accented by round brilliant-cut diamonds, with an approximate total weight of 0.28 carats for the pair, l. 1‑1/2”, 7.4 grams total weight. [1400/1800] Illustrated

213


787

786

785

Stunning Eighteen-Karat White Gold, Tanzanite and Diamond Ring, mounted with a pear-shaped tanzanite cabochon, with an approximate weight of 25.53 carats, surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 0.94 carats, approximate color E-G and clarity VS2‑SI1, size 6‑3/4, 15.0 grams total weight. [25000/40000] Illustrated

785

786

Pair of Eighteen-Karat White Gold and Diamond Earrings, each earring with a circular swirling design and mounted with round brilliantcut diamonds, with an approximate total weight of 3.20 carats for the pair, approximate color E-G and clarity VS1‑SI1, dia. 1”, 12.0 grams total weight. [10000/15000] Illustrated

787

Eighteen-Karat White Gold and Diamond Necklace, mounted with five diamond clusters, each mounted with seven round brilliant-cut diamonds, with an approximate total weight of 1.17 carats, approximate color G-I and clarity SI1‑SI2, l. 18”, 4.0 grams total weight. [2500/4000] Illustrated

788

Fourteen-Karat White/Yellow Gold, Tanzanite and Diamond Ring, set with an oval-cut tanzanite, GIA report #2155887199, with a total weight of 5.68 carats, surrounded by forty baguette-cut and 136 roundcut diamonds, with an approximate total diamond weight of 1.06 carats, size 6‑1/2, 13.0 grams total weight. [3500/5000] Illustrated

788

214


789 791

789

Fourteen-Karat White Gold, Tanzanite and Diamond Ring, mounted with an oval-cut tanzanite, with an approximate weight of 2.14 carats, accented by thirty-four round brilliant-cut diamonds, with an approximate total weight of 0.46 carats, size 7, 3.5 grams total weight. [1000/1500] Illustrated

792

793 790

Gold Vermeil, Tanzanite and Diamond Cuff Bracelet, the openwork bracelet mounted with thirteen round-cut tanzanites, with an approximate total weight of 12.22 carats, accented with rose-cut diamonds, with an approximate total weight of 3.00 carats, inside circumference 6‑3/4”, 35.0 grams total weight. [500/800] Illustrated

790

Platinum and Diamond Bar Pin, mounted with twenty-one European-cut diamonds, with an approximate total weight of 2.58 carats, approximate color F-G and clarity VVS2‑VS1, l. 3‑1/4”, 8.0 grams total weight. [2500/4000] Illustrated

791

Fourteen-Karat White Gold and Diamond Ring, the elongated mounting set with twenty-one round brilliant-cut diamonds, with an approximate total weight of 1.60 carats, approximate color H-I and clarity SI1‑SI2, size 5‑3/4, 4.0 grams total weight. [900/1200] Illustrated

792

Platinum and Diamond Eternity Band, mounted with twenty single-cut diamonds, with an approximate total weight of 0.75 carats, approximate color H-I and clarity VS2‑SI2, size 6, 4.0 grams total weight. [600/900] Illustrated

793

215


799

Fourteen-Karat Yellow Gold and Star Sapphire Ring, the light and airy design mounted with ten oval star sapphire cabochons, with an approximate total weight of 3.00 carats, size 7, 7.3 grams total weight. [500/800] Illustrated

800

Eighteen-Karat Yellow Gold, Diamond and Sapphire Ring, the domed bypass-designed mounting set with a mix of sixty diamond baguettes and tapered baguettes, with an approximate total weight of 1.25 carats, and thirty-five rectangular table-cut sapphires, with an approximate total weight of 2.00 carats, size 8‑1/2, 12.8 grams total weight. [600/900] Illustrated 794

794

Fourteen-Karat White Gold and Diamond Engagement Ring, mounted with three princess-cut diamonds, with an approximate total weight of 1.68 carats, approximate color E-F and clarity SI1‑SI2, and twelve round brilliant-cut diamonds, with an approximate total weight of 0.22 carats, approximate color G-I and clarity SI1‑SI2, size 7‑3/4, 5.0 grams total weight. [1200/1800] Illustrated

795

Pair of Eighteen-Karat White Gold, Turquoise, Aquamarine and Diamond Earrings, each teardrop pendant earring set with a pear-shaped turquoise cabochon, measuring 9.0 mm x 15.0 mm, a round faceted aquamarine, with an approximate total weight of 0.95 carats for the pair, and round brilliant-cut diamonds, with an approximate total weight of 0.53 carats for the pair, l. 1‑3/4”, 7.2 grams total weight. [1000/1500] Illustrated

796

Eighteen-Karat Rose Gold, White/Brown Diamond, Turquoise and Tsavorite Garnet Ring, mounted with an oval cabochon-cut turquoise, measuring 12.0 mm x 16.0 mm, surrounded by round brilliant-cut brown and white diamonds, with an approximate total weight of 0.70 carats, and two tsavorite garnets, with an approximate total weight of 0.10 carats, size 7‑3/4, 9.0 grams total weight. [1200/1800] Illustrated

797

Pair of Eighteen-Karat White Gold, Turquoise and Diamond Ear Clips, each ear clip with a detachable teardrop turquoise pendant, measuring 10.0 mm x 23.0 mm, and a round turquoise bead measuring 12.5 mm, the two separated by a round brilliant-cut diamond, with an approximate total weight of 0.40 carats for the pair, l. 1‑5/8”, 16.2 grams total weight. [2000/4000] Illustrated

801

Eighteen-Karat Yellow Gold, Sapphire and Diamond Earrings and Pendant with Chain, the earrings each mounted with an oval-cut treated sapphire, with an approximate total weight of 1.60 carats for the pair, surrounded by round brilliantcut diamonds, with an approximate total weight of 0.70 carats for the pair, l . 1/2", together with a pendant mounted with an oval-cut treated sapphire, with an approximate weight of 2.40 carats, surrounded by round brilliant-cut diamonds, with an approximate total weight of 0.45 carats, suspended from an eighteen-karat yellow gold chain, l. 16”, 3.0 grams total weight. [700/1000] Illustrated

802

Eighteen-Karat Yellow Gold, Sapphire and Diamond Tassel Necklace, the tassel composed of round sapphires, suspended from a 30” gold chain, both the chain and the tassel accented with round brilliant-cut diamonds, with an approximate total weight of 0.52 carats, pendant l. 4‑1/2”, 8.0 grams total weight. [2500/4000] Illustrated

803

Unusual Platinum/Eighteen-Karat Yellow Gold, Fancy Yellow Diamond and Sapphire Ring, the platinum and eighteen-karat yellow gold bands open in the front and fused in the back, the gold band mounted with a central round brilliantcut fancy light yellow diamond, with an approximate weight of 1.06 carats, approximate clarity SI2, surrounded by thirtyeight round brilliant-cut fancy yellow-green diamonds, with an approximate total weight of 0.96 carats, approximate clarity VVS2‑VS1, and the platinum band mounted with a central round brilliant-cut sapphire, with an approximate weight of 1.14 carats, surrounded by thirty-eight round brilliant-cut fancy very slightly bluish-green diamonds, with an approximate total weight of 0.96 carats, approximate clarity VVS2‑VS1, size 5‑3/4, 25.3 grams total weight. [2500/4000] Illustrated

798

Pair of Eighteen-Karat White Gold, Black/White Diamond and Turquoise Earrings, each dangling turquoise teardrop pendant measuring approximately 12.5 mm x 21.5 mm, set with round brilliant-cut white and black diamonds, with an approximate total weight of 1.85 carats for the pair, suspended from a turquoise cabochon measuring 4.3 mm in diameter, l. 2‑1/8”, 14.6 grams total weight. [4000/7000] Illustrated

216

799


801

797

802

800

796 798

795

803

217


806

804 detail

804

811

810

808

805

218

813 812


804

Tiffany-Retailed Fourteen-Karat Yellow Gold Necklace, the Italian hollow curve link necklace accompanied by six additional links, l. 15”, 36.3 grams total weight. [800/1200] Illustrated

805

Fourteen-Karat Yellow Gold Bracelet, the 1/2” wide heavy curb link bracelet with hand engraving, l. 7‑1/2”, 65.0 grams total weight. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [1200/1800] Illustrated

806

Eighteen-Karat Yellow/Rose/White Gold and Multicolored Diamond Ring, with a crossover design and mounted on the ends with two cushion-cut fancy yellow diamonds, with an approximate total weight of 1.47 carats, approximate clarity SI2, one crossover band mounted with round brilliant-cut pink diamonds, with an approximate total weight of 0.46 carats, approximate clarity VS1‑SI1, and the other band mounted with round brilliant-cut white diamonds, with an approximate total weight of 0.45 carats, approximate color E-G and clarity VS1‑SI1, size 6‑1/2, 9.0 grams total weight. [4000/7000] Illustrated

809

809

Pair of Fourteen-Karat Rose Gold and Diamond Earrings, each pendant earring pave-set with round brilliant-cut diamonds, with an approximate total weight of 3.50 carats for the pair, l. 1‑7/8”,11.0 grams total weight. [4500/7000] Illustrated

810

Three Eighteen-Karat White/Rose Gold and Diamond Stack Rings, two white gold bands mounted with round brilliant-cut diamonds, with an approximate total weight of 0.76 carats, and the rose gold band mounted with round brilliant-cut and square-cut diamonds, with an approximate total weight of 0.81 carats, approximate color E-F and clarity VVS2‑VS2, size 6‑1/2, 7.0 grams total weight. [2000/4000] Illustrated

811

807

Fourteen-Karat White/Rose Gold and Diamond Cuff Bracelet, the hinged bracelet with “waves” interspersed with “flower” clusters, all mounted with round brilliant-cut diamonds, with an approximate total weight of 6.80 carats, approximate color E-F and clarity VS1‑SI1, inside circumference 6‑1/2”, 35.0 grams total weight. [18000/25000] Illustrated

812 807

Eighteen-Karat White/Yellow/Rose Gold and Diamond Earrings, the chandelier earrings mounted with round brilliantcut diamonds, with an approximate total weight of 7.16 carats for the pair, approximate color G-I and clarity SI1‑SI2, l. 2‑1/2”, 18.0 grams total weight. [5500/8000] Illustrated

808

Four Eighteen-Karat White/Rose/Yellow Gold and Diamond Stack Rings, each ring mounted with round brilliantcut diamonds, with an approximate total weight of 1.94 carats for all four, size 6‑1/2, 11.0 grams total weight. [2500/4000] Illustrated

Fourteen-Karat Rose Gold and Diamond Ring, the elongated ring mounted with round brilliant-cut diamonds, with an approximate total weight of 2.56 carats, size 7, 7.0 grams total weight. [4000/7000] Illustrated

813

Eighteen-Karat Rose Gold and Diamond Cuff Bracelet, the flexible cuff bracelet composed of five rows with a bead design, each row mounted with a cluster of round brilliantcut diamonds, with an approximate total weight of 1.67 carats, approximate color D-E and clarity VS1‑SI1, inside circumference 7‑1/2”, 59.0 grams total weight. [12000/18000] Illustrated

219


819

Fourteen-Karat White/Yellow Gold, Emerald and Diamond Ring, the diagonal mounting set with three emerald-cut emeralds, with an approximate total weight of 2.96 carats, each with a halo of round European-cut diamonds, with an approximate total weight of 1.46 carats, approximate color E-F and clarity VS1‑VS2, size 6, 12.0 grams total weight. [2500/4000] Illustrated

820

Eighteen-Karat Yellow Gold and Emerald Bracelet, the cast bracelet with a nugget design and a flexible link, mounted with eight round faceted emeralds, with an approximate total weight of 0.40 carats, l. 6‑1/4”, 42.5 grams total weight. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [1000/1500] Illustrated 814

814

Eighteen-Karat White/Yellow/Rose Gold and Diamond Three-Band Ring, the interlocking eternity bands each mounted with round brilliant-cut diamonds, with an approximate total weight of 1.84 carats, size 9, 6.0 grams total weight. [2000/4000] Illustrated

815

Pair of Fourteen-Karat Rose Gold and Diamond Hoop Earrings, each large oblong earring set with single-cut diamonds, on the inner and outer edges, with an approximate total weight of 0.50 carats for the pair, l. 2”, 6.3 grams total weight. [1500/2500] Illustrated

816

Eighteen-Karat Yellow Gold and Diamond Ring, with a crossover design and mounted with round brilliant-cut diamonds and baguette-cut diamonds, with an approximate total weight of 1.00 carat, approximate color F-I and clarity VS2‑SI2, size 7, 5.0 grams total weight. [1800/2500] Illustrated

821

Eighteen-Karat White/Yellow Gold/Platinum, Emerald and Diamond Ring, mounted with an emerald-cut treated emerald, with an approximate weight of 2.53 carats, four European-cut diamonds, with an approximate total weight of 0.12 carats, and twenty-six rose-cut diamonds, with an approximate total weight of 0.24 carats, approximate color H-I and clarity VS2‑SI2, size 6‑1/4, 5.0 grams total weight. [1800/2500] Illustrated

822

Fourteen-Karat Yellow Gold and Malachite Necklace, the nugget-textured necklace composed of fourteen rectangular gold links and fourteen rectangular gold links mounted with malachite inserts, l. 29”, 61.4 grams total weight. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [800/1200] Illustrated

823

Fourteen-Karat White Gold, Peridot and Diamond Ring, mounted with an oval-cut peridot, with an approximate weight of 6.38 carats, accented by a double halo of round brilliant-cut diamonds, with an approximate total weight of 1.60 carats, size 7, 6.2 grams total weight. [1500/2500] Illustrated

817

Eighteen-Karat Yellow Gold, Emerald, Ruby and Diamond Necklace, mounted with a central pear-cut treated emerald, with an approximate weight of 0.87 carats, four round-cut treated rubies, with an approximate total weight of 0.50 carats, and seventy-two single-cut diamonds, with an approximate total weight of 1.08 carats, l. 15”, 64.0 grams total weight. [1800/2500] Illustrated

818

Pair of Eighteen-Karat Yellow Gold, Emerald and Diamond Earrings, each dangle earring mounted with seven oval cabochon-cut treated emeralds, with an approximate total weight of 7.70 carats for the pair, accented with round brilliantcut diamonds, with an approximate total weight of 1.39 carats for the pair, l. 1‑3/4”, 15.0 grams total weight. [3000/5000] Illustrated

818

220


819

817

816

823

821

815

822

820

221


827

824

824

Antique Oushak Carpet, 10’ 2” x 13’ 5”. [6000/9000] Illustrated

825

Peshawar Sultanabad Carpet, 8’ x 10’ 8”. [800/1200]

826

Antique Agra Carpet, 10’ 6” x 14’ 6”. [8000/12000] Illustrated

827

Turkish Oushak Runner, 3’ 2” x 19’ 2”. [1200/1800] Illustrated

222

826


832

829

831

828

Semi-Antique Persian Bidjar Carpet, 7’ 4” x 10’. [1000/1500]

829

Semi-Antique Sarouk Carpet, 8’ 9” x 11’ 10”. [1000/1500] Illustrated

830

Antique Khotan Carpet, 4’ 2” x 9’. [2000/4000]

831

Semi-Antique Kerman Carpet, 11’ 1” x 15’ 3”. [1500/2500] Illustrated

833

835

832

Peshawar Sultanabad Carpet, 11’ 11” x 15’ 6”. [1500/2500] Illustrated

833

Semi-Antique Persian Karajeh Carpet, 3’ 4” x 10’ 5”. [900/1200] Illustrated

834

Turkish Angora Oushak Carpet, 8’ 10” x 11’ 9”. [1000/1500]

835

Semi-Antique Oushak Carpet, 9’ 2” x 11’ 8”. [1200/1800] Illustrated

223


836

Semi-Antique Tabriz Silk Carpet, 8’ x 11’. [1000/1500] Illustrated

839

Antique Persian Mahal Carpet, 7’ 10” x 11’ 7”. [3000/5000] Illustrated

837

Semi-Antique Heriz Carpet, 4’ 8” x 6’ 11”. [500/800] Illustrated

840

Semi-Antique Tabriz Carpet, 8’ 9” x 12’ 4”. [2000/4000] Illustrated

838

Semi-Antique Oushak Carpet, 15’ 10” x 18’ 6”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [3000/5000] Illustrated

837

836

838

224

839

840


841

842

847

843

844

841

Semi-Antique Kashan Carpet, 4’ 3” x 6’ 10”. [600/900] Illustrated

842

Antique Kerman Carpet, 9’ 8” x 12’ 10”. [3000/5000] Illustrated

843

Bamboo Silk Carpet, 11’ 8” x 14’ 7”. [2500/4000] Illustrated

844

Turkish Angora Oushak Carpet, 9’ 2” x 11’ 10”. [1000/1500] Illustrated

845

Persian Camelhair Runner, 3’ x 9’. [500/800]

846

Antique Persian Kashan Carpet, first quarter 20th century, 4’ 5” x 6’ 8”. Provenance: The Flatt Collection. [700/1000]

847

Persian Sarouk Carpet, 5’ x 7’. [500/800] Illustrated

225


849 850

852

851

848

848

American Federal Mahogany Bowfront Chest, early 19th century, New England, the graduated bank of four drawers with banded perimeters and flanked by reeded stiles, on bracket feet, h. 41‑1/2”, w. 48‑1/2”, d. 23‑1/4”. [500/800] Illustrated

849

Colonial Revival Mahogany-Veneered and Giltwood ThreePart Overmantel Mirror, ca. 1900, the mahogany-veneered frame trimmed with carved giltwood lining, the giltwood crest comprised of a carved flaming urn finial draped with pierced laurel leaves terminating in medallions and cascading down each side, h. 42‑1/2”, w. 64”. [700/1000] Illustrated

850

American Classical-Style Tiger Maple Four-Tier Shelf, 19th century, the ends of lyre form with brass rods, and raised on reeded down-curved legs ending in brass paw feet, h. 35‑1/2”, w. 32”, d. 17”. [500/800] Illustrated

226

851

Paris Porcelain Figural Corbeille, first quarter 19th century, in the manner of Dagoty, Darte Freres, or a contemporary of equal rank, each decorated in matte blue and gilt, the figural support depicting a putto, the rectangular base molded with a “mount” and delicately molded lotus leaves on the supporting plinths of the figure, the pierced basket with a central rope molding and reeded, segmented lower section, h. 10”, dia. 8‑1/4”. [500/800] Illustrated

852

Paris Porcelain Figural Corbeille, first quarter 19th century, in the manner of Dagoty, Darte Freres, or a contemporary of equal rank, decorated in matte blue and gilt, the figural support depicting a winged angel, the rectangular base molded with a “mount” and delicately molded lotus leaves on the supporting plinth of the figure, the pierced basket with a central rope molding and reeded, segmented lower section, h. 10”, dia. 8‑1/4”. [500/800] Illustrated


853

American Classical Stenciled and Polychromed Faux-Rosewood Grecian Couch, first quarter 19th century, Philadelphia, the recamier with a scroll end mounted with a splat modeled as a roundel joined to horizontal lyres, the toe end with a bended splat, the apron with bronze figural mounts on sabreform legs with scroll ends and ball feet, now with bolsters and seat cushion upholstered after the period fashion in yellow moire, h. 33‑1/2”, w. 22”, l. 78‑1/2”. [1500/2500] Illustrated 853

A similar Grecian sofa is illustrated in Boor’s book, Philadelphia Empire Furniture, p. 372.

