2011 Auction Schedule:

January 22-23April 2-3June 4-5

July 30-31September 24-25November 19-20

801 Magazine Street at 510 JuliaNew Orleans, Louisiana 70130

(800) 501-0277 • (504) 566-1849Fax (504) 566-1851

Website: www.neworleansauction.com E-mail: info@neworleansauction.com

La. Lic. Vidos #1015

2011 Auction Schedule:

January 29-30March 26-27

May 21-22July 16-17

September 17-18November 12-13

Register to Bid Live Online:

Cover: Lot 829 - George Bauer Dunbar (American/Louisiana, b. 1927) “Coin du Lestin”, 2007, palladium and gold leaf over red and gray clay, signed, 60” x 48”

View this entire catalogue online: www.neworleansauction.com

– AUCTION –SATUrdAy, JANUAry 29, 2011 – 10:00 A.m.

Lots 1-544SUNdAy, JANUAry 30, 2011 – 11:00 A.m.

Lots 545-996

Two-Week Exhibition

Begins Saturday, January 15Through Friday, January 28

(Excluding Sundays)9:00 a.m. to 5:00 p.m.

Late-Evening PreviewThursday, January 27, 2011

5:30 p.m. to 8:00 p.m.

Featuring Property From:

The Estate ofJames W. Newton

San Antonio, Texas

A Houston, Texas Collector

A New Orleans French Quarter Collector

Important Artwork from a Private Hattiesburg, Mississippi Collection

And Property from Numerous Southern Estates and Private Collections

New Orleans Auction Galleries is proud to present items from the estate of James Wesley Newton, well-known interior designer, art collector and connoisseur. Jim was born in Roundup, Montana on March 24,1929, and spent his early years on ranches in Wyoming and Montana with his parents, Wes and Audrey Newton, and his sister, Huetta. Even as a small child, Jim’s love of colors, textures and design became apparent. While his sister loved working the ranch with their father, Jim from the time he could hold a pencil, was usually found in the house painting, drawing and building.

Jim graduated from Platte Valley High School in Saratoga, Wyoming in 1947. He attended University of Montana in Missoula, where he worked summers for the forest service in the forest fire lookout towers. He loved this work in the beautiful mountains of Montana. He completed his studies in art history at Montana State University in Bozeman, and afterwards joined the Army. He was stationed at the time at Sheppard Air Force Base in

San Antonio, Texas, another place which beguiled him. It was a military stint that first took him to Spain, beginning his life-long love of its people, architecture and art. After the service, he returned to Madrid to work and study developing an interest in Moorish art and architecture. Later, after deciding to make San Antonio his home, he embarked on a long career in interior design. It wasn’t just a career to him; it was his love and passion. His work can be seen in many homes throughout Texas, Montana, this and other countries.

Jim was a great collector of art, especially Spanish pieces. He favored the 15th century of Isabella of Castille, but did not limit himself; his lifelong collection comprises art and architecture of England and Europe from the 8th through the 18th centuries.

Jim divided his time between San Antonio and the family homestead in Montana. He was involved with San Antonio’s Southwest Arts & Craft Center, McNay Museum and Witte Museum. He died in San Antonio on May 31, 2008.

He will be remembered among his community, clients, family and friends as a true bon vivant.

Session ISaturday, January 29, 201110:00 a.m. (Lots 1-544)

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1British School (Fourth Quarter 19th Century) “Wooded River Landscape with Aqueduct”, oil on canvas, signed lower left “D. Laurence”, 24” x 20”. Framed. [200/400]

2British School (Late 19th Century) “Classic Dawn”, watercolor on paper, signed and dated in pencil on the mount lower left “Wm Underdown Sep 1898”, titled on the mount lower center, sheet 12” x 18‑1/2”. Glazed, handsomely matted and framed. [150/300]

3Victorian Rosewood Gondola Chair, third quarter 19th century, the domed, tufted and padded back within a molded frame, joined to the padded seat by downswept sides, raised on shaped and molded legs ending in casters, h. 31‑1/2”. [800/1200] Illustrated

4Pair of Victorian Mahogany and Upholstered Slipper Chairs, late 19th century, each with a domed and padded back above the padded seat, raised above a foliate‑carved apron on cabriole legs ending in ball‑and‑claw feet, h. 39”. [400/700]

5Collection of Three Anglo-American Oval Portrait Miniatures, first quarter 20th century, including a portrait of a handsome blue‑eyed young man in a gray suit, signed lower right “J. L. Houghton”, presented in a chased gilt‑brass pendant frame and glazed, 3‑1/2” x 2‑1/2”; a portrait of a young clergyman, signed lower right “Ritchie”, presented in a rose‑gilt brass pendant frame, 3‑1/2” x 2‑1/2”; and a smaller portrait of a young matron wearing a gold locket and a white lace frock, presented in a gilt‑brass frame, 3” x 2‑1/4”. [250/400]

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6English Cast-Iron Footstool, fourth quarter 19th century, the cast‑iron legs designed with leonine masks at the knees and paw feet, the padded seat upholstered in period cut velvet in a damascene pattern, h. 7”, w. 8‑1/2”, l. 12”. [125/250]

7John Fitz Marshall (British, 1859-1932) “Woodland Interior with Terriers Hunting Hare”, oil on canvas laid down on board, signed lower left “J. Fitz Marshall”, 24” x 16”. Handsomely framed. [1500/2500] Illustrated

8Victorian Ebonized and Polychromed Tripod Table, mid‑19th century, the metallic circular top featuring a scene of spectators viewing the Crystal Palace across the river, raised on a turned baluster‑form standard to three splayed scrolling legs, h. 20”, dia. 28”. [3500/5000] Illustrated

9Pair of Colored Lithographs, Oxford Smith and Company, St. Albans, England for the proprietors of The Illustrated London News of “Her Majesty’s Glorious Jubilee”, one showing Coronation scenes, the other Parliament interiors, sight 15” x 11”, both with multiple portraits of notables in the margins, the notables of the borders and the double center scenes fully identified on the reverses of the frames. Handsomely presented in giltwood fillets, scarlet‑bordered and gilt‑edged black mats within cordovan lacquered mahogany frames and glazed. [300/500]

10Rare Cased Six-Piece Shibayama-Decorated Ivory Lady’s Dressing Set, fourth quarter 19th century, by Halstaff and Hannaford, London, in the Japanese taste, the compartmented velvet‑lined case fitted for a hand mirror, a pair of oval long‑handled hair brushes, a glove stretcher and a pair of elliptical clothes brushes, all in floral and avian decor in gold enamel, carved and engraved mother‑of‑pearl, abalone shell and tinted bone, the case also fitted with a bracelet compartment and a pair of jewel compartments beneath the implements, h. 3‑1/2”, w. 14‑1/4”, d. 8”. [1400/1800] Illustrated

11Victorian Rosewood Cabinet, fourth quarter 19th century, the egg‑and‑dart‑molded cornice with projecting corners above a conforming case fitted with two long doors, each inset with two panels, flanked to either side by two freestanding Corinthian columns over a carved maiden, raised on a plinth base, h. 75‑1/2”, w. 48”, d. 25”. [600/900] Illustrated

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12Edwardian Brass and Gilt-Metal Music Stand, ca. 1900, the revolving rack of lyre form, raised on a tubular standard to a quatre‑form palmetto and patera modeled base to up‑scrolled toes, h. 44”, w. 13‑1/2”. [300/500]

13Pair of Edwardian Satinwood Occasional Tables, ca. 1900, each with an octagonal top with polychromed floral border surrounding a portrait medallion of a young maiden, above a conforming frieze with a polychromed garland, raised on delicate tapering square legs joined by an X‑form stretcher, h. 28”, dia. 12‑1/2”. [1400/1800] Illustrated previous page

14British School (Early 20th Century) “View of a Coastal Town with Boats Approaching a Lighthouse”, oil on canvas, signed lower left “Moody”, 20” x 24”. Presented in a handsome period annulated giltwood frame. [1200/1800]

15Attractive Edwardian Polychromed Satinwood Corner Cupboard, first quarter 20th century, in the style of Robert Adam (English, 1728‑1792), the mullions of the glazed upper doors arranged as two‑handled covered Antique vases, the interior lined in ivory silk moire and fitted with a pair of shelves, the base with two doors, each painted with a different neoclassical Muse, h. 82”, w. 36”, d. 18”. [3500/5000] Illustrated

16English Mahogany Display Stand, early 20th century, of graduated square form, fitted with four shelves, all supported by square supports terminating in spade feet, h. 55‑1/2”, w. 17”, d. 17”. [400/700]

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17Edwardian Satinwood Bonheur du Jour, ca. 1900, the superstructure with a three‑quarter scalloped galleried top above an open space and three small drawers, the rectangular top with double banding above a conforming frieze fitted with a single long drawer, the drawer centered by a polychromed patera with floral sprays, raised on slender, tapering square legs with inlaid bellflower accents, h. 50”, w. 30”, d. 19‑1/2”. [1000/1500] Illustrated

18Edwardian-Style Mahogany and Satinwood Library Table, mid‑20th century, the rectangular top with an inset leather writing surface and four projecting turreted corners, above a conforming frieze fitted with three drawers to each side, all banded, raised on tapering circular legs ending in brass caps and casters, the interior of the central drawer bearing the label “Wayne Pratt & Co. Custom Furniture Woodbury CT/Nantucket, MA”, h. 30”, w. 66”, d. 42”. [900/1200] Illustrated

19Edwardian Satinwood Armchair, ca. 1900, the domed crest above a vasiform splat, painted in the manner of Angelica Kauffmann (Swiss, 1741‑1807) to represent a vase of flowers, joined by high downswept arms to the caned seat, raised on paneled tapering square legs headed by a polychromed musical medallion and ending in toupie feet, h. 36”. [800/1200] Illustrated

20Edwardian Satinwood Occasional Table, ca. 1900, the oval top with a polychromed floral garland band centering a floral basket issuing garlands, above a conforming like‑decorated frieze, joined to a concave lower shelf by slender tapering square legs ending in splayed feet, h. 28”, w. 20”, d. 12‑1/2”. [400/700]

21Murray J. MacDonald (Scottish, fl. 1887-1914) “The Pier and Breakwater, Aberdow”, 1899, watercolor and gouache on artist’s board, signed and dated lower left “Murray MacDonald 1899”, titled, dated, signed and inscribed on board verso “To Mrs. J. Baird McNab, with the artist’s compliments, October 1902”, 6‑3/8” x 12‑1/2”. Glazed and presented in a period giltwood frame. [600/900] Illustrated

22Edwardian Mahogany Occasional Table, ca. 1900, the shaped rectangular top centered by a polychromed lyre medallion and a floral band, all in the Adam taste, joined by square supports to a like‑shaped shelf, raised on tapering square legs, h. 28‑1/4”, w. 20‑1/4”, d. 14”. [150/300]

23Edwardian Mahogany Cheval Mirror, ca. 1900, the broken swan’s‑neck crest centered by a brass ball finial with side urn‑form accents, the long beveled rectangular plate supported by bellflower‑inlaid uprights to line‑inlaid splayed legs ending in brass paws on casters, h. 76”, w. 31”. [700/1000] Illustrated

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26English Mahogany “Spiral Staircase” Floor Lamp, raised on an octagonal base and fitted with an embossed brown leather lampshade, h. 67”. [3000/5000] Illustrated

27Edwardian Mahogany Desk, ca. 1900, in the Chinese Chippendale taste, the rectangular top with a foliate‑carved edge above a case fitted with two drawers over two deeper short end drawers, raised on tapering square legs fronted by blind‑fret carving and ending in spade feet, h. 30”, w. 47‑1/2”, d. 23‑1/2”. [200/400]

28Edwardian Mahogany Display Cabinet, ca. 1900, in the Georgian taste, the molded cornice above a line‑inlaid frieze, over two astragal‑glazed doors, the sides also glazed, with two small drawers below, raised on tapering square legs ending in spade feet, h. 67”, w. 34‑1/2”, d. 13‑1/4”. [250/400]

24Edwardian Mahogany Invalid’s Chair, ca. 1900, the back, seat and footrest all caned and mechanized for adjustability, the whole raised on ring‑turned circular legs ending in casters, h. 47”. [1200/1800] Illustrated

25Pair of Edwardian Satinwood Armchairs, ca. 1900, in the Adam taste, each with a shaped crest centered by a polychromed medallion of a classical maiden, above a caned back flanked to either side by oval pierced uprights, joined by downswept arms to the caned seat, raised on tapering square legs with bellflower accents and ending in spade feet, h. 35”. [3000/5000] Illustrated

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29Nadel Gleye-Eberhardt (English, fl. ca. 1875-1937) “Wistful Pekingese Puppy”, colored engraving, first quarter 20th century, signed in the basal margin, sight 16‑1/4” x 12”. Presented in a giltwood fillet and an ivory mat within a giltwood frame in the rococo taste and glazed. [75/125]

30Rare Edwardian Domed Tambour-Top Smoker’s Desk Stand, first quarter 20th century, the lower facade fitted with a single traverse drawer opening, by mechanical action, to reveal a nickel ashtray and striker flanked by two cigar compartments in the drawer and a pair of cigarette compartments in the tambour, h. 8‑1/4”, w. 12‑3/4”, d. 8‑3/4”. [125/250]

31Rare Luristan Cast Bronze Axe Head, Western Iran, ca. 1000‑500 B.C., well cast with overall green patination, composed of a tubular shaft for attachment to a wooden handle and two arched cutting edges at the opposite ends, probably used for shaping wood, l. 7‑1/2”. [400/700] Illustrated

32Good Ancient Roman Carved Stone Fragmentary Head, ca. 100 B.C., carved as the detached head of a Roman male figure wearing a cap with hair showing below the brim, the head carved in the round with full features, h. 4‑1/4”. [250/400] Illustrated

33Rare Persian Glazed Pottery Oil Lamp, Il‑Khan Dynasty, ca. 1250 A.D., of ewer form with spout and rimmed neck rising from a bulbous body, glazed in a rich turquoise glaze over a buff‑colored stoneware body, h. 6”. [125/250] Illustrated

34Moroccan Bone-Inlaid and Marquetry Desk Box, second quarter 20th century, of large size in the traditional style, the bone inlay in floral decor, the facade centered with a steel lock, h. 7”, w. 14‑5/8”, d. 9‑3/8”. [900/1200] Illustrated

35“Portugallia et Algarbia quae olim Lusitania”, Joan and Willem Blaeu (Dutch, 17th Century), hand‑colored map of Portugal with sailing ships and Neptune seated on a dolphin in the Oceanus Occidentalis with an armorial at both upper corners, the cartouche flanked by Arabic figures of navigators with instruments, presented in a giltwood frame, neatline h. 15”, w. 19‑3/4”, overall h. 22‑3/4”, w. 28‑1/2”. [400/700] Illustrated

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36Abraham Ortileus (Belgian, 1527-1598), a fine hand‑colored engraved map of the Holy Land, 1584, with intricate Biblical vignettes and Jonah being tossed to the whale, presented in an attractive bird’s‑eye maple frame in the neoclassical style and glazed, overall 18‑3/4” x 23‑3/8”. Provenance: Richard B. Arkway, Inc., New York, New York, May 1995 sale, lot number 136. [600/900]

37Abraham Ortelius (Belgian, 1527-1598) Hand-Colored Engraved Double Page Map “Turcici Imperii Descriptio” , from the 1606 edition of “Theatrum Orbis Terrarum”, with text on verso, presented in a flat weathered wooden molding frame and double‑glazed, sight 16‑1/4” x 20‑1/4”. [600/900]

38Islamic Brass Basin-on-Stand, 17th century, possibly Moorish, the basin with a wide canted lip and inlaid with silver bands of scrolling foliate patterns and Islamic script, raised on a conforming wrought‑iron stand with a bulbous standard to three outscrolled legs ending in bun feet, h. 38”, dia. 23‑1/2”. [600/900] Illustrated

39Anglo-Colonial Carved Hardwood Sidechair, mid‑19th century, the rounded back heavily carved and pierced and centered by a bird medallion, the padded seat above a pierced mask‑centered apron, raised on foliate‑carved double C‑scroll legs, h. 35”. [250/400]

40Ibero-Moroccan Turned Wood, Brass and Copper Brazier, first quarter 19th century, in the traditional style, of octagonal and footed form, the center of the wooden stand fitted with a two‑handled copper and brass brazier pan, the wooden base with multiple turned wood spindle supports, h. 12‑1/2”, w. 26”. [700/1000] Illustrated

41Fine Chinese Carved Celadon Jade Table Screen, in an elaborate rosewood stand, 19th century, composed of a circular celadon and russet jade plaque carved in low relief, depicting a landscape scene with a scholar in a boat being poled by a boatman in a landscape with rocky outcrops, cranes, pine trees and flowering plants, the reverse of the plaque with an engraved twenty‑eight‑character inscription in archaic script with seal, the jade plaque mounted in an elaborate rosewood stand and a fitted rosewood under‑stand, presented in a custom brocade box, h. 23‑3/4”, w. 11‑1/2”. [6000/9000] Illustrated

42Large Chinese White Jade Dragon Belt Hook, 19th century, the white stone with brown shading well carved and undercut as a hydra dragon across the top confronting the head of a horned dragon, l. 6”. [800/1200] Illustrated

43Fine and Rare Chinese Yixing Slip-Decorated Snuff Bottle, signed Qinfang, 1838‑1898, of cylindrical form with indented foot and neck, decorated in colored slip with a continuous scene of archaic vessels, flowering plants and bamboo bordered with key‑fret borders and a floral‑decorated top, with a calligraphic inscription among the vessels which translates “Written in the fifth month of the year wuzu by Qinfang”, the indented base with a four‑character inscription in green and white slip reading “Pure pleasure, unrivaled”, h. 2‑3/8”. Ex‑collection: Ko collection (Tianjin 1938), James and Julie Li, The J and J Collection. Sold: Christie’s London, November 8, 1976, lot 49; Christie’s New York, March 29, 2006, lot 73. Literature: Hugh Moss et al, The Art of the Chinese Snuff Bottle: The J and J Collection, vol. 1, no. 260. [7000/10000] Illustrated

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44Pair of Chinese Famille Rose Porcelain Vases, fourth quarter 19th century, each of yen‑yen shape and decorated with antique vessels holding flowers and calligraphic inscriptions between geometric borders, now mounted as lamps on turned wooden bases and fitted with custom ecru silk shades, overall h. 31”. [300/500] Illustrated

45Good Pair of Chinese Famille Rose Porcelain Bowls, 20th century, each of circular form with slightly everted lip rims and countersunk bases, the interiors with a single figure of a monk, the exteriors elaborately decorated with the figures of four Buddhas and numerous haloed saints, the base with a four‑character Da Xiong Bao Dian mark (Hall of Great Elegance), surrounded by two confronting dragons amidst flames, all in iron red, dia. 7‑3/8”. [500/800] Illustrated

46Chinese Molded and Glazed Porcelain Vase, 20th century, of double‑gourd form with low‑relief molding of dragons and phoenix birds among clouds, all under a cream‑colored glaze, with a two‑character underglaze blue inscription near the neck, h. 14”. [200/400]

47Set of Four Chinese Famille Rose Porcelain Tea Bowls, second half 19th century, each decorated with six Buddhist swastikas with flowing ribbons above rockwork rising out of cresting waves, the interiors glazed in turquoise enamel, the bases with six‑character Guangxu marks in iron red, dia. 4‑1/4”. [400/700] Illustrated

48Large Pair of Chinese Porcelain Vases, 20th century, of baluster form, decorated in doucai enamels of underglaze blue and overglaze enamels in soft colors as phoenix birds among scrolling foliage and peonies, now mounted as lamps with wooden bases, h. 31‑1/4”. [500/800]

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49Set of Eight Chinese Famille Rose Porcelain Saucer Dishes, Republic Period (1912‑1949), each circular dish thinly potted and decorated with various waterscape scenes of lakes, islands, bridges, pavilions and calligraphic inscriptions, the bases with six‑character Daoguang seal marks in iron red, dia. 6‑3/4”. [500/800] Illustrated

50Chinese Han Dynasty Gray Pottery Figure of an Attendant, 206 B.C.‑220 A.D., modeled with an elaborate coiffure of the period, retaining much of its red pigment, presented on an acrylic display stand, h. 22”. [600/900] Illustrated

51Chinese Carved Tortoiseshell Brush Pot, 19th century, of cylindrical form with solid bottom, the sides carved and reticulated with a continuous scene of birds in flight amongst swirling clouds, h. 4‑1/2”. [1800/2500] Illustrated

52Pair of Chinese Polychromed Porcelain Vases, 20th century, modeled after archaic bronze vases of lozenge form, each decorated with four floral panels with Buddhistic symbols per side, outlined with orange borders with blue archaic bands, the bases with six‑character Qianlong seal marks in iron red on a turquoise ground, h. 8‑1/2”. [250/400] Illustrated

53Chinese Carved Rosewood Ruyi Scepter, 20th century, realistically carved with the head as a lotus seed pod with moveable seeds and the stem consisting of a lotus bud and curled leaf attached to two stalks, l. 13‑1/2”. [400/700] Illustrated

54Pair of Chinese Glazed Pottery “Foo Dog” Incense Holders, 19th/20th century, each in the form of a Foo dog on a pierced plinth base with a tubular holder for the incense at its back, glazed all over in yellow, brown and green, accompanied by wooden bases, h. 8”, the whole presented in a padded, fitted cloth box. [300/500] Illustrated

55Pair of Chinese Famille Jaune Porcelain Bowls, first half 20th century, each with slightly scalloped lip rim and decorated on the exterior in polychrome enamels with cavorting dragons among flames on a yellow ground, the base with a six‑character Guangxu reign mark in iron red, dia. 6‑1/2”. [900/1200] Illustrated

56Pair of Chinese Famille Jaune Porcelain Bottle Vases, Republic Period (1912‑1949), having bulbous bodies and slightly flared necks, each with three reserve panels decorated with boys at play in garden settings, against a yellow ground with bats, lotus and scrolling foliage, the bases with six‑character Qianlong seal marks in iron red, h. 14”. [800/1200] Illustrated

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57Pair of Chinese Carved Peking Glass Bowls, each of mustard yellow glass with everted rims, carved on the exterior in relief with flowering plants and butterflies in flight, dia. 6”. [500/800]

58Group of Thirty-Two Porcelain and Hardwood Jar Covers, in various styles, h. 1” to 7”, dia. 2” to 10‑1/2”. [200/400]

59Chinese Junyao Water Pot, Song Dynasty (960‑1279) or later, the stoneware body of tapered “bubble” form, glazed on the interior and exterior in a dark blue glaze with a single purple splash on the exterior, the recessed base glazed with exposed brown foot rim, h. 3‑3/4”. [400/700] Illustrated

60Pair of Chinese Eggshell Porcelain Bowls, Republic Period, ca. 1935, each of low open form with everted lip rim and footed base, glazed on the exterior in a solid egg‑yolk yellow glaze, the feet with six‑character underglaze blue Guanxu marks, dia. 4‑1/8”. [400/700] Illustrated

61Rare Chinese Yellow Nephrite Jade Group, 18th/19th century, carved in the round as a pair of geese contending over a spray of millet, each with delicately incised details to the feathers and the grain head of the millet, the two geese above cresting waves, the stone of even yellow color with russet inclusions incorporated into the heads of the geese, the millet grain head and an area of the waves, exhibiting great control of the material by the carver, presented on a later custom fitted rosewood stand, h. 3‑1/4”, l. 3‑1/2”. [5000/8000] Illustrated

62Good Chinese Junyao Double Gourd-Shaped Vase, Yuan Dynasty (1279‑1368) or later, the pottery body glazed in a rich blue glaze with a single purple splash, the footed base unglazed, h. 7‑1/8”. [300/500] Illustrated

63Large and Spectacular Chinese Famille Rose Porcelain Vase, Republic Period (1912‑1949), the tapered body with slightly flared lip rim and molded elephant‑head and ring handles, finely decorated with a continuous scene of gods on their way to the magical Island of Immortality, the shoulder with a band of ruyi lappets and the neck with a band of bats, cash and lotus against a red ground, the design well painted in the 18th‑century style, the base with a six‑character Qianlong seal mark in iron red on a turquoise ground, h. 20‑1/2”. [1200/1800] Illustrated

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64Fine Jean-Emile Puiforcat (French, 1897-1945) Art Deco First Standard (.950) Silver and Macassar Ebony Coffee and Tea Set, second quarter 20th century, designed in 1925, Paris, including a coffeepot, h. 5‑3/4”, l. 8‑1/2”, a teapot, h. 4”, l. 9‑1/8”, a sugar bowl, h. 3‑1/4”, w. 6‑1/8”, and a creamer, h. 2‑3/4”, l. 4‑1/4”, each of octagonally paneled ovoid form, the flat lids with disc‑shaped wooden finials to short fluted silver collars, the canted and squared wooden handles with conforming silver strapwork, 80.57 total t. oz. (including wooden handles and finials). [6000/9000] Illustrated

65Maison Puiforcat First Standard (.950) Silver Ewer, first quarter 20th century, Paris, in the Huguenot taste, of traditional helmet form with molded banding and acanthus‑crested “S‑scroll” handle, raised on a gadrooned circular foot, h. 8‑3/4”, w. 4‑1/2”, l. 7”, 23.6 t. oz. [1400/1800] Illustrated

66French First Standard (.950) Silver Asparagus Tongs, second quarter 20th century, by Tetard Freres, Paris, in the “Fontainebleau” pattern, monogrammed “RF”, l. 8‑1/4”, 8.81 t. oz. [300/500]

67Two French First Standard (.950) Silver Ladles, second quarter 20th century, by Tetard Freres, Paris, in the “Fontainebleau” pattern, including a soup ladle, l. 11‑1/4”, and a punch ladle, l. 9‑3/4”, each monogrammed “RF”, 12.09 total t. oz. [500/800]

68Five French First Standard (.950) Silver Serving Pieces, second quarter 20th century, by Tetard Freres, Paris, in the “Fontainebleau” pattern, including a serving fork, l. 10‑1/8”, a serving spade, l. 6‑3/4”, a fish slice, l. 10”, and salad serving fork and spoon, each l. 10‑1/4”, all monogrammed on the reverse “RF”, 20.90 total t. oz. [700/1000]

69Five French First Standard (.950) Silver Serving Pieces, second quarter 20th century, by Tetard Freres, Paris, in the “Fontainebleau” pattern, including a pastry spade, l. 10‑1/8”, a fish slice, l. 10”, a sauce ladle, l. 6‑3/4”, and a cuillere and fourchette a ragout, each l. 10‑1/4”, all monogrammed on the reverse “RF”, 20.26 total t. oz. [700/1000]

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70Georg Jensen Sterling Silver “Pyramid” Serving Spade, the pattern designed in 1926 by Harald Nielsen (1892‑1977), with the Jensen post‑1945 mark, l. 9‑3/4”, 4.95 t. oz. [500/800] Illustrated

71Pair of Georg Jensen Sterling Silver “Pyramid” Salad Servers, the pattern designed in 1926 by Harald Nielsen (1892‑1977), with the Jensen post‑1945 mark, l. 7‑7/8”, 5.66 total t. oz. [600/900]

72Norwegian .830 Silver Christening Spoon, first quarter 20th century, by Marius Hammer, Bergen, Norway, in the 16th‑century Frederick III style, the bowl of oval form and engraved with a bumerke (“house mark”) and date 1578, with a figural finial of St. George, l. 4”, 1.48 t. oz. [100/200]

73Set of Twelve French First Standard (.950) Silver Cordial Cups, fourth quarter 19th century, by Charles Hack and Achille Hourdequin, active 1880‑1902, 42 rue de Turbigo, Paris, each of slightly tapering cylindrical form with chased acanthine band and molded rim, the interior gilt, h. 1‑1/2”, dia. 1‑1/4”, 3.99 total t. oz. [100/200]

74French First Standard (.950) Silver Chocolate Pot, fourth quarter 19th century, by Fray Fils, active 1875‑1891, Paris, in the Louis XV taste, the pear‑shaped body decorated with spiral gadroons and floral banding, with “duck’s beak” spout, hinged, domed lid with toupie finial, three acanthus‑crested scrolling feet and a straight, side‑mounted, turned rosewood handle, h. 6‑3/4”, w. 7”, dia. 3‑1/4”, 12.28 t. oz. (including wooden handle). [250/400] Illustrated

75French First Standard (.950) Silver Parcel-Gilt Footed Beaker, first quarter 20th century, by Albert Schiffmacher, working from 1912, 37 rue de Montmorency, Paris, in the Louis XV taste, of traditional “tulipe” form, with a molded rim above a band of engraved rococo pendants and a calyx of alternating diapered panels and rococo pendants all on a matte ground, the whole raised on a gadrooned, domed circular foot, h. 4‑3/4”, dia. 3‑3/8”, 5.21 t. oz. [600/900] Illustrated

76French First Standard (.950) Silver Gilt Footed Beaker, first quarter 20th century, by Albert Schiffmacher, working from 1912, 37 rue de Montmorency, Paris, in the Louis XV taste, of traditional “tulipe” form, with a molded rim above a band of engraved rococo pendants on a matte ground, the whole on a gadrooned, domed circular foot, h. 4‑3/4”, dia. 3‑3/8”, 5.53 t. oz. [600/900] Illustrated

77French First Standard (.950) Silver Parcel-Gilt Footed Beaker, first quarter 20th century, by Henin et Cie., working 1896‑ca.1970, 77 rue des Archives, Paris, in the Louis XV taste, of traditional “tulipe” form, with a molded rim above an engraved rocaille band and a calyx of alternating palmette and lattice panels, all on a matte ground, the whole raised on a gadrooned, domed circular foot, h. 3‑3/4”, dia. 2‑3/4”, 4.44 t. oz. [600/900] Illustrated

78Pair of Belgian .800 Silver Serving Spades, ca. 1900, by Wolfers Freres, Brussels, retailed by Gebr. Friedlander, Berlin, the “King’s” shape handle decorated with rococo scrolls in the Louis taste, the gilt cartouche‑shaped spades decorated with reticulated and engraved rococo scrolls and trelliswork, monogrammed, on the handle, “B”, l. 10‑1/2”, 12.09 total t. oz. [500/800] Illustrated

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79German .800 Silver Rococo-Style Flower Basket, first quarter 20th century, of lobed lozenge form with everted rim, decorated with embossed rococo cartouches of putti separated by pierced rocailles, with floral‑crested hinged swing handle and scrolling feet, h. 5‑1/2” (11‑1/4” with handle), w. 6‑5/8”, l. 9‑1/4”, 16.01 t. oz. [300/500] Illustrated

80Four Dutch William III Second Standard (.833) Silver Tablespoons, marked Amsterdam, 1870, by Johannes Hendrikus Tarner (active 1840‑1879), with pointed bowls and upturned mid‑rib spatulate handles, monogrammed on the underside “EHL”, l. 8‑3/8”, 8.81 total t. oz. [100/200]

81Continental Silverplate Jardiniere, third quarter 19th century, in the Rococo Revival taste, of oval form, decorated with elaborate rococo scrolls, the long sides with opposing floral cartouches, the short sides with opposing bifurcated scrolling handles, the whole raised on acanthus‑scroll feet, complete with the original tin liner (now deteriorated), h. 6‑1/2”, w. 7”, l. 17‑1/4”. [900/1200] Illustrated

82German .800 Silver Ladle, first quarter 20th century, by Koch & Bergfeld, Bremen, retailed by D. H. Dieken, Rostock, in the neoclassical taste, the lancet‑form handle decorated with applied beribboned oak garlands, oval cartouche and gadroons, the deep bowl with opposing everted spouts, acanthus heel and gilt interior, l. 15‑1/2”, 7.84 t. oz. [150/250] Illustrated

83Continental Silverplate Jewelry Casket with Portrait Miniature, first quarter 20th century, of rectangular form with laurel‑enframed acanthus and palmette banding, the hinged lid inset with a glazed portrait miniature of Lavinia Bingham, 2nd Countess Spencer (1762‑1831), after Sir Joshua Reynolds (1723‑1792), surrounded by applied rinceau on a basketweave ground, opening to reveal a padded cerulean velvet interior, h. 3”, w. 6‑7/8”, l. 8‑3/8”. [600/900] Illustrated

84Continental Silverplate Ladle, first quarter 20th century, probably Swiss or Belgian, in the Louis XV style, the spatulate handle with trifid crest and decorated with rococo scrolls and flowers, with shallow circular bowl, l. 12‑1/2”. [50/80]

85Set of Five Buccellati Sterling Silver Flower and Leaf Dishes, fourth quarter 20th century, designed by Gianmaria Buccellati, Milan, executed by Clementi Fabbrica Argenteria, Bologna, including a fig leaf, l. 4‑7/8”, pansy, l. 4‑3/4”, dahlia, dia. 3‑1/4”, daisy, dia. 3‑1/8”, and camellia, dia. 3‑1/4”, 9.52 total t. oz. [700/1000] Illustrated

86Italian Sterling Silver Gilt Picture Frame, third quarter 20th century, retailed by Tiffany & Co., New York, of molded rectangular form, with a well‑fitted and finished blonde oak backing and easel, monogrammed, on the lower edge, “RB/A”, h. 10‑1/4”, w. 9”. [400/700]

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87Group of Four Japanese Jade and Silverplate Cordial Vessels, 20th century, each composed of carved spinach jade bases in the form of double chrysanthemums with green jade stems topped by inverted bell‑shaped silverplate bowls, h. 4‑3/4”. [800/1200] Illustrated

88Unusual Southeast Asian Ivory and Silver Tobacco Storage Jar, 19th century, the body made from two joined sections of Asian elephant ivory, lined in wood and bound and based in repousse silver with Buddhistic decoration, the repousse silver top conforming in shape to the ivory sections and decorated en suite, with a floral‑bud terminal, h. 6”. [700/1000]

89Louis XVI-Style Mahogany and Marble-Top Secretaire a Abattant, early 19th century, the rectangular Sainte Anne des Pyrenees marble top with a molded edge and turreted corners above a conforming case fitted with a single drawer over a paneled drop front opening to an inset leather writing surface and a variety of drawers and cubbyholes, over two paneled cupboard doors, all flanked to either side by fluted circular uprights, the whole raised on tapering circular feet, h. 56”, w. 32‑1/2”, d. 16”. [1800/2500] Illustrated

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90Elegant Three-Piece French Dressing Table Service, fourth quarter 19th century, composed of parcel‑gilt and ‑argente bronze and Rouge Royal marble in the Louis XVI taste, the set comprised of a canted and footed oval toilette mirror with a beveled edge supported by a pair of putti, h. 16‑3/4”, and a pair of small candlesticks en suite, h. 9‑1/2”. [2500/4000] Illustrated

91Pair of Wrought-Iron and Steel Two-Light Appliques, of large size in the Beaux Arts taste, the boldly scrolling candlearms fitted with stylized floriform bobeches, blown glass hurricane shades and faux candles, h. 24”, w. 23”, d. 10”. [1800/2500]

92Striking Wrought-Iron and Rock Crystal Eighteen-Light Chandelier, in the Louis XV taste, of monumental size and cage form, the double‑foliate scroll arms each dressed with three magnum rock crystal drops, the canopy arms each with a matching magnum rock crystal drop as is the crown, electrified and fitted with faux candles, h. 70”, dia. 59‑1/2”. [3000/5000] Illustrated

93Pair of Continental Bronze Argente Two-Light Sconces, second quarter 20th century, in the Ottocento taste, the backplates in the form of a pair of addorsed scrolls joined by shells, urns and foliage, with a pair of scrolling arms emanating from the lowermost urn, each arm terminating in a melon‑form cup, fitted with faux candles and electrified, h. 18‑1/2”, w. 12”, d. 5‑1/4”. [1500/2500]

94Striking Wrought-Iron and Rock Crystal Eighteen-Light Chandelier, in the Louis XV taste, of monumental size and cage form, the double‑foliate scroll arms each dressed with three magnum rock crystal drops, the canopy arms each with a matching magnum rock crystal drop as is the crown, electrified and fitted with faux candles, h. 70”, dia. 59‑1/2”. [3000/5000]

95Large Carl Knoll, Fischern, Porcelain Charger, fourth quarter 19th century, in the “Vienna” style, decorated with allegorical figures of Faith, Love and Hope [“Glaube, Liebe und Hoffnung”], the reverse entitled in gilt script, the broad border in richly gilt claret, dia. 16‑1/2”. [500/800]

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96Pair of Franco-Bohemian Porcelain Garniture Vases, third quarter 19th century, having cobalt grounds and richly gilded and polychromed in the rococo taste, each facade with a different oval reserve of a young woman gathering flowers, the reverses with large, well‑painted reserves of bouquets of summer blossoms, h. 17”, w. 8‑1/2”. [1400/1800] Illustrated

97Louis XVI-Style Mahogany Dining Table, early 20th century, the rounded top with two drop leaves, opening in the center to accommodate four leaves, raised on tapering circular legs headed by ormolu capitals and ending in caps and casters, with four 13” leaves, h. 29”, l. 40”, d. 50‑1/2”, extended l. 102‑1/2”. [4000/7000] Illustrated

98Pair of Napoleon III Mahogany, Parquetry and Marble-Top Bedside Cupboards, third quarter 19th century, each with an inset square Rouge Verona marble top above a conforming case fitted with a single parquetry drawer over a cupboard door centered by a raised parquetry panel, joined to a lower square shelf by fluted tapering circular legs ending in toupie feet, h. 31‑1/4”, w. 15”, d. 15”. [1500/2500] Illustrated

99French Carved Giltwood Wall Barometer, first quarter 20th century, of “banjo” form in the Louis XVI style, the circular dial signed “J. Boiteux, Opticien, rue St. Denis/ a Paris” and dated 1738, the dial surmounted by a French jasper medallion in the Wedgwood style, h. 46”, w. 15”. [1000/1500] Illustrated

100Louis XVI-Style Mahogany and Marble-Top Rafraichissoir, mid‑19th century, the rounded rectangular top with an inset Carrara marble top and fitted with openings for two bottle chillers, above a conforming frieze fitted with one small side drawer, raised on tapering circular legs ending in ringed toes, h. 29”, w. 19‑1/4”, d. 17”. [1200/1800]

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101Louis Doret (Swiss, 18th/19th Century) “The Drawing Room Wit”, oil on canvas, fourth quarter 19th century, signed lower right “L. Doret”, 12‑3/8” x 18‑3/4”. Presented in a good, period, carved giltwood and plaster frame boldly modeled in the rococo taste. [1500/2500] Illustrated

102Louis XVI-Style Burlwood and Mahogany Desk, the brass‑bound rectangular top with an inset gilt‑tooled leather surface above a conforming frieze fitted to one side with a central drawer flanked to either side by a shaped short drawer, the other side fitted with three like faux drawers, all with ormolu millwork banding, raised on tapering square legs ending in brass caps, h. 29”, w. 60”, d. 31”. [1400/1800]

103Louis XVI-Style Kingwood, Rosewood and Marble-Top Cabinet, late 19th century, the demi‑lune Carrara marble top with a three‑quarter pierced brass gallery and above a conforming case fitted with a single glazed cupboard door opening to a mirrored interior, flanked to either side by two open marble shelves with full galleries and mirrored backs, above a cupboard door inset with a quarter‑veneered panel and flanked to either side by a grilled cupboard door, raised on tapering square legs ending in brass caps, the whole with decorative ormolu mounts, h. 58‑1/2”, w. 34‑3/4”, d. 13”. [2500/4000] Illustrated

104Louis XVI-Style Mahogany Occasional Table, ca. 1900, the rectangular top with a three‑quarter pierced brass gallery above a banded top with a parquetry lattice‑paneled center panel, above a conforming case fitted with a single frieze drawer, raised on tapering circular legs with ormolu ring accents, joined by a concave stretcher shelf with a like‑inlaid panel and full pierced gallery, and ending in ormolu pegs, h. 27”, w. 23‑12”, d. 17”. [1500/2500] Illustrated

105French Giltwood Looking Glass, early 20th century, the beveled rectangular plate surrounded by a molded floral‑ and foliate‑carved frieze with elaborate corner moldings, h. 61”, w. 49”. [1200/1800] Illustrated

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106Collection of Five German Porcelain “Monkey Band” Figures, 19th‑20th centuries, after the Meissen models by Peter Reineke (active at Meissen 1747‑1766), comprised of a Meissen “Conductor”, fourth quarter 19th century; a Meissen “Triangle Player”, third quarter 19th century; a Meissen “Drummer”, fourth quarter 19th century; a Scheibe‑Alsbach “Cornet Player”, first quarter 20th century; and a Dresden “Bass Viol Player”, fourth quarter 19th century; the Meissen examples all signed with the blue underglaze crossed swords of the factory, the Scheibe‑Alsbach example signed with crossed batons centered by the letter “S”, and the Dresden example with crossed batons and a drape, h. 4‑1/4” to 7”. [800/1200] Illustrated

107Louis XVI-Style Giltwood and Marble-Top Side Table, early 20th century, the bowed Carrara marble top with a projecting center section and molded edge, above a conforming frieze with bands of undulating patterns, raised on fluted tapering circular legs headed by a foliate capital, joined by a shaped stretcher, and ending in block and reeded toupie feet, h. 35‑1/2”, w. 67‑1/2”, d. 25‑1/2”. [2500/4000] Illustrated

108Louis XVI-Style Lit du Jour, late 19th century, each end padded and with a rope and foliate crest surmounted by pineapple finials, above a long cushioned seat, the back fitted with a fabric strap and pillows to form a settee, raised above a carved apron on fluted tapering circular legs ending in toupie feet, h. 35”, w. 79”, w. 25‑1/2”. [1200/1800] Illustrated

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109Pair of Edwardian Two-Light “Eagle” Sconces, first quarter 20th century, composed of carved giltwood and plaster in the style of Robert Adam (1728‑1792), draped with brass chains, not electrified, h. 36”, w. 16‑1/4”, d. 8‑3/4”. [1200/1800] Illustrated

110Follower of Jean-Honore Fragonard (French, 1732-1806) “Look at the Bird’s Nest” and “A Love Offering of Flowers”, pair of galants oil sketches, first quarter 19th century, the frame reverses with printed gold foil labels of “The Antiquarium Antique Print and Map Gallery, Houston”, 14” x 18”. Presented in matching giltwood‑edged white linen mats within good carved giltwood and plaster frames in the Louis XVI style. [2500/4000] Illustrated

111Isidore Jules Bonheur (French, 1827-1902), a diminutive gilt‑bronze sculpture of a standing bull, signed “I. Bonheur”, h. 3‑1/2”, w. 5”. [450/700] Illustrated

112Louis XVI-Style Giltwood and Marble-Top Side Table, mid‑19th century, the bowed verde antico marble top above a conforming foliate‑dentillated frieze with pendant demi‑sunflower and floral swags, raised on paneled tapering square legs headed by bellflower carving, joined by an annulated urn‑centered stretcher and terminating in molded toupie feet, h. 33‑1/2”, w. 66‑1/2”, d. 24‑1/4”. [4500/7000] Illustrated

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113Louis XVI-Style Mahogany and Marble-Top Server, early 20th century, the demi‑lune variegated gray and white marble top within a three‑quarter pierced brass gallery, above a conforming frieze fitted with a central drawer flanked to either side by a panel, all with ormolu millwork banding, joined to a lower like‑shaped and galleried shelf by fluted tapering circular uprights terminating in brass caps, h. 37”, w. 61‑1/2”, d. 18”. [2000/4000]

114Fine French Gilt-Bronze and Cut Glass Tiered Six-Light Chandelier, fourth quarter 19th century, in the Louis XVI taste, richly dressed with jewel‑cut and bead glass chains, diminutive cabochon and cut amethyst glass drops, cut glass sunbursts and prism‑cut drops, and broadly faceted rose glass pendants, electrified and fitted with wax faux candles, h. 31”, dia. 20”. [1000/1500] Illustrated

115Elegant Thirty-Six-Piece Set of Baccarat “Normandie” Stemware, including twelve red wine goblets, h. 6‑5/8”, twelve white wine goblets, h. 5‑7/8”, and twelve saucer champagnes, h. 4‑3/4”, all with the acid‑stamped Baccarat “decanter” mark on the base. [1000/1500]

116Pair of Swedish-Style Brass and Cut Glass Two-Light Appliques, in the Gustavian style, dressed with parallel chains of faceted and irregular‑ cut glass beads and diminutive panel‑cut drops, not presently electrified but fitted for electrical wires, h. 14”, w. 15”, d. 4‑1/2”. [500/800]

117Pair of Louis XVI-Style Beechwood Fauteuils, the padded rectangular back within a molded frame, joined by padded closed arms to the cushioned seat, with tapering circular legs ending in toupie feet, h. 35”. [400/700]

118Pair of Louis XVI-Style Beechwood Fauteuils, the padded rectangular back within a molded frame, joined by padded closed arms to the cushioned seat, with tapering circular legs ending in toupie feet, h. 35”. [400/700] Illustrated

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119Louis XVI-Style Beechwood Settee, the padded rectangular back within a molded frame, joined by padded closed arms to the cushioned seat, raised on fluted, tapering circular legs ending in toupie feet, h. 35”, w. 67”, d. 26”. [500/800] Illustrated

120Sumptuous Pair of Contemporary Aubusson Tapestry-Faced Sofa Pillows, of large size and square form in the Louis XVI taste, the Aubusson landscape panels bordered in celadon silk with metallic silver gimp and teal tassellated fringes, the back panels in matching celadon silk, 20‑1/4” x 20‑1/4”. [200/400]

121Attributed to Nicolas de Largilliere (French 1656-1746) “Portrait of an Elegantly Dressed Lady in a Light Blue Dress and a Red Velvet Wrap, Wearing a Feathered Scarlet Bonnet, a Landscape Beyond”, oil on canvas, unsigned, remnants of an old inventory label inscribed “64‑2051 Largilliere”, 33‑3/4” x 25‑3/4”. Presented in a period carved giltwood frame in the Regence style. [18000/25000] Illustrated

122Pair of Louis XVI-Style Faux-Bois and Polychromed Side Tables, 20th century, each with a rectangular faux‑bois top over a guilloche‑pierced frieze, centered by a panel with a grisaille landscape, raised on fluted tapering circular legs ending in toupie feet, h. 34‑1/4”, w. 55‑1/2”, d. 23”. [5000/8000] Illustrated

123French Gilt-Brass and Tole-Peinte Three-Light Bouillotte Lamp, first quarter 20th century, in the Louis XVI style, the base mounted with palely polychromed wrought brass flowerheads, the adjustable shade of natural tole, electrified and fitted with faux candles, h. 26”, dia. 13‑1/4”. [1000/1500] Illustrated

124Set of Fourteen Laval’s Receuil des Actes Administratifs, with antique vellum spines, paper title labels and teal marbled end boards, 1814‑1822, 1831‑1834 and 1836‑1848. [600/900] Illustrated

125German Oval Portrait Miniature of the Princess Alexandra Belosselsky, fourth quarter 19th century, presented in a rectangular black horn‑inlaid bone frame in the neoclassical taste, the upper edge centered with a suspension ring, overall 3‑3/4” x 3‑1/8”. [200/400]

126Pair of Louis XVI-Style Beechwood Bergeres, third quarter 19th century, each with a padded arched back within a guilloche frame, joined to the cushioned seat by closed and padded arms, raised on fluted tapering circular legs ending in toupie feet, h. 39‑1/2”. [2500/4000] Illustrated

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127Opulent French Gilt-Brass and Cut Glass Nine-Light Chandelier, first quarter 20th century, of stepped cage form in the Louis XVI style, elaborately dressed with smoky topaz and colorless glass pendalogues in four sizes, cut drops of attenuated cartouche form, cut fleurettes and paneled bishops, electrified and fitted with faux candles, h. 41”, dia. 23‑1/4”. [1800/2500] Illustrated

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128Opulent Pair of French Gilt-Brass and Cut Glass Three-Light Appliques, first quarter 20th century, in the Louis XVI style, richly dressed with cut glass pendalogues in three sizes, glass fleurettes and panel‑pressed glass finials of “bishop” form, the gilt‑brass bobeches of stylized flowerhead form, h. 24”, w. 13”, d. 8‑1/4”. [1200/1800] Illustrated

129Louis XV-Style Giltwood and Marble-Top Console Table, the shaped variegated white and gray marble top with a molded edge above a conforming frieze fitted with a central pierced shell and foliate design, raised on shaped legs headed by a mythical animal head, joined by a shield‑form stretcher and ending in scrolled toes, h. 33”, w. 52”, d. 22‑1/2”. [1800/2500] Illustrated

130Pair of French Gilt-Bronze Five-Light Candelabra, fourth quarter 19th century, in the Regence style of Juste‑Aurele Meissonnier (1695‑1750), h. 19”, w. 12‑1/2”. [1000/1500] Illustrated

131Good Le Tallec, Paris, Porcelain Covered Bowl and Underplate, third quarter 19th century, of trembleuse form, richly gilded and grisaille‑decorated in the Louis XVI taste, the bases of each piece fully marked in overglaze blue and rouge de fer, h. 6‑1/2”, dia. 8‑1/4”. [300/500]

132Good Pair of Miles Mason, England, Graduated Porcelain Bowls, first quarter 19th century, in the neoclassical taste, the decoration of alternating gilded stylized “Vintage” sprays and gilt‑framed polychromed figural reserves, dia. 7‑1/2” and 8”. [100/200]

133Napoleon III Painted Looking Glass, third quarter 19th century, the large rounded rectangular plate surmounted by a lattice‑pierced crest centered by a foliate spray within a pierced shield, surrounded by a molded frame with applied pendants, h. 72”, w. 43”. [1800/2500] Illustrated

134Group of Four Beige, Brown and Blue Silk Pillows, two with cut silk velvet stripes and two with fringed edges, the smallest 18” x 8”, the largest 20” x 11”. [400/700]

135Group of Seven Sky Blue Silk Accent Pillows, with leaf and branch designs, each 18” x 18”. [700/1000] Illustrated

136Pair of French Gilt-Brass and Porcelain Three-Light Candelabra, second quarter 20th century, in the Louis XVI style, the porcelain mounts modeled as polychromed flowerheads in the Mennecy‑Vincennes style, electrified and fitted with faux candles, overall h. 16”, w. 9‑1/4”. [400/700]

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137Louis XVI-Style Giltwood Easel, of hinged construction, surmounted by a wreath and torchere crest, the picture rail with a pendant floral swag, raised on paneled square legs terminating in double‑scroll feet, h. 68”, w. 16‑1/2”. [400/700]

138Circle of Pierre Mignard I (French, 1612-1695) “The Dish of Pearls”, oil on canvas mounted on panel, oval portrait of a coy 17th‑century lady of fashion showing off a dish of pearls, possibly an anniversary or engagement portrait as the pearl is a symbol of love and marriage, unsigned, 34” x 27‑1/2”. Presented in a good, later, carved giltwood and plaster frame in the Louis XVI taste, third quarter 19th century. [5000/8000] Illustrated

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135group of seven

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139Pair of Louis XVI-Style Cream-Painted Beechwood Fauteuils, second quarter 19th century, each with a padded medallion back within a molded frame, joined by padded scrolling arms to the like seat, raised on fluted tapering circular legs ending in peg feet, now upholstered in woven stripe silk taffeta, h. 34”. [800/1200] Illustrated

140French Gilt-Brass and Rock Crystal Six-Light “Mars” Chandelier, of cage form in the Louis XVI style, the canopy modeled as a plumed baldacchino, the foliate candlearms with inner terminals of eagle heads, the whole dressed with large cabochon rock crystal drops, electrified and fitted with gloss‑white faux candles, h. 37”, dia. 23”. [3500/5000] Illustrated

141Continental Giltwood and Marble-Top Center Table, late 18th century and later, the rectangular Verde Antico marble top inset into a scrolling foliate‑patterned border and above a conforming shaped frieze with incised lattice patterns and a central shell, fitted with a single end drawer, raised on cabriole legs ending in acanthine hoof feet, h. 28‑1/2”, w. 37”, d. 22”. [7000/10000] Illustrated

142White and Gold Paris Porcelain Corbeille, third quarter 19th century, exuberantly modeled and reticulated in the rococo taste, h. 13‑1/4”, w. 8‑1/2”, l. 16”. [300/500]

143Pair of French Gilt-Bronze Rococo-Style Candlesticks, fourth quarter 19th century, in the manner of Juste‑Aurele Meissonnier (1675‑1750), each fitted with a period detachable gilt‑bronze bobeche, h. 8‑3/4”, w. 4‑1/2”. [400/700]

144Aubusson-Style Tapestry, 4’ x 6’. [1400/1800] Illustrated

145Louis XVI-Style Carrara Marble Pedestal, late 19th century, the square top raised on a columnar standard headed by a foliate ormolu capital, ending in an ormolu mount to a raised socle base, h. 43‑1/2”, w. 10‑1/4”, d. 10‑1/4”. [400/700]

146French Kingwood, Burlwood and Marble-Top Commode, third quarter 19th century, in the transitional Louis XV into Louis XVI style, the rounded rectangular African Brescia marble top within a pierced three‑quarter brass gallery, above a conforming case fitted with three drawers, all within an inlaid rope‑twist banding, joined to a brass‑bound and quarter‑veneered shelf by tapering legs ending in sabots, h. 31”, w. 22”, d. 15”. [900/1200]

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147After Pierre-Auguste Renoir (French, 1841-1919) “Sirens”, facsimile lithograph in colors, printed signature lower left, sight 9” x 8”. Glazed, handsomely matted and presented in a giltwood frame. [350/500]

148Louis XV-Style Polychromed Bed, early 20th century, the headboard padded and with a floral‑carved backswept crest, joined to a like lower footboard by padded and shaped like‑carved rails, raised on cabriole feet ending in scrolled toes, h. 39”, inside w. 55”, l. 74”, outside w. 58”, l. 79”. [1200/1800]

149Pair of Contemporary Polychromed Display Cases, in the rococo taste, each with a molded cornice above a case fitted with an electrified circular opening with an engaged bracket for display, above a rectangular opening fitted to accommodate four glass shelves, the whole raised on a molded base, h. 94”, w. 35”, d. 12‑1/2”. [900/1200]

150Pair of Diminutive Louis XV-Style Carved Beechwood Musician’s Armchairs, fourth quarter 19th century, the cabriolet backs and the seat rails centered with carved floral sprays, the whole supported on slender cabriole legs with leaf carving at the knees, upholstered in sage green leather with brass nailhead edging, h. 30”. [1000/1500]

151French Aubusson-Style Carpet, 10’ x 14’. [3500/5000] Illustrated

152French Aubusson-Style Carpet, 9’ 10” x 14’ 2”. [800/1200]

153Persian Serapi Carpet, 13’ x 16’ 2”. [9000/12000] Illustrated

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154Persian Serapi Carpet, 6’ 8” x 8’. [2000/4000] Illustrated

155Indian Hall Carpet, 6’ x 19’. [700/1000]

156Turkish Oushak Runner, 3’ 4” x 13’. [300/500]

157Heriz Carpet, 11’ 3” x 8’. [1200/1800]

158Antique Persian Senna Kilim Carpet, 4’ 1” x 6’ 10”. [1000/1500]

159Isfahan Carpet, 11’ 3” x 8’ 4”. [900/1200]

160Malayer Carpet, 3’ 6’’ x 6’. [500/800]

161Semi-Antique Persian Heriz Carpet, 8’ 2” x 11’. [2500/4000] Illustrated

162Semi-Antique Heriz Carpet, 9’ 4” x 8’ 5”. [500/800]

163Semi-Antique Sarouk Carpet, 10’ 8” x 16’. [1200/1800]

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164Persian Kashan Carpet, 9’ 7” x 13’ 4”. [4000/7000] Illustrated

165Isfahan Carpet, 12’ 7” x 9’ 2”. [1200/1800]

166Pair of Chinese Carpets, each 3’ x 4’. [100/200]

167Chinese Dragon-Motif Carpet, 5’ x 7’ 8”. [600/900] Illustrated

168Pair of George III-Style Argente Looking Glasses, each with a domed rectangular plate surmounted by a “Prince of Wales” feathers crest above an arched mirrored frieze, the plate surrounded by a band of mirrored panels and a gadroon‑carved frame, with side pendant scrolls, h. 61‑1/2”, w. 37‑1/2”. [2500/4000] Illustrated

169Georgian Oval Portrait Miniature of a Man in a Blue Greatcoat and White Stock, fourth quarter 18th century, the reverse of checquer‑woven brown hair centered with a gold cutwork monogram “GD”, presented in a conforming period rose gold pendant frame and double glazed, 2‑5/8” x 2‑1/52”. [200/400] Illustrated

170English Oval Portrait Miniature of a Georgian Gentleman in a Blue Greatcoat, dated 1793 and signed “I.B.”, the reverse with checquer‑woven brown hair centered with a gold cutwork monogram “PB”, presented in a gold frame and double glazed, 2‑1/2” x 2”. [200/400]

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171Collection of Three Oval Portrait Miniatures, first quarter 19th century, comprised of a good French portrait of a young man in a blue greatcoat, presented in a black and gold eglomise pendant frame, 3‑1/4” x 2‑1/4”; a smaller Continental portrait of a young man in a russet greatcoat and white stock, presented in a rose‑gilded brass pendant frame, 2‑1/4” x 1‑3/4”; and a yet smaller portrait of a matron in a lace cap and fichu, presented in a gilded brass brooch frame, 1‑3/4” x 1‑1/4”. [200/400]

172Queen Anne-Style Mahogany Linen Press, composed of antique elements, the molded cornice above a case fitted with two paneled cupboard doors, the lower section fitted with a single long drawer over three short drawers over an arched apron, the whole raised on cabriole legs ending in pad feet, h. 69”, w. 40‑1/4”, d. 20‑1/4”. [1200/1800] Illustrated