854 detail

854

854 detail

854

Near Pair of American Classical Brass-Inlaid Mahogany Console/ Sofa Tables, second quarter 19th century, attributed to Joseph Barry, Philadelphia, each with a top with brass inlay around the perimeter, the conforming apron with similar boulle work, on a trestle base with canted foliate-carved C-form legs with brass inlay at the upper ends and brass paw cup casters, joined by a foliate-carved and spiral-reeded stretcher, h. 28‑1/4”, w. 67‑1/2”, d. 25”. [4000/7000] Illustrated

A pianoforte by Loud & Brothers, with a similar base attributed to Joseph Barry, sold at Brunk Auctions, February 17, 2007, lot 154. The underside of the top of one of the present examples utilizes the seat of thick boards necessary to support instrumental works. The top structure on the other table utilizes more conventional thinner poplar boards. Both appear to be original, suggesting that the pieces were diverted from piano to table purposes during their construction. Joseph Barry is recognized as the preeminent Philadelphia cabinetmaker in the classical period. A brass-inlaid sideboard and secretary is in the collection of the Philadelphia Museum of Art. His pieces are also curated by the Metropolitan Museum of Art, Winterthur Museum, and the Telfair Academy, Savanah, Georgia.

227


856

855

855

American or English Regency Giltwood Convex Mirror, first quarter 19th century, the circular plate surmounted by a winged eagle crest and surrounded by an ebonized slip and a molded ball-applied frame with a pendant lattice-carved panel, h. 37”, w. 23”. [700/1000] Illustrated

856

American Classical Mahogany Work Table, first quarter 19th century, the top flanked by drop leaves, the frieze with a pair of drawers over a yarn drawer upholstered in yellow silk sunburst, on reeded saber legs with brass paw cup casters, h. 30‑1/4”, w. 18‑1/2”, d. 21”, extended w. 35”. Provenance: Acquired by the consignor from Don Didier, New Orleans. [800/1200] Illustrated

857

After John James Audubon (American, 1785‑1851), “Brown Pelican”, no. 51, pl. CCLI, from the Birds of America (1826‑1838), hand-colored aquatint engraving by Robert Havell, verso watermarked “J Whatman/Turkey Mill/1835”, sheet 38” x 25‑3/4”. Glazed, matted and framed. [30000/50000] Illustrated 857

228


859

After John James Audubon (American, 1785‑1851), “Virginian Partridge”, no. 16, pl. LXXVI, from the Birds of America (1826‑1838), handcolored aquatint engraving by Robert Havell, verso watermarked “J Whatman/ Turkey Mill/1829”, pl. 25‑1/4” x 38‑1/4”, sheet 26‑1/2” x 39‑1/2”. Glazed, matted and framed. [15000/25000] Illustrated 859

860

After John James Audubon (American, 1785‑1851), “Goosander I”, no. 67, pl. CCCXXXI, from Birds of America, hand-colored aquatint engraving by Robert Havell, sheet 25‑1/2” x 38”. Glazed, matted and framed. [3000/5000] Illustrated

858

858

After John James Audubon (American, 1785‑1851), “Brown-Headed Nuthatch”, no. 25, pl. CXXV, from the Birds of America (1826‑1838), handcolored aquatint engraving by Robert Havell, verso watermarked “J Whatman/Turkey Mill/1831”, plate 19‑3/4” x 12‑1/4”, sheet 38‑1/4” x 25‑3/4”. Glazed, matted and framed. [1500/2500] Illustrated 860

229


862 one of two

862 two of two

861

861

After John James Audubon (American, 1785‑1851), “Red-winged Starling or Marsh Blackbird”, no. 14, pl. LXVII, from the Birds of America (1826‑1838), hand-colored aquatint engraving by Robert Havell, verso watermarked “J Whatman/Turkey Mill/1831”, pl. 29” x 20‑3/4”, sheet 26‑1/2” x 38‑5/8”. Glazed, matted and framed. [1800/2500] Illustrated

862

After John James Audubon (American, 1785‑1851), “Black Rat”, no. 5, pl. XXIII, and “White Footed Mouse”, no. 8, pl. XL, from the Viviparous Quadrupeds of North America (1845‑1848), hand-colored aquatint engraving by J. T. Bowen, sights 21” x 26‑1/4” and 20” x 27”, respectively. Glazed, matted and framed similarly. [1000/1500] Illustrated

863 one of nine

863

After John James Audubon (American, 1785‑1851), Suite of Nine Hand-Colored Lithographs by J. T. Bowen from the Birds of America Octavo Edition (1840‑1844), including “Little Sandpiper”, pl. 337, “Spotted Sandpiper”, pl. 342, “Solitary Sandpiper”, pl. 343, “Yellow Shanks Snipe”, pl. 344, “Tell-Tale Godwit or Snip”, pl. 345, “Wilson Snipe-Common Snipe”, pl. 350, “American Bittern”, pl. 365, “Least Bittern”, pl. 366, and “Green Heron”, pl. 367, each 6‑1/2” x 10‑1/4” with slits along the lower binding edge. Glazed, matted and framed alike. [1000/1500] Illustrated

230

863 two of nine


864

865

American Classical Mahogany Box Sofa, ca. 1825, New York, the shaped crest rail with a figural panel, the closed arms fronted by tapering columns on turned legs with melon feet, executed in carefully selected figural veneers, h. 31”, w. 80”, d. 27‑1/2”. [1200/1800] Illustrated

Fine American Classical Brass-Inlaid Mahogany Secretary Bookcase, ca. 1825, Boston, the projecting cornice with a metal neoclassical mount on its frieze, over a pair of glazed doors, each with Gothic arched mullions, the unusual full-front panel opening to reveal an interior fitted with drawers and niches, and folding over with the base-top to form a baizelined writing surface, the lower section with a pair of drawers flanked by columns, on carved paw feet, h. 89”, w. 51”, d. 25”. [1000/1500] Illustrated

866

Spanish School (Second Quarter 19th Century), “Portrait of a Lady in Mourning, Holding a Prayer Book and an Embroidered Handkerchief”, oil on canvas, signed mid-left “Migl Povig”, 34‑1/4” x 4‑1/2”. Framed. [1000/1500] Illustrated

865

866

864

231


867

American Classical Bronze-Mounted Mahogany Sideboard, second quarter 19th century, Philadelphia, of double-pedestal form, each with an upper drawer over a molded drawer, and raised panel door below, the tapering columns with gilt-bronze capitals and bases, the central drawer below a rectilinear looking glass with a scrolling broken-arch pediment, raised on carved paw feet and retaining period cut glass pulls, h. 68‑1/2”, w. 85”, d. 27‑1/2”. [1800/2500] Illustrated

868

Exceptional Johnston Brookes and Company Bronze and Cut Glass Two-Light Argand Lamp, second quarter 19th century, London, richly cut with strawberry diamond-point lotus leaves, the urnform font set with a bronze prism ring terminating in dolphin’s heads, hung with exceptional prisms, with additional prisms around the base, forming a cut glass ring, the bronze arms set into a plume-decorated socket, with pierced scrollwork decorating each side, one arm labeled “Johnston Brookes & Co., Manufacturer, London”, set with period-appropriate cut and frosted glass shades, h. 25”, w. 17‑1/2”, d. 6‑1/2”. Provenance: Rosedown, Saint Francisville, Louisiana. [1500/2500] Illustrated

868

869

American Federal Mahogany Bowfront Chest, first quarter 19th century, in the Sheraton taste, Massachusetts, the top with cookie corners and turned rosettes, the front fitted with four graduated stringinlaid drawers flanked by reeded pilasters terminating in turned legs, h. 37”, w. 41”, d. 18”. [700/1000] Illustrated 869

867

232


870

872 870 detail

873 one of a pair 871

870

872

871

873

Pair of Paris Porcelain-Style Urns, 20th century, now mounted as lamps, decorated with panels of painted landscapes and tooled gilt swans and oak leaves, the sides set with handles molded as seated sphinxes, vase, h. 20”, overall, h. 25‑1/2”, w. 7‑3/4”, d. 5‑3/4”. [500/800] Illustrated American Classical Mahogany Center Table, second quarter 19th century, the octagonal top in pie-wedge veneers, over a conforming cyma-molded apron, on a vasiform foliate-carved pedestal joined to saber legs with like carving, h. 28‑1/2”, dia. 37‑1/2”. [500/800] Illustrated

American Classical Parcel-Gilt and Verde Antique Mahogany Sofa, ca. 1825, the cylindrical crest rail with foliatecarved scroll ends, the scroll arms with like carving, raised on cornucopia-carved paw feet, h. 34”, w. 92”, d. 23‑1/2”. [1000/1500] Illustrated Pair of Rococo Revival Giltwood Mirrors, second quarter 19th century, the corners decorated with molded conch shells framed with scrolls and decorated with trailing flowers, set with antique-type mirror plates, 43” x 35”. [700/1000] Illustrated

233


874

876

875

874

American Classical Mahogany Drop-Leaf Table, ca. 1825, New York, the figural single-board top flanked by like-shaped drop leaves, supported by a foliate-carved vasiform pedestal joined to four legs with like carving, a brass band on the pedestal, the arched apron formerly brass-strung, h. 29‑3/4”, w. 39”, l. 27”, extended l. 29‑1/4”. [700/1000] Illustrated

875

American Classical Mahogany Recamier, second quarter 19th century, New York, the back with an asymmetrically mounted scroll top ending in carved roundels, scroll arms with fruit and foliate carving, molded apron and cornucopia-bracket carved paw feet, now upholstered in yellow striped damask, h. 36‑1/4”, w. 75”, d. 22‑1/4”. [800/1200] Illustrated

234

876

Pair of Regency-Style Carved Giltwood Two-Light Sconces, mid-20th century, on tasseled ribbon backplates with bowknot crests, featuring eagles with chains and giltwood spherules on blocks with lion’s heads, the scrolled candle arms decorated with medallions and terminating in engine-turned bronze candle cups and matching drip pans, electrified, h. 36”, w. 16”, d. 6‑1/2”. [2500/4000] Illustrated


877

American Late Classical Mahogany Four-Post Canopy Bed, second quarter 19th century, with large turned posts with boldly carved grape and vine motifs, and supporting a broad flaring canopy, h. 101”, inside, w. 53”, l. 73”, outside, w. 76‑1/4”, l. 89”. [3000/5000] Illustrated

878

American Late Classical Mahogany Secretary Bookcase, second quarter 19th century, in two parts, the upper section with a projecting cornice over a pair of glazed doors, the base with a pair of molded drawers over a deep drawer, folding down to create a writing surface and reveal a fitted interior retaining its period brass drawer pulls, with paneled doors below, flanked by columns, h. 94‑1/2”, w. 46”, d. 24”. [800/1200] Illustrated

879

Twenty-One-Piece Davenport Porcelain Partial Dessert Service, post-1840, English, the set decorated with cobalt borders trimmed with pierced scrollwork, and central gilt medallions, including a tall compote, h. 8”, dia. 18”, a short compote, h. 5”, dia. 9”, four comports, h. 2‑3/4”, dia. 9‑1/4”, and fifteen dessert plates, dia. 9”. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [600/900] Illustrated

879

879 detail

877

878

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881

883

882

880

Two Mahogany Tables, 19th century, comprised of an American Classical work desk table and a Regency occasional table, the former with a fold-out top, the interior formerly with an inset work surface, over a pair of drawers and raised on reeded legs, h. 29‑2/8”, w. 24”, d. 16”, extended w. 48”, the occasional table with a deep drawer on each side and raised on segmented turned legs, h. 28‑1/2”, w. 14‑3/4”, d. 20”. [500/800]

881

Pair of American Classical Mahogany D-End Tables, first quarter 19th century, probably Baltimore, the tops with beaded edges, and supported by bold ring-turned standards with four down-curved hipped and reeded legs ending in cast brass paw feet, h. 28‑1/2”, w. 53‑1/2”, d. 22‑1/2”. [1000/1500] Illustrated

236

882

American Late Classical Mahogany Sofa, second quarter 19th century, the back centered by a finial over a figured panel, flanked by reeded scrolls, the scroll arms with foliate carving, with a molded seat rail and cornucopia-bracket carved paw feet, h. 36”, w. 87”, d. 23”. [700/1000] Illustrated

883

Pair of Gilt- and Patinated Bronze Argand-Style Sconces, fourth quarter 19th century, probably American, the urn-form “tanks” set with eagle finials, the arm bottoms with molded finials and leaf-molded shade holders, set with period-style glass shades decorated with Greek-key frets, electrified, h. 45‑1/2”, w. 11‑1/2”, d. 4‑3/4”. [800/1200] Illustrated


884

American Late Classical Mahogany Dressing Table, second quarter 19th century, the mirror in a molded frame with bull’seye corner blocks, supported by tapering columns joined to an arched pediment, the lower cabinet with molded drawers on a cheval base with turned vertical columns and carved paw feet, h. 61‑1/2”, w. 41‑1/2”, d. 20”. [1000/1500] Illustrated

885

American Sheraton Mahogany Bowfront Chest, first quarter 19th century, with a bank of four graduated drawers flanked by reeded panels, raised on turned and reeded legs, h. 39”, w. 41‑1/2”, d. 24”. Provenance: Purchased by the consignor from Didier Inc., New Orleans, Louisiana. [800/1200] Illustrated

885

886

886

American Late Classical Mahogany and Marble-Top Commode, second quarter 19th century, mid-Atlantic states, the marble top over a case with a pair of drawers over a recessed drawer, with pull-out commode below, flanked by tapering pilasters on turned feet, h. 28‑1/2”, w. 28‑1/4”, d. 22‑1/2”. [500/800] Illustrated 884

237


889

888

887

American Sheraton Cherry Tester Bed, mid-19th century, the projecting tester supported by segmented tapering octagonal and turned posts, the headposts supporting a paneled headboard with an octagonal “rolling pin” crest, h. 98‑1/2”, inside, w. 56‑1/2”, l. 75‑3/4”, outside, w. 61‑1/2”, l. 81‑1/2”. [1500/2500] Illustrated

888

American Classical Mahogany Wash Stand, second quarter 19th century, the lift-top opening to reveal an interior fitted for two wash basins, over a pair of drawers flanked by spiralreeded columns and bronze mounts, raised on turned legs with brass-top casters, h. 30‑1/4”, w. 39”, d. 20”. [500/800] Illustrated

889

American Classical Revival Stained Mahogany Recamier, ca. 1900, the scrolled and reeded arm and frame with rare, identically finished backside, raised on turned and reeded legs, h. 31”, w. 28”, l. 84”. [700/1000] Illustrated

887

238


890

891 891 detail

890

Two American Coin (.900) Silver Mugs, mid-19th century, the first dated 1856, by Wood & Hughes, New York, of waisted octagonal section, decorated with repousse flower-andscroll and acanthus bands with beaded edges and crested scroll handle, with presentation inscription “Presented by / Ensign J.F. Rusha / 2nd Best Shot / Louisiana Grays / May 4th / 1856”, h. 4”, w. 3‑1/4”, the second ca. 1870 by Peter L. Krider (1821‑1895) for J. E. Caldwell & Co., Philadelphia, Pennsylvania, of slightly tapering cylindrical form with engraved berry cartouche, beaded rims and crested scrolling handle, engraved “Lizzie”, h. 3‑3/4”, dia. 2‑1/2”, 6.18 total t. oz. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [500/800] Illustrated The Ensign “J.F. Rusha” who presented this shooting trophy was Joseph Francis Ruhsa (ca. 1814‑1878), a Philadelphia native. His obituary states that he came to New Orleans around 1828, although the actual date is probably a little later. He was certainly in New Orleans by 1836, when records show J.F. Rusha as one of the founders of the Protection Hose Fire Company, for whom he served as secretary until at least 1852. Newspaper accounts also show him as an Ensign in the Louisiana Grays in 1856, the year the cup was presented; for instance, he is mentioned several times as one of the organizers of the Louisiana Grays Fancy Dress Ball in April. He worked briefly as a distiller before joining his elder brother Edwin Morris Rusha (1811‑1893) as a clerk in his liquor and wine business. He died in New Orleans on February 3, 1878.