173George III Mahogany Drop-Leaf Dining Table, third quarter 18th century and later, of generous proportions, the demi‑lune drop leaves supported by fly legs, the legs of cabriole form ending in ball‑and‑claw feet, h. 29”, w. 54‑1/2”, l. 25”, extended l. 66”. [900/1200] Illustrated

174George III-Style Mahogany and Upholstered Wing Chair, the domed and padded back joined by shaped sides and outscrolled arms to the cushioned seat, raised on tapering square legs joined by an H‑form stretcher, h. 45”. [500/800] Illustrated

175George III-Style Mahogany Wing Chair, the domed and padded back joined by shaped sides and outscrolled arms to the cushioned seat, raised on chamfered square legs, h. 40‑1/2”. [500/800]

176George III Mahogany Cabinet-on-Chest, composed of antique elements, the molded cornice with projecting ends above a conforming case fitted with a patera‑inlaid frieze over a single astragal‑glazed door, the lower section fitted with two short drawers over three graduated long drawers, raised on ogee‑molded bracket feet, h. 78”, w. 39”, d. 20”. [400/700]

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177Suite of Six George III-Style Mahogany Dining Chairs, consisting of an armchair and five sidechairs, each with a shaped and earred crest above a foliate‑carved and floral‑pierced splat, the padded seat raised on paneled square legs with foliate relief carving and joined by an H‑form stretcher, h. 38‑1/2”. [2500/4000] Illustrated

178George III Mahogany Chest-on-Chest, fourth quarter 18th century, the molded and dentillated cornice above a case fitted with two short drawers over three graduated long drawers, over a lower section fitted with three graduated long drawers, all drawers with string‑inlaid banding, raised on bracket feet, h. 77”, w. 42”, d. 21”. [2500/4000] Illustrated

179Pair of Edwardian Mahogany and Marquetry Slant-Front Knife Boxes, first quarter 20th century, in the Georgian taste, the slant‑front lids centered with yew and holly paterae and having inlaid garland borders, supported on later composition feet, h. 15‑1/4”, w. 8‑3/4”, d. 10”. [800/1200] Illustrated

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180Stylish Pair of George V Oval Looking Glasses, first quarter 20th century, composed of carved giltwood and plaster in the style of Robert Adam (English, 1728‑1792), the tall attenuated gilded crestings modeled as baldaquins surmounting stylized floral sprays, the upper edges mantled in giltwood husk garlands, h. 52”, w. 24”. [1200/1800] Illustrated previous page

181Circle of Sir Henry Raeburn (British, 1756-1823) “Portrait of a Gentleman Merchant, a River Landscape Beyond”, oil on canvas, unsigned, 30‑1/4” x 25”. Presented in a period giltwood frame. [2000/4000] Illustrated

182George III-Style Mahogany Tilt-Top Table, mid‑19th century, the tilting circular top raised on a turned baluster‑form standard to three splayed legs ending in pad feet, h. 28‑1/2”, dia. 33”. [400/700]

183George III Mahogany Demi-lune Side Table, fourth quarter 18th century, the demi‑lune top above a plain frieze, raised on tapering square legs, h. 28‑1/4”, w. 42”, d. 20”. [500/800]

184Pair of Japanese Imari Porcelain Storage Jars, late 19th century, each of tapered baluster form and decorated in underglaze blue and iron red with reserve panels of dragons against a floral ground, now wired as lamps and fitted with hardwood bases and custom shades, h. 25”. [800/1200] Illustrated

185Pair of Japanese Imari Porcelain Garden Seats, 20th century, each of barrel shape with molded rib and boss decoration, decorated in traditional Japanese colors of underglaze blue and polychrome enamels with ribbed decoration of mons and brocade designs, with reserve panels of garden scenes, h. 20‑1/4”. [2500/4000] Illustrated

186Good Pair of Japanese Lacquered and Applique-Framed Panels, Meiji Period (1868‑1912), originally in a two‑panel floor screen, each with a black lacquer ground embellished with dimensional figures of long‑tailed roosters (onagadori) perched on flowering branches with flower petals and sparrows, the applique in mother‑of‑pearl, wood and bone, the black background surrounded by a red lacquer border with gilt decoration of peonies and vines, presented in a giltwood frame, h. 37‑1/2”, w. 26‑1/2”. [400/700]

187Japanese Lacquered Dragon-Motif Tray, Taisho Period (1912‑1926), of rectangular outline and decorated in raised gold lacquer with a central scaled dragon on a black ground surrounded by a red lacquer border with gold fretwork decoration, signed lower left, w. 7‑3/4”, l. 9‑1/4”. [1000/1500] Illustrated

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188Elaborate Japanese Embellished and Lacquered Wooden Box, Meiji Period (1868‑1912), of rectangular form with rounded corners, with a low‑relief‑carved striated mon of a boat with an oar and a variety of seashells embellished in mother‑of‑pearl, abalone and wood carvings, and further decorated with gold lacquer clouds and strands of seaweed, w. 10‑1/4”, l. 13‑1/8”. [1800/2500] Illustrated

189“Iaponia Regnum”, Johannes Blaeu (Dutch, 1596-1673), hand‑colored map of Japan and Korea, the first map to correctly show Korea as a peninsula rather than an island, presented in a molded wood frame, neatline h. 16”, w. 22‑1/4”, overall h. 24‑1/4”, w. 30‑1/4”. Illustrated in Roger Baynton-Williams’ Investing in Maps (New York: Clarkson N. Potter, 1969), p. 141. [1200/1800] Illustrated

190Good Framed Japanese Woodblock Print, 19th century, depicting a geisha in an elaborate kimono standing alongside a thatched rock hut, overall 20” x 14‑3/4”. [150/300]

191Good Framed Japanese Woodblock Print, 19th century, depicting two geishas holding umbrellas and two fish vendors on a bridge, with a town and a bay in the distance, overall 20” x 14‑3/4”. [150/300]

192Good Framed Japanese Woodblock Print, 19th century, depicting a lady in a brocade robe standing next to a palanquin in a garden setting, overall 20” x 14‑3/4”. [150/300] Illustrated

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193Pair of Japanese Carved Wooden Shi-Shi, 19th century, each carved in the round as a fierce shi‑shi guardian lion seated on its haunches with elaborate mane and tail details and inset painted glass eyes, h. 11‑1/4”, l. 14”. [2000/4000] Illustrated

194Japanese Sheathed Bamboo and Metal Pipe and Tobacco Pouch, 19th century, composed of a bamboo pipe with white metal fittings enclosed in a textured leather holder and attached with a silk cord and ivory bead to a patterned leather tobacco pouch with a metal clasp cast as six seated sages, l. 8”. [200/400]

195Pair of Framed Chinese Watercolors on Paper, 19th century, each depicting scenes of the hongs at the Canton waterfront with western trading ships and Chinese boats engaged in commerce, each framed in red and gilt wooden frames, glazed, h. 31‑3/4”, w. 56‑3/4”. [5000/8000] Illustrated

196Japanese Polychromed Porcelain Vase, 20th century, of tall baluster form, decorated in underglaze blue and polychrome enamels with reserve floral panels on a floral ground, now wired as a lamp with a wooden base and neck, h. 30‑1/2”. [250/400]

197Pair of Chinoiserie Polychromed Looking Glasses, 19th century, each with a parcel‑gilt pagoda‑form crest above a frieze featuring a gilt and gesso oriental landscape, the rectangular plate within a molded frame and with a fret‑carved surround, h. 62”, w. 29”. [3500/5000] Illustrated

198Georgian Japanned Swing Shaving Mirror, second quarter 19th century, the gold, red detailed, japanning on a black ground, presented on a serpentine facade base on bun feet, h. 16”, w. 14‑1/2”, d. 6‑1/2”. [150/300]

199Two Limited Edition Volumes of Goupil’s English Historical Series, including Osmund Airy, Charles II (Paris: Goupil et Cie., 1901, #542 of 1250) and T. F. Henderson, James I and VI (Paris: Goupil et Cie., 1904, #377 of 800), both quarto volumes in brown half morocco with tan buckram boards, the spine with raised bands and gilt tooling, with gilt top edge and marbled endpapers, each illustrated with numerous engravings, h. 13”, w. 10‑1/4”. These two volumes of Goupil’s prestigious English Historical Series feature lives of the monarchs by noted editors of the Dictionary of National Biography Thomas Finlayson Henderson (1844-1923) and Osmund Airy (1845-1928). A notice in the November 26, 1904 issue of “Publisher’s Weekly” notes of the Henderson volume that it was limited to “eight hundred copies, numbered 1 to 800, on ‘Rives’ hand-made Vellum

paper, specially manufactured for this work”. [75/125]

200Twelve Victorian Decorative Red Morocco Quarter-Bindings, 1888‑1893, with red buckram boards and gilt edge‑titles, featuring novels of Walter Besant (1836‑1901), James Rice (1843‑1882) and Captain Frederick Marryat (1792‑1848), published variously by Chatto & Windus, Geo. Bell & Sons and Geo. Routledge, all London, h. 7‑1/4”. [75/125]

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201George III-Style Mahogany Partner’s Desk, the canted rectangular top with an inset leather writing surface above a case fitted with a long central drawer flanked to one side by three graduated short drawers and to the other by a short drawer over a deep drawer, raised on cabriole legs headed by scroll carving and ending in ball‑and‑claw feet, h. 30”, w. 58”, d. 37‑1/2”. [600/900]

202George III-Style Mahogany Bowfront Sideboard, mid‑19th century, the bowed top with a string‑inlaid edge over a conforming case fitted with a single cutlery drawer flanked to either side by a short drawer over a deeper drawer, raised on tapering square legs ending in ebonized feet, h. 38”, w. 67”, d. 29”. [1000/1500] Illustrated

203Victorian Ebonized Papier-Mache Serving Table, third quarter 19th century, the cushion‑form top with an elaborate gilt and mother‑of‑pearl‑inlaid fanciful landscape, hinged and opening to the now void interior, raised on a barley‑twist standard to an undulating circular base to splayed feet on casters, the whole with gilt and mother‑of‑pearl‑inlaid accents, h. 31”, w. 16‑1/2”, d. 13‑1/2”. [250/400] Illustrated

204George III Irish Chippendale Mahogany Sidechair, late 18th century, the foliate‑carved backswept crest above a like‑carved interlacing diamond‑patterned splat, the padded seat raised on cabriole legs headed by shield carving and ending in ball‑and‑claw feet, h. 38”. [600/900]

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205Near Pair of George III-Style Rosewood Silver Tables, 19th century, in the Chinese Chippendale taste, each with a dished shaped rectangular top, one centered by a circular storage well with removable top, above a conforming frieze, raised on tiered cluster‑column legs headed by blind‑fret carving and ending in block feet, h. 28‑3/4”, w. 28‑1/2”, d. 20‑1/4”. [3500/5000] Illustrated previous page

206Chinoiserie-Style Polychromed and Ebonized Cocktail Table, mid‑20th century, the scalloped rectangular tray‑form top with a raised edge surrounding a floral gilt and gesso design, raised on cabriole legs headed by gilt accents and ending in foliate toes, h. 17”, w. 34”, d. 19”. [700/1000]

207George III Mahogany Chest-on-Chest, fourth quarter 18th century, the molded cornice above a case fitted with two short drawers over three graduated long drawers, the lower one with a drop front, opening to a fitted secretary drawer, the lower section fitted with three graduated long drawers, all drawers with a diamond‑patterned banding, the whole raised on bracket feet, h. 67‑1/2”, w. 46”, d. 23”. [2000/4000] Illustrated

208Elaborate Franco-Italian Design Drawing of a Japanese Cloisonne Vase, fourth quarter 19th century, sight 10‑1/2” x 7‑1/2”, presented in a crimson‑banded ivory French mat within a gilt‑edged, black‑lacquered wooden frame in the neoclassical taste and glazed, 19‑1/4” x 17‑1/2”. [150/300] Illustrated

209Chinese Cloisonne Model of an Oxcart, 20th century, modeled as a curved‑roof “Peking” cart being pulled by a horned ox, enameled in traditional 18th‑century colored enamels with gilt details, presented on a custom wooden stand, l. 21”. [800/1200] Illustrated

210Three Framed Chinese “Forbidden Stitch” Textile Pieces, 19th century, one depicting two butterflies among foliage, one a group of antiques with a corner floral border, and one a single butterfly with lotus blossoms, two matted in silk brocade pieces and one in green silk, two in cinnabar and gilt frames, one in a black and gilt frame, 17‑3/4” x 11‑1/2”, 16‑1/2” x 13”, and 14‑3/4” x 14‑1/4”. [300/500]

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211Good Chinese Carved Wood and Embellished Box, first half 20th century, of rectangular outline, the cover delicately embellished with jade, hardstone and dyed ivory depicting a white deer in a landscape below a stork in flight, all surrounded by a key‑fret border, h. 3”, w. 4‑1/2”, l. 7‑3/4”. [2000/4000] Illustrated

212Chinese Elaborately Carved Ivory Tusk Section, first quarter 20th century, the hollow tusk section elaborately carved and reticulated with a continuous scene of figures among pavilions in wooded settings, h. 8”. [2500/4000] Illustrated

213Indian Carved Ivory Figure of the God Ganesh, 19th century, depicting the god as a four‑armed elephant seated on a throne with a lotus base, the figure crowned and holding attributes in three hands, the fourth raised in blessing, h. 6‑1/2”. [900/1200] Illustrated

214Pair of Japanese Carved Ivory Figures, first half 20th century, one depicting a shellfish seller with a basket of clams and a spear, h. 7‑1/4”, and the other a turtle hunter holding a single turtle and a long tool for digging out his prey, h. 8‑3/4”. [700/1000] Illustrated

215Indian Carved Ivory Figure of a Buddhistic Demon Deity, 19th century, the figure clad in a tiger skin, jewelry and wearing a crown of skulls, depicted holding a varja and bell, and seated on a lotus base, h. 4”. [1800/2500] Illustrated

216Pair of Chinese Carved Ivory Figures of an Official and His Consort, 20th century, the official clad in court robes, wearing a mandarin’s cap and holding a sword, his consort clad in formal robes and wearing a phoenix hat, presented on wooden stands, h. 15”. [2500/4000] Illustrated

217Chinese Carved Wooden Figure of Guandi, 19th century, carved as the deity in military dress, seated with one upraised hand and a tiger under his foot, with traces of painted decoration, h. 9‑1/2”. [75/125] Illustrated

218Japanese Carved Ivory Model of a Five-Storied Pagoda, late 19th/early 20th century, modeled as a five‑storied building rising from a galleried platform, the lowest story carved with a Buddhist shrine with a Buddha attended by two acolytes, the other stories carved with closed shrines, the sides carved with panels of Buddhist saints and symbols, the roof panels carved with scrolling foliate symbols and butterflies, the roof topped with a pierced double gourd, h. 26‑1/4”. [3500/5000] Illustrated

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219Chinese Carved Wooden Votive Figure of Guanyin, 19th century, the goddess depicted seated, wearing loose robes and a veil, and holding a child in her lap, with traces of painted and gilt decoration, h. 8”. [100/200] Illustrated previous page

220Chinese Export Porcelain Mandarin-Pattern Punchbowl, 19th century, of circular outline, decorated in underglaze blue and famille rose enamels, the exterior with figural reserve panels on a Y‑fret figural medallion with a hexagonal underglaze blue rim and polychrome floral border, h. 5”, dia. 11‑3/8”. [2500/4000] Illustrated

221Rare Chinese Bamboo Veneer Snuff Bottle, 18th century, of flattened spade shape with conforming dome‑shaped stopper with ball‑shaped finial, the bamboo veneer body (zhu huang) carved in low relief on each side with a conforming cartouche with ruyi heads at the top and base, the center carved with kui dragon carved in an archaic style in low relief, the assembly of the bamboo veneer over the bamboo core executed with precision resulting in an excellent example of this time‑consuming technique, the bottle exhibits a rich, lovely and even patination resulting in a golden‑yellow color, h. 2‑1/2”. [4000/7000] Illustrated

222Chinese Carved Boxwood Figure of a Scholar, 20th century, the well‑carved figure depicted standing, wearing informal robes and holding a staff, attached to a fitted rectangular base, h. 7‑1/4”. [50/80]

223Chinese Carved Celadon Jade Pendant Plaque, reticulated and carved in low relief as a phoenix bird among peonies and foliage, the pale celadon‑colored stone with russet inclusions, h. 2‑5/8”, w. 2”. [200/400]

224Chinese Carved and Reticulated Jade Belt Applique, of oval outline, carved dimensionally as a phoenix bird among flowering peonies and foliage with incised details to the flowers, leaves and plumage, h. 2‑1/8”, l. 4‑1/8”. [300/500]

225Large Chinese Famille Rose Porcelain Serving Dish, 20th century, of circular form, the body molded in low relief and glazed in pale celadon‑colored glaze, enameled over the glaze in famille rose enamels with birds, insects, flowers and Buddhistic symbols, presented on a wooden display stand, dia. 14‑1/4”. [100/200]

226Good Chinese Qingbai Glazed Lotus Bowl, of circular form with notched lip rim and incised lotus decoration on the interior, thinly potted and glazed all over in a pale green‑blue transparent glaze, the recessed base partially unglazed, dia. 8‑1/2”. [300/500] Illustrated

227Chinese Partial Sansai-Glazed Tomb Figure of a Court Official, Tang Dynasty (618‑907), the standing pottery figure clad in informal robes with hands clasped, wearing an official headdress, the robes in ochre, green and straw‑colored glazes, the head, headdress and chest unglazed, h. 16‑1/4”. [600/900] Illustrated

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228Interesting Chinese Carved Celadon Jade Group, composed of a circular base in the shape of a Chinese coin topped by two finely carved figures of a mother rat with bulging cheeks accompanied by one of her offspring and holding a jade carving of a silver boat‑shaped ingot, the stone of even celadon color, presented on a fitted stand, h. 2‑1/2”, dia. 3‑7/8”, with a brocade box. [700/1000] Illustrated

229Group of Three Asian Lacquered and Gilt Boxes, 19th century, comprised of an elongated glove box decorated with geishas on a balcony, h. 1‑1/2”, w. 3‑3/4”, d. 12”; a rectangular storage box decorated with figures in a garden practicing shooting a Western gun, h. 1‑3/4”, w. 6”, d. 7‑3/4”; and a cylindrical box decorated with figures in garden scenes, h. 2‑3/4”, dia. 3‑1/4”. [250/400]

230Southern Chinese Provincial Side Table, first half 20th century, composed of a solid wooden top with split bamboo banding, above bamboo legs, stretchers and a bamboo fretwork apron, the front with a single wooden drawer with metal pull, h. 33”, w. 37‑3/4”, d. 23‑1/2”. [500/800] Illustrated

231Chinese Two-Color Bamboo Brush Pot, 20th century, the cylindrical body with dark background and carved in low relief with a mountainous landscape, a lake and calligraphic inscription in a lighter color, h. 5‑1/8”. [500/800]

232Two Good Chinese White Jade Archer’s Rings, 18th/19th century, the first of white jade with a flattened top exhibiting the russet skin of the original pebble, the second of white jade with an included area of yellow jade. [250/400]

233Chinese Carved Jade Double Fish Pendant, the milky stone with russet inclusions and carved as two confronting fish with fanned tails, each consuming a leafy branch, h. 2‑5/8”, w. 1‑3/4”. The double fish represent marriage, unity and abundance. [200/400] Illustrated

234Chinese Reticulated Jade Plaque of the He He Erxian, of rectangular outline and carved as the He He twins among scrolling foliage, lotus and a bat, the pierced carving surrounded by a solid border, the stone of creamy white color with russet shading, h. 2‑1/2”, w. 3‑1/2”. [300/500] Illustrated

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235Pair of Chinese Ching Pai-Glazed Funerary Jars, Song Dynasty (960‑1279), each of baluster form with a central encircling band of applied figures and clouds on a coiled ribbed ground, the pair glazed in a pale greenish‑blue transparent glaze (Ching Pai) over buff‑colored stoneware, h. 12‑1/2”. [300/500] Illustrated

236Group of Four Chinese Porcelain Tea Cups, each of inverted bell form, decorated in underglaze blue with calligraphic decoration archaic characters, all against a crackled celadon ground, dia. 3”. [150/250]

237Two Fragments of Chinese Carved Wood Ventilator Panels, 19th century, each carved in deep relief and depicting military figures competing in battle among buildings and forests, the wood with painted and gilded decoration, h. 10‑1/2”, l. 20”. [400/700]

238Provincial Chinese Hardwood Storage Chest, 19th century, the hardwood frame with two central doors and three drawers in the bottom, the front decorated with painted panels of figures and flowers bordered with a dentil border and two foliate‑carved feet, h. 63‑1/4”, w. 65‑1/2”, d. 25”. [800/1200] Illustrated

239Monumental Carved Gesso and Gilded Solid Wood Head of a Serene Buddha, the hair of concentric rings, downward cast eyes and gentle smile with large ears, signifying wisdom, on a circular neck base, h. 34”. [900/1200] Illustrated

240Chinese Carved Wooden Miniature Altar Coffer, 19th century, of rectangular outline with upturned ends, the front fitted with three drawers, with carved and pierced apron and ends with floral decoration, h. 10‑3/4”, w. 30‑3/4”, d. 8‑1/2”. [100/200]

241Chinese Bronze Bell with Carved Wooden Stand, first half 20th century, the bell cast in low relief with a continuous design of a dragon pursuing the Flaming Pearl, suspended on a carved wooden stand with two dragons supporting a temple among clouds, h. 16”. [300/500]

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242Thai Carved Wooden Figure of an Absornsi as a Guardian, the carved half‑angel, half‑lion figure in a crouching position wearing armor and helmet with traces of painted decoration, now mounted on a black wooden base, h. 28‑1/2”. [300/500]

243Fine and Rare Chinese Han Dynasty Vessel, ca. 200 B.C.‑200 A.D., with etched design and three rings, green drip glaze and etched and molded applied handles, h. 12”. [1400/1800] Illustrated

244Mid-Century Modern-Style Ebonized and Marble Low Table, of oriental inspiration, with an inset marble top, set in a distressed ebonized frame, raised on shaped square legs, h. 16‑1/2”, w. 42”, d. 42”. [400/700] Illustrated

245Group of Two Provincial Chinese Earthenware Storage Vessels, 19th century, each of pyriform and with olive glazing, the lip and shoulder with incised accents, h. 18” and 19”. [400/700] Illustrated

246Group of Seven Ancient Mid-Eastern Pottery Oil Lamps, 100 B.C.‑200 A.D., composed of Egyptian, Roman and Judaic examples, most with low‑relief‑modeled decoration, the bodies in varicolored clays and of traditional shapes, l. 3” to 3‑1/2”. [300/500]

247Group of Three Provincial Buff Terra Cotta Vases, all of globular form with antique ivory glazing, h. 10‑1/4”. [250/400]

248Group of Four Provincial Buff Terra Cotta Vases, fourth quarter 19th century, all of globular form with antique ivory glazing, h. 10‑1/4”. [250/400] Illustrated

249Group of Four Provincial Buff Terra Cotta Storage Vessels, all pyriform and with antique ivory glazing, the bases with incised ribbing, h. 13” and 16‑1/4”. [400/700]

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250Striking Set of Four Graduated Vellum Drumheads, now mounted on matching custom wrought‑steel display stands, overall h. 16” to 24‑1/8”, dia. 11‑1/2” to 18”. [250/400]

251Large Chinese Provincial Musical Instrument, of the Huquin family, fourth quarter 19th century, comprised of a rectangular sound box with a long carved stick with two tuning pegs, presented on a custom metal display stand, h. 65”. [200/400]

252Circle of Philips Wouwerman (Dutch, 1619-1668) “Travelers Resting on a Hilltop”, oil on panel, unsigned, with artist’s biography affixed to panel verso, 11” x 11‑3/4”. Presented in a later giltwood frame with “J. J. Patrickson & Son Ltd., London” label on the reverse. [3000/5000] Illustrated

253Provincial Georgian Carved Oak “Saddlebag” Misericord, third quarter 18th century, probably Scottish or Welsh, h. 10”, w. 20‑1/4”, d. 5”. [300/500] Illustrated

254English Oak Drop-Leaf Gate-Leg Table, 19th century, the rounded rectangular top with two drop ovoid leaves, raised on a gate‑leg support of turned baluster‑form legs joined by stretchers and ending in block feet, h. 30”, w. 63‑1/2”, d. 19”, extended l. 71”. [1200/1800] Illustrated

255English Oak Pub Bench, 19th century, the rectangular planked top above a paneled frieze, raised on bulbous and turned legs joined by a box stretcher and ending in bun feet, h. 20”, w. 36”, d. 12”. [400/700] Illustrated

256Attributed to Alexander van Gaelen (Dutch, 1670-1728) “Battle Scenes”, pair of oils on canvas, both examples indistinctly signed lower left, 11” x 14‑1/2”. Presented in matching contemporary ebonized frames. [3500/5000] Illustrated

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257George III Polychromed Oak Bureau, early 19th century and later, the slant front opening to an interior fitted with a variety of drawers and cubbyholes flanking a central cupboard, over a single frieze drawer with two short and two graduated long drawers below, raised on bracket feet, h. 41”, w. 43‑1/2”, d. 21‑1/2”. [1200/1800]

258Carolean-Style Oak Child’s Chair, late 19th century, the shaped scrolling foliate crest above an arched padded back, flanked to either side by a turned and baluster‑form upright, joined to the padded seat by downswept padded arms terminating in lion’s‑head hand rests, raised on block and turned legs, joined by a scrolling front rail and a block and turned X‑form stretcher and ending in ball feet, h. 32‑1/4”. [300/500] Illustrated

259Queen Anne-Style Mahogany Drop-Leaf Table, late 19th century, the rectangular top with two ovoid drop leaves, raised on tapering circular legs ending in pad feet, h. 27”, w. 42”, d. 18”, extended l. 54‑1/2”. Provenance: Countryside Antiques, Waveland, Mississippi. [400/700]

260Large Dutch Bed Warmer, second quarter 19th century, the circular pan of pierced copper, the handle of turned and stained ash, l. 27‑1/2”. [75/125]

261Two Large Salt-Glazed Stoneware Bellarmine Jugs, first quarter 18th century, one a Continental brown jug, h. 17‑1/4”, the other an English buff jug, h. 15‑1/4”, both examples with incised stylized bearded masques at the neck. [700/1000] Illustrated

256pair

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262Provincial George III Elmwood Corner Chair, ca. 1800, the rounded crest above two pierced vasiform splats, above a cushioned wooden seat, raised on square legs joined by a box stretcher, h. 30‑1/4”. [500/800] Illustrated

263George III Mahogany Tripod Table, early 19th century, the tilting rectangular top raised on a columnar standard to a reeded and turned urn‑form base, to three splayed cabriole legs ending in pad feet, h. 28‑1/2”, w. 26‑1/4”, d. 23”. [400/700]

264English Mahogany Pub Table, 19th century, the planked oval top above a plain frieze, raised on bobbin‑turned circular legs ending in toupie feet, h. 28”, w. 40”, d. 33‑1/2”. [400/700]

265Dutch Mahogany and Marquetry Tripod Table, early 19th century, the tilting circular top with a scrolling acanthine border surrounding an inlaid floral and avian urn, raised on a turned columnar standard to three splayed cabriole legs ending in pad feet, h. 29”, dia. 32”. [900/1200] Illustrated

266English Pine Display Case, 19th century, the upper section fitted with two long glazed doors, opening to an interior fitted with two banks of adjustable shelves, the lower section fitted with two glazed doors opening to a like interior, raised on a plinth base, h. 93‑1/2”, w. 49”, d. 16‑1/2”. [500/800] Illustrated

267Dutch Mahogany and Marquetry Sidechair, early 19th century, the domed crest above a vasiform‑shaped splat above the shaped slip‑in seat, raised on cabriole legs headed by foliate carving and ending in ball‑and‑claw feet, the whole with elaborate floral and avian inlays, h. 44”. [300/500] Illustrated

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268English Oak Library Steps, late 19th century, fitted with four steps and a side banister, the upper rung with a full guard rail, raised on block supports, h. 65‑1/2”, w. 20”, d. 42”. [1400/1800] Illustrated

269English Provincial Pine Cupboard, mid‑19th century, in the Regency taste, the scalloped crest above four open graduated shelves, with six small drawers below, over two cupboards, each inset with a lattice‑form grille, the whole raised on bracket feet, h. 76”, w. 35‑1/4”, d. 12”. [1800/2500] Illustrated

270Rare Swedish Ashwood Armchair, late 18th century, in the Queen Anne taste, the domed crest centered by a large carved shell above a baluster‑form splat, joined by shaped foliate‑carved arms to the padded seat, raised above a shell‑carved apron on cabriole legs ending in pad feet, h. 45”. [700/1000] Illustrated