891

Fine American Coin (.900) Silver Presentation Pitcher, dated 1841, by Gale, Wood & Hughes, New York, New York, of inverted pear form, decorated with elaborate repousse rococo cartouches of neoclassical architecture, with a repousse acanthus-form calyx below and milled leaf-and-berry band above, the flaring collar with integral spout engraved with flowers and rococo scrolls, with melon-knopped crested scroll handle, the whole raised above a knopped and domed foot en suite, the cartouche engraved with a presentation inscription “to Capt. Rich’d. B. Cleland / of British Steamer / Britannia” from the passengers of his May 1841 voyage from Liverpool to Boston, h. 15‑1/2”, l. 10‑1/2”, dia. 7”, 44.30 t. oz. [2500/4000] Illustrated The Britannia was the first ship of the Cunard line, whose maiden voyage was in July 1840. The trip ushered in the age of the luxury ocean liner, at the forefront of which Cunard would remain for the next hundred years. Glasgow-born Captain Richard B. Cleland (1809‑1891) was not at at the helm of that voyage, though he did captain Cunard’s second ship, the Caledonia on her maiden voyage of the same route in September 1840. He was evidently seconded to the Britannia by the spring of the following year, when twenty-one of his passengers were signatories on this magnificent pitcher, an elegant artifact of the earliest days of luxury sea travel. (Though there were those who were not so impressed; see the recollections of the Britannia’s most famous - and most famously miserable - passenger, Charles Dickens, whose January 1842 crossing on the steamship is covered in comical detail in his American Notes.

239


893 detail

892

892

Pair of American Sterling Silver Figural Vase Stands/ Candlesticks, third quarter 19th century, by William Bogert & Co., for David Austin & Sons, New York, New York, each with a figural standard of a classical maiden, one holding a torch, the other a branch, each above a canted cavetto triangular molded plinth base and surmounted by an acanthus calyx, originally designed to hold a glass trumpet vase but now modified to serve as candlesticks, monogrammed on the plinth “C”, h. 15‑3/4”, w. 6”, 49.71 total t. oz. [900/1200] Illustrated

893

893

One Hundred and Sixty-Seven-Piece Set of Wallace “Violet” Sterling Silver Flatware, the pattern designed in 1904 by Henrik Hillbom (1863‑1928), Wallingford, Connecticut, comprising a dozen twelve-piece place settings, with an additional dozen teaspoons and eleven serving pieces, no monograms, 138.06 total t. oz. (weighable silver), presented in a fitted, Pacific cloth-lined mahogany case with brass fittings, 6‑1/4” x 18” x 18”. [4000/7000] Illustrated

894

Two-Piece American Arts and Crafts Sterling Silver and Mixed Metal Smoking Set, first quarter 20th century, by Cowell & Hubbard, Cleveland, Ohio, including a cigarette box of rectangular form, decorated with Arts and Crafts strapwork on a “woodgrain” ground inlaid with copper and brass, the hinged lid opening to reveal a cedar lining, h. 2”, w. 5‑3/8”, d. 3‑3/4”, and a baluster-form match cup with scrolling strap handles and inlaid en suite, h. 2‑5/8”, w. 4”, 14.84 total t. oz. (including wood lining). [1000/1500] Illustrated

240

894


895

Eighty-Four-Piece Set of Reed & Barton “French Renaissance” Sterling Silver Flatware, the pattern designed in 1941 by George Logan Turner (1874‑1951), Taunton, Massachusetts, comprising a dozen sevenpiece place settings, monogrammed “R”, 86.30 total t. oz. (weighable silver). Detailed list of pieces available on request. [2000/4000] Illustrated

896

Set of Twenty Gorham “Chantilly” Sterling Silver Bread-and-Butter Plates, mid-20th century, the pattern designed in 1895 by William Christmas Codman, (1839‑1923), Providence, Rhode Island, monogrammed “JJH”, dia. 6‑1/4”, 64.45 total t. oz. [1000/1500] Illustrated

897

Gorham Sterling Silver Entree Dish, 1906, Providence, Rhode Island, of oval form, with applied floral rococo scroll rim, with detachable ring handle en suite, engraved “Cocke”, h. 5”, l. 11‑3/4”, w. 8‑3/4”, 29.94 t. oz. [500/800] Illustrated

898

Gorham Four-Piece “Kensington” Sterling Silver Tea Set, mid-20th century, Providence, Rhode Island, comprising a teapot, h. 9‑3/4”, l. 8”, a covered sugar bowl, h. 6”, w. 6‑1/2”, a cream jug, h. 4‑3/4”, l. 4‑1/2”, and a waste bowl, h. 3‑5/8”, dia. 4‑1/2”, no monograms, 61.17 total t. oz. [900/1200] Illustrated

895 detail

896

897

898

241


899

One Hundred and One-Piece Set of Gorham “Buttercup” Sterling Silver Serving Flatware, the pattern introduced in 1899, Providence, Rhode Island, including a dozen seven-piece place settings (seven pieces lacking), with an additional eight teaspoons and sixteen serving pieces, no monograms, 98.93 total t. oz. (weighable silver), presented in a wood, Pacificcloth-lined fitted case with lift top and single drawer, 6” x 14‑3/4” x 11‑1/4”. Detailed list of pieces available on request. [1800/2500] Illustrated

901

Gorham Sterling Silver Shallow Bowl, second quarter 20th century, Providence, Rhode Island, of lobed circular form, dia. 11‑1/2”, 30.73 t. oz. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [500/800] Illustrated

900

Fourteen Gorham “Buttercup” Sterling Silver Serving Pieces, the pattern introduced in 1899, Providence, Rhode Island, including three tablespoons, l. 8‑1/2”, a slotted tablespoon, l. 8‑1/4”, a cold meat fork, l. 8”, a two-piece salad serving set, l. 8‑3/4”, a sauce ladle, l. 5‑1/2”, a tomato server, l. 7‑5/8”, a master butter knife, l. 6‑3/4”, a sugar spoon, l. 6”, a jelly spoon, l. 6”, and a cheese knife, l. 6‑1/2”, and cake knife, l. 10”, both with stainless steel blades, no monograms, 24.55 total t. oz. [500/800] Illustrated

899 detail

899

901

242

900 detail


904

903 detail

902

Stieff “Colonial Williamsburg” Sterling Silver Coffeepot, 1939‑1948, Baltimore, Maryland, of “lighthouse” form with domed lid, vasiform finial, crested ebonized wood handle and conical right-angle spout, h. 11‑1/2”, l. 7‑1/2”, dia. 4‑3/8”, 34.36 t. oz. (including wooden handle). [800/1200] In 1939, Colonial Williamsburg contracted Stieff to make a line of high-quality reproduction American Colonial silverware. Introduced in a luxurious catalogue in 1940, this coffeepot appears on page ten, with a notation that it is after a 1715 piece by New York Silversmith Charles Le Roux (1689‑1763) - presumably the near-identical example conserved in the Yale University collection. The 1940 price was $90, equivalent to about $1,500 today.

903

Eighty-Piece Set of Wallace “Grand Baroque” Sterling Silver Flatware, the pattern designed in 1941 by William S. Warren (1888‑1965), Wallingford, Connecticut, comprising a dozen five-piece place settings (two place knives lacking), with an additional dozen teaspoons and ten other assorted place pieces, no monograms, 96.41 total t. oz. (weighable silver). Detailed list of pieces available on request. [1800/2500] Illustrated

905

904

Fifty-Eight-Piece Set of Wallace “Grand Baroque” Sterling Silver Flatware, the pattern designed in 1941 by William S. Warren (1888‑1965), comprising a dozen four-piece place settings, with two additional place pieces and eight serving pieces, 76.05 total t. oz. (weighable silver), presented in a russet felt and cream satin-lined fitted wooden case, 3‑1/2” x 19” x 11‑1/2”. [1400/1800] Illustrated

905

Mexican Sterling Silver Center Bowl, mid-20th century, by “Jun. Hns.”, Mexico City, of lobed oblong form, with applied scroll rim and crested scroll handles, raised on four acanthus scroll feet, h. 4‑1/2”, l. 23”, w. 10”, 51.84 t. oz. [700/1000] Illustrated

243


906

Thirteen Pieces of Mexican Sterling Silver Tableware, mid-20th century, including a Maciel bowl, lobed with Aztec calendar decoration, dia. 9‑1/2”, five Maciel lobed butter pats, dia. 2‑7/8”, four Sanborn’s lobed butter pats, dia, 3‑1/4”, a Sanborn’s gadrooned cigarette box with applied malachite Aztec masque and cedar-lined interior, 8” x 3‑1/4”, and a pair of salt spoons with rosewood bowls, l. 3”, 22.45 total t. oz. (excluding items with wooden elements). Provenance: Estate of Alice Evans Pratt, Houston, Texas. [500/800] Illustrated

907

Set of Twelve Mexican Sterling Silver Cordials, second quarter 20th century, by Joyeria Real, each of tulip form, with baluster stem and foot en suite, h. 4‑1/8”, dia. 2‑3/4”, 48.91 total t. oz. [900/1200] Illustrated 908

908

Large Mexican Sterling Silver Platter, mid-20th century, by Sanborn Hermanos, Mexico City, of oblong form with “Chippendale” rim, l. 22‑3/4”, w. 16”, 68.80 t. oz. [1000/1500] Illustrated

909

Two South American Silver Boxes, mid- 20th century, both of rectangular form with hinged lid and hasp closure, with repousse decoration, the larger with the Bourbon-era arms of Spain, with roses, a peacock and monopodal lion’s-masque-crested feet, h. 4”, w. 10‑1/4”, d. 6‑1/2”, the smaller with attributes of Peru (radiant sun, vicuna, cornucopia and fish) and roses, raised on four pad feet, h. 3”, w. 8”, d. 4‑3/8”, 68.99 total t. oz. [1200/1800] Illustrated

909

907

906

244


911

910

912

913

910

912

911

913

Pair of Unusual Continental Carved Wooden Mirrors, first quarter 20th century, composed of Spanish cedar and carved with cluster columns and trefoil windows, with crumbling bricks and vines, on easel supports, h. 14‑1/2”, w. 9”. [500/800] Illustrated Pair of Gothic Revival Cast Iron Garden Benches, second half 19th century, the pattern attributed to Coalbrookdale, England, the back with a central round panel cast in a cathedral window motif with a central shield, the arms of foliate design and the seat with square iron bars, h. 39”, w. 60”, d. 24”. [2000/4000] Illustrated

Gothic Revival Mahogany and Cast Iron Work Table, 19th century, the dentillated case with a slide over a pair of drawers, joined to an iron base modeled as clustered columns, joined by Gothic arches, the lower section with quatrefoils, on scrolled feet, h. 31”, w. 23‑1/2”, d. 11”. [500/800] Illustrated English Pine Cabinet, mid-19th century, the molded cornice above two astragal-glazed doors with moldings in the Gothic taste, opening to a shelved interior, the lower section fitted with two cupboard doors, each with Gothic arch paneling, raised on a shaped bracket base, h. 79‑1/2”, w. 44‑1/2”, d. 17”. [800/1200] Illustrated

245


914

Vernacular American Stained Poplar Work Table, 19th century, the rectilinear top over a single frieze drawer, raised on naive flat cabriole legs, h. 28‑1/2”, w. 22”, d. 16‑3/4”. Provenance: Purchased by the consignor from Didier Inc, New Orleans, Louisiana. [600/900] Illustrated Similar cabriole legs appear on a number of pieces of Texas manufacture, including a sofa, illustrated in Taylor and Warren’s, Texas Furniture, The Cabinet Makers and Their Work, 1840‑1880, vol. 1, p. 168, and tables illustrated in vol. 2, pp. 172‑73.

915

Transitional American Late Classical-into-Rococo Revival Dressing Bureau, mid-19th century, the shaped mirror supported by a wishbone frame, on a recessed bank of drawers, to the base with two-over-three graduated drawers flanked by turned pilasters, employing carefully selected “plum pudding” veneers, h. 90”, w. 42‑1/2”, d. 23”. [500/800] Illustrated

916

Antebellum New Orleans Market Rosewood Tester Bed, mid-19th century, attributed to the warerooms of the McCracken Firm, New Orleans, the beaded and molded arched tester frame supported by tapering cluster-column posts, the headboard with a floral-carved crest over a characteristic convex oval panel, the shaped rails with like beading, the tester now upholstered in a sunburst silk and brocade bed hanging, after the period fashion, h. 118”, inside, w. 61”, l. 75”, outside, w. 69”, l. 85”. Provenance: By family repute acquired from Pembroke Estate, Washington, Georgia; Private Collection, Birmingham, Alabama. [10000/15000] Illustrated “Pembroke,” a magnificent Greek Revival Antebellum estate built in 1818, has descended in the Pope family since1820.

914

916

246

915


917

Antebellum New Orleans Market Late Classical Mahogany Armoire, mid-19th century, the cyma-molded cornice over a pair of doors, each with arched figural panels framed by ribbon molding, the interior retaining its center divider and medical drawer, on ogee bracket feet, h. 93”, overall w. 71”, case w. 60”, overall d. 25”, case d. 20”. [700/1000] Illustrated

918

Continental School (Second Half 19th Century), “Portrait of a Young Lady in Red”, oil on canvas, unsigned, 36” x 29‑1/8”. Presented in an elaborate oval-form giltwood frame. Provenance: Cedar Grove Historic Home, Vicksburg, Mississippi. [1000/1500] Illustrated

919

Pair of Napoleon III Parcel-Gilt Walnut Prie-Dieux, third quarter 19th century, each with an upholstered hand rest over a pierced and carved panel depicting shells, foliage and a winged angel masque, serpentine seat rail and cabriole legs, h. 34‑1/2”. [500/800] Illustrated

920

Rare Cornelius and Baker Solar Lamp, mid-19th century, Philadelphia, the white-cased cranberry standard cut in a bull’s-eye pattern, supporting a brass font labeled “Cornelius and Baker, Patent April 1st 1848, Philadelphia”, hung with prisms and set with a period-appropriate cut and frosted glass trumpet-form shade, h. 33‑1/2”, dia. 7‑1/2”. [500/800] Illustrated

921

Pair of Rococo-Style Giltwood Mirrors, 19th century, each with a shell and floral crest, the beveled plate within a molded frame with pendant scrolling side accents, h. 56”, w. 26‑1/2”. [1000/1500] Illustrated

920

918

921

917

919

247


922

248


922

Alfred Boisseau (French/American, 1823‑1901), “Miss Mary Tanner (b. 1833‑1834), Waubun Plantation, Terrebonne Parish, Louisiana”, 1849, oil on canvas, signed and dated lower left center, titled on brass artist plaque, 39‑1/2” x 31‑1/2”. Presented in a giltwood frame. Provenance: Descended in the family of the sitter; Ex-collection Don Didier, New Orleans, Louisiana. Illustrated: Pennington, Estill Curtis, Down River: Currents of Style in Louisiana Painting, 1800‑1950 (Pelican Publishing: Gretna, LA, 1991), p. 2. [8000/12000] Illustrated

Rarely is a portrait from Alfred Boisseau’s brief tenure in Louisiana “discovered”, even rarer is its sale at auction. Since 1976, only eight recorded portraits have been sold at auction, and only one of those is of a Louisiana belle of equal execution— Portrait of a Young Lady, possibly Mrs. Alfred LeMore, nee Marie Xavier Athenaïs Chretien (b. 1830). The portrait offered here of Miss Mary Tanner painted in September, 1849, is both one of the first portraits Boisseau is known to have done after his return from France and one of the last Louisiana ones he painted before he embarked for New York. Boisseau, a native of France, studied under Paul Delaroche, a Neo-Classical painter of historical and mythological scenes, before debuting at the Paris Salon in 1842. Boisseau, following in the footsteps of his predecessor Jean-Joseph Vaudechamp and Jacques Aman sought a more lucrative market abroad in the “New World.” Classical style paintings, marked by strong lighting, fine detail and a polished finish, appealed to the burgeoning French Creole class of merchants and plantation owners eager to commemorate their success. Boisseau’s early portraits very much belong to this tradition- the sitters rendered at three-quarter to full profile occupy the entire picture plane dominating the landscape, fields and finery before which they are placed, evoking a sense of pride and mastery. Miss Tanner, though a mere girl of fifteen or sixteen years old, presents a commanding stature with her black hoop-skirt, piercing eyes and hair, framed before a window with lush crimson drapery swept aside to reveal an impressive, though diminutive, landscape of Live Oaks and a family plot loosely painted in tertiary colors. As the portrait, painted at Waubun Plantation, indicates, Miss Tanner comes from an illustrious family, one that along with the Verrets, and Thibodauxs, had been instrumental in the development of Terrebonne parish, which was partitioned from Lafourche in 1822. The sitter, Mary, was the fifth daughter of Lemuel Tanner (1786-1843) and Marie Agnes Celeste Belanger (1797-1864). Mr. Tanner, born in Screven, Georgia, served as a First Lieutenant in the War of 1812 in the Seventh Regiment of the Louisiana Militia. In 1814, he settled in Lafourche and married Belanger, who was jointly related through blood and marriage to the Thibodaux family. The Belanger and Tanner families were wealthy planters

who owned lands in both parishes that adjoined near Bayou Terrebonne. In the 1860 census, Mrs. Tanner recorded the Waubun Plantation real estate value at $1000,000; personal property at $230,000. The Plantation (also near Bayou Terrebonne) was purchased in 1845, following the death of Lemuel Tanner in 1843, and remained in the family until after the death of Celeste in 1864. A decade before her death, Mrs. Tanner gifted two large parcels of the land to the New Orleans, Opelousas and Great Western Railway, which would later become greatly contested in the Supreme Court of Louisiana in 1895 and 1911 when the title was acquired by Captain John T. Moore (a childhood friend of Mark Twain), who owned the plantation from 1895-1916. The Tanner’s land (via succession) was wrought with legal issues. In 1852 the Supreme Court of Louisiana overturned a previous ruling and mandated that restitution be paid to Lemuel Tanner’s heirs that listed Mary, her mother and eight of her sisters and brothers. Mary’s sister Rosella (b. 1830) was not noted as an heir, because she died in 1846, leaving her older sister Elizabeth (b. 1823) and younger sisters Brigitte (b. 1836) and Louisa (b. 1840) in the home at the time of the portrait commission. What became of Mary after 1852 is shrouded in mystery. Marriage certificates issued in Louisiana for women named Mary Tanner (born 1833-1835) list that a Mary Ester Tanner, born 1834, (Ester is also the name and middle name of two of her sisters) married Edmund W. Barnes (b. 1828) of New Orleans in 1856, and later Oscar Cheney (b. 1829) of Magnolia Plantation in Rapides Parish in 1869. According to periodicals published in the Alexandria Weekly Town Talk, she died a few years before her daughter Rosa’s wedding to Martin Lacaze in 1895. References: Southern Reporter: Containing All the Decisions of the Supreme Courts of Alabama, Louisiana, Florida, Mississippi, vol. 17-18. St. Paul: West Publishing Company, 1895, p.319-321; Louisiana Reports: Cases Argued and Determined in the Supreme Court of Louisiana, 1852, vol. 7. St. Paul: West Publishing Company, 1895. p. 672-674. Ibid. 1909, vol 126. St. Paul: West Publishing Company, 1911, p.844-902; Louisiana Democrat 9 January 1895: 3; “Descendants of Nicholas Lanier”. User Trees, Geneaology.com. Accessed: Nov. 11, 2016.

249


926

924

923

923 detail

923

American Ebonized, Parcel-Gilt and Stenciled Grand Action Harp, mid-19th century, by R. & L. Lewis, New York, with a Gothic-style column and figures below the crown, the soundboard with stenciled decor, the brass plate on the neck engraved “Patent Grand, No. 560” on one side, and “R & L Lewis--Makers New York” on the other, having forty-seven strings and eight pedals, h. 68‑1/2”, w. 24”, d. 38”. [2000/4000] Illustrated

924

American Rococo Revival Laminated Rosewood Slipper Chair, mid-19th century, the pierced and laminated concave back carved depicting twining vines, foliage and grapes, the serpentine seat rail centered by a carved shell, raised on cabriole legs with French toes, h. 32‑1/4”. [500/800] Illustrated

250

925

923 detail

925

French Gilded Age Three-Part Overmantel Mirror, fourth quarter 19th century, the giltwood mirror set with beveled oval plates, the larger center plate under an elaborate arched crest, decorated with putti holding swags of trumpet flowers, below a pierced scrolled crest set with a shell and an acanthus swag, the side crests decorated with pierced scrolls flanking acanthus leaves, the sections separated by aesthetic molded colonnettes with acanthus-leaf capitals, h. 61”, w. 54”. [800/1200] Illustrated

926

American Rococo Revival Rosewood Etagere, third quarter 19th century, with three rectilinear shelves, supported by baluster-form columns with scroll-sawn side panels and crest, the back mounted with mirror plates, h. 46‑1/4”, w. 37‑1/8”, d. 12‑1/2”. [600/900] Illustrated


927

American Rococo Revival Rosewood and Marble-Top Center Table, third quarter 19th century, New York, probably Alexander Roux, of tortoise form, the Brocatelle Violette d’Espagne marble top over a conforming serpentine apron with robustly carved flora and vines, raised on cabriole legs with fruitcarved leaves, the serpentine stretchers joined by a floral basket, h. 29‑7/8”, w. 42‑1/2”, d. 29‑3/4”. [4000/7000] Illustrated

928

American Rococo Revival Giltwood Overmantel Mirror, third quarter 19th century, the rectangular, slightly domed plate surmounted by a tan scrolling foliate crest centered by a spray of deeply carved poppies, the plate surmounted by a molded and annulated frame with lower foliate accents, h. 85‑1/2”, w. 71”. [1500/2500] Illustrated

930

929

Colonial Revival Bronze, Marble and Glass Sinumbra-Style Table Lamp, fourth quarter 19th century, American, on a doublestep marble base with a fluted tapered standard terminating in a leaf-molded capital, and set with a frosted and cut glass shade, h. 31”, dia. 10‑1/4”. [500/800] Illustrated

930

Set of Twelve Limoges Hand-Painted Cabinet Plates, first quarter 20th century, French, decorated with fruit and raised gilttrimmed black borders, the blanks with an unidentified Limoges mark, “F.M., Limoges, France”, dia. 10‑1/2”. [600/900] Illustrated

927

928

929

251


931

American Rococo Revival Laminated Rosewood Seven-Piece Parlor Suite in the “Rosalie” Pattern, mid-19th century, attributed to John Henry Belter, New York, composed of a settee, a pair of armchairs and four sidechairs, each chair with a thinly laminated concave back centered by a fruit-, floral- and grape-carved crest, serpentine apron and cabriole legs, armchair, h. 42‑1/2” and 43”, sidechair, h. 37”, 37”, 37‑1/4” and 37‑1/2”, the settee with a serpentine triple-crest back, open arms, serpentine seat and cabriole legs, now upholstered in green brocade, h. 42”, w. 67”, d. 31”. [7000/10000] Illustrated 931 Seven-Piece Suite

931 Seven-Piece Suite

931 Seven-Piece Suite

252


932

933

934

932

Two Pairs of Paris Porcelain Cornucopia Vases by Jacob Petit, mid-19th century, French, the larger pair with plumground bases supporting carefully modeled cornucopias set with shaded green upper portions decorated with hand-painted floral bouquets, h. 11‑1/2”, w. 6‑1/2”, d. 8‑1/2”, and the smaller pair with bleu-royale-ground bases supporting shaded rose upper portions decorated with panels of hand-painted flowers, h. 7‑1/4”, w. 6‑1/2”, d. 4‑1/2”, each signed “J.P.” in underglaze blue on the base. [500/800] Illustrated

933

Pair of Unusual Chinese Export Porcelain Fan Vases, 20th century, decorated with landscapes on a Rose Medallion-style ground with turquoise and gilt leaf-molded “handles”, signed in Asian script on the bottom, h. 19”, w. 16‑1/4”, d. 5‑3/4”. [500/800] Illustrated

934

American Rococo Revival Laminated Rosewood and Marble-Top Console Table, mid-19th century, of the group traditionally attributed to J. & J. W. Meeks, New York, the serpentine marble top over a conforming pierced and laminated apron in floral, foliate and scroll carving, raised on cabriole legs joined to a serpentine base, fronting a looking glass, h. 34‑3/4”, w. 54”, d. 22”. Similar examples have sold in these galleries with the stenciled label of Thomas Brooks, Brooklyn. [2000/4000] Illustrated

253


935

936

935

Eighty-Piece Mottahedeh “Lowestoft Rose” Partial Dinner Service, ca. 1985‑1993, Portugal, made by Vista Alegre, the set comprised of ten dinner plates, dia. 10”, ten rim soup plates, dia. 10”, thirteen salad/dessert plates, dia. 8‑1/2”, nine flat cups, h. 2‑1/4”, with twelve matching saucers, dia. 5‑3/4”, ten demitasse cups, h. 2”, with twelve matching saucers, dia. 4‑1/2”, a coffeepot, h. 9‑1/4”, a cream jug, h. 3‑1/4”, a covered sugar bowl, h. 4‑1/4”, dia. 6”, and a soup tureen on stand, h. 11‑1/2”, w. 15‑1/2”. [2000/4000] Illustrated

936

254

American Rococo Revival Giltwood Overmantel Mirror, mid-19th century, the convex-molded frame with an arched top set with a pierced, scrolled crest, with a center shell finial, on a panel-framed ground decorated with trailing flowers, with a scroll-molded base and scroll molding on either lower side, h. 86”, w. 68”. [1000/1500] Illustrated

937

Continental School (Second Half 19th Century), “Portrait of Two Sisters”, oil on canvas, unsigned, 36” x 28‑1/2”. Presented in an elaborate oval-form giltwood frame. Provenance: Cedar Grove Historic Home, Vicksburg, Mississippi. [1000/1500] Illustrated

937


938

American Rococo Revival Laminated Rosewood Hall Chair, mid-19th century, attributed to John Henry Belter, New York, the pierced and carved back with scrolling vines and floral sprays, the shaped plank seat with a floralcarved front apron, raised on floral-carved cabriole legs, h. 46”, w. 21”, d. 18”. [500/800] Illustrated

939

Pair of French Hand-Painted Porcelain Oval Still Life Plaques, second half 19th century, mounted in later brass frames, each with partial labels, reading “E. or F. ___”, over “Paris”, in an oval beaded mark, decorated with luminously rendered grapes and grape leaves, strawberries, figs and peaches, signed indistinctly on the lower front, plaque, h. 19”, w. 15‑3/4”, overall, h. 20‑1/4”, w. 17‑1/4”. [1000/1500] Illustrated

941

940

Transitional American Late Classical-intoRococo Revival Walnut Bookcase, third quarter 19th century, the projecting cyma-molded cornice over a pair of glazed doors, the base with a pair of doors, h. 99‑3/4”, w. 56”, d. 20‑1/2”. [1000/1500] Illustrated

941

Assembled Dresden Hand-Painted Dessert Service, second quarter 20th century, including twelve hand-painted molded and pierced floraldecorated dessert plates, marked by Saxonian Porcelain, Carl Thieme, post-1901, dia. 8‑3/4”, a hand-painted floral teapot, h. 6‑3/4”, w. 8‑3/4”, eight matching cups, h. 2”, with twelve matching saucers, dia. 5‑3/4”, all marked by Schumann, Arzberg, 1932‑1996. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [500/800] Illustrated

938

939

940

255


943

942

942

Collection of Six Vargas Family Figures of New Orleans Street Vendors, early 20th century, New Orleans, the figures composed of wax and displayed in contemporary glass domes on wooden stands, several of the figures with labels on the underside of the base for Kate Latter’s Candies, the collection including a newspaper vendor carrying a bag fitted with squares of newspaper, an oyster seller with a burlap bag of oysters, a cotton seller carrying bushels of cotton on his shoulder and around his neck, a kindling wood vendor with a bundle of firewood, a shoeshine vendor carrying a brush in his hand and a box around his neck, and a sugarcane vendor holding two tall sugarcane stalks, figures, h. 7” to 7‑1/2”, w. 3”, d. 3”. [1500/2500] Illustrated

256

943

Rare V. G. W. Libeau Double-Barrel Percussion Shotgun, ca. 1840s, New Orleans, with a figured walnut stock and forearm, engraved trigger guard, lock plate and heel, engraved “New Orleans” on bridge bar between barrels and “V. Libeau” on lock plate, h. 44”, w. 5‑1/4”. [2500/4000] Illustrated Valentine G. W. Libeau (b. ca. 1790), an excellent craftsman who likely hailed from the celebrated Belgian gun makers “Lebeau”, specialized in percussion derringers and sporting rifles. Libeau, listed as Valentine Libeau in Cincinnati in the late 1820s, set up a lucrative business in New Orleans from 1832‑1845 at 9 Camp Street selling some of the finest quality percussion guns.


944

American Rococo Revival Rosewood and Marble-Top Dresser, third quarter 19th century, attributed to Mitchell and Rammelsberg Furniture Co., Cincinnati, Ohio, fitted with four graduated drawers with carved pulls and keyholes, the arched mirror lacking its surround frame, mirror, h. 49”, w. 26”, base, h. 34‑1/2”, w, 47”, d. 23”. [500/800] Illustrated

945

American Rococo Revival Rosewood Half-Tester Bed, third quarter 19th century, attributed to Mitchell and Rammelsberg Furniture Co., Cincinnati, Ohio, with an oval paneled headboard with a floral-carved crest, applied carvings to the footboard and an arched canopy, the cast iron rail hardware stamped “M & R”, h. 97”, inside, w. 65”, l. 79”, outside, w. 72”, l. 85”. [1500/2500] Illustrated

946

Pair of Cast Iron “Fern” Pattern Garden Chairs, ca. 1900, the wrap-around back and arms in the form of fern leaves, having pierced dished seats and vine legs, h. 32‑1/2”, w. 22”, d. 22”. [1000/1500] Illustrated

946

944

945

257


947

Alexander John Drysdale (American/ Louisiana, 1870‑1934), “Early Morning in a Louisiana Swamp”, near New Roads, Louisiana, 1909, oil on board, signed lower right, titled, dated and localized en verso, 10‑1/4” x 17”. Presented in a period frame. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [2000/4000] Illustrated

948

Alexander John Drysdale (American/ Louisiana, 1870‑1934), “Posthumous Portrait of James Alexander Maxwell (1849‑1903)”, 1904, oil on canvas, signed and dated upper right, titled, signed and dated and localized “New Orleans” on stretcher, 24” x 20‑1/4”. Framed. Provenance: Private collection, Baton Rouge, Louisiana. [1000/1500] Illustrated

948

947 detail

947

949

Alexander John Drysdale (American/ Louisiana, 1870‑1934), “Live Oak on the Bayou”, 1932, oil wash on board, signed lower right, sight 18‑1/2” x 28‑3/4”. Glazed, French-matted and framed. [2500/4000] Illustrated

949

258


950

951

952

950

Clarence Millet (American/New Orleans, 1897‑1959), “French Quarter Courtyard with Figures”, oil on board, signed lower right, 15” x 15”. Presented in the original carved wood frame. [5000/8000] Illustrated

951

Ellsworth Woodward (American/New Orleans, 1861‑1939), “Roman Alley with Street Cleaner”, watercolor on paper laid down on board, signed lower right, 21‑1/8” x 14‑7/8”. Framed. [1000/1500] Illustrated

953

952

Corinna Morgiana Luria (American/New Orleans, 1890‑1975; Active Newcomb College), “Spanish Custom House” (Lorreins Plantation House, Bayou St. John, New Orleans), ca. 1930s, watercolor on paper, signed lower right, sight 9‑3/4” x 13‑1/2”. Glazed, double matted and framed. [1000/1500] Illustrated

953

George Frederick Castleden(American/Louisiana, 1861‑1945), “Trapper’s Cabin, Outside St. Augustine, Florida”, oil on canvas board, signed lower right, titled and localized en verso backing, 14” x 12”. Framed. [1500/2500] Illustrated

259


954

Henry Casselli (American/Louisiana, b. 1946), “Study for Pink Sash”, ca. 1980, watercolor and gouache on paper, signed lower left, sight 10” x 13”. Glazed, matted and framed. [1000/1500] Illustrated

955

Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Rural Landscape”, watercolor on paper, signed in pencil lower right, sight 11‑3/8” x 18”. Glazed, matted and framed. [1500/2500] Illustrated

956

Karl Wolfe (American/Mississippi, 1904‑1985), “Still Life with Flowering Japanese Magnolia Branches”, oil on canvas, signed upper right, 20” x 18”. Framed. [1000/1500] Illustrated

954

957

Mildred Wolfe (American/Mississippi, 1912‑2009), “The Blue Hydrangeas”, oil on canvas, signed and dated lower left “Mildred Nungester Wolfe, 1974”, 20” x 16”. Framed. [1500/2500] Illustrated

956

957

955

260


958

960

Jeromy Young (American/Louisiana, b. 1977), “The Moss Gatherers on the Mississippi”, 2016, oil on canvas, signed and dated lower left, after the 1872 engraving by Alfred R. Waud (British/American, 1828‑1891), 25” x 37”. Framed. [1000/1500] Illustrated

Clementine Hunter (American/Louisiana, 1887‑1988), “Chicken”, oil on “National Washboard”, monogrammed, overall 23‑5/8” x 12‑1/2”. Provenance: Private collection, Lafayette, Louisiana. [1000/1500] Illustrated

959

William Tolliver (American/Mississippi/Louisiana, 1951‑2000), “Tilling the Fields, Mississippi”, oil on canvas, signed lower right, 15” x 30”. Presented in a giltwood frame with a “Crutchfield’s Live Oak Gallery, Lafayette, LA” label en verso. [4000/7000] Illustrated

959

958 960

261


961

961

George Rodrigue (American/Louisiana, 1944‑2013), “Legacy”, from the Saga of the Cajuns series, oil on canvas, signed lower right, 36” x 24”, accompanied by an unframed, signed, artist proof print of the same image, 8‑1/4” x 12‑1/4”. Framed. Provenance: Commissioned from the artist by the present consignor. [25000/40000] Illustrated

262


962

962

Jose Maria Cundin (Spanish/Louisiana, b. 1938), “El Pajaro Comegatos de Heraclio Cejeda”, oil on canvas, signed upper right, 43‑1/2” x 43‑1/4”. Framed. [14000/18000] Illustrated

263


963

963

Jose Maria Cundin (Spanish/Louisiana, b. 1938), “Enanos”, oil on canvas, signed lower right, 51” x 51”. Framed. [15000/25000] Illustrated

264


964

Jose Maria Cundin (Spanish/ Louisiana, b. 1938), “Figuras Esperando”, 1984, oil on panel, signed, titled and dated en verso, 9‑3/4” x 11‑3/4”. Framed. [2500/4000] Illustrated

965

Jose Maria Cundin (Spanish/ Louisiana, b. 1938), “Untitled”, 1968, oil on paper, signed and dated lower right, sight 11‑1/4” x 11‑1/4”. Glazed, matted and framed. [1500/2500] Illustrated

965

964

265


966

Newcomb College Art Pottery High-Glaze Vase, 1904, of tapered ovoid form, decorated by Leona Nicholson, with calla lilies and blue and green underglaze, the base marked with Newcomb cipher, Joseph Meyer potter’s mark, decorator’s reg. no. UU56, and clay mark “W” for white body, h. 7”, w. 4‑1/2”. [4500/7000] Illustrated

967

Early Newcomb College Art Pottery High-Glaze Vase, 1901, of cylindrical form, decorated by Ada Wilt Lonnegan, with calla lily buds and blue and green underglaze, the base marked with Newcomb cipher, Joseph Meyer potter’s mark, decorator’s reg. no. E92, followed by a house-shaped character with a no. 1 inside and an “x”, h. 9‑1/8”, dia. 3‑5/8”. [3000/5000] Illustrated The house character was used prior to official registration numbers, and the “x” denotes that the piece was not for sale, reserved instead for the decorator or the college.