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271George Harlow White (British, 1817-1888) “Window from the Clever Meadows”, oil on canvas, signed and dated lower right “G. Harlow White 1865”, 28‑1/4” x 60”, exhibition entry label on the reverse from “The Art Union of Great Britain, June Drawing, 1866, prize no. 69”, titled and signed in ink on an old paper label verso, 28‑1/4” x 60”. Presented in a period giltwood frame. [2000/4000] Illustrated

272Henrietta Anne Fortescue (British, ca. 1765-1841) “The Castle of Golling”, ink and graphite on paper, signed and dated lower right “H. A. Fortescue Aug. 26th, 1820”, titled lower center, with an extensive artist’s biographical label affixed to mat verso, sight 12‑3/4” x 19”. Matted and unframed. [500/800]

273Dutch Colonial Japanned Cabinet, 18th century and later, the molded rectangular cornice above a conforming case fitted with two cabinet doors, each with a gilt and gesso design of an exotic Indian landscape, opening to an interior fitted with two shelves, each with a pendant drawer below, raised on a stand fitted with a single long drawer on barley‑twist legs joined by a like X‑form stretcher and ending in block‑and‑ball feet, the whole with gilt floral accents, h. 65‑1/2”, w. 45‑1/2”, d. 19‑1/4”. [2500/4000] Illustrated

274George III Mahogany Wing Chair, third quarter 18th century, the tall rectangular back joined by shaped sides and outscrolled arms to the padded seat, raised on acanthine‑carved cabriole legs ending in ball‑and‑claw feet, h. 46”. [2000/4000] Illustrated

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275Good Swiss Oak and Polychrome Occasional Table, mid‑19th century, by Clement Sesti, Interlaken, Canton Bern, the tilting circular top with a carved foliate edge and centered by a scene of an Alpine waterfall, surrounded by carved grapevine banding and further surrounded by a band of cartouches, each featuring a polychrome maiden dressed in various folk garb, raised on an acanthine‑carved standard to three splayed and foliate‑carved C‑scroll legs ending in in‑scrolled toes, the underside bearing the label “At the Temple of Minerva/ Clement Sesti at Interlaken”, h. 30”, dia. 31”. Italian-born Clement Sesti (1807-1888) was a noted purveyor of carved wooden figures and furniture in Interlaken. The Third Swiss Industrial Exhibition of 1857 records his showing of several carved suites and boxes, and he is listed as a must-see Interlaken attraction in an 1866 guide book. An active member of the Catholic Church, he was awarded the Cross of the Order of St. Gregory in 1879. [1800/2500] Illustrated

276Black Forest Carved Walnut Sidechair, third quarter 19th century, the shaped back with pierced oak leaf and acorn carving surrounding a central plaque featuring a scene of a hunter carrying his catch, the shaped wooden seat centered by a scene of two mountain goats, raised on shaped legs headed by foliate carving and ending in scrolled toes, h. 37”. [250/400] Illustrated

277Large German Carved and Polychrome-Detailed Lindenwood Head of a Stag, fourth quarter 19th century, fitted with an impressive rack of natural antlers, the whole mounted on a backplate of modified cartouche form having a basal inscription in German, h. 43”, w. 24”, d. 23”. [900/1200] Illustrated

278Continental Pewter-Mounted Lignum Vitae Humidor, fourth quarter 18th century, of columnar form, the lignum vitae body flute‑carved, the pewter screw‑top with a handle of addorsed scroll form, h. 8”, dia. 4‑1/2”. [400/700]

279Continental School (Third Quarter 20th Century) “Village Scene”, watercolor and graphite on paper, signed lower right “R. Casteeli”, sight 14‑1/2” x 19‑3/4”. Glazed and framed. [75/125]

280Pair of Continental Hide-Upholstered Occasional Stools, late 19th century, each with a padded circular top above a concave frieze, raised on three legs ending in actual hoof feet, h. 15‑3/4”, dia. 12‑1/2”. [300/500]

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281Bronze-Patinated Cast-Metal Figure of a Setter, mid‑20th century, by Jennings Brothers, of large size, the underbelly stamped “J.B., 2591”, h. 9‑1/4”, w. 17‑1/4”. [125/250]

282Bronze-Patinated Cast-Metal Figure of a Newfoundland Dog, h. 6”, w. 9”. [75/125]

283Cold-Painted Cast-Iron Figure of a Terrier, ca. 1900, probably by Hubley Manufacturing Company, Lancaster, Pennsylvania, modeled as an alert, seated, wire‑haired fox terrier, h. 4‑3/4”, w. 5‑3/4”. [100/200] Illustrated

284Two Patinated Cast-Metal Figures of “Souvenir” Dogs, second quarter 20th century, in the “Vienna Bronze” style, comprising a husky bearing a plaque depicting the Capitol building in Washington, D.C., h. 2‑1/8”, w. 2‑3/4”; and a diminutive bulldog bearing a shield depicting the Robert E. Lee Monument in New Orleans, Louisiana, h. 1‑1/4”, w. 1‑5/8”. [50/80]

285Pair of Patinated and Parcel-Gilt Cast-Bronze “Scottie” Bookends, second quarter 20th century, each modeled as a standing Scottish terrier mother with her puppy seated beside her, h. 3‑3/4”, w. 3”, d. 3‑3/4”. [100/200]

286Verdigris-Patinated Figure of a Standing Bulldog, first quarter 20th century, of small size in the “Vienna Bronze” style, h. 2”, w. 3‑1/4”. [50/80]

287Two German Cold-Painted Cast-Spelter Figures of Bird Dogs, first quarter 20th century, in the “Vienna Bronze” style, the smaller h. 3”, w. 3‑1/4”, the larger h. 3‑3/4”, w. 4‑3/4”. [100/200]

288Argente Cast-Metal Figure of a Standing Pekinese, mid‑20th century, the dog’s neck tied with a ruff, h. 4‑1/2”, w. 6‑3/4”. [50/80]

289Cold-Painted Cast-Spelter Figure of Two Terriers, first quarter 20th century, in the “Vienna Bronze” style, the canines, one black and the other white, depicted begging beneath an umbrella, h. 3”, w. 1‑3/4”. [50/80]

290Cold-Painted Cast-Iron Figure of a Black Scottie, fourth quarter 19th century, probably by Hubley Manufacturing Company, Lancaster, Pennsylvania, the terrier modeled wearing a red collar and with one rear leg naughtily lifted, h. 3‑1/8”, w. 4‑1/2”. [50/80] Illustrated

291Two Cold-Painted Cast-Spelter Figures of Bulldogs, first quarter 20th century, in the “Vienna Bronze” style, both dogs modeled standing, the smaller example stamped “Germany” on the underbelly, the smaller h. 2”, w. 3‑1/4”, the larger h. 2‑3/4”, w. 4‑3/4”. [100/200] Illustrated

292Italian Oak Chest, the banded rectangular top above a case fitted with four long drawers, all with inlaid banding, raised on ogee‑molded bracket feet, h. 34”, w. 49‑1/4”, d. 24‑1/4”. [1800/2500]

293Continental School (Late 19th/Early 20th Century) “Mountainous Landscape with Rushing Stream”, oil on canvas, indistinctly signed lower right, 17‑3/4” x 14”. Framed. [250/400]

294Good Italian Gilt-Brass, Carved Calcatta Marble and Alabaster Six-Light Chandelier, first quarter 20th century, of basin form, the short brass candlearms supporting bowl‑form alabaster shades, the outer base of the central marble basin carved with a stylized flowerhead, h. 27”, dia. 31”. [2500/4000] Illustrated

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295Good Gold- and Gilt-Bronze-Mounted Agate Etui, fourth quarter 18th century, retaining its original implements, including a pair of scissors, a straight‑edge ruler, a pair of calipers, an awl, a pair of steel tweezers, a stylus, an ear pick, a steel blade and a diminutive spoon, l. 3‑1/2”. [3500/5000] Illustrated

296Continental School (Fourth Quarter 19th Century) “Still Life of Flowers”, oil on canvas, signed lower left “Drake”, 30‑1/4” x 25”. Presented in a period carved giltwood and plaster frame. [500/800]

297Continental Cut and Polished Carnelian Cabinet Bowl, fourth quarter 19th century, of oval form, w. 2‑3/4”, l. 4‑1/4”. [125/250]

298Large Fedorskino, Russia, Lacquered Table Box, second quarter 20th century, the lid featuring “The Village Dance of the Maidens”, signed lower left, the interior lacquered in monochrome red, accompanied by a Russian printed certificate of authenticity, h. 6‑1/4”, w. 4‑1/4”. [75/125]

299German Historismus .800 Silver Gilt Enamel and Rock Crystal Cabinet Figure of an Ostrich, ca. 1900, by Ludwig Neresheimer, Hanau, Germany, the enameled figure bearing a rock crystal egg on its back and presented on an oval nacre base in a conforming silver‑gilt jeweled base, h. 4‑3/4”. [1200/1800] Illustrated

300Italian Carved and White-Painted Wooden Pricket Candlestick, fourth quarter 18th century, in the neoclassical style, now mounted with quartz crystal fragments and surmounted by a large specimen quartz crystal, the white‑painted surface attractively worn and weathered throughout, h. 24”, dia. 6”. [200/400]

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301Unusual Pair of Italian Garnitures, composed of antique turned and matte white‑painted wooden vasiform balusters, each surmounted by a large fossil clam shell bearing chalcedony rosettes, h. 15‑1/4”, w. 5‑1/2”, d. 5‑1/2”. [300/500] Illustrated previous page

302Pair of Italian Carved and Antiqued Giltwood Sunburst Looking Glasses, second quarter 20th century, in the Directoire style, modeled as alternating triple sunrays set with conforming mirrored glass strips and single rays set with three graduated mirrored glass jewels, dia. 26‑1/2”. [800/1200] Illustrated

303British School (Late 19th Century) “Moroccan Evening”, oil on canvas, signed lower right “J. D. Clark”, 20” x 28”. Handsomely framed. [1500/2500] Illustrated

304Continental Walnut-Stained and Marble-Top Center Table, fourth quarter 19th century, the circular rim with line‑carved details and supported by four standing putti, h. 32‑1/2”, dia. 54”. [1200/1800] Illustrated

305Large Pair of Italian Parcel-Gilt and Black-Patinated Bronze Blackamoor Torcheres, in the 18th‑century Venetian style, each exotically clad figure holding a flambeau fitted with electrical wiring, h. 54”, w. 26”. [3000/5000] Illustrated

306Pair of Black Faux-Marbre Pedestals, each of square section, with stepped plinth and capital and fluted sides, h. 34”, w. 7”. [800/1200] Illustrated

307German Ebonized Terra Cotta Figural Calling Card Tray, third quarter 19th century, in the form of a Blackamoor carrying a circular platter, the base fitted with an additional smaller card well, h. 15”. [250/400]

308Large Italian Provincial Eight-Light Chandelier, composed of carved and white‑painted wood and wrought‑iron in the neoclassical taste, dressed with antiqued white‑painted turned wood pendants, the candlearms faced with upright antiqued wrought‑iron acanthus leaves, the crown with four matching acanthus leaves, electrified and fitted with faux candles, h. 49”, dia. 47”. [1800/2500] Illustrated

309Pair of Spanish Colonial Carved Giltwood Looking Glasses, second quarter 19th century, of rectangular form in the 18th‑century style, one with the official Peruvian Cultural Institute Expert label on the reverse, h. 21‑1/4”, w. 14‑1/4”. [300/500]

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310After Tiziano Vecellio “Titian”, (Italian, 1488/1490-1576) “Grand Duke of Alba”, oil on panel, 19th century, unsigned, 18‑1/2” x 14‑1/4”, accompanied by the hardcover book The Duke of Alba by Henry Kamen, Yale University Press. Handsomely framed. [700/1000] Illustrated

311Dramatic Continental Blackened Wrought-Iron “Eagle” Lectern, first quarter 20th century, of large scale in the High Medieval style, the rectangular book support resting on the outspread wings of the eagle, h. 62‑1/4”, w. 23‑1/4”, d. 22”. [1400/1800] Illustrated

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312Continental Oak and Fruitwood Coffer, late 18th century, the hinged rectangular top opening to a void interior, the front with a decorative iron escutcheon and side relief‑carved foliate designs, raised on line‑carved block feet, h. 29‑1/2”, w. 67‑1/2”, d. 23”. [1000/1500] Illustrated

313Hispano-Portuguese Brass and Copper Floor Brazier, first quarter 19th century, of oval and footed form in the 18th‑century style, the interior fitted with a conforming four‑ringed brass‑edged copper brazier pan, the whole supported on four short cabriole legs with paw feet, h. 7‑1/4”, w. 17‑1/2”, l. 21‑1/4”. [400/700]

314Good German Brass Rosewater Basin, third quarter 17th century, the center with a raised foliate boss forming a ewer stand, the reverse fitted with a later triangular suspension loop, dia. 16‑1/2”. [400/700]

315French Carved Giltwood Tripodal Pricket Candlestick, fourth quarter 19th century, in the Louis XVI style, now mounted as a table lamp, the whole supported on three ball‑and‑claw feet, h. 28” (39” to finial), w. 7‑3/4”. [200/400]

316Follower of Giovanni Paolo Panini (Italian, 1691-1765) “An Architectural Capriccio with Figures Walking Among Ruins, a Merchant Selling Paintings and a Sculpted Classical Fountain in the Foreground”, oil on canvas, unsigned, 44” x 67‑1/2”. Handsomely framed. [3500/5000] Illustrated

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317Italian Inlaid Walnut Collector’s Box-on-Stand, early 20th century, the rectangular case with inlaid geometric banding, fitted with a central deep drawer flanked to either side by two small drawers and with two drawers below, all with pyrography and inlaid scenes of a cityscape, raised on a stand of turned legs joined by a spindled gallery stretcher, raised on molded feet, h. 43‑1/2”, w. 20‑1/2”, d. 10‑1/4”. [400/700]

318Continental Carved Oak Door, 16th century, in the Gothic manner, having twelve carved panels, all with X‑form designs amidst foliate patterns, h. 70‑1/4”, w. 27”. [1800/2500] Illustrated

319Good Northern European Carved and Stained Lindenwood Group of The Holy Family, fourth quarter 17th century, presented on a later slab base of macassar ebony, h. 12”, w. 7‑3/4”, d. 6‑1/2”. [1200/1800] Illustrated

320Continental Carved and Stained Oak Panel, depicting a seated female figure allegorical of “Abundance” in the 16th‑century style, h. 8‑3/4”, w. 8‑1/2”. [50/80]

321Continental Carved Oak Coffer, 18th century, the hinged rectangular top opening to a void interior, the front with acanthine carving surrounding four diamond‑carved panels, raised on block feet with decorative brackets, h. 27”, w. 57‑1/4”, d. 20‑1/2”. [1000/1500] Illustrated

322Continental School (First Quarter 20th Century) “Portrait of a Gypsy Girl”, oil on canvas, signed upper right “E. Pilz 1920”, 32” x 23”. Handsomely framed. [1200/1800] Illustrated

323Circle of Bartholomaus Breenbergh (Dutch 1599-1656) “Italianate River Landscape”, oil on panel, third quarter 17th century, unsigned, 9‑1/2” x 12”. Presented in a ripple‑carved giltwood fillet within a carved and ebonized wood frame in the 17th‑century Dutch style. [1200/1800] Illustrated

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324Alexis Matthew Podchernikoff (American/Russian, 1886-1933) “Wooded Landscape with Women Doing Laundry by a Stream”, oil on canvas, signed lower left “A. M. Podchernikoff, 20” x 24”. Handsomely framed. [3000/5000] Illustrated

325Large Spanish Colonial Diptych-Framed Looking Glass, second quarter 20th century, probably Peruvian, composed of polychromed wood and eglomise in the traditional style, h. 30‑1/2”, w. 33‑3/4” (18‑1/4” closed). [1200/1800]

326Iberian Walnut Hall Chair, late 18th century, the padded rectangular back with corner foliate finials, joined by flat arms on turned uprights to the padded seat, raised on bulbous legs joined by a foliate‑ and avian‑carved front stretcher and ending in foliate block feet, h. 43”. [900/1200] Illustrated

327Suite of Two Spanish Mahogany Armchairs, 18th century, in the Baronial taste, one with a leather back joined by shaped arms to the slung leather seat, raised on square legs joined by a pierced front stretcher and a lower box stretcher, and the other with an embossed leather back joined by flat arms to the slung leather seat, raised on square legs joined by a plank front stretcher, h. 42‑1/2” and 44‑1/4”, respectively. [500/800]

328Spanish Polychromed and Parcel-Gilt Walnut Vargueno, 16th century, the case with iron banding, fitted with a central deep drawer, flanked to either side by two small drawers and with two drawers below, all with freestanding spiral‑reeded bone columns and inlaid bone plaques, h. 18”, w. 33”, d. 13‑1/2”. [5000/8000] Illustrated

329Pair of Italian Carved and Bronzed Wood Pricket Candlesticks, third quarter 19th century, in the Baroque style, each supported on three boldly modeled paw feet, now fitted with faux candles and mounted as table lamps, h. 23‑1/4” (35” to finial), w. 8”. [600/900]324

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330Italian Carved Giltwood Tripodal Pricket Candlestick, fourth quarter 18th century, in the neoclassical taste, now mounted as a table lamp and fitted with a custom flute‑pleated silk shade of “old ivory” hue, h. 22” (40” to top of shade). [400/700]

331Northern European School (Early 18th Century) “The Patrician Reader”, oil on canvas portrait of a stern bearded scholar in a ruff and tippet, holding a book and a pair of spectacles, the book with a furlong bookmark inscribed in Latin “Centuria Costl: El Leoni”, unsigned, 36” x 28”. Presented in a later bird’s‑eye maple neoclassical frame on a faded scarlet baize backplate. [2500/4000] Illustrated

332Pair of Italian Brass Candlesticks, first quarter 20th century, of tall size in the late 18th‑century neoclassical taste, h. 32”, w. 9”. [400/700] Illustrated

333Italian Walnut Bench, 17th century and later, the planked back and sides each upholstered in quilted velvet, raised on shaped end supports headed by masks and ending in paw feet, each support joined to the seat by iron stretchers with bird’s‑head terminals, h. 38”, w. 66”, d. 17”. [1500/2500] Illustrated

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334Rare Russian Polychromed Majolica Figure of the Cossack Revolutionary Stepan Razin, fourth quarter 19th century, probably Moscow, h. 14”, w. 8”. [150/300]

335Monumental Italian Majolica Baluster-Form Vase, second half 20th century, by Ceramiche Ricceri, Florence, in the Renaissance style, the obverse with a scene of mounted and armed knights saluting one another, the reverse with a castellated river landscape, the interior of the neck signed “Italy/Ricceri”, h. 26”, w. 19‑1/4”, dia. 15”. [800/1200] Illustrated previous page

336Spanish Oak Coffer, late 17th/early 18th century, from Navara Spain, the hinged and planked rectangular top opening to a void interior, the front heavily carved in patera and geometric panels, each side bi‑paneled, raised on plank supports, h. 35”, w. 60”, d. 22”. [4500/7000] Illustrated

337Italian Walnut Savonarola Chair, third quarter 19th century, the leather back joined to the like seat by downswept acanthine‑carved arms, raised on a cross‑over base ending in shaped planks to paw feet, h. 29”. [300/500]

338Pair of English Carved Oak Figural Quarter-Pilasters, third quarter 19th century, in the form of Jacobean choristers holding long scrolls, h. 21”, w. 8‑1/2”. [800/1200] Illustrated

339Italian School (Late 18th/Early 19th Century) “The Penitent Magdalene”, oil on canvas, unsigned, 35‑1/2” x 27‑1/2”. Presented in a contemporary giltwood frame. [600/900]

340After Michelangelo Buonarroti (Italian, 1475-1564) “Tombeau de Julien de Medicis”, 1830, oil on canvas, en grisaille, titled upper center, inscribed below title “Par Michel Ance Buonarroti” and lower right “Vien, fils, delineavit, 1830”, 29” x 36”. Presented in a contemporary giltwood frame. [4000/7000] Illustrated

341French Late Gothic Wrought-Iron Folding Lectern, 17th century and later, the reading surface of black calfskin flanked by a pair of swing‑candlearms now fitted with giltwood finials, h. 67”, w. 38”, d. 24”. [1400/1800] Illustrated

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342Jean Dormat, Le Droit Publique, Suite des Lois Civiles dans leur Ordre Naturel, Paris, 1706, published by Jean‑Baptise Coignard, volumes I, II, IV and V, each frontispiece with a wood‑engraved illustration. [200/400]

343Four-Volume Vellum-Bound Set of Sacramente Decisiones, Venice, 1726, Latin text, the vellum bindings in generally good condition. [400/700] Illustrated

344Italian Argente Wood and Wrought-Iron Five-Light “Cattail and Leaf” Sconce, in the neoclassical taste, the candle sockets of inverted bell form and of carved and silvered wood, caught at the base with an argente cut‑iron bowknot, electrified, h. 34”. [200/400]

345English Gothic Oak Cupboard, 16th century, the molded cornice above a case fitted with two cupboard doors, each inset with a scrolling foliage‑carved panel and flanking a like‑carved panel, the lower section fitted with two cupboard doors, each inset with four linen fold‑carved panels, the sides paneled en suite, raised on block feet, the whole with decorative iron hardware and strapwork, h. 64”, w. 56”, d. 22”. [6000/9000] Illustrated

346Gothic-Style Polychromed Cabinet, the molded cornice with projecting corners above a conforming case fitted with a paneled frieze over two cabinet doors, each paneled and with a carved rondel surrounded by Gothic tracery patterns, flanked to either side by arch paneled uprights featuring polychromed medieval figures, the whole raised on paneled legs featuring avian accents and ending in block feet, h. 55‑1/2”, w. 59‑1/2”, d. 25‑1/2”. [900/1200]

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347Louis XVI-Style Fruitwood Settee, late 19th century, the padded rectangular back with canted corners and within a foliate‑ and rope‑carved frame, joined by padded acanthine‑carved arms to the padded seat, raised above a laurel leaf‑carved apron on fluted tapering circular legs ending in toupie feet, h. 40”, w. 70‑1/2”, d. 24”. [2000/4000] Illustrated

348Provincial Restauration Fruitwood Armchair, third quarter 19th century, the domed crest flanked to either side by ebonized ball finials above a like‑shaped splat, joined by flat arms to the rush seat, raised on tapering square legs joined by stretchers, h. 34”. [200/400]

349Continental School (First Quarter 20th Century) “Chickens on a Sunlit Path”, oil on canvas, signed and dated lower right, “(?) Hofman 1917”, 25‑1/2” x 32”. Presented in a contemporary giltwood and plaster frame. [1500/2500] Illustrated

350French Provincial Fruitwood Shelf, late 19th century and later, the molded cornice above a shaped frieze with stylized wheat sheaf carving, above four open adjustable shelves, flanked to either side by fluted uprights, raised on shaped feet, h. 77”, w. 82‑1/2”, d. 12”. [1800/2500] Illustrated

351Near Pair of Buff Terra Cotta Lidded Storage Vessels, each of broad pyriform and with cream glazing, the lids domed and with a central knop, h. 18”. [300/500] Illustrated

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352Pair of French Mounted Dried Botanical Specimens, fourth quarter 19th century, presented nine‑to‑a‑frame on taupe backplates within white‑painted wooden frames, each specimen accompanied by a handwritten Latin botanical name and a description of the particular plant in French, h. 34‑1/2”, w. 27‑3/4”. [300/500]

353Louis XVI-Style Polychromed Sidechair, mid‑19th century, the molded and domed crest above a pierced lyre‑form splat, the padded seat raised on turned and fluted tapering circular legs ending in toupie feet, h. 36‑1/2”. [800/1200] Illustrated

354French Provincial Grained and Floral-Polychromed Wooden Tallcase Clock, second quarter 19th century and later, the circular white enamel dial with black Roman chapters and an embossed gilt‑brass cresting featuring a masked sunburst surmounting a pair of billing doves, retaining the period brass “moon” pendulum and original lead weights, h. 93”, w. 17‑3/4”. [1000/1500] Illustrated

355Continental Provincial Pine Armoire, third quarter 19th century, the molded cornice above a case fitted with two long doors, each inset with three shaped panels, both within a molded frame, raised on large squat bun feet, h. 84”, w. 66”, d. 22‑1/2”. [800/1200] Illustrated

356Pair of Provincial Louis XV-Style Fruitwood Fauteuils, late 18th century, each with a shaped and padded back surmounted by a floral crest, joined to the padded seat by scrolling arms, raised above a shaped floral‑carved apron on molded cabriole legs headed by floral carving and ending in scrolled toes, upholstered in period figural upholstery, h. 34”. [2500/4000] Illustrated

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357Suite of Ten Louis XV-Style Polychromed Sidechairs, six examples third quarter 19th century and four examples late 20th century, all with a shaped and caned back surmounted by a floral crest, the caned seat above a shaped floral‑ and foliate‑carved apron, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 37‑1/2”. [2500/4000] Illustrated

358Napoleon III-Style Fruitwood Bergere, in the Louis XV taste, the shaped and domed padded back surmounted by a floral crest, joined by padded arms to the cushioned seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, now upholstered in Brunschwig et Fils tapestry damask, h. 38”. [600/900]

359Group of Three Provincial Buff Terra Cotta Storage Vessels, all of broad pyriform and glazed in antique ivory, all with lower incised fluting, one with indistinct incised undulating patterns on the shoulder, h. 13‑1/2” to 16‑1/2”. [250/400] Illustrated

360Chinese White-Glazed Terra Cotta Funerary Jar, 19th century, the globular jar tapering to a narrow foot with incised ring decoration at the base and a central band of paddle impressions, glazed all over in white glaze for funerary offerings, h. 16‑1/2”, dia. 18”. [100/200]

361Jules Rene Herve (French, 1887-1981) “View of a Busy Street Corner in Paris”, oil on canvas, signed lower left “Jules R. Herve”, signed on canvas verso, partial label on the reverse “(?) Art Galleries, 1434 Sherbrooke Street West, Montreal”, 15‑1/8” x 18‑1/4”. Framed. [2500/4000] Illustrated

362Rustic Cast-Stone Planter, late 19th century, of graduated circular form, the body nicely weathered, h. 21”, dia. 26‑1/2”. [100/200]

363Provincial Louis XV-Style Walnut Commode, late 18th century, the slightly bowed top with molded edge and above a conforming case fitted with three long drawers, all bi paneled, raised on scrolled toes, h. 37‑1/2”, w. 47”, d. 24”. [3000/5000] Illustrated

364Pair of French Cast- and Wrought-Brass Two-Light Appliques, second quarter 20th century, in the manner of Gilbert Poillerat, fitted with unusual tapering painted wood faux candles and electrified, h. 11‑1/2”, w. 8”, d. 6‑1/2”.

[300/500]

357

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365Continental Provincial Polychromed Cabinet, early 19th century, the domed and molded cornice with canted corners above a conforming case fitted with two arched and paneled doors, the sides also paneled, the whole with decorative painted geometric accents, h. 38”, w. 36”, d. 15”. [400/700] Illustrated

366Pair of Louis XV-Style Beechwood Fauteuils, third quarter 19th century, each with a padded and shaped back surmounted by a floral crest and within a molded frame, joined by outscrolled padded arms to the like seat, raised on molded cabriole legs headed by floral carving and ending in molded toes, h. 37‑1/4”. [1500/2500] Illustrated

367French School (Fourth Quarter 19th Century) “Pastoral Summer Landscape with Lovers and a Musician by a Mountain Lake”, oil on canvas, unsigned, 9‑1/2” x 13‑3/4”. Handsomely framed. [900/1200] Illustrated

368Provincial Louis XV-Style Fruitwood Duchesse Brisee, mid‑19th century, the caned back surmounted by a floral crest and joined to the long caned seat by scrolling arms, raised on cabriole legs headed by floral carving and ending in scrolled toes, the conforming stool with a caned seat, raised on similar legs, h. 35”, w. 23‑1/2”, l. 49‑1/2”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [1000/1500] Illustrated following page

363365

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369Large French Colored Glass Scale- and Bead-Encrusted Chandelier, first quarter 20th century, of corbeille form in “Vintage” decor, the eight shades modeled as colored glass grape clusters, the lower basket‑form element covered in colored glass scales, the interior fitted with eight light sockets, h. 30”, dia. 33”. [2000/4000] Illustrated

370Pair of Louis XV-Style Walnut Sidechairs, third quarter 19th century, each with a shaped and padded back surmounted by a foliate, shell and floral crest, the padded seat raised on molded cabriole legs ending in brass caps and casters, h. 38”. [300/500]

371Provincial Fruitwood Cupboard, mid‑19th century and later, the rectangular top above a conforming case fitted with two cupboard doors, each inset with a shaped panel, above an open storage space with a slatted galleried front, the whole raised on shaped feet, h. 43”, w. 34”, d. 19‑3/4”. [700/1000] Illustrated

372French Provincial Poitou-Charentes Tallcase Clock, second quarter 19th century, in stained and floral‑polychromed honey pine, signed “Gantner/ a l’Absie” on the circular enameled dial, retaining the brass dial frame and long bipartite fruit basket‑embossed brass pendulum, h. 92”, w. 18‑3/4”. [1000/1500] Illustrated

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373Continental Stained Pine Hutch, ca. 1900, having an overhanging cornice molding and two glass doors above a pair of framed and paneled blind doors, raised on bun feet, h. 84”, w. 41”, d. 22”. [600/900]

374French Provincial Glazed Pottery Bundt Bowl, first quarter 20th century, of circular spiral‑ribbed form and having a medium brown glaze, h. 5”, dia. 11‑1/2”. [50/80]

375French School (Late 19th Century) “Seascape”, oil on panel, signed and dated lower right “A. Laval‑Bibard 1899”, 7‑1/4” x 14‑1/4”. Presented in an elaborately carved giltwood and plaster frame. [1000/1500] Illustrated

376Louis XIII-Style Oak Fauteuil a la Reine, third quarter 19th century, the tall padded rectangular back joined by downswept arms to the padded seat, raised on paneled tapering circular legs joined by a shaped X‑form stretcher and ending in bun feet, h. 46”. [800/1200] Illustrated

377Provincial Louis XV-Style Fruitwood Bergere Encoignure, mid‑19th century, the domed and caned back surmounted by a foliate crest and joined by downswept caned arms to the cushioned caned seat, raised on shaped legs headed by floral carving and ending in carved toes, h. 37”. [400/700] Illustrated

378Moravian Provincial Polychromed Pottery Vase, first quarter 19th century, of globular form in pale blue and umber floral decor, now mounted as a table lamp on a later bronzed brass base and having a matching cap, h. 10‑1/2” (23‑3/4” to finial), dia. 8”. [600/900] Illustrated

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379French School (First Quarter 20th Century) “View of a Country Lane with Figures and a Horse‑Drawn Carriage”, oil on canvas, signed lower right “Pereau”, 20” x 24”. Handsomely framed. [3000/5000] Illustrated

380Provincial Northern European Polychromed Tallcase Clock, mid‑19th century, of kettle form, the enameled face indistinctly signed, the shaped body with one door inset with a glass viewing hole, h. 76”, w. 22‑1/2”, d. 8‑1/2”. [700/1000]

381Empire-Style Walnut Semainier, early 20th century, the rectangular top above a case fitted with a frieze drawer over six recessed drawers, flanked to either side by a pilaster headed by an ormolu maiden’s head and ending in feet, the whole raised on ormolu paw feet, h. 61”, w. 34”, d. 19‑3/4”. [1200/1800] Illustrated

382Large Northern European Gilt-Brass, Wrought-Iron and Cut Glass Tiered Eighteen-Light Chandelier, first quarter 20th century, in the neoclassical taste, richly dressed with facet‑cut drops in three sizes, cut glass fleurettes and cut glass saucer bobeches, electrified and fitted with faux candles, h. 40‑1/2”, dia. 30‑1/2”. [1500/2500] Illustrated

383Pair of French Gilt-Brass-Mounted Cut Glass Obelisks, in the Louis XVI taste, the obelisk points channel‑cut, the square‑section bases diamond‑cut, h. 21”. [800/1200]

384Louis-Philippe Gilt-Brass-Mounted Carrara Marble Pendant Lamp, second quarter 19th century, in the neoclassical taste, the pendant candle cup of cobalt blue glass, h. 14”, w. 4‑1/2”. [400/700] Illustrated

385Good Pair of Napoleon III Gilt-Brass-Mounted Cobalt Glass Garniture Vases, third quarter 19th century, in the Louis XVI style, of baluster form, the gilt‑brass collars with draped and tassellated gilt‑brass chains and flammiform covers, h. 9‑1/2”, dia. 2‑3/4”. [1000/1500] Illustrated

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386French Gilt-Brass-Mounted Onyx Table Lamp, in the Louis‑Philippe neoclassical taste, the standard of candlestick form on a tall gilt‑brass pedestal of square section, each facade set with a hipped onyx boss, h. 29”. [500/800]

387Suite of Six Russian Neoclassical Mahogany and Parcel-Gilt Armchairs, first quarter 19th century, each with a scrolling gilt crest above horizontal splats with gilt lotus and patera designs, joined by downswept arms and turned hand rests to the padded and tufted seat, raised on gilt‑ring‑turned circular legs, h. 44‑1/2”. [6000/9000] Illustrated

388Continental Neoclassical-Style Mahogany Fauteuil, the fluted crest rail above a concave padded back, joined by downswept arms and lion‑mask hand rests to the padded seat, raised on tapering square legs ending in gilt paw feet, bearing the white fabric label “Schumacher”, h. 38‑1/2”. [300/500]

389Monumental Pair of Italian Cast Gray Pottery Tree Tubs, in the neoclassical style, each supported on a trio of detachable leonine‑masque feet, h. 26”, dia. 28”. [2500/4000]

390Plaster Bust of Apollo, After the Antique, truncated at the shoulder on a circular socle, h. 33”, w. 21‑1/2”, d. 14”. [1400/1800] Illustrated

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389pair

390

66

391Hippolyte Alexandre Julien Moulin (French, 1832-1884) “Secret d’en Haut” (“A Secret from on High”), fourth quarter 19th century, a black‑painted bronze figure after the 1873 model, depicting the adolescent nude Hermes whispering a secret to a herm of his later self, signed, on the reverse of the pillar, “Moulin, Je.un”, h. 20”, w. 10‑7/8”, d. 6‑1/8”. Provenance: Private collection, Sarasota, Florida. The original 1875 marble of this 1873 model is housed at the Musee d’Orsay, Paris. [1500/2500] Illustrated

392Empire-Style Marble Pedestal, the square Noir Francais marble top raised on a square ribbed Carrara marble standard to a stepped base on projecting feet, the whole with ormolu mounts in the Empire taste, h. 45‑1/4”, w. 14”, d. 14”. [400/700] Illustrated

393French Gilt-Brass-Mounted Black Tole-Peinte Eight-Light Chandelier, first quarter 20th century, in the Restauration style, the candlearms surmounted by winged kneeling vestals before the flammiform candlesockets, the primary tole‑peinte plate centered with a gilt‑brass Nike figure, retaining the period ornamental gilt‑brass suspension chains, not electrified, h. 32”, dia. 27”. [3500/5000] Illustrated

394Pair of American Gilt-Brass and Tole-Peinte Four-Light Appliques, in the Restauration style, ca. 1900, each backplate marked “Crescent B.M. Co., Pat’d. No. 015”, h. 10‑3/4”, w. 12”, d. 13‑1/2”. [500/800]

391

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395Large French Bronze and Malachite Figural Centerpiece Basket, composed of parcel‑gilt and patinated bronze in the manner of Pierre‑Philippe Thomire (French, 1751‑1843), the reticulated gilded basket supported on the heads of three bronze classical maidens surmounting a gilt‑bronze‑mounted malachite pedestal base of drum form, h. 35”, dia. 15‑3/4”. [3500/5000] Illustrated

396Elegant Pair of Weighty French Gilt-Lacquered Bronze Quatrepodal Griffon Stands, in the Louis XVI style, h. 8‑3/4”, w. 8‑3/4”. [1800/2500] Illustrated

397Pair of Empire-Style Patinated Metal Pedestals, each of square section and with elaborate ormolu mounts in the Empire taste, including frontal mounts of classical maidens, raised on a socle base with applied patera banding to block feet, h. 81”, w. 14‑1/2”, d. 14‑1/2”. [1800/2500] Illustrated

398Good French Gilt-Bronze Figure of Orpheus, third quarter 19th century, in the Antique style, the figure modeled in a goatskin and depicted playing a flute, presented on a satin‑polished black marble pedestal base of square section, h. 22‑1/2”, w. 6”, d. 6”. [800/1200] Illustrated

399Pair of Gilt- and Patinated Bronze Recumbent Sphinx Chenets, first quarter 20th century, by Bouhon Freres, Paris, in the late Baroque style, each Sphinx signed “Bouhon”, h. 11”, w. 11‑3/4”, d. 6‑1/2”. [250/400]

400Pair of Gilt-Brass-Mounted Mirror-Black Porcelain Two-Handled Vases, of “Medici” form in the Restauration style, the collars, handles and bases of antique‑gilded brass, h. 16‑1/4”, w. 11‑1/2”. [300/500]

401Pair of Northern Italian Carved Giltwood Looking Glasses, in the late 18th‑century neoclassical style, the tall giltwood crestings modeled as floral sprays on reeded pedestals mantled by foliate scrolls with flowerhead terminals, h. 65‑1/2”, w. 27”. [4500/7000] Illustrated

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401pair

68

402Edwardian Gilt- and Patinated Bronze Desk Clock, first quarter 20th century, in the French First Empire taste, the clock with white enamel dial with black chapters, set in a gilt‑bronze laurel frame and rectangular case, surmounted by a helmet and wreath finial and presented beside a patinated and parcel‑gilt bust of Minerva, both on a plinth base faced with armor, artillery, flags and cannon, raised on four toupie feet, the finial and plinth facing set with twenty‑four diamonds totaling approximately 1.58 carats, h. 6‑1/2”, w. 5‑3/4”, d. 2‑1/4”. The diamonds here appear to be later additions, with one lacking and one a simulant replacement. Although unsigned, the case door is fitted with the watch-paper of Marcus Beaver, Manchester, dated 1918. [1200/1800] Illustrated

403Pair of Napoleon III Brass-Mounted Black Tole-Peinte Garniture Ewers, third quarter 19th century, in the neoclassical style, the curvate gilt‑brass handles with basal terminals in the form of bacchante masques, h. 12”, w. 6”, d. 4”. [1800/2500] Illustrated

404Empire-Style Giltwood Looking Glass, the frame with projecting floral block‑carved corners surrounding a carved frieze panel depicting griffins flanking an urn issuing a putti figure, with the beveled rectangular plate below, h. 74”, w. 43”. [700/1000]

405Stately Pair of Belle Epoque Bronze-Patinated Brass Andirons, first quarter 20th century, in the First Empire taste, each column of square section surmounted by a sphere resting on a dished circle of leaves, the facades with mounts of attenuated anthemion form, h. 30”, w. 10”, d. 23”. [1400/1800] Illustrated

406Pair of English Bleached Oak Tall Fluted Columns, 19th century, each shaft mounted to a molded circular base on a socle plinth, h. 97”. [1000/1500]

407Empire-Style Patinated Bronze and Onyx Occasional Table, the circular pieced onyx top within a full pierced gallery, raised on shaped supports headed by lion masques, joined by X‑form stretchers and ending in paw feet, h. 26‑1/2”, dia. 25”. [1000/1500] Illustrated

408Pair of Continental Silverplate Bouillotte Lamps, first quarter 20th century, each with a tapering reeded standard above a circular base, with three S‑scroll arms ending in vasiform nozzles above circular drip‑pans, surrounding an adjustable green tole‑peinte shade with a vasiform finial, electrified and fitted with faux candles, h. 27”, dia. 15‑1/2”. [800/1200]

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409Continental Wrought-Iron, Gilt-Brass and Cut Glass Six-Light Chandelier, second quarter 20th century, of “sac” form, dressed with multiple parallel chains of jewel‑cut beads and fitted with faux candles, the gilt‑brass canopy of crown form, the gilt‑brass bobeches of stylized flowerhead form, h. 33”, dia. 33”. [900/1200] Illustrated

410French Painted and Parcel-Gilt Beechwood Looking Glass, third quarter 19th century and later, the tall cresting modeled as a carved, gris‑de‑Trianon‑painted and parcel‑gilt portrait‑head medallion mantled by laurel‑leaf garlands and gilded oak leaf sprays joined by a furled gilded bowknot in the Louis XVI manner, h. 59‑1/2”, w. 23‑1/2”. [1000/1500] Illustrated

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411

411Empire-Style Ormolu-Mounted Verde Antico Marble Pedestal, the rectangular top raised on two columnar supports, each with an ormolu Corinthian capital and molded base, raised on a stepped rectangular pedestal with applied scrolling ormolu mounts, h. 41‑1/2”, w. 17‑1/2”, d. 10‑1/4”. [1200/1800] Illustrated

70

412Attractive Pair of Paris Porcelain Garniture Vases, first quarter 19th century, of two‑handled and paw‑footed form, the handles modeled as matte‑gilded leonine masques with stylized feather crestings, each facade painted with birds hovering over sprays of summer flowers, h. 13‑1/4”, w. 7‑3/4”, d. 4‑1/4”. [1800/2500] Illustrated

413Attractive J. Staub, Vienna, Mantel Clock, second quarter 19th century, composed of gilt‑brass‑ and giltwood‑mounted fruitwood in the Biedermeier style, of glazed pavilion form, the canopy surmounted by a carved giltwood displayed eagle on a sphere, h. 20‑1/2”, w. 10”, d. 6‑1/4”. [1200/1800] Illustrated

414Pair of Empire-Style Mahogany and Marble-Top Occasional Tables, late 19th century, each with a circular Sainte‑Anne Francais marble top above a plain frieze, raised on three ormolu‑mounted columnar supports to the concave tripartite shelf, raised on bun feet, h. 25‑1/4”, dia. 19‑1/2”. [1800/2500] Illustrated

415Neoclassical Mahogany Sidechair, mid‑19th century, the backswept crest above a palmetto‑carved frieze over a pierced X‑form and medallion‑carved back, the padded seat raised on horse leg‑form legs ending in hairy paw feet, h. 37”. [200/400]

416Pair of Napoleon III Bronze and Marble Garniture Coupes, third quarter 19th century, in the Neo‑Grec Style, composed of gilt‑ and patinated bronze and polished verde antico marble, the bronze handles with anthemion terminals, h. 7‑1/2”, w. 8‑1/4”. [500/800]

417Louis-Philippe Mahogany and Marble-Top Center Table, mid‑19th century, the inset circular specimen marble top above a plain frieze, raised on a reeded and turned urn‑form standard to a reeded circular base issuing scrolling foliate‑carved legs ending in paw feet on casters, h. 28‑3/8”, dia. 37‑1/4”. [1500/2500] Illustrated

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418Large Italian Marble Bust of Septimius Severus, in the Imperial Roman style, the portrait head in Carrara marble; the toga of Rouge Royal marble, h. 25”, w. 22”, d. 17”. [1800/2500] Illustrated

419Pair of French Gilt-Brass-Mounted Rouge Royal Marble Garniture Vases, first quarter 20th century, of covered, two‑handled form in the Louis XVI style, now mounted as accent lamps on stepped matte black‑painted square wooden “collector” bases and fitted with custom pleated taupe silk shades, h. 13‑1/2” (21‑1/2” to top of shade), base w. 5‑1/2”, shade dia. 9‑3/8”. [1200/1800] Illustrated

420Neoclassical-Style Rouge Royal and Faux-Marbre Pedestal, early 20th century, the circular Rouge Royal marble top raised on a ribbed faux‑Breche d’Aleps marble pedestal topped by a floral guilloche banding, raised on a molded square base, h. 37”, w. 18‑1/2”, d. 18‑1/2”. [1200/1800] Illustrated

421Pair of Monumental French Cast Terra Cotta Two-Handled Garden Urns, in the Restauration style, each footed urn accompanied by a paneled terra cotta pedestal of square section, h. 66”, dia. 27”. [1400/1800] Illustrated

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421pair

72

422Pair of Large Colored Offset Lithographs, of, respectively, an ancient Greek white‑ground lekythos, and a red‑ground black‑figure two‑handled amphora, overall h. 35”, w. 29”. Presented in matching neutral wood molding frames in the neoclassical style and glazed. [800/1200] Illustrated

423Large Italian “Grand Tour” Pottery Vase, first quarter 20th century, of two‑handled and footed form in the ancient Etruscan style, the facade with two black‑figure warriors in combat, the reverse with a large anthemion in black, the base signed with the monogram “NT” and “Salvatore”, h. 16‑3/4”, w. 11”. [500/800] Illustrated

424Good French “Grand Tour” Male Portrait Head, fourth quarter 19th century, composed of carved and patinated stone in the 12th‑century Romanesque style, presented on a custom wrought‑steel and black‑painted wooden block base, h. 16”, w. 7‑1/2”, d. 3‑1/4”. [1200/1800] Illustrated

425“Grand Tour” Pottery Arched Rope-Twist-Handled Vase, fourth quarter 19th century, of footed baluster form in the ancient Greek “Black Figure” style, one facade with an elaborate reserve of a reclining couple with their quaffing cups and attended by their pet cats, the opposing facade with a pair of horses and riders with circular shields, the whole artfully encrusted throughout, h. 19‑1/2”, w. 7‑1/4”. [300/500] Illustrated

426Large Japanese Cast Bronze Figure of a Lion, by Genryusai Seiya Sei, Meiji Period (1868‑1911), the figure standing foursquare with head slightly thrown back with mouth open in a roar, the details realistically rendered and the patina dark brown, presented on a freeform wooden stand, h. 15‑1/2”, l. 26”. [5000/8000] Illustrated

427Large French Bronze-Patinated Brass Figure of a Nude Victorious Gladiator, depicted wearing a starred cap and saluting with his raised left arm, h. 48”. [1200/1800] Illustrated

422pair

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428Unusual Restauration Fruitwood Settee, first quarter 19th century, the back formed by three padded arches, joined by downswept sides to the cushioned seat, raised on tapering square saber legs, h. 33‑1/2”, w. 65”, d. 16‑1/2”. [1800/2500]

429Continental Neoclassical Fruitwood Commode, second quarter 19th century, the rectangular top above a conforming case fitted with a single frieze drawer over three recessed long drawers, raised on ebonized paw feet, the whole with ormolu accents, h. 34”, w. 44‑1/2”, d. 19‑3/4”. [1000/1500]

430Elegant French Carved and Parcel-Gilt Mahogany Double Bedstead, first quarter 20th century, of sleigh form in the First Empire style, the headboard centered with a gilded, carved bas‑relief wreathed lyre, h. 53”, w. 60‑3/4”, l. 73”. [3500/5000] Illustrated

431Empire-Style Fruitwood and Marble-Top Vitrine, early 20th century, the charcoal marble top with projecting corners above a conforming case fitted with an ormolu‑mounted frieze over a single long door, the upper section glazed, the lower section paneled, flanked to either side by uprights, inlaid to simulate fluting, the whole raised on ormolu feet, h. 65”, w. 31”, d. 15‑1/4”. [1000/1500] Illustrated

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432Continental Walnut and Burlwood Center Table, in the Louis‑Philippe taste, the circular top quarter veneered and with a series of floral‑ and foliate‑inlaid bands, raised on a fluted and palmetto‑carved giltwood standard to a concave tripartite base with applied palmettos, raised on ebonized block feet, the base with gilt accents, h. 31”, dia. 58‑1/2”. [2000/4000] Illustrated previous page

433Louis-Philippe Mahogany Tub Chair, third quarter 19th century, the back‑scrolled and rounded crest above a padded back and terminating in rounded patera‑carved armrests, the revolving padded seat raised on four splayed legs ending in brass caps and casters, h. 30‑1/2”. [1000/1500]

434Pair of Continental Neoclassical Mahogany Sidechairs, mid‑19th century, each with a curved crest centered by an inlaid oval griffin medallion over a pierced wreath back, the padded seat raised on saber legs, h. 33”. [250/400]

435Charles X Elmwood Writing Table, mid‑19th century, the rounded rectangular top with a painted decorative banding surrounding an elaborate scrolling foliate design, above a conforming frieze fitted with a pull‑out slide to either end and three small drawers to one side, raised on ebonized curule‑form end supports headed by ormolu capitals and joined by a turned stretcher, h. 32‑1/4”, w. 37‑1/4”, d. 23‑1/2”. [900/1200] Illustrated

436Unusual Pair of Biedermeier-Style Tole Cupboards, 19th century, each with a rectangular top centered by a decoupage cityscape and soldiers, above a conforming case fitted with a single drawer over a cupboard, the front and sides all with decoupage accents, raised on shaped feet, h. 29”, w. 15”, d. 12”. [3500/5000] Illustrated

437Empire-Style Walnut and Marble-Top Side Table, third quarter 19th century, the rectangular Ceris marble top above a conforming frieze fitted with a single long drawer, joined by ormolu‑mounted columnar supports to a lower shelf, the whole raised on painted paw feet, h. 35”, w. 54”, d. 23‑1/2”. [1200/1800]

438Manner of Angelica Kauffmann (Swiss, 1740-1807) “Love of a Blue Ribbon”, fourth quarter 18th century, a circular miniature painting of two classical maidens and a disarmed Eros playing with a blue silk ribbon, signed in ink script on the reverse “L’Amour au Ruban Bleu/ Kauffmann”, presented in a gilt‑brass fillet within a square dished blonde tortoiseshell frame and glazed, 4‑7/8” x 4‑7/8”. [300/500]

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439Collection of Three Portrait Miniatures of Ladies of Fashion, including a diminutive Georgian example of a patrician lady, fourth quarter 18th century, presented in a clasp for a multiple strand bead bracelet, 1‑3/8” x 1‑3/4”; a larger oval example of “The Black Veil”, in the manner of Jean‑Marc Nattier (French, 1685‑1766), fourth quarter 19th century, presented in a pieced, engraved and dished bone frame, 5‑1/2” x 4‑1/4”; and a rectangular example of a red‑haired young woman in a white lace shawl, fourth quarter 19th century, indistinctly signed lower right and presented in a rose gold pendant frame and glazed, 2‑3/4” x 2‑1/4”. [200/400]

440Collection of Three Portrait Miniatures, comprised of a French oval portrait of Emperor Napoleon I in court military dress, fourth quarter 19th century, presented in a rectangular rayonnant bone frame with abalone‑set corners, 5” x 4‑1/2”; a German oval portrait of the youthful Frederick the Great of Prussia in court military dress, fourth quarter 19th century, 5‑1/8” x 4”; and a Dutch oval portrait, attributed to Elisabeth van der Veer (Dutch, 1887‑ca. 1951), of an 18th‑century lady of fashion, signed “Veer” lower right, first quarter 20th century, 5‑1/8” x 4”; the latter two presented in matching bronzed fillets within pieced bone frames set with black horn corners and old red foil and gold foil exhibition labels on the reverse. [250/400] Illustrated

441Antoine-Louis Aubierre (French, 1821-1862), After Victor-Jean Adam (French, 1801-1866) “Emperor Napoleon I at Austerlitz”, 1852, a rare artist’s proof steel engraving, with artist’s credits and date in pencil on the basal margin, and Aubierre’s signature, sight 20‑1/4” x 37”. Handsomely presented in a giltwood‑edged pale khaki linen mat within a brass‑mounted reeded steel frame in the First Empire style and glazed. [450/700] Illustrated

442Continental Polychromed Porcelain Jewel Casket, fourth quarter 19th century, of large size in the First Empire style, the lid with a polychromed reserve of the Emperor Napoleon I crowning the Empress Josephine, after the celebrated painting by Jacques‑Louis David (1748‑1825), the base with a pseudo‑Sevres First Empire mark in overglaze rouge de fer, the interior of the casket painted with sprays of summer flowers enframed by fleurs jetees sprays, h. 5”, w. 12‑1/2”, d. 8”. [2500/4000] Illustrated

443Set of Five Scheibe-Alsbach Porcelain Figures of French Military Notables, first quarter 20th century, the polychromed and parcel‑gilt figures representing Dumouret, Exelmans, Kellerman, Lepic and Lafayette, each titled on the facade and having a thumbnail biographical sketch on the base, each figure marked on the base with the Scheibe‑Alsbach crossed batons centering an “S” in underglaze blue, h. 9‑1/2”. [100/200]

444Pair of Neoclassical-Style Marble Pedestals, early 20th century, each with a square Carrara marble top raised on a columnar Bleu Turquin marble standard to a raised socle base, h. 38‑1/4”, w. 9‑3/4”, d. 9‑3/4”. [250/400]

445French “Grand Tour” Bronze Desk Thermometer, fourth quarter 19th century, in the form of Paris’ Vendome Column on a fenced Rouge Royal marble base, h. 16”, w. 5‑1/2”. [900/1200] Illustrated

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446Good Pair of Charles X Gilt-Brass Spiral-Ribbed Candlesticks, second quarter 19th century, in the neoclassical style, each fitted with a detachable gilt‑brass bobeche, h. 10‑3/4”, dia. 5‑1/4”. [700/1000]

447Large Shadowboxed Embossed Gilt-Brass Medallion of “La Republique Francaise”, fourth quarter 19th century, in the allegorical Beaux Arts style, h. 17‑1/2”, w. 14”, handsomely presented on a black card backplate within a stepped gloss black‑lacquer mat in a deep half‑round giltwood molding frame and glazed, 27‑1/4” x 24”. [300/500]

448Turkish Angora Oushak Carpet, 8’ x 9’ 10”. [1400/1800] Illustrated

449Turkish Angora Oushak Carpet, 8’ 2” x 16’ 5”. [2500/4000] Illustrated

450Pair of Uzbek Bordjalou Kazak Runners, 2’ 9” x 10’ 7” and 2’ 8” x 10’ 6”. [800/1200]

451Agra Serapi Carpet, 6’ x 9’. [700/1000]

452Sarouk Carpet, 14’ 1” x 9’ 5”. [1200/1800]

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453Heriz Carpet, 11’ 9” x 8’ 1”. [1200/1800]

454Turkish Oushak Carpet, 10’ 6” x 12’ 8”. [3500/5000]

455European Carpet, 9’ 6” x 13’. [600/900]

456Shiraz Carpet, 8’ x 5’ 3”. [300/500]

457Turkish Oushak Carpet, 8’ 10” x 11’ 10”. [1400/1800] Illustrated

458Mashad Carpet, 12’ 5” x 9’ 2”. [1200/1800]

459Turkish Angora Oushak Carpet, 10’ 1” x 14’ 2”. [2500/4000] Illustrated

460Persian Qum Carpet, 4’ 4” x 7’. [1400/1800]

461Persian Northeastern Carpet, 9’ 8” x 12’ 3”. [2500/4000]

462Heriz Carpet, 12’ 1” x 9’ 2”. [2000/4000]

463Isfahan Carpet, 6’ 6” x 4’ 8”. [400/700]

464Heriz Carpet, 2’ x 3’. [100/200]

465Semi-Antique Mahal Carpet, 10’ 8” x 17’ 5”. [1800/2500]

466Kerman Carpet, 15’ 3” x 9’ 7”. [2500/4000]

467Persian Heriz Carpet, 9’ 6” x 13’ 2”. [1200/1800]

468Agra Sultanabad Carpet, 9’ 10” x 14’. [1800/2500]

469French Art Nouveau Gilt-Brass and Alabaster Six-Light Chandelier, first quarter 20th century, having three suspension rods with “whiplash” finials and chestnut spray centers, the lower element fitted with a shallow alabaster basin having a trio of concealed interior lights, the shade ring fitted with faux candles, h. 34‑1/2”, dia. 25‑1/2”. [1000/1500] Illustrated

459

469

78

470Pair of Contemporary Argente and Gilt-Metal Side Tables, in the Directoire taste, each with an inset rectangular glass surface, raised on reeded tubular legs joined by an X‑form stretcher and ending in gilt ring feet, h. 31‑1/2”, w. 54”, d. 15”. [1500/2500] Illustrated

471Suite of Eight Louis XVI-Style Silver-Gilt Beechwood Dining Armchairs, each with a padded rectangular back joined by padded scrolling arms to the like seat, raised on fluted, tapering circular legs ending in toupie feet, upholstered in Zimmer and Rohde silk taffeta, the backs in pleated tan raw silk, h. 40”. [1800/2500] Illustrated

472French Black and White Drum-Shaded Chandelier, dressed with parallel chains of onyx hoops centered with rhinestone spheres, the matte white drum shade banded in black ribbon and fitted with an interior downlight, h. 19”, dia. 13‑1/2”. [400/700]

473Contemporary Ivory Laminate and Polished Steel Credenza, of Art Deco inspiration, the rectilinear top with canted corners, the face with four cupboard doors opening to reveal an ebonized interior with adjustable shelves, h. 32”, w. 92”, d. 19‑1/4”. [1500/2500] Illustrated

474Hunt Slonem (American/New York, b. 1951) “Abraham Lincoln”, 2008, oil on panel, dated, titled, signed and inscribed on the reverse “Van Cordt’s Mansion”, 22‑3/8” x 16‑1/2”. Presented in an elaborately molded and carved giltwood and plaster frame. [1800/2500] Illustrated

475Pair of Maison Jansen Brass and Black Tole-Peinte Bouillotte Lamps, of Directoire inspiration, the bases dished and fitted with a trio of cylindrical brass candleholders containing tall matte antique‑white faux candles, the adjustable tole‑peinte shades with arrow‑feather adjusters, h. 33”. [1000/1500] Illustrated

476French Overmantel Looking Glass, ca. 1940, the long rectangular plate bordered by mirrored segments with polychromed rinceau accents, the whole within a molded giltwood frame, h. 40‑1/4”, w. 91‑1/2”. [900/1200]