968

Newcomb College Art Pottery Vase, 1916, decorated by Sadie Irvine with the moon and pines at dusk, matte glaze with yellow, blue and pink underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, reg. no. IG4, shape no. 237, h. 5‑3/4”, dia. 3‑1/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [2000/4000] Illustrated

966

266

968

967


969

Impressive Newcomb College Art Pottery Vase, 1917, decorated by Sadie Irvine with the moon and St. Tammany pines, matte glaze with yellow, blue and green underglaze, the base marked with Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, reg. no. IZ63, shape no. 133, h. 10‑1/2”, dia. 5”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [6000/9000] Illustrated

970

Newcomb College Art Pottery Vase, 1920, decorated by Anna Frances Simpson with the moon and palms, matte glaze with yellow, blue and green underglaze, the base marked with Newcomb cipher, decorator’s mark, reg. no. KX23, shape no. 147, h. 6‑1/2”, dia. 4‑1/2”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [3000/5000] Illustrated

971

Newcomb College Copper Mailbox and Doorbell Plate, ca. 1915, attributed to Alice Leigh Moise, the mailbox with hand-wrought copper sheeting with cut-out decoration centering a roundel monogrammed “L”, h. 11‑5/8”, w. 9‑1/4”, the doorbell plate cut in the iconic form of a live-oak tree and faintly monogrammed “W E W”, h. 5”, w. 3‑7/8”. Provenance: Descended in the family of the artist’s friend. [600/900] Illustrated

969

971

970

267


972

Newcomb College Art Pottery Vase, 1929, decorated by Sadie Irvine with palm trees at dawn, matte mauve ground with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Jonathan Browne Hunt potter’s mark, reg. no. RT53, h. 5‑1/2”, dia. 4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [2000/4000] Illustrated

973

Newcomb College Art Pottery Vase, 1918, decorated by Henrietta Bailey with blooming irises, matte glaze with yellow, blue, green and pink underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, reg. no. JG63, shape no. 188, h. 6‑1/4”, dia. 6‑1/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [2500/4000] Illustrated

974

Newcomb College Art Pottery Covered Jar, 1920, decorated by Anna Frances Simpson with a garland of Cherokee roses around the shoulder and a single blossom on the cover, blue matte ground with pink and green underglaze, base marked with Newcomb cipher, decorator’s mark, reg. no. LE52, shape no. 103, h. 5‑1/2”, dia. 5‑1/2”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [1800/2500] Illustrated

973

268

972

974


975

976

978 977

975

Pair of Continental Renaissance Revival Gilt-Bronze Figural Single-Light Sconces, fourth quarter 19th century, on molded circular backplates, the arms depicting Sirens, winged mermaids, holding aloft torches set with shade holders, handsomely molded with dolphin tails and wings, set with Victorian molded and frosted glass shades with ruffled edges, h. 18”, w. 4‑1/2”, d. 9”. [700/1000] Illustrated

976

American Patinated Bronze of a Native American, 20th century, after Max Bachmann (German/New York, 1862‑1921), cast signature at back, on a green marble base, overall, h. 22‑1/2”, w. 9‑1/2”, d. 7”. [500/800] Illustrated

977

French Patinated Bronze of a Native American Youth, 20th century, after Duchoiselle (French, 19th Century), cast signature along back of self-base, on a black stone base, overall, h. 18‑1/2”, w. 7”, d. 7”. [500/800] Illustrated

978

English Scale Model of a Painted Metal Locomotive and Tender, mid- 20th century, named “Kathleen”, with a name plaque on the front, probably modeled after a 1943 locomotive made for the Great Western Railway Company, h. 10”, w. 45‑1/2”, d. 6‑3/4”. Provenance: Christie’s, Legacy and Heritage, the de Guigne Collection, New York, 24 March 2016, lot 269. [1500/2500] Illustrated

269


979

979

Otto Werner-Henning von Kameke (German, 1826‑1899), “Alpine Landscape with Figures, a Town in the Distance”, oil on canvas, signed lower right, 37‑1/4” x 53”. Presented in a later, elaborate gesso and giltwood frame. [1200/1800] Illustrated

980

Unusual American Renaissance Revival Walnut Chest, third quarter 19th century, the period marble top with turreted corners, the case with two-over-three graduated drawers, each with latticework-carved faces, flanked by canted corners with carved classical masques over fruit, h. 39‑3/4”, w. 48‑1/4”, d. 23”. [800/1200] Illustrated

980

270


981

American Rococo Revival Walnut Three-Piece Bedroom Group, third quarter 19th century, with the stenciled label of Joshua Jones, Cincinnati, Ohio, comprised of a half-tester bed, a dressing bureau and an armoire, the bed with serpentine tester on tapering posts supporting an arched headboard with oval beveled panels and a foliate-carved crest, h. 111”, inside, w. 60”, l. 78‑1/2”, outside, w. 63”, l. 81”, the double-door armoire with a similar crest, shaped door panels and a pair of lower drawers, h. 105”, w. 56”, d. 21‑1/2”, and the dresser with a foliate- and cabochon-carved crest, arched mirror and bank of drawers, h. 77‑1/2”, w. 45”, d. 21‑1/2”. [3000/5000] Illustrated The present group descended together in the family of John Sterling Smith of the Chapel Hill, North Carolina and Brenham, Texas areas.

981 detail 981 Three-Piece Suite

981 Three-Piece Suite

981 Three-Piece Suite

271


983

985

984

982

982

984

983

985

American Renaissance Revival Walnut and Marble-Top Wash Stand, third quarter 19th century, probably Cincinnati, Ohio, the marble top with canted front corners, above a conforming case with a drawer over a door, each with carved oval panels, h. 30‑3/4”, w. 20”, d. 19”. [500/800] Illustrated French Marble and Bronze Three-Piece Clock Garniture in the Egyptian Revival Taste, fourth quarter 19th century, comprising a clock set with signed Marti works, the dial with an exposed escapement and flanked by gilt-trimmed patinated bronze mummies and moths in the four corners, the base decorated with a gilt-incised Nekhbet, the vulture goddess, h. 13”, w. 14‑3/4”, d. 7‑1/2”, together with a pair of obelisks with like decoration and gilt-incised hieroglyphs on the faces, h. 19‑1/2”, w. 8‑1/4”, d. 4‑3/4”. [700/1000] Illustrated

272

American Renaissance Revival Rosewood and MarbleTop Center Table, third quarter 19th century, the inset circular marble top over a conforming apron mounted with carved cartouches, on an octagonal pedestal joined to four legs with carved brackets, h. 31‑1/2”, dia. 35”. [1500/2500] Illustrated Pair of French Gilt-Bronze and Marble Garniture Urns in the Aesthetic Style, fourth quarter 19th century, the marble bases with gilt-bronze panels set with champleve enamel panels of anthemia and flowers, the black marble urns with bands of enamel with a yellow ground depicting flowering vines, the sides set with molded handles terminating in swan’s heads, h. 19‑1/2”, w. 16‑1/2”, d. 16‑1/2”. [1200/1800] Illustrated


986

Continental Parcel-Ebonized and Mahogany Sideboard in the Renaissance Taste, third quarter 19th century, probably Austrian, the upper section with a foliate-carved cartouche over a pair of shelves of molded and carved scroll brackets, the base with a central pair of drawers over paneled and carved doors, flanked by curved ends with conforming drawers and doors, h. 86”, w. 92‑1/2”, d. 23”. [1500/2500] Illustrated

987

Elijah Baxter (American/Rhode Island, 1849‑1939), “Spring Fields”, oil on canvas, signed lower right, 12” x 18‑1/4”. In a gesso and giltwood frame. [1000/1500] Illustrated Baxter was born in Hyannis, Massachusetts and, under the sponsorship of Governor William Sprague, received his training in Europe, first at the South Kensington School of the Royal College of Art in London and then the Royal Academy of Fine Arts in Antwerp. Despite his rigorous Academic training, Baxter preferred a more plein air approach to painting. Upon completion of his studies he traveled across Italy and France, sketching and painting on site. He eventually settled in Rhode Island and opened studios in Newport and Providence. A member of the Boston Art Club, the Providence Art Club and the Newport Art Association, Baxter was also an early supporter of the Rhode Island School of Design, which has three of his paintings in their archives. Few works by Baxter remain since a devastating studio fire destroyed almost his entire life’s work.

987

988

Set of Twelve Hand-Painted Bohemia Royal Ivory “Symphony” Dinner Plates, ca. 1936‑1945, Czechoslovakian, in the “Windsor” shape, the plates decorated with hand-painted floral bouquets in the center panels, the borders with gilt scrollwork, all on an ivory ground, marked on the backs, dia. 10‑3/4”. [500/800] Illustrated 988

986

273


989

Set of Twelve Heinrich and Company Dinner Plates, ca. 1930‑1939, Selb, Bavaria, with raised gilt borders and decorated with transfer-printed flower bouquets in the center panel and along the border, framed with gilt scrollwork, with an underglaze green mark, dia. 10‑3/4”. [500/800] Illustrated

990

989

Pair of Cast Iron Lawn Stags, 20th century, the deer with full antler racks and modeled in opposing directions, h. 56”, w. 26”, l. 38”. [3000/5000] Illustrated

991

American Cast Iron Garden Bench, fourth quarter 19th century, the back in the “curtain” style with three panels, scrolled arms and Gothic apron, the lower center back panel signed “Reynolds-Chalou Fdy Co. Watervliet, NY”, h. 36”, w. 44‑1/2”, d. 18”. [500/800] Illustrated

991

990

274


992

992

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Untitled”, 1973, oil on canvas, signed and dated lower right, 52” x 50”. Presented in a thin gallery frame. Provenance: DuBose Gallery, Houston, Texas; Private collection, Houston, Texas. [35000/50000] Illustrated

993

Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Untitled”, painted wood sculpture, now presented in a rotating acrylic shadowbox, h. 12”, w. 9”, d. 6”. [2000/4000] Illustrated

993

275


994

Terry Weldon (American/Louisiana, b. 1947), “Study for Fragmented Stele Disc”, 1982, oil on paper construction, mounted on linen board, signed lower left, signed and dated en verso, verso with artist label, overall, 23‑1/2” x 23‑1/4”. Presented in a plexiglass shadowbox frame. Provenance: New Orleans Academy of Fine Arts, Academy Gallery, New Orleans, Louisiana. [1000/1500] Illustrated

995

Stan Brodsky (American, New York, b. 1925), “Paros - Orange”, 1977, oil on canvas, signed and dated lower right, signed and titled en verso, 60” x 50”. Presented in a thin gallery frame. Provenance: Lerner-Heller Gallery, New York, New York. [5000/8000] Illustrated

996

Lamar Briggs (American/Louisiana, 1935‑2015), “Mountain Mist”, oil on canvas, signed and titled with a “DuBose Gallery” label en verso, 60” x 60”. Presented in a thin gallery frame. [1500/2500] Illustrated

995

994 996

276


997

998 Group of Four

997

Ronaldo de Juan (Argentinian/American, 1931‑1989), “Untitled”, oil on canvas, signed and dated en verso “1975, New York”, 44” x 62”. Presented in a thin gallery frame. Provenance: Lerner-Heller Gallery, New York, New York. [4000/7000] Illustrated

998

Louise Guidry (American/Louisiana, b. 1930), “Sienna Cycle”, group of four acrylics and collage on gallery-wrapped canvas, three signed lower right, one signed lower left, each 12” x 12”. [1000/1500] Illustrated

999

Louise Guidry (American/Louisiana, b. 1930), “Midas Touch with Pink”, three encaustics on paper, each mat-signed lower right, sights 5‑1/2” x 3‑1/2”, 6‑1/2” x 4‑1/2” and 13‑3/8” x 10‑1/2”. Each matted, glazed and framed. [1000/1500] Illustrated

999 one of three

277


1000

1001

1002 two of two

1002 one of two

1000

Louise Guidry (American/Louisiana, b. 1930), “Untitled I, II, III”, group of three encaustics on paper, each mat-signed lower right, sights 5‑3/8” x 3‑1/2”, 5‑5/8” x 5‑5/8” and 10‑3/4” x 6‑1/2”. Each matted, glazed and framed. [1000/1500] Illustrated

1001

Charles Schorre (American/Texas, 1925‑1996), “Rainbow Rush”, 1977, signed lower right, dated lower left, titled and dated en verso stretcher, 36” x 48‑1/2”. Unframed. [2000/4000] Illustrated

278

1002

Michael Steiner (American/New York, b. 1945), “U-249” and “U-250”, pair of mixed media on hand-made paper, verso with “Meredith Long & Company, Houston, Texas” gallery labels, 22” x 30”. Both presented in contemporary blond wood frames. Provenance: Meredith Long & Company, Houston, Texas; Private collection, Houston, Texas. [1500/2500] Illustrated


1003

Joe Sternberg (American, Contemporary), “Untitled”, mixed media sculptural side table, mirrored metal and stone inlay, signed at base “Joe Sternberg”, h. 24‑1/4”, w. 12‑1/4”, d. 12‑1/4”. [600/900] Illustrated

1004

Charles Pebworth (American, b. 1926), “Untitled”, metal relief on wood, signed “C. Pebworth”, 37‑5/8” x 25‑1/2”. [1000/1500] Illustrated

1005

George Valentine Dureau (American/Louisiana, 1930‑2014), “Head of a Man”, 1983, charcoal on paper, signed lower right, artist label en verso, 23” x 22”, accompanied by “Parts and Practices” (illustrating a torso of the same sitter depicted in the charcoal drawing), silver gelatin photograph, artist proof, signed lower right, titled lower left, sight 7‑1/2” x 7‑1/2”. Both glazed, matted and framed. Provenance: Charcoal drawing purchased at Contemporary Arts Center, “Art for Art’s Sake”, 1983, New Orleans, Louisiana. [1400/1800] Illustrated

1003

1005 one of two

1004

1005 two of two

279


1007

1006

Shearwater Pottery “Ducks” Vase, second quarter 20th century, cast and glazed by Peter Anderson, decorated by Walter Inglis Anderson with ducks flying over waves, fully marked, accompanied by a document of certification from the Anderson family and an exhibition tag from the American Art Pottery Association, h. 7”, dia. 6”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [2000/4000] Illustrated

1006

See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) p.196 for the identical example.

1007

Pair of American Arts and Crafts Courtier Sawn Oak Morris Chairs, early 20th century, attributed to L. & J. G. Stickley, each with an adjustable slat back with three steps, the open arms joined with through-tenons, each with upholstered seat and back cushions, h. 39‑3/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [900/1200] Illustrated

1008

Shearwater Pottery “Duck” Vase, second quarter 20th century, cast and glazed by Peter Anderson and decorated by Walter Inglis Anderson with ducks flying over waves, fully marked, accompanied by a document of certification from the Anderson family, h. 7‑1/2”, dia. 6‑3/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [5000/8000] Illustrated See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) p. 63 for the identical example. 1008

280


1009

Shearwater Pottery Reticulated Rose Bowl, 1930s, thrown and bronze-glazed by Peter Anderson, carved by James McConnell “Mac” Anderson, fully marked and bearing a sticker dated 1992 referencing an interview held at Shearwater Pottery with Marjorie Anderson Ashley and James McConnell Anderson, age 85, verifying that the reticulation and glaze were done by him in the 1930s and that his brother Peter Anderson had thrown the bowl, h. 4‑1/4”, dia. 8”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [1500/2500] Illustrated See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) p. 103 for similar examples.