470

471

473

79

477Parish-Hadley White-Enameled Plaster and Giltwood Table Lamp, third quarter 20th century, designed and retailed by Mrs. Henry “Sister” Parish (1910‑1994) and Albert Hadley (b. 1921), in the form of a Chinese paneled double‑gourd vase, presented on a turned giltwood base, h. 14‑1/2” (29‑1/2” to finial), dia. 6‑3/8”. [900/1200] Illustrated

478Pair of Mid-Century Modern-Style Ebonized and Upholstered Benches, of neoclassical inspiration, each with a low bolster‑form backrest, with a rectilinear seat, raised on tapering square legs on brass caps, h. 25”, w. 27”, d. 20. [500/800] Illustrated

479Group of Three Brown and Charcoal Gray Silk Pillows, two with leaf and floral designs and one with stripes, the smallest 17” x 17”, the largest 19” x 20”. [300/500] Illustrated

474

475pair

477

478

479

80

480Group of Five Beige, Brown and Black Striped Cut-Velvet and Silk Pillows, the smallest 17” x 17”, the largest 18” x 12”. [400/700] Illustrated

481Art Deco-Style Rosewood and Faux-Vellum Chest, the rectangular top with rosewood banding around a vellum panel, above a conforming case fitted with three long drawers, all with silvered square pulls, raised on tapering square legs, h. 35‑1/2”, w. 39”, d. 19”. [1800/2500]

482Group of Four Oblong Striped Silk Pillows, the smallest 23” x 9”, the largest 27” x 9”. [400/700] Illustrated

483French Brass-Framed Looking Glass, in the neoclassical taste, the inner molding of polished chrome, h. 27”, w. 34‑3/4”. [400/700]

484Pair of American Art Deco “Hematite”-Detailed Brass Two-Light Sconces, second quarter 20th century, of Directoire inspiration, the “hematite”‑finished backplates of scalloped octagonal form, each faux‑wax candle base fitted with a cut plate glass bobeche of disc form, electrified, h. 7”, w. 8‑3/4”, d. 6”. [300/500]

485Elegant French Satin-Finished Brass Wall Lamp, of circular form and large scale, composed of pierced brass and mirrored glass in the 1950’s style, electrified, dia. 26”. [500/800]

486After Henri Toulouse-Lautrec (French, 1864-1901) “Elsa, La Viennoise”, facsimile lithograph in colors, numbered lower left “121/275”, printed signature lower right, sight 26‑1/2” x 18‑1/2”. Glazed, handsomely matted and framed. [300/500]

487After Henri Toulouse-Lautrec (French, 1864-1901) “Seated Female Clown, Mademoiselle Cha‑U‑Kao”, facsimile lithograph in colors, numbered lower left 34/275, printed signature lower right, sight 26‑1/4” x 19‑3/4”. Glazed, handsomely matted and framed. [300/500]

488Continental School (Mid-20th Century) “The Andrew Dillon”, oil on canvas, signed and dated lower right “A. Yamataka 1953”, 19‑3/4” x 28‑1/2”. Unframed. [600/900]

489Group of Five Brown, Olive and Blue Silk Pillows, two with floral designs and pleating, one with olive and blue floral designs and braided cord edge, one in olive with ribbing, and one with tassel edges on two sides, each 18” x 18”. [500/800] Illustrated

480

482

489

490

81

490Group of Four Black and Dark Brown Pillows, three with stripes, one with a floral design, the smallest 17” x 11”, the largest 18” x 18”. [400/700] Illustrated

491Restauration Painted Mahogany and Marble-Top Cabinet, mid‑19th century, the rounded rectangular charcoal marble top above a conforming case fitted with a cushion frieze drawer over two cupboard doors, raised on turned bulbous feet, h. 39‑3/4”, w. 48‑1/2”, d. 20‑1/2”. [600/900] Illustrated

492Robert Mapplethorpe (American, 1946-1989) “Calla Lily” Platter, 1984, transfer on porcelain, manufactured by Swid Powell Design, New York, the reverse with Swid Powell mark and facsimile Mapplethorpe autograph, dia. 12”, in the original fitted box and slipcase, 2‑1/2” x 13‑1/2” x 13‑1/2”. [300/500]

493Calima Region Culture Large Gold Breast Plate, 200‑400 A.D., Colombia, the heart‑shaped, flat, unadorned hammered sheet with small puncture at the top center, most likely for a suspension attachment, w. 9‑3/4”, 152 grams. [8000/12000] Illustrated

494Popayan Region Culture Gold Pendant, 1200‑1500 A.D., Colombia, in the form of an eagle, with open mouth, spirals on either side of the head, flat, E‑shaped wings displayed, two small projecting tubular feet, and five large “feathers” constituting the tail, with loop on the reverse, h. 1‑3/4”, w. 1‑3/4”, 12 grams. [2000/4000] Illustrated

495Four Quimbaya Region Culture Gold Nose Rings, 1000‑1500 A.D., Colombia, three with twisted spirals and flattened cap terminals, w. 3/8” to 1‑1/4”, one V‑shaped and hollow, l. 1‑1/2”, 56 total grams. [2000/4000] Illustrated

491

493

494

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82

496Pair of Sinu Region Culture Tumbaga Ear Ornaments, 500‑1000 A.D., Colombia, in the gold and copper alloy called “tumbaga”, the circular open rings bisected with two rows of openwork triangular and bird decoration on the bottom halves, with opening at the juncture for attachment, dia. 3”. [1200/1800] Illustrated

497Sinu Region Culture Anthropomorphic Tumbaga Pendant, 500‑1000 A.D., Colombia, in the gold and copper alloy called “tumbaga”, the oval human head wearing a large wavy headdress with spiral ornaments, raised on a tubular body of three tapering tubular segments, each with a pair of L‑shaped arms and spiral ornaments, the base with triangular “feet”, the concave reverse with two loops, h. 4”, w. 3”, presented in a custom fitted black velvet‑lined case. [1200/1800] Illustrated

498Near Pair of Sawfish Bills, mounted vertically on custom circular wrought‑steel bases, h. 20‑1/4” and 22”. [150/300] Illustrated

499Tall and Dramatic Gray and Russet Sawfish Bill, mounted vertically on a custom blackened wrought‑steel circular base, h. 42”. [400/700] Illustrated

500Two Sawfish Bills, one a tall pale gray swordfish bill mounted vertically on a custom oblong block base, and the other with a similar white swordfish bill on a custom slab lucite base with beveled edges, h. 29‑1/2” and 20‑1/2”. [300/500] Illustrated

501Striking Shadowboxed White Reptile Skeleton, in an undulating position, presented on a blond mahogany backplate within a plexiglass shadowbox, h. 23‑3/4”, w. 7‑1/4”. [300/500] Illustrated

496

497

500

499

498

83

502Elegant French Shadowboxed White Piscine Skeleton, by Charles Cornette, dated December ‘02, presented on a pebbled dark stone‑finished backplate within a teak shadowbox glazed at the facade, h. 11‑1/2”, w. 19‑1/2”. [200/400] Illustrated

503Unusual Intact Upper Turtle Shell with Complete Vertebra, the fully inflated shell exhibiting the back plates on one side and the spinal column and vertebrae on the reverse, possibly Stylemys nebrascensis, l. 11‑5/8”. [100/200] Illustrated

504Taxidermy Horseshoe Crab Carapace, on a custom‑made ebonized stand, h. 28”. [125/250]

505Large and Dramatic White Sawfish Bill, mounted vertically on a custom circular wrought‑steel base, h. 45”. [400/700] Illustrated

506Large Ovoid Sculpture of Interlaced Sea Vines, presented on an oblong stepped matte black‑painted wood display stand, h. 23”, w. 23‑1/4”, d. 8‑1/4”. [250/400] Illustrated

507Near Pair of Chinese Provincial Weathered Wood Fence Posts, second quarter 19th century, each slotted for three rails, now mounted on custom black‑painted stepped wood slab bases, h. 53” and 48”. [200/400]

501

502

503

505

506

84

508African Carved Wooden Ashanti-Style Staff Finial, depicting a standing male figure and a stylized leopard on an oval platform with segmented standard, now mounted on a contemporary black wooden base, h. 21”. [500/900]

509African Carved Wooden Senufo-Style Standing Male Figure, with platform feet beneath short bent legs and a protruding navel framed by abstract angular arms emanating from square shoulders, the diminutive angular facial features surmounted by a single crested backswept coiffure, h. 27”. [600/900]

510Contemporary Marble and Iron Side Table, the square taupe marble top raised on tapering square to circular legs joined by an X‑form stretcher and ending in molded feet, h. 23‑3/4”, w. 23‑3/4”, d. 23‑3/4”. [400/700]

511Follower of Henry Moore (English, 1898-1986) “Crouched Nude Figure”, cast stone, fourth quarter 20th century, presented on an integral oblong base, the upper surfaces gently and attractively weathered, h. 71”, w. 31‑1/2”, d. 12”. [400/700] Illustrated

512Art Deco Mahogany Dining Table, first quarter 20th century, the rectangular plinth top hinged and opening to a larger surface, raised on a curved base, the solid sides joined by a brass stretcher, h. 30”, w. 36‑1/4”, d. 23‑3/4”. [800/1200] Illustrated

513American Art Deco Mahogany and Maple Tripartite Looking Glass, first quarter 20th century, the reverse‑engraved plates with red and black eglomise detailing in the Art Deco mode, reputed to have been made for an ice cream parlor, h. 63”, w. 54”. [800/1200]

514Alexander Calder (American/New York, 1898-1976) “Spiral Sun”, color lithograph, numbered in pencil lower left “28/75”, signed in pencil lower right “Calder”, sheet 29‑1/2” x 43”. Glazed and framed. [1400/1800] Illustrated

515Alexander Calder (American/New York, 1898-1976) “Pyramids in a Landscape”, color lithograph, numbered in pencil lower left “15/75”, pencil signed lower right “Calder”, sheet 29‑1/2” x 43‑1/2”. Glazed and framed. [1500/2500] Illustrated

511

512

516

85

516Suite of Four Mid-Century Modern-Style Ebonized and Natural-Finished Dining Chairs, each with a striated plank seat and back on an ebonized frame, raised on tapering square legs, h. 41‑1/2”. [600/900] Illustrated

517Unusual French Wrought-Steel and Lucite Four-Light Chandelier, of multiple “tree‑branch” form in the manner of Gilbert Poillerat (French, 1902‑1988), the tree branches entwined with matte‑gilded faux‑mistletoe vines with scattered lucite drops, electrified with small halogen bulbs, h. 36”, dia. 38”. [600/900]

518Dutch School (Contemporary) “Crown of Thorns”, patinated bronze, signed “Douwe”, numbered “3/25”, h. 16‑1/2”. [900/1200]

519Fernand Leger (French, 1881-1955) “Composition avec la roue”, pen, brush and India ink on buff paper, 11‑1/2” x 8‑7/8”. Glazed and presented in a rounded gold leaf frame with ivory linen mat. Provenance: Acquired from the artist; Valentine Gallery, New York; Sotheby Parke Bernet Inc., New York, January 19, 1979, lot 56; Private collection, Austin, Texas. [5000/8000] Illustrated

520Fernand Leger (French, 1881-1955) “Composition avec l’echelle et les fleurs”, pen, brush and India ink on paper, 11” x 8‑1/2”. Glazed and presented in a rounded gold leaf frame with ivory linen mat. Provenance: Acquired from the artist; Valentine Gallery, New York; Sotheby Parke Bernet Inc., New York, January 19, 1979, lot 57; Private collection, Austin, Texas. [5000/8000] Illustrated

514

515519

520

86

521After Marc Chagall (French, 1887-1985) “Moses and the Burning Bush”, from the Story of Exodus, limited edition color reproduction, numbered lower left 90/500, with printed signature lower right, sight 24‑1/2” x 17”. Glazed, handsomely matted and framed. [300/500]

522Danish Modern Ash and Upholstered Armchair, the graduated padded rectangular back joined to the padded seat by flat arms, raised on tapering square legs, h. 33‑1/2”. [300/500] Illustrated

523Danish Modern Blonde Wood Sidechair, the padded and tapering rectangular back above the like seat, raised on tapering square legs, h. 33”. [250/400]

524Danish Modern Ash and Upholstered Armchair, the curved wooden back joined by sloping arms to the padded seat, raised on tapering square legs, h. 31‑1/2”. [300/500]

525Mid-Century Modern-Style Ebony-Stained and Patinated Metal Cabinet, of rectilinear form, the face with a pair of sliding doors, each with metal‑faced panels, h. 35‑1/2”, w. 60”, d. 15‑3/4”. [250/400]

526The Villa Sibi Modernist Dollhouse, 2004, designed by Wolfgang Sirch and Christoph Bitzer, manufactured by Sich, Bohem im Allgau, Germany, the large house with adjoining deck, indoor lap pool and minimalist furnishings, h. 10‑1/2”, w. 45”, d. 10‑1/2”. [300/500] Illustrated

527Collection of Five French Wooden Hat-Maker’s Forms, first quarter 20th century, in the shape of male heads, the faces carved by different hands and varied, h. 8‑1/2” to 9‑1/2”. [300/500] Illustrated

522

526

527

528

87

528Andy Warhol (American, 1928-1987) “Campbell’s Tomato Soup Label”, signed in black marker “Andy Warhol”, 3‑5/8” x 8‑3/8”. Glazed, matted and presented in a blonde wood frame. [800/1200] Illustrated

529Larry Rivers (American, 1923-2002) “Living at the Movies”, 1974, lithograph in colors, pencil signed and numbered lower right “Rivers 31/175”, dated in pencil lower left “1974”, published by Marlborough Graphics, New York, sight 23‑1/2” x 28”. Glazed, matted and framed. [1000/1500] Illustrated

530Stylish Contemporary Mahogany Armchair, of Chinese Chippendale inspiration, the padded rectangular back joined by shallow padded sides and pierced arms to the padded seat, raised on rounded square legs with decorative knees, h. 43”. [300/500]

531Large and Unusual Gilt-Metal Sunburst Mirror, mid‑20th century, the beveled circular mirrored plate surrounded by organically rendered interlacing rays, dia. 52”. [900/1200]

532Suite of Four Mid-Century Modern Fiberglass, Wood and Wire PAW Chairs, ca. 1975, each embossed underneath with the Herman Miller logo, designed by Charles and Ray Eames for the Herman Miller Company, Zeeland, Michigan, h. 30‑3/4”. [900/1200]

533Danish Modern Rosewood Desk, mid‑20th century, the banded rectangular top above two suspended side banks, each fitted with three short drawers, the whole raised on square legs, h. 28‑1/4”, w. 68‑3/4”, d. 30‑1/2”. [600/900]

534Large and Weighty Polished Quartzite Sphere, displaying rose, caramel, brown and gray banding in striated formations with intersecting formations forming “fortification” shapes, now custom mounted on a square, stepped wrought‑steel stand, h. 18”, dia. 10”. [400/700] Illustrated

535Contemporary Silvered Looking Glass, the rectangular plate within a deeply canted frame encased in metal sheeting, h. 43‑1/4”, w. 31‑1/2”. [250/400]

536Contemporary Patinated Metal and Glass Cocktail Table, the rectangular top with an inset rectangular glass surface, with an under‑banding of circular designs, raised on square legs joined by an X‑form stretcher, h. 18”, w. 55”, d. 35‑1/2”. [600/900] Illustrated

537Pair of Danish Modern Birch Armchairs, mid‑20th century, the padded rectangular back joined by curved arms to the padded seat, the arms with chrome accents, raised on square legs, h. 31”. [400/700]

529

534

536

88

538Large Contemporary Brushed Steel, Ash and Glass Dining Table, by Stoneline Designs, Inc., Chapel Hill, N.C., the “quadrant” base comprised of horizontally brushed steel panels on ash, the circular glass top textured on one side, h. 30”, overall dia. 72”. [1500/2500] Illustrated

539Large Satin Black and Mirrored Looking Glass, step‑framed in the Neo‑Art Deco taste, of near‑square form, the frame modeled as graduated stepped registers of mirrored glass separated by satin black wood bands, h. 37‑3/4”, w. 37‑1/2”. [400/700]

540Large and Attractive Multi-Branch Red Coral Specimen, now mounted on a decorative wooden display stand, h. 21”, w. 19”. [300/500] Illustrated

541Fine Steuben Jade-Over-Alabaster Cameo-Cut Glass Centerpiece Bowl, first quarter 20th century, designed by Frederick Carder (1863‑1963), in the Chinese taste, the polished pontil with the Steuben fleur‑de‑lys mark, h. 4‑3/4”, dia. 12‑7/8”. [600/900] Illustrated

542Carlos Cruz-Diez (Venezuela, b. 1923) “Untitled”, color silkscreen, pencil signed lower right, numbered in pencil lower left “28/35”, published by Denise Rene Editeur, sight 26‑1/2” x 26‑5/8”. Glazed and framed. [400/700]

543Peter Max (American, b. 1937) “Mona Lisa”, color lithograph, numbered in pencil “478/500”, signed in pencil lower right “Max”, sight 15” x 10‑1/2”. Glazed, matted and presented in a contemporary ebonized frame. [350/500]

544Peter Max (American, b. 1937) “French Zero’s Girlfriend”, 1990, color lithograph, numbered in pencil “MP 6/10”, signed lower right, sight 26‑1/4” x 35‑1/4”. Glazed and framed. [600/900] Illustrated

538

540

541

544

89

Session IISunday, January 30, 2011

11:00 a.m. (Lots 545-996)

92

545Lovely Strand of Slightly Graduated South Seas Pearls, of near round shape, cream/white color, ranging from 12.0 mm to 13.0 mm in diameter, with a fourteen-karat white gold filigree and diamond clasp. [3500/5000] Illustrated

546Fine and Impressive Verdura Eighteen-Karat Yellow Gold, Tourmaline and Diamond Brooch, composed of a star of crossed gold bands over a Baltic cross set with oval-cut red tourmalines and round brilliant-cut white diamonds. This iconic design resulted from a collaboration between Coco Chanel and Fulco di Verdura. [12000/18000] Illustrated

547Fine Tiffany and Company Eighteen-Karat Yellow Gold and Ruby Brooch, cast in the form of a five-armed starfish, the surface with stippled decoration, centered with a round cabochon ruby. [700/1000] Illustrated

548Stunning Eighteen-Karat Two-Color Gold and Diamond Bee Brooch, the well-defined body in yellow gold with spread wings, the thorax and abdomen in white gold set with an estimated 2.0 carats of white, brilliant-cut diamonds, the eyes bezel set with two round-cut rubies. [1500/2500] Illustrated

549Boucheron Paris Eighteen-Karat Yellow Gold, Ruby and Diamond Foliate Brooch, the eighteen-karat gold body designed as four fern fronds centered by a circular diamond and ruby cluster, accented by diamond-set ribs to the fronds, signed. [7000/10000] Illustrated

550Antique Gentleman’s Fourteen-Karat Rose Gold and Onyx Watch Fob, dated December 14, 1882, of rectangular form, the cover with a rectangular onyx intaglio of Hermes on the cover, opening to reveal a flip-up magnifier and a compartment for a photograph. [100/200]

545

546

548

549

547

552

555

93

551Whimsical Gentleman’s Fourteen-Karat Yellow Gold and Enamel Tie Tac, cast in the form of a spider with black, green and transparent gold enamel body, bar and push pin back. [100/200]

552Bold Vermeil and Ruby Indian-Style Bracelet, composed of bezel-set faceted Indian rubies arranged as a central floral plaque joined on either side by three ropes of bezel-set rubies joined by link chains. [400/700] Illustrated

553Charming Fourteen-Karat Yellow Gold and Tourmaline Necklace and Earring Suite, the delicate necklace composed of hinge-joined bowed links suspending a faceted pear-cut red tourmaline at the center and a pair of earrings en suite, boxed. [900/1200]

554Gentleman’s Fourteen-Karat Yellow Gold Monogram Belt Buckle, of rectangular outline with engraved decoration and pierced work with three-initial monogram. [100/200]

555Vintage Fourteen-Karat Yellow Gold and Cultured Pearl Necklace, composed of a single strand of 9.0-mm cultured pearls of cream/white color with a fourteen-karat yellow gold and pearl circular clasp. [300/500] Illustrated

556Fine Platinum, Eighteen-Karat White Gold and Natural Fancy-Colored Diamond Lady’s Ring, composed of a central prong-set 3.31-carat modified rectangular brilliant-cut natural fancy yellow diamond, VS-1 Clarity Grade, even color distribution, flanked on either side by keystone-cut white diamonds with a total weight of .55 carats, accompanied by G.I.A. certificate number 15220516 certifying the yellow diamond. [18000/25000] Illustrated

557Whimsical Eighteen-Karat White Gold, Sapphire and Diamond Leaf Brooch, in the shape of a five-lobed leaf set with periwinkle blue sapphires, with a diamond-set stem and a bezel-set rose-cut diamond placed as a drop of dew. [2500/4000] Illustrated

558Boucheron Paris Eighteen-Karat Yellow Gold and Diamond Foliate Brooch, the eighteen-karat gold body designed as four fern fronds centered by a circular diamond cluster, accented by diamond-set ribs to the fronds, signed. [7000/10000] Illustrated

559William Ruser Eighteen-Karat Yellow Gold and Diamond Brooch and Earring Suite, each piece cast as a wreath of yellow gold leaves with textured surfaces and centered by a dome of round brilliant-cut white diamonds. William Ruser (American, d. 1994) was known as “Jeweler to the Stars”, furnishing jewelry to such notables as Joan Crawford, Claudette Colbert and Loretta Young. He retired in 1969. [6000/9000] Illustrated

560English Victorian Fifteen-Karat Yellow Gold and Pietra Dura Brooch, ca. 1875, the oval brooch with an Italian pietra dura plaque of white flowers against a black ground, the plaque bordered by a gold Etruscan Revival-style border. [700/1000] Illustrated

561Charming Fourteen-Karat Yellow Gold and Diamond Leaf Brooch, cast in the form of a maple leaf with a matte textured surface imitating the natural leaf, set with a single round brilliant-cut white diamond. [300/500] Illustrated

562Lady’s Tiffany and Company Eighteen-Karat Yellow Gold and Ruby Ring, the plain polished gold body centrally set with three calibre-cut rubies in an arch bordered by two gold bands. [500/800]

563Lady’s Fourteen-Karat Yellow Gold and Lapis Lazuli Ring, the yellow gold body cast in a ribbed design with two plaques of lapis lazuli inlaid on the top in a diagonal design. [125/250]

556

561

559557

558

560

94

564Pair of Italian Eighteen-Karat White Gold, Sapphire and Diamond Earrings, each of leaf shape, the centers with a pear-shaped group of baguette-cut white diamonds with a total weight of .62 carats, surrounded by a single row of oval- and pear-cut blue sapphires with a total weight of 7.96 carats. [5000/8000] Illustrated

565Fine Eighteen-Karat Yellow Gold, Diamond and Sapphire Lady’s Dress Ring, of low, double dome shape, pave set with eighty round brilliant-cut white diamonds, estimated total weight 2.20 carats, bisected by two lines of channel-set blue sapphires, estimated total weight 2.07 carats. [5000/8000] Illustrated

566Unusual Platinum, Eighteen-Karat White Gold, Diamond and Sapphire Lady’s Ring, composed of a central Old European cushion-cut natural light fancy yellow diamond, weighing 1.67 carats, in a bezel setting surrounded by French-cut blue sapphires and white brilliant-cut diamonds, estimated weight of sapphires 1.39 carats, of diamonds 1.57 carats. [5000/8000] Illustrated

567Dramatic Eighteen-Karat Yellow Gold, Turquoise and Diamond Necklace and Earring Suite, composed of round and oval cabochons of Persian turquoise in bezel settings mounted on twisted gold wire frames and accented with round brilliant-cut white diamonds, with earrings en suite. [5000/8000] Illustrated

568Lovely Platinum and Diamond Lady’s Engagement-Style Ring, composed of a central 3.02-carat emerald-cut natural light fancy yellow diamond, flanked on either side by a keystone-cut white diamond. [14000/18000] Illustrated

569Stunning Platinum, Emerald and Diamond Lady’s Ring, composed of a central oval emerald cabochon of even, deep green color, weighing 13.60 carats, surrounded by a single row of round brilliant- and pear-cut white diamonds, total weight 1.37 carats. [5000/8000] Illustrated

570Lady’s Fourteen-Karat Yellow Gold and Diamond “Rolling” Ring, composed of three interlocked yellow gold bands, each channel set all around with round brilliant-cut white diamonds with an estimated total weight of 3.10 carats. [1000/1500]

564

565

566

567

95

571Rare and Spectacular David Webb Platinum, Eighteen-Karat Yellow Gold, Emerald, Sapphire and Diamond Lady’s Ring, composed of a central pear-cut emerald cabochon, weighing an estimated 11.0 carats, mounted above a dome set with an estimated total weight of 5.50 carats of round brilliant-cut white diamonds, the dome enhanced with eight pear-cut blue sapphires with an estimated total weight of 7.20 carats, four of the sapphires enhanced with yellow gold wire surrounds, the shank formed of overlapping gold wires and having a mechanism to open, signed “Webb”, presented in the original David Webb box. [9000/12000] Illustrated

572Spectacular Platinum, Aquamarine, Sapphire and Diamond Pin/Pendant Necklace, composed of two aquamarines, a rectangular cushion-cut stone weighing 73.0 carats, with a double pin back for use as a pendant brooch, and a pear-cut stone weighing 24.0 carats, each bezel set in a conforming mount encircled by French-cut blue sapphires and round brilliant-cut white diamonds, estimated total weight of sapphires 11.48 carats, of diamonds 2.14 carats, with an eighteen-karat white gold chain. [14000/18000] Illustrated

573Good Fourteen-Karat Yellow Gold and Diamond Lady’s Necklace, of graduated form with disappearing clasp, set with prong-set round brilliant-cut white diamonds with an estimated total weight of 6.0 carats. [2500/4000] Illustrated following page

574Fourteen-Karat Yellow Gold, Sapphire and Diamond Straight-Line Lady’s Bracelet, composed of twenty-five links, each set with an oval-cut blue sapphire, flanked at the ends by two prong-set single-cut white diamonds. [600/900]

568

569

571

572

96

579Chinese Spinach Jade and Coral Necklace, composed of spherical spinach jade beads interspersed by carved coral knot-form beads of pinkish/orange color, l. 15-1/2”. [800/1200]

580Chinese Two-Color Jadeite Bead Necklace, composed of alternating green and white jadeite beads, the green beads solid and of mottled green color, the white jade beads with pierced carving, joined by a green bi disk clasp, l. 22-1/2”. [3000/5000]

575Unusual Portuguese Silver-Top Gold-Back Diamond and Snakeskin Bangle, composed of a green snakeskin cuff bracelet mounted with an antique Portuguese medallion set with an estimated 5.0 carats of rose-cut diamonds. [5000/8000]

576Good Strand of Chinese Green Jadeite Beads, composed of one hundred 8.5-mm spherical beads of slightly mottled apple green jadeite joined with a silver spring ring clasp, l. 22”. [3500/5000] Illustrated

577Chinese Strand of Multi-Colored Agate Beads, the spherical beads in varied solid and lineated agates joined by a fourteen-karat yellow gold pierced clasp, l. 17-1/2”, presented in an embroidered silk circular box. [600/900] Illustrated

578Chinese Double-Strand of Angelskin Coral Beads, composed of two unequal strands of 11.5-mm angelskin coral beads joined by a gold clasp set with an oval cabochon coral bead, l. 18”. [700/1000]

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581Two Fine Chinese Carved Jadeite Pendants, one in the form of a pea with gold pendant bail and the other of tubular shape carved as a dragon pillar, both of white color with brilliant emerald green splashes, l. 1-1/2” to 2”. [500/800] Illustrated

582Chinese Pearl and Jadeite Bracelet, composed of six strands of Chinese freshwater baroque pearls of varying sizes joined by a carved green jadeite clasp in the form of a Buddhistic lion, l. 8-3/4”. [2000/4000] Illustrated

583Strand of Indian Faceted Ruby Beads, graduated in size from 9.0 mm to 16.5 mm in diameter, of rich, strong color, on the original fringed hank strand. [1400/1800]

584Unusual Quartz and Turquoise Specimen, the base of clear and included quartz displaying overgrowth on one side of turquoise triclinic crystals forming crust-like aggregates over the quartz matrix, h. 4-1/2”, w. 5-1/2”. [50/80]

585Chinese Mother-of-Pearl Double-Strand Necklace, composed of two strands of irregular-shaped mother-of-pearl beads with small spherical spacers and joined by a silver-mounted mother-of-pearl plaque, l. 16”. [125/250]

586Chinese Faux-Tortoiseshell Link Chain Necklace, composed of interlocking links of brown and black faux tortoiseshell, l. 22”. [600/900]

587Dramatic Double Opera-Length Strand of Cultured Pearls, of near round shape averaging 6.3 mm in diameter, of strong pink color with high luster, l. 82”. [800/1200] Illustrated