1010

Shearwater Pottery “Flying Birds and Waves” Vase, ca. 1955, decorated by Walter Inglis Anderson and jiggered probably by Peter Anderson, accompanied by a certification document from the Anderson family, unsigned, h. 8‑1/4”, dia. 5‑1/2”. Provenance: The Estate of Marguerite Knobloch, Mary Plantation, Braithwaite, Louisiana. [1500/2500] Illustrated

1011

Shearwater Pottery Vase, mid-20th century, thrown by Peter Anderson and decorated by Walter Inglis Anderson with carved and polychrome swirls, unsigned, h. 6”, dia. 4‑1/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [1000/1500] Illustrated

1009

1010

1011

281


1013 1012

1012

Shearwater Pottery “Lizards” Vase, mid-20th century, thrown by Peter Anderson and decorated by Walter Inglis Anderson with lizards amid swirling foliage, fully marked, h. 10”, dia. 6‑1/2”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [3000/5000] Illustrated

1013

Shearwater Pottery “Calla Lily” Vase, second quarter 20th century, thrown by Peter Anderson and decorated by Walter Inglis Anderson with calla lilies, fully marked and accompanied by a document of certification from the Anderson family, h. 8‑1/4”, dia. 5‑1/2”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [2500/4000] Illustrated See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) p. 91 for the identical example.

1014

Large Shearwater Pottery “Sea, Earth and Sky” Vase, ca. 1945, cast and glazed with blue-over-brown by Peter Anderson and carved by Walter Inglis Anderson, fully marked and accompanied by a document of certification from the Anderson family along with an exhibition tag from the American Art Pottery Association, h. 11‑1/2”, dia. 7‑1/2”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [2500/4000] Illustrated See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005), for several variations of this design.

1014

282


1015

Shearwater Pottery “Tennis” Vase, second quarter 20th century, cast and glazed by Peter Anderson, the carved decoration by Walter Inglis Anderson, fully marked and accompanied by a document of certification from the Anderson family, h. 9‑1/4”, dia. 7”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [4000/7000] Illustrated See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) p. 65 for a similar example.

1016

Shearwater Pottery “Waves and Fish” Vase, second quarter 20th century, thrown and double-glazed by Peter Anderson with carved decoration by James McConnell “Mac” Anderson, fully marked, h. 7‑3/4”, dia. 6‑1/2”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [2000/4000] Illustrated See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) p.102 for the identical example.

1017

Shearwater Pottery “Fish” Vase, 20th century, cast and glazed by Peter Anderson, carved design by James McConnell “Mac” Anderson, fully marked and accompanied by a document of certification from the Anderson family, h. 7‑1/2”, dia. 7‑1/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [3500/5000] Illustrated

1015

See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) p. 96 for a similar example.

1017

1016

283


1018

1018

Large Shearwater Pottery “Cubist Cat”, second quarter 20th century, cast and glazed by Peter Anderson, designed by Walter Inglis Anderson, fully signed, h. 9”, w. 13‑3/4”. Provenance: Estate of Eliza Ellerd, White Bear Lake, Minnesota. [500/800] Illustrated

1019

Shearwater Pottery “Chesty Horse”, mid-20th century, cast and glazed by Peter Anderson, designed by Walter Inglis Anderson, unsigned, h. 13‑1/4”, w. 12‑1/4”. Provenance: Estate of Eliza Ellerd, White Bear Lake, Minnesota. [1200/1800] Illustrated

1019

284


1020

Pair of Neo-Grec Bronze and Marble Lamps, fourth quarter 19th century, cast by Ferdinand Barbedienne (French, 1810‑1892), after a design by Ferdinand Levillain (French, 1837‑1905), the two-light lamps on red griotte marble bases, the bronze hydria-form urns patinated with gilt accents to bas-relief decoration, with pairs of centurions driving horse carts, masques of Bacchus with grapevines, cupid with a lion, and a masque of Medusa, with original wick raisers and pierced throats, now electrified, h. 24”, dia. 6‑1/2”. [700/1000] Illustrated

1021

American Neo-Renaissance Mahogany Easel, late 19th century, the adjustable tray with carved laurel swags on a foliate-carved top bracket, the paneled stiles with leaf-carved finials and joined to feet with dolphin-carved brackets, h. 83”, w. 26”, d. 24”. [1000/1500] Illustrated

1022

Mary Lizzie Macomber (American/Massachusetts, 1861‑1916), “Contemplation”, oil on canvas, signed with “M. L. Macomber/Studio” stamp lower left, 20” x 16”. Framed. [1000/1500] Illustrated Mary Lizzie Macomber was an allegorical and genre painter who created works in a style reminiscent of the British PreRaphaelites. A native of Fall River, Massachusetts, she studied with Robert S. Dunning (1829‑1905) and Frank Duveneck (1848‑1919), and briefly attended the School of the Boston Museum of Fine Arts, before opening her own successful studio in Boston. Employing a deep, rich color palette and utilizing a stark contrast between light and shadow, her subjects, almost exclusively women, boldly encompass the canvas. As evidenced by the portrait presented here, this technique creates an emotionally compelling work which engages the viewer. Macomber exhibited widely during her life, including at the Pennsylvania Academy of Art, Boston Museum of Fine Arts, Carnegie Institute, and the National Academy of Design, and was the recipient of numerous awards. Reference: American Art Annual. M. Knoedler & Co. : New York, 1916.

1020

1021

1022

285


1026

1024

1023 1025

1023

Unusual American Aesthetic Movement Ebonized and Brass-Mounted Pedestal, fourth quarter 19th century, the circular top supported by three carved storks and mounted to a circular base with embossed brass banding, h. 38”, dia. 15”. [800/1200] Illustrated

1024

Monumental Artist-Signed Roseville “Rozane” Vase, ca. 1901‑1918, Ohio, painted with chrysanthemums, artistsigned “B. Mallet” for Blanche Mallet, and marked with an impressed “Rozane, 832, RP Co.”, on the base, h. 20‑1/2”, w. 14”, d. 7‑1/2”. [500/800] Illustrated

286

1025

American Giltwood Mirror, fourth quarter 19th century, the cove-molded inner edge with reed turning, the cove decorated with molded acanthus and the outside edge with molded roses and leaves on a stippled ground, 58‑1/4” x 42”. [600/900] Illustrated

1026

French Patinated Bronze of “Taureau et Ours”, 20th century, after Isidore Jules Bonheur (French, 1827‑1901), on a black marble plinth, h. 9‑1/2”, w. 16‑1/4”, d. 7‑1/2”. [800/1200] Illustrated


1029

Tiffany Leaded Glass Table Lamp in the “Geometric” Pattern on a Weller Coppertone Base, early 20th century, the 16” diameter green glass shade marked “Tiffany Studios New York 1436”, joined by a patinated brass and bronze support with two Hubbell lamp sockets, the flaring pottery base in complimentary decor, the underside marked “Weller Hand Made B”, h. 22‑1/4”, dia. 16”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [6000/9000] Illustrated

1030

Anglo-Indian Bamboo, Seagrass and Marble-Top Cabinet, mid-19th century, the superstructure with an arrangement of floral tiles, the rectangular marble top above a central cupboard with open storage areas to either side, raised on splayed bamboo feet, h. 43”, w. 30”, d. 17‑1/2”. [500/800]

1027 one of a pair

1027

Pair of American Eastlake Victorian Giltwood Mantel Mirrors, fourth quarter 19th century, each with a spindle gallery crest and molded flowers, the frame sides with inset reeded panels and columns, h. 79”, w. 63”. Provenance: Lower Garden District, New Orleans, Louisiana. [1500/2500] Illustrated

1028

American Brilliant Period Cut Glass Table Lamp, first quarter 20th century, on a tapered standard leading to a wide base with a mushroom-form shade, cut with flowers, hobstars, Russian banding and stepped cutting, hung with prisms, h. 26”, dia. 10‑1/2”. [500/800]

1029

287


1032

1031

1033

1031

American Late Victorian Mahogany Extension Dining Table, fourth quarter 19th century, the top with a gadrooned edge and mounted to a split-pedestal base with four outstretched animal legs having acanthus-leaf-carved knees and large paw feet, the top opening to accommodate seven 15” skirted leaves, h. 30”, w. 54”, l. 54”, extended l. 159”. [2000/4000] Illustrated

1032

Unusual French Beaux-Arts Silvered Bronze and Opaline Glass Eight-Light Chandelier, second quarter 20th century, the hexagonal base with oval opaline-backed panels framed with cornucopia, flanked by rectangular opaline-backed panels decorated with baskets of fruits, all concealing eight light sockets, supported on rod-form “chains” meeting the spherical chain holder set with four downturned arms set with light sockets, h. 50‑1/4”, w. 24”, d. 16‑1/2”. [1000/1500] Illustrated

288

1033

American Eastlake Victorian Giltwood Pier Mirror, fourth quarter 19th century, with a floral-embossed crest with a spindle gallery, the frame sides with reeded panels and a plinthform base to accommodate a marble deck, h. 150”, w. 34”, d. 14”. Provenance: Lower Garden District, New Orleans, Louisiana. [1000/1500] Illustrated

1034

Suite of Eight American Late Victorian Oak Dining Chairs, fourth quarter 19th century, each with a carved broken-arch crest with gargoyle-carved ears, raised on bobbin-turned legs, comprised of six sidechairs, h. 44‑1/2”, and two armchairs, h. 47”. [1200/1800] Illustrated


1036 1035

Victorian Aesthetic Movement Tile-Mounted Jardiniere, fourth quarter 19th century, with a rectilinear tole liner set in a box mounted with enameled tiles, each labeled “Mintons China Works Stoke-on-Trent, Made in England”, on tapering turned legs joined by an H-form stretcher, h. 39”, w. 44”, d. 20”. [600/900] Illustrated

William H. Vanderbilt (1821‑1885) and Edward Strahan (b. Earl Shinn, 1837‑1886), Mr. Vanderbilt’s House and Collection. The Holland Edition. New York, Boston and Philadelphia: George Barrie, 1883‑84, 10 volumes, numbered 604/1000, this edition number for Amalia Von Platen Grossman, blue paper-covered boards, 19‑1/4” x 13‑3/4”. [700/1000] Illustrated Amalia von Platen-Taylor Grossmann was a member of a socially prominent and wealthy family of German descent. Receiving a rigorous and thorough education at home, she briefly attended convent schools in Denmark and Germany. In 1885, von Platen married George Paul Albrecht Grossmann, a Silesian-born military officer and doctor. The couple resided in Omaha, Nebraska for many years. References: Savage, James W. and Bell, John T. History of the City of Omaha, Nebraska. Munsell & Company: New York, 1894.

1037

American Aesthetic Movement Giltwood Pedestal/Plant Stand, late 19th/early 20th century, the figured onyx top over a frieze mounted with leonine masques, on fluted legs joined by arched brackets, an upholstered low shelf and carved paw feet, h. 37‑3/4”, w. 14‑1/4”, d. 14‑1/4”. [500/800] Illustrated

1035

1036

1034

289


1038

Pair of Monumental French Bronze Eight-Light Sconces in the Aesthetic Taste, fourth quarter 19th century, on scrolled backplates decorated with incising, set with figures of winged Nike, supported by scrollwork and set with leaf-molded candle branches terminating with drip pans pierced in a fan pattern and pierced candle cups with reeded bases, h. 28‑3/4”, w. 26‑1/2”, d. 20”. [1500/2500] Illustrated

1039

American Late Victorian Marquetry-Inlaid Carlton House Desk, ca. 1900, probably manufactured by R. J. Horner, New York, the top section with a recessed band having a central document cabinet flanked by two drawers on each side and curved lift-lid letter boxes at each end, the kidney-form base fitted with five drawers and raised on tapering square legs, h. 37‑1/2”, w, 42”, d. 25‑1/2”. [700/1000] Illustrated

1040

1040

French Gilt-Metal and Art Glass Five-Light Chandelier, second quarter 19th century, the strapwork frame set with leaf-molded shade holders on scrolled supports, with molded leaves forming the upper and lower finials, set with a central enameled metal pot of flowers, and Schneider orange and mauve trumpet-form art glass shades signed “Le Verre Francais”, with a Croix de Lorraine, h. 25”, dia. 18”. [2500/4000] Illustrated 1038

1039 1037

290


1041

American Pine and Turned Maple FauxBamboo Armoire, in the Aesthetic taste, ca. 1900, fitted with a single mirrored door and drawer below, a broken pediment crest and the interior with two shelves, h. 92‑1/2”, w. 39”, d. 17”. [500/800] Illustrated

1042

Large Contemporary Stained and Leaded Glass Floor Lamp, in the style of Louis Comfort Tiffany, the leaded shade in the “Poinsettia” pattern and mounted to a tall patinated bronze base fitted with six electric sockets, h. 78”, dia. 26”. [1500/2500] Illustrated

1042

1041

291


1043

Edward Sheriff Curtis (American, 1868‑1952), “The Vanishing Race”, 1904, vintage orotone photograph, signed in the negative, 11” x 14”. Presented in the original studio frame. [3000/5000] Illustrated The passing of every old man or woman means the passing of some tradition, some knowledge of sacred rites possessed by no other...EDWARD SHERIFF CURTIS.

1044

Theodore Fonville Winans (American/Louisiana, 1911‑1992), “Tony and Tongs”, silver gelatin print, signed and dated 1939 lower right, 20” x 16”. Unframed. [1800/2400] Illustrated

1045

Theodore Fonville Winans (American/Louisiana, 1911‑1992), “Louisiana Derby, New Orleans Fairground”, silver gelatin print, signed and dated 1945 lower left, 16” x 20”. Matted. [2000/4000] Illustrated

Recognized today for his images of Native American life, Edward Curtis was an ethnological writer and photographer, intent on documenting cultures he feared would soon be extinct. His twenty-volume series, The North American Indian, funded by financier J. P. Morgan, took nearly twenty-five years to complete. Almost exhaustive in scope, it included over 1,500 images and a collection of essays culled from the information contained in the countless wax cylinder recordings Curtis made during his travels and interviews. The series is available online in its entirety via Northwestern University, Evanston, Illinois (http:// curtis.library.northwestern.edu/). The image presented here, “The Vanishing Race”, is one of his most wellknown images, and stands as a testament to Curtis’ intentions when he embarked on his life-long project: to create a visual recording of an endangered culture, people, and way of life.

1043

1044 1045

292


1046

Theodore Fonville Winans (American/Louisiana, 1911‑1992), “Ferry Landing, Baton Rouge”, silver gelatin print, signed and dated 1938 lower right, 16” x 20”. Matted. [1500/2500] Illustrated

1047

Herman Leonard (American, 1923‑2010), “Miles Davis, Malibu, 1989”, silver gelatin print, open edition, 2008, signed lower right, titled and dated lower left, sight 10‑5/8” x 10‑1/8”. Glazed, matted and framed. [1500/2500] Illustrated

1049

1046

1048

Herman Leonard (American, 1923‑2010), “Marilyn Monroe, Madison Square Gardens, Ringling Brothers and Barnum and Bailey Circus, 1953”, silver gelatin print, open edition, signed lower right, titled and dated lower left, sight 13‑1/4” x 10‑1/2”. Glazed, matted and framed. [800/1200] Illustrated

1049

Cindy Sherman (American, b. 1954), “Untitled - Madonna”, silver gelatin print, signed and inscribed “1975/97” en verso, sheet 10” x 8”, sight 7‑1/2” x 5‑1/2”. Glazed, matted and framed. [4000/7000] Illustrated

1048

1047

293


1050 three-piece suite

1051 group of three

1050

Three-Piece Suite of American Arts and Crafts Oak Seating Furniture, early 20th century, comprised of a settee and a pair of armchairs, each of pegged construction, with open shaped arms and low stretchers, now upholstered in brown leather, chair, h. 39”, settee, h. 39”, w. 57‑3/4”, d. 24‑1/2”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [1000/1500] Illustrated

294

1051

Group of Three American Arts and Crafts Oak Chairs, early 20th century, comprised of a Stickley Brothers rocking chair with a slat back and slatted sides, retaining its “Quaint” furniture label, h. 38‑1/4”, an armchair, probably by Harden, h. 35‑3/4”, and another rocking chair with through-tenons at the ends of the arms, h. 35‑1/4”, all now attractively upholstered with red leather seats. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [700/1000] Illustrated


1051A

Rare, Monumental George Ohr Art Pottery Vase, 1899, the mottled green and ochre ground decorated with applied vinery and branch work handles issuing from the diapered everted rim, the base marked with incised signature, date, “Pot R J-P Decoware” and stamped “G.E. Ohr”, h. 17”, w. 7”. Provenance: Gifted by the artist to his close friends in Abita Springs, Louisiana; thence by descent. [5000/8000] Illustrated

1052

Christopher Inglis Stebly (American/ Mississippi, b. 1967), “Lone Crab Blues” and “Baby Lion Fish”, two watercolors on paper, both signed and dated, respectively, “2000” and “1998” lower left, sight sizes: 11‑1/2” x 15‑3/4” and 11‑1/4” x 15‑1/2”, matted and framed alike; together with a Shearwater Pottery “Crab” Plate, 1994, jiggered by James Anderson and decorated by Christopher Inglis Anderson dia. 9‑1/4” (three total pieces). Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [1000/1500] Illustrated See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005), p. 176 for identical examples. 1051A

1052 one of three

1052 two of three

295


1053

Christopher Inglis Stebly (American/ Mississippi, b. 1967), “Rainbow Trout” and “Two Groupers”, two watercolors and pencil on paper, both signed and dated, respectively, “2000” and “1997” lower right, sight sizes: 11‑1/2” x 20‑3/4” and 10” x 13‑3/4”. Both matted and framed alike. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [1200/1800] Illustrated

1054

Christopher Inglis Stebly (American/ Mississippi, b. 1967), “Mississippi Woods”, 2001, oil on canvas, signed and dated lower left, 16” x 20”, together with a Shearwater Pottery “Pitcher Plant” Vase, 1995, thrown by James Anderson and decorated by Christopher Inglis Anderson, fully marked, h. 9‑1/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [1500/2500] Illustrated

1053 one of two

See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005), pp. 177 and 178 for identical examples.