588Unusual Opera-Length Continuous Strand of Pastel Cultured Pearls, of spherical shape, ranging from 10.2 mm to 11.5 mm in diameter, in a rainbow of hues in gold, rose, orange, blue and gray colors, strung as one continuous strand, l. 34”. [1200/1800] Illustrated

589Spectacular Long Pearl Rope Necklace, of extraordinary length, composed of 12.5 mm to 13.0 mm baroque cultured pearls of ridged round shape, cream rose color and medium/high luster, may be used as a triple-strand necklace, l. 102”. [2500/4000]

590Dramatic Double Opera-Length Strand of Cultured Pearls, ranging from 9.7 mm to 10.5 mm in diameter, of near round shape, white color and mixed luster, l. 84”. Strands of pearls this length were popularized by Lady Peel, the actress/comedienne Beatrice Lilly. [1800/2500] Illustrated

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591Fine Eighteen-Karat White Gold and Diamond Straight-Line Bracelet, composed of forty slightly rectangular links, each channel set with baguette-cut white diamonds with an estimated total weight of 6.0 carats, the flexible bracelet of excellent construction. [4000/7000] Illustrated

592Pair of Fourteen-Karat Yellow Gold and Mabe Pearl Earrings, each of square outline with rounded edges with a central bezel-set mabe pearl measuring approximately 14.0 mm in diameter. [250/400]

593Lady’s Italian Fourteen-Karat Three-Color Gold “Rolling” Pin, composed of three interlocked polished gold bands in yellow, rose and white gold. [200/400]

594European Fourteen-Karat Yellow Gold Link Bracelet, composed of ten rectangular links, each with three horizontal bars, connected by vertical oval links. [300/500]

595Opera-Length Strand of Cultured Pearls, of spherical shape ranging from 11.7 mm to 12.5 mm in diameter, of cream/white color, each pearl separated by a small gold bead spacer joined by a fourteen-karat yellow gold circular filigree clasp, l. 34”. [1400/1800] Illustrated

596Pair of Eighteen-Karat Yellow Gold Drop Earrings, by Henry Dunay, cast as an openwork quatrefoil top suspending an openwork locked heart drop. Henry Dunay introduced Henry Dunay Designs in 1965, noted for his symmetrical designs and textured gold surfaces, later copied by other designers. [1200/1800]

597Pair of Fourteen-Karat Yellow Gold Leaf Earrings, each cast in the shape of a stylized leaf of oval outline and central raised rib, with omega clip backs. [200/400]

598Delicate Tiffany and Company Eighteen-Karat Yellow Gold Cross Pendant Necklace, composed of a four-armed cross with equidistant arms suspended on a delicate gold chain. [100/200]

599Fine Lady’s Eighteen-Karat Yellow Gold Baume and Mercier Wristwatch, the octagonal-shaped yellow gold body with white enamel face and black Roman numerals, black strap and quartz movement. [1800/2500]

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600Fine Gentleman’s Eighteen-Karat Yellow Gold Rolex Sub Mariner Date Wristwatch, the eighteen-karat yellow gold case and bracelet with blue dial and bezel, 31-jewel chronograph movement and synthetic sapphire crystal, model 16618, with double locking clasp, oyster bracelet. [9000/12000] Illustrated

601Gentleman’s Antique Fourteen-Karat Yellow Gold, Diamond and Emerald Stick Pin, ca. 1900, in the shape of a wishbone set with an oval-cut emerald and a round brilliant-cut diamond weighing an estimated .45 carats. [125/250]

602Fine Gentleman’s Eighteen-Karat Yellow Gold Rolex Oyster Perpetual Day/Date Wristwatch, the eighteen-karat yellow gold case with ribbed face and gold linear marked dial, and eighteen-karat yellow gold President’s bracelet. [9000/12000] Illustrated

603Fine Gentleman’s Eighteen-Karat Yellow Gold Patek Philippe Pocket Watch, of thin design, the gold open face case with white enamel face, gold hour markers, seconds dial at 6:00 position, 18-jewel Patek movement, serial #930883. [2500/4000] Illustrated

604Dramatic Eighteen-Karat White Gold and Diamond Gentleman’s Ring, of angled square outline in the Retro style, centrally set with a square medallion containing sixteen princess-cut white diamonds, estimated weight 1.20 carats, in a grid pattern. [3500/5000] Illustrated

605Fine Cartier Limited Edition Roman Numeral Collection Desk Clock, of square form with black dial, palladium-finish case with pyramidal black onyx finial and palladium-finish hands, quartz movement with alarm, presented in the original Cartier box and slip case, article number W0100091, serial number 676/888, new, in working condition, h. 3-3/4”, w. 3-3/4”. [2500/4000] Illustrated

606Unusual Strand of Cocoa-Colored Cultured Pearls, of spherical shape, ranging in size from 8.00 mm to 14.5 mm in diameter, of rich brown color with lavender orient and a fourteen-karat yellow gold and diamond clasp. [1400/1800]

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607Sumptuous Edwardian Tiered Twenty-Four-Light Chandelier, first quarter 20th century, composed of gilded brass and pressed and cut glass, the scrolling gilt-brass candlearms fitted with diamond- and rib-pressed vasiform candlesockets in two registers, the canopy and basal edge additionally lit with thirty-six pendant light sockets within pendant “Morning Glory” glass shades dressed with glass “raindrop” pendants, the candlearms draped with multiple jewel-cut glass chains, each section with a large facet-cut teardrop at the center, h. 87”, dia. 42”. [7000/10000] Illustrated

608Regency Rosewood Center Table, first quarter 19th century, the tilting circular top highly figured and raised on a paneled columnar standard to a concave tripartite base to bun feet, h. 42-1/2”, dia. 27-1/2”. [2000/4000] Illustrated

609British School (Third Quarter 19th Century) “Landscape with Horseback Riders on a Country Path”, oil on canvas, unsigned, 19-1/4” x 26”. Handsomely framed. [1200/1800] Illustrated

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610Regency-Style Mahogany Tiered Server, late 19th century, the brass plate rail above the rectangular top, with three like-shaped shelves below, joined by a paneled backpiece and front brass upright, raised on ormolu paw feet, h. 54”, w. 40”, d. 13-1/2”. [1400/1800] Illustrated

611Regency Rosewood Tripod Table, second quarter 19th century, the tilting octagonal top banded and with a molded edge, raised on a fluted columnar standard to a circular base raised on three scrolling legs, the whole with inlaid brass stringing and ormolu mounts in the Empire taste, h. 29”, dia. 33”. [1200/1800] Illustrated

612Regency Oak and Mahogany Settee, early 19th century, the long padded rectangular back surmounted by a banded frieze with an applied spiral reeded crest, joined by flat arms on reeded uprights to the padded seat, raised on reeded and tapering circular legs ending in toupie feet on casters, h. 34”, w. 79”, d. 26”. [800/1200] Illustrated

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613George III Mahogany Pembroke Table, first quarter 19th century, the rectangular top with satinwood banding and two rounded like-banded drop leaves, above a frieze fitted with one end drawer and one faux drawer, raised on ring-turned tapering circular legs ending in casters, h. 28-3/4”, w. 32-1/2”, d. 21”, extended l. 41”. [800/1200]

614Manner of John Hoppner (British, 1758-1810) “Half-Portrait of a Lady in a White Dress”, oil on panel, unsigned, partial label on the reverse “Hammond & Son, Removers and Warehousemen, Lewes, Estab. 1840”, 24-1/4” x 17-3/4”. Handsomely framed. [1800/2500] Illustrated previous page

615Continental Neoclassical Mahogany and Satinwood Center Table, early 19th century, the ovoid top triple banded and centered by a shell-inlaid panel, above a conforming banded frieze, raised on banded tapering square legs, h. 28”, w. 37-1/2”, d. 25-1/2”. [1400/1800] Illustrated

616Late Regency Mahogany Linen Press, first quarter 19th century, the molded overhanging cornice above a case fitted with two doors, each inset with finely figured panels, the lower section fitted with two short drawers over two long drawers, raised on bracket feet, h. 86”, w. 50-1/2”, d. 22-1/2”. [2000/4000] Illustrated

617William IV Carved Rosewood Triple-Compartment Tea Box, second quarter 19th century, of large size and sarcophagus form, with inlaid mother-of-pearl cartouche and brass escutcheon, with ringed lion-masque handles, the interior with a mixing glass compartment flanked by a pair of sliding covered tea boxes, the whole supported on four bun feet, h. 7-3/4”, w. 13-1/2”, d. 7-3/4”. [300/500]

618English Tortoiseshell Double-Compartment Tea Box, second quarter 19th century, inlaid with nickel silver wire and bone, the interior covers of tortoiseshell with turned bone grips, the whole supported on four bun feet of polished bone, h. 4-1/4”, w. 5-1/2”, d. 4”. [2000/4000] Illustrated

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619English Tortoiseshell and Engraved Ivory Wall Thermometer, second quarter 19th century, by C. F. Eve, London, the central ivory plaque with the engraved Eve signature at its apex, h. 9-1/2”, w. 2-1/4”. [300/500] Illustrated

620William IV Tortoiseshell Double-Compartment Tea Box, second quarter 19th century, of modified sarcophagus form with mother-of-pearl inlay, the interior covers of tortoiseshell with turned bone grips, the whole supported on four bun feet of polished bone, the engraved mother-of-pearl inlay in avian and floral motifs, h. 6-1/4”, w. 7-1/2”, d. 4-3/4”. [3000/5000] Illustrated

621George V Mother-of-Pearl-Banded Tortoiseshell Cigarette Box, first quarter 20th century, the double-compartment box with a divided interior lined throughout in sandalwood, h. 1-7/8”, w. 7-1/4”, d. 3-5/8”. [900/1200] Illustrated

622English “Quilted” Mother-of-Pearl-Banded Tortoiseshell Double-Compartment Tea Box, third quarter 19th century, the interior edged in polished ivory and fitted with a pair of tortoiseshell covers with ivory grips of button form, the whole supported on four mother-of-pearl bun feet, h. 5-1/2”, w. 7-3/4”, d. 4-1/4”. [1400/1800] Illustrated

623Regency Mahogany and Burlwood Breakfast Table, early 19th century and later, the tilting oval top banded and with burled veneers, raised on a turned vasiform standard to four splayed molded legs ending in brass caps on casters, h. 29-1/2”, w. 53”, d. 43-1/2”. [1800/2500] Illustrated

624Regency Mahogany Pembroke Table, first quarter 19th century, the rectangular top with two rounded drop leaves, above a frieze fitted with one end drawer, raised on turned, tapering circular legs ending in peg feet, h. 29”, w. 40”, d. 20”, extended l. 42-1/2”. [500/800]

625Regency-Style Mahogany Etagere, the rectangular top with a three-quarter shaped gallery, above four like-shaped slatted shelves, supported by turned and bulbous uprights, raised on like legs ending in toupie feet, h. 77”, w. 15-1/2”, d. 15-1/2”. [400/700]

626Pair of Regency-Style Polychromed Side Tables, each with a canted rectangular faux-marbre top supported by a figural winged eagle perched on a rocky crag, raised on a molded rectangular base, h. 33-1/2”, w. 45”, d. 15-1/2”. [1800/2500] Illustrated

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627After Luigi Rossini (Italian, 1790-1857) “Veduta dell Interno del Tempeo della Concordia nel Foro Romano” and “Altra Veduta del Tempio della Sibilla in Tivoli”, pair of etchings, published by Sidney Z. Lucas in 1957, both sight 19-1/2” x 24”. Glazed, matted and presented in matching frames. [700/1000]

628Regency Rosewood and Parcel-Gilt Window Seat, first quarter 19th century, one side outscrolled and with a padded armrest, supported by gilt foliate-carved uprights, the long padded rectangular seat raised on saber legs headed by gilt foliate carving and ending in like-carved toes, h. 27-1/2”, w. 17-1/2”, l. 44”. [1200/1800] Illustrated previous page

629Late Regency Ebonized and Polychromed Parlor Cabinet, second quarter 19th century and later, the shelved superstructure joined by giltwood uprights to the rectangular top, above a conforming case fitted with a single drawer over two recessed paneled cupboard doors, flanked to either side by freestanding giltwood columns, raised on bulbous feet, the whole with gilt and polychromed figural landscape scenes in the orientalist taste, h. 42” w. 34” d. 15 1/2”. [1800/2500] Illustrated

630Circle of John Hoppner (British, 1758-1810) “Portrait of a Gentleman in a Black Coat and White Cravat”, oil on canvas, unsigned, 31” x 25”. Presented in a contemporary giltwood frame. [2500/4000] Illustrated

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631William IV Mahogany Center Table, second quarter 19th century, the tilting circular top raised on a paneled, tapering cylindrical standard to a concave tripartite base to carved scroll feet, h. 29-1/2”, dia. 48”. [1500/2500] Illustrated

632Collection of Fifteen Diminutive French Decorative Bindings, composed of leather and part-leather, h. 4-3/4” to 6”. [200/400] Illustrated

633Collection of Twenty-Four French Decorative Bindings, composed of leather and part-leather, h. 6-1/2” to 8”. [200/400]

634Pair of Regency Ebonized and Parcel-Gilt Armchairs, first quarter 19th century, each with a molded and back-scrolled crest above a caned back, joined to the caned seat by reeded scrolling arms, raised on reeded saber legs, the whole with gilt accents, h. 30-1/2”. [1400/1800] Illustrated

635Pair of Circular Continental Portrait Miniatures, first quarter 19th century, perhaps Swiss, with portraits of a young man and his wife, presented in period ivory frames with convex glazing and marbled Florentine paper backs, dia. 3”. [500/800]

636Rare Oval Portrait Miniature of a Clipper Ship, first quarter 19th century, perhaps Scottish, presented in an oval gilt-brass tabletop frame, 2-5/8” x 2-1/4”. [250/400]

637Regency-Style Mahogany Cabinet, late 19th century, the domed cornice with patera accents above a case fitted with two long paneled doors opening to an interior fitted for handling clothes, with one long drawer below, flanked to either side by fluted uprights, raised on palmetto-carved feet, h. 83-1/2”, w. 51”, d. 19-1/2”. [300/500]

638Regency-Style Mahogany Breakfast Table, the oval top with a reeded edge and three bands of inlaid stringing, raised on a turned columnar standard to four splayed legs with inlaid stringing and ending in brass caps and casters, h. 28”, w. 50-1/2”, l. 72”. [400/700]

639Campaign-Style Satinwood Partner’s Desk, by Baker, the rectangular top trisected and with inset leather surfaces above a frieze fitted with three drawers to either side, raised on two pedestals, each fitted to one side with a cupboard door and to the other with a deep file drawer over a shallow drawer, all faced with three short drawers, the sides fitted with brass carrying handles, raised on bulbous toupie feet, h. 30”, w. 71-1/2”, d. 42”. [3500/5000] Illustrated

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640Graduated Pair of Staffordshire Pottery Pitchers, third quarter 19th century, the lustre-banded, transfer-printed and polychrome-overglazed pitchers in floral decor, h. 6-1/2” and 9”. [100/200]

641William IV Mahogany Linen Press, second quarter 19th century, the overhanging cornice above two doors, each with an applied arched panel, the lower section fitted with two short drawers over two graduated long drawers, raised on bun feet, h. 88”, w. 54-1/2”, d. 24”. [600/900] Illustrated previous page

642William IV Mahogany Drop-Leaf Table, second quarter 19th century, the rectangular top with a molded edge and two rounded drop leaves, raised on turned and tapering circular legs ending in toupie feet on casters, h. 29-1/2”, w. 39”, d. 18”, extended l. 60”. [500/800]

643Attractive William IV Mahogany Desk Box, second quarter 19th century, of low sarcophagus form, the silver monogram plate centering an oblong tablet of Tunbridge marquetry at the apex of the hipped lid, the interior fitted with a conforming lift-out tray, h. 7”, w. 16”, d. 11-1/2”. [700/1000]

644Large English Mahogany Shaving Mirror, second quarter 19th century, in the neoclassical taste, the glass supported between two turned columns surmounting an elliptical base on four bun feet, h. 31”, w. 27”, d. 12-1/4”. [250/400]

645Good Graduated Trio of Polychromed Mason’s Patent Ironstone Dragon-Handled Jugs, first quarter 20th century, in the early 19th century Chinese taste, each jug fully marked in black underglaze transfer-=print on the base, h. 6-3/4” to 7-1/2”. [150/300]

646Rare George I Irish Sterling Silver Beer Jug, hallmarked Dublin, 1717-1718, by Matthew Walker (free 1716; died 1760) the pear-shaped body on an ogee foot-ring, with molded rim and beak-form spout, with a crested scroll handle, h. 8-3/4”, dia. 5-1/2”, l. 8-1/2”, 31.70 t. oz. [20000/40000] Illustrated

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647Set of Four George I Paul de Lamerie Britannia Standard (.958) Silver Salts, hallmarked London, 1723-1724, by Paul de Lamerie (1688-1751; free 1712), each of bulbous circular form with beaded rim and raised on three trefid-crested and -toed scroll pad feet, the interior gilt, engraved on the body with a rubbed crest (a lion’s head erased, issuant from a basket?) and on the underside with the monogram “MC” and scratch-weight “24-5”, h. 2”, dia. 2-7/8”, 22.12 total t. oz. [6000/9000] Illustrated

648Pair of George III Hester Bateman Sterling Silver Salt Cellars, hallmarked London, 1785-1786, by Hester Bateman, each of bulbous circular form with beaded rim and raised on three stepped pad feet, fitted with a cobalt glass liner, h. 1-3/8”, dia. 2-1/2”, 3.47 total t. oz. (excluding liners). [800/1200] Illustrated

649Pair of Georgian Old Sheffield Plate Candlesticks, fourth quarter 18th century, in the manner of Ebenezer Coker (fl. London, 1738-1783), the baluster standard with a spiral-fluted knop above and a gadrooned one below, surmounted by a gadrooned cannon-form nozzle, fitted with a detachable spiral-fluted square bobeche, raised on a steep spiral-fluted dome above a stepped square base with gadrooned edge, h. 11”, w. 4-3/4”. [500/800] Illustrated

650Victorian Sterling Silver Pitcher, hallmarked London, 1888-1889, by Holland, Aldwinckle & Slater, retailed by Henry Lewis & Co., London, the squat ovoid body decorated with a repousse calyx banding of alternating acanthus fronds and pistils, with a cylindrical collar, “duck’s beak” spout and crested “S-scroll” handle, engraved on the shoulder with the crest and motto of Clifton, opposing a later presentation inscription dated 1931, h. 8-1/2”, l. 8-3/4”, dia. 6-3/4”, 34.40 t. oz. [1800/2500] Illustrated

651Matthew Boulton Regency Old Sheffield Plate Tureen, first quarter 19th century, Birmingham, of bulbous circular form with applied addorsed acanthus handles and gadroon-and-scroll rim, raised on a circular foot with leaf-and-dart banding, the fitted domed lid with gadrooned banding and acanthus-quartered square finial, engraved, on the body, with opposing laurel-enframed cartouches with the crest of Stoughton: a robin redbreast, h. 12”, dia. 11-3/4”, w. 14-1/2”. [2000/4000] Illustrated

652Pair of William IV/Victorian Sterling Silver Wine Coasters, hallmarked Sheffield, 1832-33 and 1839-40, by Battie, Howard & Hawksworth, each of squat cylindrical form, decorated with well-detailed pierced and embossed “vintage” banding, the base of turned wood and centered with a silver button engraved with the crest of a dove with an olive branch in its beak, that of Hod(g)son, et al., h. 2-1/4”, dia. 5-1/2”. With their date letters seven years apart and their successive maker’s marks, this pair records the transition of the firm of Battie, Howard & Hawksworth into Howard & Hawksworth after William Battie’s bankruptcy in 1834. [900/1200]

653Pair of Victorian Silverplate Entree Dishes, third quarter 19th century, by Barker Brothers, Birmingham, each of oval form with beaded rim, the domed lid decorated with flat-chased ivy and ferns and annulated ring handle, lifting to reveal the conforming base fitted with a pierced grille above the hot water reservoir, the whole with robust acanthus feet and opposing handles en suite, h. 7-1/2”, w. 8-7/8”, l. 14-1/2”. [500/800] Illustrated

654Cased Victorian Twenty-Four-Piece Silverplate Fish Service, 1851, by Elkington & Co., Sheffield, including twelve forks, l. 8”, and twelve scimitar-shaped knives, l. 8-3/4”, each of flat single construction with a concave spatulate handle decorated with beading and palmettes in the Neo-Grec taste, monogrammed, on the handle, “AS”, presented in the original indigo baize-lined fitted oak and mahogany case with lift-out tray, w. 14-5/8”, d. 11-1/4”. [700/1000]

655Cased Victorian Twenty-Four-Piece Close Plate and Ivory Dessert Set, third quarter 19th century, including twelve four-pronged forks, l. 7”, and twelve blunt-shaped knives, l. 8-1/2”, each with rounded rectangular ivory handle, etched with a crest of a Paschal Lamb (one knife a mismatched replacement with no crest), presented in a fitted, indigo baize-lined mahogany case with lift-out tray, w. 11-1/2”, d. 10”. [250/400]

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656Victorian Sterling Silver Center Bowl, hallmarked London, 1896-1897, by Holland, Aldwinckle & Slater, in the Renaissance Revival style, of oval form, the bulbous body decorated with repousse floral and foliate scrolls on a matte ground flanking opposing cartouches, with shaped rim and cast and applied gryphon-crested scroll handles, raised on a conforming domed foot, monogrammed, on one cartouche, “GNR”, h. 8”, w. 5-3/4”, l. 16”, 38.00 t. oz. [2500/4000] Illustrated

657Set of Six Victorian Silverplate Salt Cellars, 1851, by Elkington & Co., Birmingham, each of bulbous circular form with shaped gadrooned edge and raised on three lion masque-crested paw feet joined by applied floral garlands, h. 1-3/4”, dia. 3-3/4”. [600/900] Illustrated

658Victorian Silverplate Cake Basket, fourth quarter 19th century, by Lee & Wigfull, Sheffield, retailed by Michael Hunter & Sons, Sheffield, of oval form, with lobed and everted rim, decorated with bands of embossed fern garlands and cartouches, with spiral-twist swing handle, the whole raised on a trumpeted oval foot, h. 3-3/4” (10-1/2” with handle), w. 9-1/2”, l. 12-1/2”. [150/300] Illustrated

659Victorian Silverplate Tray, fourth quarter 19th century, by Silber & Fleming, London, of canted rectangular form, with pierced gallery and opposing scroll-mounted handles on the narrow ends, the plateau engraved with floral bouquets framed by concentric bands of engraved scrolls and cornered by oval cartouches, the whole raise on four flattened spherical feet, w. 15-1/2”, l. 25-1/4”. [500/800]

660Irish Victorian Sterling Silver Sugar Bowl, hallmarked Dublin, 1885, by Edmund Johnson, Ltd., of inverted bell shape, decorated with spiral gadroons with rim and foot ring en suite, engraved, on the side, with a crest of a bull passant (Ridley et al.) and a presentation inscription “Lily From Jim May 1886”, h. 3-1/4”, dia. 4-1/8”, 3.79 t. oz. [125/250]

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661Elizabeth II Sterling Silver Jubilee “Sovereigns Salver”, hallmarked Sheffield, 1977, by E. H. Parkin & Co., number 64 of 250, in the early Georgian taste, of stepped, cavetto-canted square form, with molded rim and raised on four scroll feet, engraved with the arms of Elizabeth II with her cypher above and a Silver Jubilee inscription below, surrounded by facsimile signatures of all the English Monarchs from Elizabeth I through George VI, w. 13-1/2”, 37.94 t. oz., presented with its original certificate of authenticity in a fitted, cream satin- and red velvet-lined wooden case, w. 16-1/4”, d. 16-1/4”. [1400/1800] Illustrated

662Pair of George V Elizabethan-Style Sterling Silver Pyr-Top Spoons, hallmarked Sheffield, 1920-1921, by Thomas Bradbury and Sons, each with an ovoid bowl, handle of square section and pyriform finial, l. 6-1/4”, 1.8 total t. oz., presented in the original fitted indigo velvet- and cream satin-lined case, w. 7-3/4”, d. 3-3/4”. [100/200]

663Pair of Edwardian Silverplate Candlesticks, first quarter 20th century, in the Adam taste, of tapering concave square section, with an inverted bell-shaped nozzle and cavetto-domed square base, the whole decorated with ribbon and bellflower swags and garlands, h. 9-1/2”, w. 3-7/8”. [200/400]

664Pair of Edwardian Silverplate Candlesticks, first quarter 20th century, each in the form of a Corinthian column, with a canted, concave square nozzle and stepped and annulated base, h. 9”, w. 3-1/2”. [200/400]

665Two Edwardian Sterling Silver and Ivory Paper Knives, hallmarked Birmingham, one 1892-1893, by William Williams, the other 1901-1902, no maker’s mark, each with flat, blunt ivory blade and embossed silver handle decorated with rococo scrolls, l. 16-1/8” and 14-3/4”. [600/900] Illustrated

666Cased Pair of English Silverplate and Faux-Ivory Desk Utensils, mid-20th century, including a magnifying glass, l. 9-1/4”, and a letter opener, l. 11-1/4”, each with a bobbin-turned faux-ivory handle in silverplate fittings, including an annular ferrule and a crown finial, presented in the original fitted, cream satin-lined, dark green velvet case, w. 12-1/2”, d. 6-3/4”. [200/400]

667Fine, Large Chinese Jade and Wood Table Screen, 19th/20th century, composed of a central large oval plaque of carved green jade depicting mounted figures in a wooded mountainous landscape with a dog hunting rabbits, the landscape with a bridge over a mountain stream, the reverse with a calligraphic inscription, presented in an elaborate wooden frame and stand, h. 33-1/2”, w. 22-1/2”. Ex-collection: A private Texas estate. [5000/8000] Illustrated

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668Pair of Chinese Carved Spinach Jade Bowls, first half 20th century, each of circular outline on slightly flared indented feet, the stone of mottled spinach green with white inclusions, presented on tall (6-1/2”) stands, each with five turned legs and circular stretchers, h. 3”, dia. 7-3/8”. [500/800] Illustrated

669Pair of Chinese Carved Spinach Jade Footed Bowls, 19th century, each of circular outline on four ruyi feet, the exterior carved as sections of bamboo with handles in the form of sprays of bamboo foliage suspending loose rings, the stone of rich spinach green color with black flecking, l. 8-1/4”. [6000/9000] Illustrated

670Elegant Chinese Carved Spinach Jade Brush Pot, 19th century, of plain cylindrical form and circular outline, the stone of slightly striated medium spinach green, presented on a custom carved antique stand, h. 5-1/2”. [1000/1500] Illustrated

671Chinese Carved Spinach Jade Figure of the Buddha, the figure with clasped hands and draped in a flowing scarf, and seated on a double lotus base, presented on a silver wire-inlaid wooden stand, h. 7-1/4” including stand. [3000/5000] Illustrated

672Pair of Chinese Spinach Jade Covered Cups with Saucers, each cup of slightly flared shape with conforming footed and fitting cover and saucer, the dark mottled stone with good translucency, dia. 4”. [3500/5000] Illustrated

673Pair of Framed Chinese Reverse Paintings on Glass, early 20th century, each depicting a figure of a Chinese beauty in a garden setting, one seated at a tea table with fruit and holding a “lion dog”, and the other holding a fan and trying a flower in her hair, h. 18-1/4”, w. 14”. [1200/1800]

674Rare Chicken-Blood Colored Stone Carved Seal, the nearly square stone seal in cinnabar red with beige veining, the top with a four-character seal, the base with a six-character seal and one side with an engraved three-character artist’s signature, presented in a custom rosewood box, w. 1-7/8”, l. 2”. [600/900] Illustrated

675Unusual Chinese Carved White Jade Libation Cup, the grayish-white stone carved in the form of a large rhinoceros horn libation cup with a continuous scene of scholars and attendants in a mountainous landscape with pavilions and bridges scattered among trees and rocky outcrops, h. 7”. A similar example is illustrated in Chinese Jades from the Collection of Alan and Simone Hartman, number 71. [12000/18000] Illustrated

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676Fine Chinese Carved White Jade Covered Vase, 18th/19th century, of flattened form with lion-head handles and loose rings suspended above dragon-form handles, the body carved in low relief on each side with an archaic tao tieh mask, the fitted, conforming cover with a central knob, h. 7-1/4”. [9000/12000] Illustrated

677Chinese White Jade Square-Section Brush Pot, 18th century, of squared form on splayed feet, each side carved in low relief with landscape scenes of figures in workday pursuits in mountainous landscapes with pavilions, h. 6-1/2”, w. 5-1/8”, d. 5-1/8”. A similar example is illustrated in Chinese Jades from the Collection of Alan and Simone Hartman, number 115. [40000/70000] Illustrated