1053 one of two

1054 one of two

296

1054 two of two


1055

James McConnell “Mac” Anderson (American/Louisiana, 1907‑1998), “Magnolias”, oil on board, signed and dated lower left “JMcCA 86”, 24” x 48”. Framed. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [3500/5000] Illustrated

1056

James McConnell “Mac” Anderson (American/Mississippi, 1907‑1998), “Pitcher Plants”, oil on board, signed and dated lower right “JMcCA 86”, 48” x 24”. Framed. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [3500/5000] Illustrated

1057

James McConnell “Mac” Anderson (American/Mississippi, 1907‑1998), “Great Egret”, oil on board, signed and dated lower right “JMcCA 94”, 24” x 16”. Framed. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [2500/4000] Illustrated See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005), p. 124 for an identical example.

1056

1057

1058

Shearwater Pottery “Marsh Scene” Vase, 1990, thrown by Peter Anderson and decorated by James McConnell “Mac” Anderson with coots among the marsh grasses, fully marked, h. 6”, dia. 3‑3/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [1500/2500] Illustrated See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) p. 119 for the identical example. 1055

1059

Shearwater Pottery “Merganser Duck” Bowl, 1991, thrown by Peter Anderson and decorated by James McConnell “Mac” Anderson, fully marked, h. 3”, dia. 7”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [800/1200] Illustrated See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) p.119 for the identical example.

1058

297


1060

James McConnell “Mac” Anderson (American/ Mississippi, 1907‑1998), “Street Scene”, oil on board, signed and dated lower right “JMcCA 94”, 16” x 24”. Framed. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [2500/4000] Illustrated See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005), p. 122 for an identical example.

1061

Shearwater Pottery “Street Scene” Flared Vase, 1992, cast by Peter Anderson and decorated by James McConnell “Mac” Anderson, fully marked, h. 8‑1/2”, dia. 5‑1/2”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [2000/4000] Illustrated See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) pp. 112 and 116‑119 for similar examples.

1062

Shearwater Pottery “Street Scene” Bowl, 1994, thrown by Peter Anderson and decorated by James McConnell “Mac” Anderson, fully marked, h. 4”, dia. 6”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [1200/1800] Illustrated

1061

See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) p.117 for a similar example.

1063

Large Shearwater Pottery “Street Scene” Bowl, 1989, thrown by Peter Anderson and decorated by James McConnell “Mac” Anderson, fully marked, h. 5‑1/2”, dia. 8‑1/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [1800/2500] Illustrated See Dod Stewart, Marjorie Anderson Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) pp. 112 and 116‑119 for similar examples.

1063

298

1060

1062


1066

Tiffany & Co. Sterling Silver Center Bowl, the pattern introduced in 1913, New York, New York, of hemispherical form with gadrooned lower half and ornate chased acanthus scroll band between rope-twist edging, raised on four robust acanthus scroll feet, h. 7‑1/2”, dia. 12”, 59.87 t. oz. [3500/5000] Illustrated

1067

Stylish Tiffany & Co. Sterling Silver Ewer-Form Vase, the pattern introduced in 1906, New York, New York, of tall, sleek baluster form, with waisted collar, integral spout and arched handle, all above a domed foot, monogrammed “LAS”, h. 20‑1/2”, dia. 4‑3/4”, 58.36 t. oz. [3000/5000] Illustrated

1064

1064

Shearwater Pottery “Rooftops” Jardiniere, mid-20th century, jiggered by Peter Anderson and decorated by James McConnell “Mac” Anderson, fully marked on the unglazed bottom, h. 5‑3/4”, dia. 6‑3/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [1800/2500] Illustrated 1066

1065

Near Pair of Tiffany & Co. Sterling Silver Platters, first quarter 20th century, New York, New York, each of convex square form with serpentine-canted corners, with floral ribboned rim, one additionally with acanthus scroll spandrels, monogrammed “CLM”, w. 13”, 65.22 total t. oz. [900/1200] Illustrated

1065

1067

299


1068

Tiffany & Co. Sterling Silver Welland-Tree Platter, first quarter 20th century, New York, New York, of oval form with molded, reeded rim and four threaded bracket feet, monogrammed “HBW”, l. 20”, w. 14‑1/4”, 61.27 t. oz. [1800/2500] Illustrated

1069

Sixty-Eight-Piece Set of Tiffany & Co. “Windham” Sterling Silver Flatware, the pattern designed in 1923 by Arthur Leroy Barney (1884‑1955), comprising eight five-piece place settings, with an additional fifteen assorted place pieces and five serving pieces, no monograms, 113.71 total t. oz. (weighable silver), presented in a fitted, burgundy baizelined wood case retailed by Coleman E. Adler, New Orleans, 16” x 11‑1/2” x 3‑1/2”. Detailed list of pieces available on request. [2500/4000] Illustrated

1070

Tiffany & Co. Sterling Silver Platter, third quarter 20th century, New York, New York, of circular form, with molded rim, dia. 14”, 32.54 t. oz. [500/800] Illustrated

1069

1069 detail

1070

1068

300


1072

1073 detail

1071 detail

1073 detail

1071

Twelve Tiffany & Co. “Hampton” Sterling Silver Serving Pieces, the pattern designed in 1934 by Charles Byron Blake (1880‑1963), New York, New York, including three tablespoons, a slotted tablespoon, two tomato servers, a serving fork, two preserve spoons, two sugar spoons and a pickle/olive fork, l. 5‑3/4” to 8‑3/4”, 32.63 total t. oz. [600/900] Illustrated

1072

Tiffany & Co. Sterling Silver Sweetmeat Dish, third quarter 20th century, in the form of three stylized ivy leaves joined at the stem around a heart-shaped ring handle, h. 2‑1/4”, w. 10‑1/4”, 11.35 t. oz. [500/800] Illustrated

1073

Twenty-One Reed & Barton “Francis I” Sterling Silver Serving Pieces, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including two jelly spoons, three sauce ladles, poultry shears, a cake break, a three-piece youth set and eleven other pieces, no monograms (but for one piece), 26.43 total t. oz. (weighable silver). Detailed list of pieces available on request. [500/800] Illustrated

301


1075 detail 1074

1076

1074

Good One Hundred and Thirteen-Piece Set of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, this set with the older “eagle-R-lion” trademark, complete in dinner and lunch sizes for twelve persons, with an additional ten teaspoons and seven serving pieces, no monograms, 153.43 total t. oz. (weighable silver), presented in a fitted, royal blue velvet- and cream satin-lined wood case with lift top and single drawer, 7” x 17‑3/4” x 12”. Detailed list of pieces available on request. [3000/5000] Illustrated

1075

Fifty-Three Pieces of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, comprising twelve citrus spoons, l. 5‑3/4”, twelve ice cream forks, l. 5‑1/4”, twelve seafood/cocktail forks, l. 5‑1/2”, twelve iced tea spoons, l. 7‑5/8”, and five teaspoons, l. 5‑7/8”, 53.34 total t. oz. [600/900] Illustrated

302

1077 detail

1076

Set of Four Reed & Barton “Francis I” Sterling Silver Medium Bowls, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 8”, 39.11 total t. oz. [1000/1500] Illustrated

1077

Thirty-Eight-Piece Set of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, comprising eight four-piece place settings and six serving pieces, 27 pieces monogrammed “ESF”, 60.35 total t. oz. (weighable silver). Detailed list of pieces available on request. [900/1200] Illustrated


1078

1079

1078

Molly (Burroughs) Luce (American/Rhode Island, 1896‑1986), “Market at Night, Belmont”, ca. 1930, oil on canvas, unsigned, verso board inscribed with artist name, title and date, verso with two “Virginia Lynch Gallery” labels, 22” x 28”. Framed. Provenance: Collection of Virginia Lynch, Tiverton, Rhode Island. [4000/7000] Illustrated

1079

Molly (Burroughs) Luce (American/Rhode Island, 1896‑1986), “Self-Portrait in Red”, oil on linen, unsigned, verso with a “Virginia Lynch Gallery” label, 20” x 16”. Framed. Provenance: Collection of Virginia Lynch, Tiverton, Rhode Island. [1800/2500] Illustrated

1080

1080

Molly (Burroughs) Luce (American/Rhode Island, 1896‑1986), “Luna Moth”, 1969, oil on board, signed and dated lower right, 20” x 16”. Framed. Provenance: Collection of Virginia Lynch, Tiverton, Rhode Island. [3000/5000] Illustrated

1081

Dean Richardson (American, b. 1931), “Worm” (Father Crazy Horse), 1986, oil on canvas, monogrammed and dated lower right, signed, titled and dated en verso canvas, verso with two gallery labels, 20” x 16”. Framed. Collection of Virginia Lynch, Tiverton, Rhode Island. [1500/2500]

303


1082

Suite of Eight Queen Anne-Style Mahogany Dining Chairs, by Frank Livaudais, New Orleans, consisting of two armchairs and six sidechairs, each with a shell-centered crest over a baluster-form splat, the padded seat raised on cabriole legs headed by shell carving and ending in pad feet, with custom slip covers, h. 43”. [1000/1500] Illustrated

1083

George III-Style Mahogany Dining Table, by Frank Livaudais, New Orleans, the D-end top raised on two ring-turned graduated standards to three splayed legs ending in pad feet, h. 30‑1/4”, w. 52”, l. 72”, extended l. 108”. [1000/1500] Illustrated

1083

1084

American Chippendale Cherrywood Secretary Bookcase, 18th century, in two parts, the upper section with a broken-arch pediment over a pair of “mullioned” doors, the base with a slant lid opening to reveal a fitted interior, and a graduated bank of four drawers below, on bracket feet, the doors of pegged construction, reduced in width in the 19th century, h. 82”, w. 34‑1/2”, d. 18”. [1000/1500] Illustrated

1082

1085

1085

Wood, Cloth and Metal Model of the HMS Prince, 20th century, American or British, the realistic model of a three-masted galleon in the British fleet, launched in 1670, with a canon in the gun ports, and a carved stern board, decorated with a royal crest, on a custom stand, h. 36‑1/2”, w. 38”, d. 8”. [600/1000] Illustrated 1084

304


1088 one of a pair

1088 two of a pair

1089

1087

1086

1086

Vernacular American Cherrywood Corner Cupboard, 19th century, of one-piece construction with a molded cornice over a pair of glazed doors, with shelves and doors below, on bracket feet, h. 86”, w. 42”, d. 16”. [800/1200] Illustrated

1087

Pennsylvania Chippendale Walnut Secretary Bookcase, 18th century and later, the broken-arch pediment with carved rosettes and a brass eagle finial above the bookcase top with tombstone doors and shell-carved panels, the slant-lid base with a fitted interior and four graduated drawers below, raised on ogee bracket feet, h. 105”, w. 43”, d. 22‑1/2”. [2000/4000] Illustrated

1088

Pair of Baldwin Brass Fifteen-Light Chandeliers of Baroque Inspiration, 20th century, American, the hexagonal standards set with paneled scrolled candle arms on two levels, on a vasiform chain holder, h. 22”, dia. 47”. [1500/2500] Illustrated

1089

American Queen Anne Walnut Pin-Top Tavern Table, mid18th century, the removable top with under-battens mounted to the base, with two side-by-side drawers and raised on Queen Anne legs ending in pad feet, h. 30”, w. 53”, d. 31”. [500/800] Illustrated

305


1090

Three Pieces of Brass Fireplace Equipment, 19th/20th century, including a pair of Continental Baroque-style andirons decorated with ring-mounted lion’s head and ball finials, h. 28”, w. 10”, d. 17‑1/2”, a pair of American Empire-style urn-form andirons, h. 21”, w. 17‑1/2”, d. 11‑1/2”, and a pierced Regency fender decorated with roundels on molded feet, h. 12”, w. 47‑1/2”, d. 17” (five total pieces). [500/800]

1093

American Queen Anne Walnut Dressing Table, second quarter 18th century, New England, the lowboy with a band of three drawers, the central drawer fan-carved, raised on cabriole legs on pad feet, h. 30‑1/2”, w. 38”, d. 22”. [500/800] Illustrated

1091

“Course of the Mississippi River from the Balise to Fort Chartres; Taken on an Expedition to the Illinois, in the Latter End of the Year 1765”, by Lieutenant Ross, handcolored engraved map, published by Robert Sayer, London, 1 June 1775, plate 44” x 14”, sight 44‑1/2” x 14‑3/4”. Glazed, matted and framed. [1500/2500] Illustrated

1092

Two American Federal Mahogany Pembroke Tables, late 18th/early 19th century, in the Hepplewhite taste, one with the top flanked by drop leaves, the apron fitted with a drawer retaining its period brass bail pull with embossed oval backplate, and raised on tapering legs joined by an X-form stretcher, h. 28”, w. 18‑1/2”, d. 30‑1/2”, extended w. 27‑3/4”, the other table from New York, with drop leaves, square legs and an X-form stretcher, h. 29‑1/2”, w. 19”, d. 30”, extended w. 30”. [500/800]

1091

1093

306


1094

Two American Colonial Cherrywood Tilt-Top Tables in the Queen Anne Taste, 18th century, the larger example a Pennsylvania table, h. 28‑1/2”, dia. 33‑3/4”, and the smaller example from New England, h. 27‑1/2”, dia. 32”, each with a circular top on a baluster column, joined to a tripodal base with cabriole legs, the larger table with a birdcage support. [700/1000] Illustrated

1095

Two American Cherry Tripodal Stands, ca. 1800, New England, one example with an oval tilt top on a cigar-form column, h. 28‑1/2”, w. 24‑1/4”, d. 17‑1/2”, the other with a shaped top on a baluster-form column, h. 26‑3/4”, w. 18”, d. 16‑3/4”. [500/800]

1096

Rigobert Bonne (French, 1727‑1794), “Carte de la Louisiane et de la Floride”, black and white engraving on laid paper, sight 13‑3/8” x 9”. Glazed, matted and framed. [1000/1500] Illustrated

1097

1098

American Hepplewhite-Style Cherrywood Dining Table, early 20th century, of swing-leg form, having two drop leaves and the center section opening to accommodate three 12” leaves, h. 29‑1/2”, w. 42”, l. 65”, extended l. 101”. [800/1200] Illustrated

1099

Two Southern Vernacular Work Tables, mid-19th century, one in cherrywood with a square tapered leg and mortised joints, h. 29‑1/2”, w. 25‑1/2”, d. 20‑/2”, and the other in cherry and maple with a square tapered leg and fitted with a drawer, h. 29”, w. 28”, d. 17‑1/2”. [500/800]

1100

Two Southern Vernacular Work Tables, mid-19th century, one cherry and stained poplar with a tapering turned leg and fitted with a drawer, h. 28”, w. 29‑1/2”, d. 21”, and the other in walnut with a turned leg and fitted with a drawer, h. 29”, w. 26”, d. 16”. [500/800]

Vernacular American Sheraton Cherry Chest on Legs, second quarter 19th century, the lift-top opening to reveal a large well, raised on turned legs with ball feet, of pegged construction, h. 33‑3/4”, w. 39”, d. 18‑1/2”. [500/800] Illustrated

1094

1096

1097

1098

307


1101

1104

1102

1103

1101

Baldwin Brass Ten-Light Chandelier of Dutch Inspiration, 20th century, American, the turned standard set with complex scrolled and pierced candle arms terminating in reeded drip pans, h. 27‑1/2”, dia. 39”. [800/1200] Illustrated

1102

American Line-Strung Cherry Slant-Lid Desk, ca. 1800, New England, the outer edges of the case with barber-pole stringing, the slant lid opening to reveal a compartmented interior with a central arched door flanked by fluted and shallow drawers, over a pair of drawers and a bank of three drawers, all with beaded perimeter banding, on bracket feet, h. 42‑1/4”, w. 37”, d. 20”. [800/1200] Illustrated

308

1103

Vernacular American Cherry Corner Cupboard, second quarter 19th century, in two parts, the upper section with a cyma-molded cornice over a pair of arched mullioned doors, the base with a pair of drawers, over a pair of paneled doors, with scalloped apron and bracket feet, h. 85”, w. 56”, d. 20‑1/2”. [1500/2500] Illustrated

1104

American Fan-Back Windsor Armchair, first quarter 19th century, probably Nantucket, the concave crest rail with scroll ends, and joined to tapering stiles and open arms, a dished plank seat and turned legs joined by box stretchers, retaining old black paint, h. 41‑1/2”. [1500/2500] Illustrated


1105

Two American Federal Line-Strung and Cross-Banded Figured Birch Card Tables, in the Hepplewhite taste, one ca. 1800, New England, the other a 20th-century reproduction, the former table with a gently bowed front fold-over top, supported by a fly leg, the conforming apron with inlaid stringing and banded perimeter, raised on line-inlaid tapered legs, the latter table carved to match, branded “J. Edward Elliston Builder”, h. 28‑1/4”, w. 35‑7/8”, l. 16‑5/8”, extended l. 33‑1/4”. [800/1200] Illustrated

1107

Inlaid Mahogany Tall Case Clock, ca. 1800, Southern Coastal, with an urn-inlaid base and a patera-inlaid door, the mahogany hood with yellow pine secondary, and a swan’s neck pediment, the associated Scottish works labeled by David Duffus, the painted tin dial with a chinoiseriedecorated lunette, with a gilt fret on Pompeian red-ground spandrels, the pendulum bob decorated with a painted shell surrounded by black and gilt leaves, the backboard composed of cypress, h. 86‑1/2”, w. 19‑1/2”, d. 9‑1/2”. Provenance: Purchased by the consignor from Didier Inc, New Orleans, Louisiana. [700/1000] Illustrated

1106

American Federal-Style Mahogany Birch and Pine Tester Bed, with arched canopy, reeded and foliate-carved footposts, tapering turned posts and arched singleboard headboard, h. 83”, inside, w. 53‑3/4”, l. 77‑1/4”, outside, w. 60”, l. 81”. Provenance: Acquired by the consignor from Didier Inc., New Orleans, Louisiana. [1000/1500] Illustrated

1105

1106

1107

309


1108

1110

Colonial Revival Giltwood Tabernacle Mirror, first quarter 20th century, framed with giltwood pilasters terminating with acanthus leaves, the crest set with giltwood spherules over a black-ground tablet, decorated with an American giltwood eagle and scattered giltwood stars, h. 38”, w. 25‑1/4”. [500/800] Illustrated

American Federal Inlaid Cherry Games Table, ca. 1800, New England, in the Hepplewhite taste, the gently bowed foldover top supported by a fly leg, the conforming frieze with inlaid figural mahogany panels on inlaid tapering square legs, h. 28”, w. 35‑3/8”, d. 17‑1/4”, extended l. 34‑1/2”. [500/800]

1109

Suite of Eight Federal-Style Mahogany Dining Chairs in the Hepplewhite Taste, seven sidechairs and a similar armchair, each with a shell-form back with fan inlay at the base, serpentine seat, and tapered legs joined by box stretchers, h. 38‑3/4”. These are bench-made copies of original chairs by Stone & Alexander, Boston, ca. 1790‑1795, see Montgomery, American Furniture of the Federal Period, plate 31, pp. 86‑87. [500/800] Illustrated

1110

1108

1109

310


1111

Johann Berthelsen (American, 1883‑1972), “5th Avenue and 60th Street”, ca. 1950, oil on artist’s canvas panel, signed lower right, titled and signed en verso by the artist, and with a reproduction rights stamp, 10” x 8”. Presented in a period polychrome frame. [5000/8000] Illustrated This painting has been authenticated by Lee A. Berthelsen, the son of the artist.

311


1112

1112

Emile Albert Gruppe (American, 1896‑1978), “Winter - Pennsylvania Hills”, oil on canvas, signed lower right, titled en verso stretcher, 30” x 36”. Presented in an Arts and Crafts-style frame. [10000/15000] Illustrated

1113

Wolf Kahn (American/New York, b. 1927), “Mooring, Maine”, 2001, pastel on paper, signed lower right, verso with “Virginia Lynch Gallery” label, sight 13‑3/4” x 16‑1/4”. Matted, glazed and framed. Provenance: Collection of Virginia Lynch, Tiverton, Rhode Island. [2000/4000] Illustrated

1113

312


1114

Charles Michel (Belgian, 1874‑1967), “Elegante”, oil on canvas, signed lower right, 48” x 37‑1/2”. Presented in a Heydenryk giltwood frame. Provenance: Christie’s Amsterdam, September 1, 2004, as lot 266. [3000/5000] Illustrated

1115

Howard Logan Hildebrandt (American, 1872‑1958), “Mother and Daughters”, oil on canvas, signed lower right, inscribed on the stretcher “Painted by Howard Logan Hildebrandt / From the Estate Sale”, 38” x 36”. Framed. [3500/5000] Illustrated

1116

Jane Peterson (American, 1876‑1965), “Still Life with Flowers in a Chinese Vase and Porcelain Objects”, watercolor on paper, signed lower left, sight 22” x 28”. Matted and framed. [2500/4000] Illustrated

1114

1117

Eliot Gregory (American/New York, 1854‑1915), “SelfPortrait at Easel”, 1890, oil on canvas, signed and dated upper right, 49” x 36”. In a giltwood frame. Provenance: Weschler’s Auctioneers, April 16, 2005, as lot 602. [2500/4000] Illustrated

1115

1116

1117

313


1118

Augustus Koopman (American, 1869‑1914), “Women in Marketplace, Etaples, France”, oil on canvas, signed lower left, 18” x 15”. Framed. Exhibited: Isaac Delgado Museum of Art, New Orleans, Louisiana, May 1‑30, 1912. [1000/1500] Illustrated

1120

M. DeForest Bolmer (American/New York, 1854‑1910), “Storm Clouds Over the Marsh”, oil on canvas, signed lower right, 23‑1/2” x 39‑1/2”. Framed. [1000/1500] Illustrated

1119

Maria R. Dixon (American, 19th Century), “Knitting by the Light of the Window”, oil on canvas, signed lower right, 24” x 20”. Presented in a giltwood and gesso exhibition frame. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [1200/1800] Illustrated

1119

1118

1120

314


1121

Charles Abel Corwin (American, 1858‑1938), “Autumn Landscape”, oil on canvas, signed lower left, 24” x 36‑1/4”. Framed. [3500/5000] Illustrated

1122

Paul Dougherty (American, 1877‑1947), “Still Life of Sweet Peas in a Blue Vase”, oil on canvas, signed lower left, bearing a title on stretcher, verso with “Christie’s East” label, 17‑1/2” x 13‑1/2”. Framed. [1500/2500] Illustrated

1122

1121

315


1123

Persian Bidjar Runner, 3’ 4” x 10’ 6”. [600/900] Illustrated

1124

Semi-Antique Shirvan Carpet, 3’ 9” x 7’ 6”. [500/800] Illustrated

1125

Turkish Angora Oushak Runner, 2’ 6” x 29’ 10”. [700/1000] Illustrated

1123

1124

1125

316


1126

Turkish Angora Oushak Carpet, 11’ 8” x 18’. [1800/2500] Illustrated

1127

Peshawar Sultanabad Carpet, 12’ 8” x 15’ 3”. [1000/1500] Illustrated

1128

Bamboo Silk Carpet, 8’ x 9’ 8”. [1200/1800]

1129

Kerman Carpet, 12’ 10” x 23’. [1200/1800] Illustrated

1130

Turkish Angora Oushak Carpet, 8’ 2” x 9’ 9”. [800/1200]

1131

Antique Tabriz Carpet, 7’ 4” x 10’ 4”. [3000/5000] Illustrated

1126

1129

1127

1131

317


1134

1132

Bamboo Silk Carpet, 8’ x 9’ 10”. [1200/1800] Illustrated

English Needlepoint Carpet, 9’ 10” x 12’ 5”. [800/1200] Illustrated

1135

Bokhara Carpet, 7’ 3” x 10’ 1”. [600/900] Illustrated

1133

Persian Runner, 3’ 11” x 7’ 8”. [500/800]

1134

1132

1135

318


1136

Antique Persian Kerman Carpet, 8’ 9” x 12’ 2”. [2500/4000] Illustrated

1137

Semi-Antique Mahal Carpet, 10’ 3” x 13’ 1”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [2000/4000] Illustrated

1138

Antique Yahyali Prayer Rug, 3’ 6” x 6’ 1”. [600/900] Illustrated

1136

1138

1137

319


INDEX OF ARTISTS

D E C E M B E R 1 0 - 11 , 2 0 1 6

Alther, William 344

Dranga, Helen Thomas 103

Anderson, James McConnell “Mac� 1055, 1056, 1057, 1060

Drysdale, Alexander John 947, 948, 949

Apt, Charles 148

Duchoiselle (after) 977

Aspevig, Clyde 345

Duncan, Laurence 519

Audubon, John James (after) 857, 858, 859, 860, 861, 862, 863

Dureau, George Valentine 1005

Bachmann, Max (after) 976

Farruggio, Remo 104

Bartholome, Albert (after) 106

Franco, Bolivar Mena 143, 144

Basset, Louis 213

French School 522

Baxter, Elijah 987

Garland, Henry 361

Beck, Rosemarie 146

Garreau, Georges Raoul (after) 233

Belgian School 602

Gatteaux, Jacques-Edouard 267

Berkes, Antal 35, 37

Glendening, Alfred Augustus, Jr. 207

Berthelsen, Johann 1111

Glendening, Alfred Augustus, Sr. 359

Binazzi, Gabriella 112

Godchaux, Alfred Emile 63

Boisseau, Alfred 922

Gregory, Eliot 1117

Bolmer, M. DeForest 1120

Gruppe, Emile Albert 1112

Bonheur, Isidore Jules (after) 1026

Guidry, Louise 998, 999, 1000

Bonne, Rigobert 1096

Guillaume, Pierre 102

Boogaard, Willem Jacobus 21

Hagerbaumer, David 340

Booth, Herb 339

Hall, Susan 101

Boucher, Alfred (after) 135

Hamilton, Gavin (after) 85

Briggs, Lamar 996

Harvey, Gerald 342

British School 88, 545

Hayes, David 139, 140, 141, 142

Brodsky, Stan 995

Herberte, Edward Benjamin 93

Buford, Claude-Marie 248

Heytman, Willem 214, 215

Carroll, John 150

Hildebrandt, Howard Logan 1115

Casselli, Henry 954

Hollywood, William 343

Castleden, George Frederick 953

Hull, Marie Atkinson 955

Coleman, William Stephen 212

Hulme, Frederick William 360

Connell, Clyde 136, 137, 138

Hunter, Clementine 960

Continental School 4, 90, 177, 187, 376, 918, 937

Jacoulet, Paul 223

Corwin, Charles Abel 1121

Kahn, Wolf 1113

Cuevas, Jorge Luis 124

Kalman, Kiss 41

Cundin, Jose Maria 962, 963, 964, 965

Karssen, Anton Nicolaas Marie 92

Curtis, Edward Sheriff 1043

Kelly, Mary Kirk 9, 10, 11, 12, 13, 14, 15, 16, 17, 18

De Hooch, Pieter (follower) 170

King, Gordon 91

De Juan, Ronaldo 997

Kluge, Constantin 446

De St. Laurent, C. F. 588

Kohlmeyer, Ida Rittenberg 992, 993

Diederich, William Hunt (attributed) 222

Koopman, Augustus 1118

Dixon, Maria R. 1119

Lapchine, Georges 431

Dougherty, Paul 1122

Lefort, Jean 247


INDEX OF ARTISTS

D E C E M B E R 1 0 - 11 , 2 0 1 6

Leonard, Herman 1047, 1048

Traies, William (attributed) 365

Lormier, Jean 219

Uselding, Pierre 163

Luce, Molly Burroughs 1078, 1079, 1080

Van der Plas, Niek 249, 447, 448, 449

Luria, Corinna Morgiana 952

Van der Pol, Louis 40

MacMonnies, Frederick William (after) 126

Vezin, Frederick 518

Macomber, Mary Lizzie 1022

Von Foerster, Madeline (attributed) 105

Mears, Herbert Richard 145

Von Kameke, Otto Werner-Henning 979

Michel, Charles 1114

Vuillard, George 39

Millet, Clarence 950

Wandahl, Finn 134

Mollgaard, Christian 433

Webb, James 542

Nelson, Alphonse Henri 507

Weldon, Terry 994

Newcomb College Art Pottery 966, 974

Winans, Theodore Fonville 1044, 1045, 1046

Niemann, Edmund John 362

Wolfe, Karl 956

Orr, George 1051A

Wolfe, Mildred 957

Otmar, G. 36

Woodward, Ellsworth 951

Pebworth, Charles 1004

Young, Jeromy 958

Peterson, Jane 1116

Zanetti, Oscar 129

Ponga, Giuseppe (attributed) 421, 422, 423

Zeju, Guan 111

Quinn, Anthony 151

Zink, Melissa 149

Renard, Paul 38 Richardson, Dean 1081 Rodrigue, George 961 Scarborough, Frederick William 432 Schorre, Charles 1001 Schouten, Henry 20 Schreyer, Adolf (after) 569 Shearwater Pottery 1006, 1008-1019, 1058, 1059, 1061, 1062 Sherman, Albert John 64

New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere. The Artist’s Name: In our qualified opinion, a work by the artist.

Sherman, Cindy 1049

Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist.

Shtelman, Alex 109

School of: In our qualified opinion, a work by a follower of the artist.

Smith, Brett James 338, 341

Circle of: In our qualified opinion, a work of the period of the artist and showing his/her influence.

Sorkine, Raya 147 Sowerby, George Brettingham, II 298

Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period.

Spanish School 19, 866

After: In our qualified opinion, a copy of a known work by the artist.

Stebly, Christopher Inglis 1052, 1053, 1054

Signed: In our qualified opinion, has the signature which is that of the artist.

Steiner, Michael 1002 Sternberg, Joe 1003 Steuben, Charles Auguste G. (circle) 567 Stoiloff, Constantin 571 Teniers, the Younger, David 162 Titian (follower) 159 Tolliver, William 959

Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist. Dated: In our qualified opinion, is so dated and was executed on or around that date. Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.


Conditions of Sale: ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows: • An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG; • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot; • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction; • “Buyer’s Premium” is defined in Section 4 below; • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction; • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction; • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges; • A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below; • The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot; • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot; • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.


(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).


(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith.

(d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.


(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved. (i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. Severability If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. Data Collection In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. Law and Jurisdiction The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.


New Orleans Auction Galleries 333 St. Joseph Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: Info@NewOrleansAuction.com

R E Q U E S T F O R C O N D I T I O N R E P O RT S Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally.

Name (Please Print): _____________________________________________ Date: ____________ Email Address: _______________________________ Phone: (_______)______________

Fax: (_______)_______________

Lot # Description Special Requests ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________

Please submit this form by 5:00 p.m. two days prior to the first day of the auction.


New Orleans Auction Galleries 333 St. Joseph Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: Info@NewOrleansAuction.com

Absentee / Telephone Bid Form Name (Please Print): ______________________________________________

Date: ____________________

Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _________________________ Address: ____________________________________________________________________________________ City: _____________________________________________

State: ____________ ZIP: _________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_____________ E-mail Address: ______________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________

Expiration Date: __________

CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 25%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): __________________________________________________________________________



Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com


absentee/telephone bid form (continued) Name (Please Print):

Lot #

______________________________________

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $


New Orleans Auction g a l l e r ie s

333 St. Joseph Street • New Orleans, LA 70130 • (504) 566-1849 • Fax (504) 566-1851 Info@NewOrleansAuction.com • www.NewOrleansAuction.com

Wire Transfer Information: Whitney Bank 228 St. Charles Avenue New Orleans, Louisiana 70130

ABA Routing Number . . . . . . . . . . . . . . . . . . . . . . . . . . . 065400153 Escrow Account Number. . . . . . . . . . . . . . . . . . . . . . . 047034504

International Wire SWIFT Code. . . . . . . . . . . . . . . . WHITUS44 Credit to: Cakebread Art Antiques Collectables Inc. 333 Saint Joseph St. • New Orleans, Louisiana 70130 NEW ORLEANS AUCTION DOES NO SHIPPING OR PACKING Our clients have successfully used the following drayage companies:

Company

Telephone

Fax

E-mail

Bayou Movers. . . . . . . . . . . . 504-228-3827. . . . . . . . 504-324-9116. . . . . . . . . . . bayoumoversla@gmail.com Craters & Freighters . . . . 800-733-0310. . . . . . . . 504-733-3679. . . . . nola@cratersandfreighters.com Rancho Buck. . . . . . . . . . . . 404-441-4994. . . . . . . . 404-524-9129. . . . . . . . . . . . ranchobuck3@yahoo.com The Box. . . . . . . . . . . . . . . . . . 504-568-0281. . . . . . . . -----------------. . . . . . . . . . . woodenbox@bellsouth.net The UPS Store #4539 . . . . . 504-523-3293. . . . . . . . 504-523-2406. . . . . . . . . . store4539@theupsstore.com Specialty Pack & Ship Co. 504-304-3969. . . . . . . . 504-304-4640. . . . loufou@specialtypackandship.com Vintage Transport Svcs. .800-333-0056. . . . . . . . 404-733-6220. . . . . . . . . . info@vintagetransport.com Wintersteen Trucking. . . 800-253-0617. . . . . . . . 785-543-6105. . . . wintersteentrucking@yahoo.com Pakmail. . . . . . . . . . . . . . . . . . 800-230-5229. . . . . . . . 504-393-1232. . . . . . . . . . . . . . . pakmail493@yahoo.com Kid Gloves. . . . . . . . . . . . . . . 504-309-6894. . . . . . . . 504-309-6907. . . . . . . . . . . . . . tanya@lakidgloves.com rev 08/12/16


December 10-11, 2016 Winter Estates Auction  

Fine art, furniture, silver, sculpture, jewelry, art pottery and more from estates and private collections

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