678Fine Chinese Carved and Reticulated White Jade Pendant, 18th/19th century, of rectangular outline topped with two phoenix confronting a “double happiness” character, the body carved on one side with a man pulling a rickshaw below clouds, the reverse with a four-character calligraphic inscription within a border and topped by the figure of a Foo dog, all executed in low-relief carving, h. 3”, w. 1-7/8”. [800/1200] Illustrated

679Fine Chinese Carved White Jade Pendant Plaque, 19th century, of rectangular outline, the face carved in low relief with a central panel of a horned dragon amongst clouds topped by two confronting phoenix birds with long pendant tails extending down the sides, the reverse with a plain panel, h. 3-3/8”, w. 2-1/4”. [400/700] Illustrated

680Good Chinese Carved White Jade Pendant Plaque of Shou Xing, 19th century, carved in relief with a central panel depicting the deity holding the Peach of Immortality and his staff with a gourd holding the water of life, with a recumbent deer at his feet, the top with two confronting phoenix birds with their tails cascading down the sides, the reverse with a plain panel, h. 3”, w. 2-1/8”. [300/500]

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681Two Chinese Spinach Jade Bowls, with gold-decorated engraving, each of circular form and resting on circular feet, the stone of each bowl of even dark green color, the larger decorated with the figure of a boy, a crane and peaches resting on a leaf, a calligraphic inscription on the exterior and a Chinese character and lotus on the interior, the smaller bowl decorated with a female figure resting on a rocky outcrop with bamboo and a calligraphic inscription on the exterior and lotus sprays on the interior, dia. 6-1/2” and 7-1/2”. [1400/1800] Illustrated

682Chinese Famille Jaune Porcelain Bottle Vase, Republic Period (1912-1949), of bulbous shape with tubular neck, decorated with scrolling foliate decoration on a yellow ground with two circular reserve panels of a dragon and a phoenix centered by a Flaming Pearl, the base with a six-character Guangxu reign mark in iron red, h. 15-1/8”. [300/500] Illustrated

683Chinese Cast Bronze Figure of a Horse and Monkey, cast as a recumbent horse with back-turned head and a monkey climbing on its back, the casting with silver wire inlay decoration of scrollwork, l. 5”. [1000/1500] Illustrated

684Chinese Carved Jadeite Mountain Scene, the lavender and mint green stone carved as a craggy mountain beneath the sun and clouds with figures of two sages and an attendant meeting at a bridge crossing a stream, presented on a fitted carved wooden stand, h. 13” including stand. [900/1200] Illustrated

685Good Chinese Celadon and Brown Jade Brush Pot, well carved in the form of a hollowed tree trunk, the even celadon stone with brown inclusions, carved in relief with an area of bark in brown on the front and the standing figure of a cockerel on the reverse, presented on a fitted carved rosewood stand, with a brocade box, h. 5-1/4”. [2500/4000] Illustrated

686Chinese Carved Jadeite Mountain Scene, the mottled green stone carved as a reclining figure (probably Li Po) in a mountainous landscape with peach and pine trees, with a wine pot on a low table in front of the figure, presented on a custom carved wooden stand, h. 9-1/2” including stand, l. 9”. [800/1200] Illustrated

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687Fine Chinese Carved Jade Group of Immortals, carved from Burmese jadeite, the front with the Three Sages of Good Fortune (Fu Xing, Lu Xing and Shou Xing) and an attendant in a rocky grotto beneath a pine tree, the reverse with a bodhisattva Budai carrying his sack of wealth and attended by an acolyte, the stone of dark green color with areas of light green and russet colors, presented on a wooden stand, h. 11”. [1200/1800]

688Unusual Chinese Nan Yang Carved Jade Mountain, the mottled three-color green mountain with relief carving of a scholar, attendant and three mules crossing a bridge with bamboo, trees and a flowing stream, the reverse carved as rough-ridged rockwork, presented on a wooden stand, with a brocade box, h. 4-1/2”, l. 8-1/2”. [900/1200] Illustrated

689Intricate Chinese Carved Jadeite Mountain, the mottled green and white stone carved as a panoramic mountainous scene with pine trees and a pavilion among rounded peaks, the lower section carved in relief with a bearded scholar and attendant seated at a low table and enjoying a pot of tea, presented on a carved rosewood scroll stand with dragon fretwork, with a brocade box, h. 6-1/4”, l. 9-3/4”. [1500/2500] Illustrated

690Chinese Finely Carved Celadon Jade Group, depicting the figure of a recumbent goat resting on a group of eight Chinese coins, the stone of even celadon color, the carving very well done depicting intricate details, presented on a wooden stand, with a brocade box, h. 4”, l. 5”. [2500/4000] Illustrated

691Fine Pair of Chinese Carved White Jade Figures of Goats, 18th/19th century, each carved as a recumbent figure, the legs tucked beneath the bodies, with erect heads, curved horns and bearded chins, each carved with intricate details, each figure in even-colored creamy white stone, h. 3-1/2”, l. 5-1/2”. [5000/8000] Illustrated

692Small Chinese Carved Jade Figure of a Goat, 18th century, carved as the figure of a recumbent goat with legs tucked under its body, the stone of grayish/green color with scattered russet and black inclusions, l. 3-1/2”. [6000/9000] Illustrated

693Chinese Carved White Jade Figure of a Recumbent Goat, 18th century, the seated goat holding two sprays of ling-chih fungus in its mouth and resting on a rectangular base, the stone of very pale greenish white, presented on a wooden stand, l. 4”. [6000/9000] Illustrated

694Chinese Carved White Jade Wrist Rest, the fine white stone carved as a sectioned stalk of bamboo with a smaller attached stalk, each carved as several joints of bamboo, the larger carved with a spider and its web, the smaller with aerial roots at the base and a sprig of foliage at the top, the larger stalk sectioned to lay flat on the back, displaying the interior dimensions, presented on a custom carved rosewood stand to display vertically, h. 5-3/4”. [700/1000] Illustrated

695Fine Chinese White Jade Carving of a Buddha’s Hand Citron (Foshou), 18th century, the grayish-white stone finely carved as a single fruit with in-curved “fingers” and a smaller fruit and a spray of peaches at the base, presented on a custom carved wooden stand, h. 8”. [14000/18000] Illustrated

696Chinese Carved White Jade Reticulated Perfumer, with spinach jade cover and base, reticulated and deeply carved as a sinuous dragon among peonies and dense foliate above a foot border of cresting waves, fitted with a spinach jade base with engraved key-fret border and a carved and reticulated spinach jade cover with a peony and foliage design, presented in a custom wooden box with silk interior and silver-inlaid cover, h. 5-7/8”, dia. 2-1/4”. [3500/5000] Illustrated

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697Chinese Carved White Jade Dragon Group, carved in relief as a plaque with a four-clawed dragon on the front pursuing the Pearl of Wisdom amongst clouds, the back carved as lotus leaves, h. 5-1/2”, l. 9-1/2”. [250/400]

698Fine Chinese Carved White Jade Miniature Group, the translucent white stone carved as a figure of a rabbit climbing up the side of a giant carrot, presented on a wooden stand, h. 2” including stand. [400/700]

699American Colonial Cherrywood Chest-on-Stand, mid-18th century, in the Queen Anne taste, the upper section with a band of three drawers, the center shell carved, over a graduated bank of four drawers, on a later base with scalloped apron, cabriole legs and pad feet, h. 56, w. 38-1/2”, d. 18”. [1800/2500] Illustrated

700American Colonial Revival Figured Maple Lowboy, ca. 1900, in the Queen Anne style, the molded top over a shallow central door flanked by a pair of deeper drawers, with a scalloped apron, cabriole legs and pad feet, h. 28-1/4”, w. 29-3/4”, d. 17-1/4”. [400/700]

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701Fine Louis-Philippe Memento Mori, in tribute to American Revolutionary War Hero Gilbert du Motier, the Marquis de Lafayette, 1857-1834, second quarter 19th century, composed of cut paper, dried foliage from his grave and hairwork on white opal glass, presented in an antique-gilded brass fillet under convex glass, all within a marquetry-inlaid rosewood frame, and labeled “Souvenir de Lafayette” overall 9-1/2” x 7-3/4”. [2500/4000] Illustrated

702Good, Large “Alphabet and Motto” Embroidered Sampler, by Mary Barr, dated March 7, 1868, presented in a good “lemon-gilt” wood fillet within a period rosewood frame in the neoclassical taste and glazed, 29-1/4” x 21-1/2”. [250/400]

703Rare Louisiana Painted Cypress and Mixed Woods Punkah, early 19th century, of mortised construction, the ceiling fittings now lacking, h. 23-1/2”, w. 37-1/4”. Sometimes called a “shoo-fly”, the punkah was affixed to the ceiling with a framework that allowed it to pivot and operated with a string to create air movement over a kitchen or dining table. This example was found in the attic of the Dutreuil house, St. Martinville, Louisiana. [500/800] Illustrated

704American Federal Figured Maple Chest, ca. 1800, constructed of figured veneers throughout, the top with a banded perimeter and pieced panels, the case with a deep drawer over three graduated drawers, each side segmented with four panels, raised on flaring legs, h. 44”, w. 47”, d. 21-1/2”. [2000/4000] Illustrated

705Rare American Inlaid Cherry Corner Cabinet, ca. 1800, probably Pennsylvania, in two parts, the projecting cornice with inlaid rope stringing, the pair of mullioned doors on H-form brass hinges, the base a pair of paneled doors over a bowed apron with inlaid rope stringing, centered by shaded fan inlay, raised on bracket feet, the back original, Provenance: Robert Burkhardt Antiques, Kutztown, PA and retaining two of his firm’s paper labels h. 93-1/4”, w. 48-1/4”, d. 24”. [2500/4000] Illustrated

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706After John James Audubon (American, 1785-1851) “Snowy Heron or White Egret”, Plate CCXLII, hand-colored engraving with etching and aquatint, from Birds of America, elephant folio paper with watermark “J. Whatman/ Turkey Mill 1835”, sheet 38-1/4” x 25-5/8”. Handsomely matted and framed. [20000/40000] Illustrated

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707Suite of Four American Classical Mahogany Dining Chairs, first quarter 19th century, Philadelphia, each with molded saber-form legs, fluidly extending to like stiles, the top rail with a figured raised panel in a reeded frame, the paired horizontal splats mounted with three spheres, the leather slip seats worn, h. 32”. An apparently identical chair is illustrated in Door, Philadelphia Empire Furniture, figure 172. A similar suite, is illustrated in Clement Conger, Treasures of State, page 241, plate 150. [1000/1500] Illustrated

708Elegant Pair of American Tripartite Looking Glasses, in the Federal style, composed of carved giltwood and black and gold eglomise, the central eglomise panels centered with displayed American eagles within garlanded ovals, h. 31”, w. 62”. [2500/4000] Illustrated

709Large English Pressed and Cut Glass Five-Light Candelabrum, fourth quarter 19th century, possibly by the Richardson Glassworks, Wordsley, in the neoclassical taste, the scrolling candlearms with stylized floriform bobeches dressed with magnum cut glass prisms, h. 25”, w. 13-1/2”. [500/800] Illustrated

710American Late Classical Mahogany Server/Cabinet, second quarter 19th century, with a finely carved crest depicting a shell flanked by leaves and grapes, the case with a projecting drawer over a pair of raised-panel doors flanked by fluted columns with foliate-carved capitals, on carved paw feet, h. 54”, w. 36-1/2”, d. 25”. [700/1000] Illustrated

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711American School (Contemporary) “Chestnut Horse in a Stable”, oil on canvas, signed lower left “Shipley”, 20” x 24”. Handsomely framed. [500/800] Illustrated

712American School (Second Quarter 19th Century), a fragmentary portrait of a gentleman wearing spectacles, the fragment inserted into a later oval canvas, unsigned, 20” x 16”. Presented in a contemporary molded gilt frame. [150/300]

713American Late Classical Mahogany Pembroke Table, second quarter 19th century, the rectangular top with two rounded drop leaves, above a frieze fitted with one end drawer, raised on turned and spiral-reeded circular legs ending in toupie feet on casters, h. 30-1/2”, w. 41-1/4”, d. 22-1/2”, extended l. 52-1/2”. [250/400]

714Rare American “Girl and Pets” Three-Light Girandole, third quarter 19th century, composed of silvered brass, cut glass and white marble, and properly dressed with period floral back-cut “Albert” glass prisms, the whole supported on an oblong slab of white Danby marble, h. 16-1/4”, w. 17”, d. 4-1/4”. [125/250]

715American Late Classical Cherrywood Tall-Post Bedstead, late 19th century, each post with a turned and spiral-reeded finial, on segmented spiral-reeded posts, the headposts supporting a headboard with a broken-arch crest over a spindle gallery, the footposts joined by a turned and reeded blanket rail, h. 91”, inside w. 54”, l. 76”, outside w. 58”, l. 83-1/4”. [2500/4000]

716Southern School (Second Quarter 20th Century) “Interior Scene with Two Women Peeling Potatoes”, pastel on artist’s board, unsigned, 20” x 24”. Presented in a period polychromed wood frame. [2500/4000] Illustrated

717Reed & Barton Anniversary Edition “Francis I” Sterling Silver Macaroni Server, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, no monograms, l. 10-5/8”, 6.04 t. oz. To celebrate their 175th anniversary in 1999, Reed & Barton issued a special edition of their most popular pattern, Francis I, which included some specialized serving pieces which had not been available since the pattern’s inception ninety years earlier, such as this macaroni server and the following lot. [300/500] Illustrated

718Reed & Barton Anniversary Edition “Francis I” Sterling Silver Ice Cream Server, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, no monograms, l. 11-1/8”, 5.59 t. oz. [300/500] Illustrated

719Two Reed & Barton “Francis I” Sterling Silver Serving Pieces, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, including a vegetable spoon, l. 9-1/4”, and a tomato server, l. 8-1/4”, no monograms, 8.42 total t. oz. [400/700] Illustrated

720Reed & Barton “Francis I” Sterling Silver Asparagus Server, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, no monograms, l. 10-1/8”, 5.98 t. oz. [300/500]

721American Sterling Silver Compote, first quarter 20th century, by the Loring Andrews Co., Cincinnati, Ohio, the elaborate quarter-lobed rim decorated with architectural scenes separated by vintage floral-scroll cartouches and surrounding a recessed diaper-ground bowl with laurel cartouche, raised on a waisted stem and domed foot decorated with repousse rococo scrolls, flowers and fruit, h. 6”, dia. 9-3/4”, 19.23 t. oz. [1200/1800] Illustrated

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722Good Pair of Gorham Sterling Silver Goblets, 1892, Providence, Rhode Island, each with an ovoid bowl decorated with repousse flowers on the upper half and alternating spiraled gadrooning and fluting on the lower half, raised on a waisted repousse floral stem and circular, domed, spiral-gadrooned foot, h. 6”, dia. 3-1/8”, 8.75 total t. oz. [300/500] Illustrated

723Rare Pair of Reed & Barton “Francis I” Sterling Silver Candelabra, 1928, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, each with a detachable three-light superstructure permitting their use as a pair of candlesticks, h. 13-1/2”, w. 13”, base dia. 5-1/4”, weighted. [4000/7000] Illustrated

724Two Reed & Barton “Francis I” Sterling Silver Candle Stands, 1953 and 1955, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, h. 4”, dia. 5-1/4”, weighted. [1200/1800]

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725Twenty-Four-Piece Set of Kirk “Old Maryland Engraved” Sterling Silver Gilt Flatware, the pattern introduced in 1936, Baltimore, Maryland, complete for six persons, including six each of dinner forks, l. 7-3/8”, salad forks, l. 6-3/8”, teaspoons, l. 6”, and dinner knives with stainless steel “Modern”-shaped blades, l. 8-7/8”, no monograms, 25.08 total t. oz. (excluding knives). [400/700]

726Georg Jensen USA Sterling Silver “Dublin” Dish, second quarter 20th century, New York, of circular form, octagonally fluted with serpentine-shaped edge, dia. 10”, 15.98 t. oz. [200/400]

727Set of Six Gorham “King Albert” Sterling Silver Nut Dishes, 1929, the pattern introduced in 1919, Providence, Rhode Island, each of elongated decagonal form, with molded and beaded edge, w. 2-1/8”, l. 3-5/8”, 4.12 total t. oz. The popular “King Albert” pattern, a pleasant fusion of American Colonial and Art Deco design, was introduced by the Whiting Mfg. Co. of Bridgeport, Connecticut in 1919. Whiting was purchased by The Gorham Corp. in 1926, who continued to produce their best patterns including the present lot, made only three years after the acquisition as evidenced by the presence of Gorham’s timely “dirigible” date mark of 1929. [75/125]

728Durgin “Fleur-de-Lys” Sterling Silver Serving Spoon, the pattern introduced in 1886, Concord, New Hampshire, retailed by A. Stowell & Co., Baltimore, Maryland, the bowl of wavy coquille form, no monograms, l. 9-1/4”, 5.21 t. oz. [125/250]

729Pair of Whiting “Lily” Sterling Silver Salad Servers, the pattern designed in 1902 by Charles Osborne, Providence, Rhode Island, including a salad serving fork and spoon, l. 11-5/8”, no monograms, 9.13 total t. oz. [500/800] Illustrated

730Good Alvin Silver Deposit Cranberry Glass Claret Pitcher, dated 1901, by the Alvin Mfg. Co., Sag Harbor, New York, of cylindrical form with flared base, the bottom with starburst pattern cut to clear, with up-pulled handle and integral spout, decorated with silver deposit scrolling foliage and centering a rococo cartouche engraved with monogram and date “AR/1901”, h. 9-1/2”, dia. 4-5/8”. [400/700] Illustrated

731American Silver Deposit Glass Liquor Bottle, first quarter 20th century, of traditional form, decorated with vertical silver bars and a band of scrolling grain, centering a shield-shaped cartouche monogrammed “EJS”, h. 10-3/4”, dia. 3-1/4”. [100/200] Illustrated

732American Silver Deposit Glass Lidded Jar, first quarter 20th century, the large colorless glass jar of cylindrical form with slightly narrowed neck, the fitted lid with large integral domed finial, the whole decorated in silver deposit scrolling flowers with trellis banding, h. 8”, dia. 5”. [400/700] Illustrated

733American Silver Deposit Cranberry Glass Cologne Bottle, first quarter 20th century, the pear-shaped body with flared rim and flattened spherical stopper, the whole decorated with silver deposit scrolls centering an oval cartouche, h. 4-1/2”, dia. 2-3/4”. [100/200] Illustrated

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734One Hundred Eighteen-Piece Set of Wallace “Grand Baroque” Sterling Silver Flatware, designed by William S. Warren in 1941, Wallingford, Connecticut, complete for twelve persons, including twelve each of dinner forks, l. 8”, luncheon forks, l. 7-1/2”, salad forks, l. 6-1/2”, teaspoons, l. 6-1/4”, cream soup spoons, l. 6-1/8”, dinner knives with stainless steel “Modern”-shaped blades, l. 9-3/4”, luncheon knives with stainless steel “Modern”-shaped blades, l. 9”, and flat-handled butter spreaders, l. 6-1/4”, with serving pieces: three serving spoons, l. 8-3/4”, three slotted serving spoons, l. 8-3/4”, a serving fork, l. 8-1/8”, a master butter knife with stainless steel scimitar-shaped blade, l. 6-5/8”, a salad serving fork and spoon, each with plastic fittings, l. 12-1/2”, four pickle/olive forks, l. 5-1/2”, a lemon fork, l. 5-5/8”, a cake/pie server with stainless steel blade, l. 10-7/8”, two bonbon spoons, l. 5-1/4”, two sugar spoons, l. 6-1/2”, and two sauce ladles, l. 6”, no monograms, 154.78 total t. oz. (excluding pieces with stainless steel or plastic fittings). [3500/5000] Illustrated

735Three-Piece American Sterling Silver Demitasse Set, first quarter 20th century, by the Barbour Silver Company, Hartford, Connecticut, in the “Cellini” pattern, including a coffeepot, h. 10-1/2”, cream jug, h. 5-3/4”, and open sugar bowl, h. 4-1/2”, each with an ovoid body decorated with embossed shell-and-scroll and floral-swag banding, each piece monogrammed “JSB”, 31.64 total t. oz. [1200/1800]

736Two American Sterling Silver Sandwich Plates, first quarter 20th century, both of circular form raised on a simple foot-ring, one by the Roger Williams Silver Co., Providence, Rhode Island, with reticulated egg-and-dart edging outside floral and foliate swags, the center engraved with a ribboned foliate cartouche monogrammed “RGL”, dia. 10-3/4”, and the other by Frank M. Whiting, North Attleboro, Massachusetts, with wide reticulated lattice border, the center monogrammed “RGL”, dia. 11-1/8”, 35.82 total t. oz. [150/300]

737Two American Sterling Silver Fruit Bowls, first quarter 20th century, both of circular form, one by Gorham, Providence, Rhode Island, 1912, with lattice-and-baluster pierced bowl and molded circular foot, monogrammed “K”, h. 4-1/4”, dia. 10-1/2”, and the other by Towle, Newburyport, Massachusetts, design patent 1921, with embossed laurel and pierced baluster banding and lobed bowl, h. 2-1/4”, dia. 10”, 25.34 total t. oz. [300/500]

738Set of American Sterling Silver and Porcelain Demitasse Cups and Saucers, third quarter 20th century, including twelve sterling silver saucers, dia. 3-3/8”, and reticulated cup holders, l. 3”, 10.55 total t. oz., ten holders fitted with a bell-shaped, cream-colored porcelain liner with gilt-threaded edge, two liners lacking (34 total pieces). [100/200]

739American Silverplate Pitcher, first quarter 20th century, by the Dowd-Rodgers Co., Wallingford, Connecticut, in the Aesthetic taste, the cylindrical-form body with rounded bottom, waisted integral collar and circular foot, with squared handle, the whole with a “hammered” finish, and decorated with a milled band of bucolic cartouches at the neck and foot, h. 9-1/4”, dia. 5”, l. 7-1/2”. [100/200] Illustrated

740St. Louis-Retailed Sterling Silver “Rosette”-Pattern Ladle, fourth quarter 19th century, by Whiting Mfg. Co., Providence, Rhode Island, retailed by Hyppolite Prouhet (1823-ca. 1879) of St. Louis, Missouri, engraved “Rickey”, l. 13”, 6.43 t. oz. [150/300]

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741American Sterling Silver Tea Caddy, first quarter 20th century, by the Frank W. Smith Silver Co., Gardner, Massachusetts, retailed by Black, Starr & Frost, New York, in the Georgian taste, of oval form with straight fluted sides and reeded rim, the domed lid with acanthus-form hinge and gadrooned toupie finial, with later monogram and date “E.S.B.J./ Nov. 8, 1963”, h. 4-1/2”, w. 4-3/4”, d. 3-1/8”, 8.68 t. oz. [300/500]

742American School (19th Century) “Portrait of a Lady in a Black Dress and Lace Shawl”, oil on canvas, unsigned, 30” x 25”. Presented in a period giltwood frame. [400/700] Illustrated

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743Andrew B. Booth, Records of Louisiana Confederate Soldiers and Louisiana Confederate Commands, (New Orleans: the author, 1920, printed 1928) three volumes in four, royal quarto, cloth boards with gilt lettering on front and black lettering on spine, 10-1/4”, 7-1/4”. Andrew Bradford Booth (1844-1923) was born in Scott Co. Kentucky on May 8, 1844, but moved with his parents to Baton Rouge in 1848. He graduated from The Academy there in Aprin 1861 and joined Company K, Third Louisiana Infantry four months later. He served the nearly the duration of the war, eventually captured on Christmas Eve 1864 in Livingston parish and finally paroled at Camp Townsend, May 6, 1865 with the rank of 2nd Sergeant. After the war, was a merchant in Ascension parrish town Hope Villa (which he named) before moving to New Orleans in 1886, where he was commercial, real estate and insurance agent. He organized the Public Belt Railroad Association in 1888. He was an active member of the Confederate Veterans of America, and served as the Louisiana Commisioner of Military Records from 1915 to 1922. It was during this latter tenure that he complied the present volumes, which remain the primary resource for Louisiana Confederate soldiers. He died in New Orleans on June 2, 1923. [400/700]

744Rare and Important American Rococo Revival Rosewood Dressing Bureau, third quarter 19th century, bearing the stenciled label of “Springmeyer Bros/ J. H. Belter & Co.”, the pierced and carved foliate- and armorial-centered crest over a tripartite looking glass, the central arched panel flanked by two smaller ones, each fitted with three open shelves over a short drawer, the lower case with a rectangular top and protruding rounded ends, above a conforming case with four graduated long drawers, fitted with carved pulls, flanked by columnar supports and ending in plinth feet, h. 84”, w. 55-1/2”, d. 27”. [2000/4000] Illustrated

745American Rococo Revival Rosewood Night Stand, third quarter 19th century, the period inset marble top set in a gadrooned frame, the case with a drawer over a cupboard door, the interiors of each lined with maple veneers, flanked by spiral pilaster, the back finished and veneered, h. 29-1/2”, w. 18-1/2”, d. 18-1/2”. [700/1000]

746American Rococo Revival Mahogany Half-Tester Bed, third quarter 19th century, of the type crafted for the antebellum New Orleans furniture trade, the serpentine tester with a pierced cabochon-carved crest, supported by bead-turned posts with a paneled headboard with a shell- and fruit-carved crest, the footposts adorned with Gothic-arched panels beneath a reeded and lobed finial, h. 115”, inside w. 60-1/2”, l. 80”, outside w. 70”, l. 86”. [8000/12000] Illustrated

747Important American Rococo Revival Mahogany “Duchesse” or Dressing Table, third quarter 19th century, the mirror back with the stenciled label “P Mallard Manufacturer 67 Royal St NO”, the oval looking glass in a conforming molded frame with a carved crest centered by a carved cabochon over a floral swag, flanked by pierced foliate and scroll fields, the frame supported by foliate- and shell-carved brackets, joined to a wooden top with serpentine sides and front, the apron with a full-width drawer with cabochon and foliate carvings, raised on cabriole legs joined by serpentine stretchers with a beaded finial, h. 73”, w. 41”, d. 23-3/4”. The faint stenciled label on the present piece may be unique among Mallard case pieces, which generally are unsigned. A few Mallard paper labels have surfaced. In addition, there are a trio of surviving receipts for bedroom suites. All three of those suites include similar dressing tables, referred to as a “duchesse” (two of those suites with bills of sale are available for public viewing at the Gallier House Museum, and the Pontalba Apartment, Louisiana State Museum. Rococo Revival dressing tables rarely surface across the country, but they appear to have been a favored form to accompany the towering half-tester beds and massive armoires that were crafted for the New Orleans market. Intact Mallard suites often appear with a duchesse in lieu of a dressing bureau. In May, 2006, a painting (Lot 86) by Paul Poincy was sold in this gallery depicting a woman primping in front of a similar Mallard duchesse. [6000/9000] Illustrated

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748Good Napoleon III Rosewood Center Table, third quarter 19th century, the tortoise-form top having a molded edge and mounted to a frame concealing a drawer along each of the long sides, raised on floral-carved cabriole legs joined by curved stretchers and centered with a carved urn-form finial, h. 29”, w. 56”, d. 32-1/2”. [1500/2500] Illustrated

749Fine Pair of George IV Three-Light Candelabra, second quarter 19th century, composed of bronze-patinated and parcel-gilt brass and cut glass in the neoclassical taste, each brass bobeche domed and dressed with cut glass spears pendant from cut jewels, the standards centered by gilt displayed eagles, each example on a stepped square base, h. 17”, w. 19”. [3500/5000] Illustrated

750Fine American Rococo Revival Rosewood Cabinet with Etagere top, third quarter 19th century, attributed to Alexander Roux, New York, the upper section with a pair of graduated serpentine shelves on scroll and foliate-carved brackets, each back with a mirror plate, the crest depicting a floral basket flanked by a pair of avian heads amidst intertwining scrolls, the top of the base with ovolo corners, with a pair of doors over a pair of drawers, each interior section finished in maple, the doors with glazed panels surmounted by floral carving and tracery, each canted corner with fluted, beaded and carved pilasters, h. 72-1/2”, w. 45”, d. 21”. [6000/9000] Illustrated

751Rare American Rococo Revival Laminated Rosewood Sidechair, mid-19th century, the medallion-form chairback constructed with six laminations, the deeply carved crest in floral and scrolling foliage decor, joined to the seat rail with brass at the hips, serpentine seat and cabriole legs, h. 41”. [1200/1800] Illustrated

752American School (Mid-19th Century) “Portrait of a Young Lady Standing in an Interior, Wearing a Lace Dress, a Country Estate Visible Beyond”, oil on canvas, unsigned, 47” x 35-3/4”. Unframed. [1400/1800] Illustrated

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753Unusual American Rococo Revival Serpentine Rosewood Cabinet/Corner Cabinet, mid-19th century, New York, in two parts,the upper section with a cabinet with serpentine frieze and bowed sides, with a conforming pressed fretwork crest, each door of serpentine form and fitted with a looking glass, opening to reveal a light-finished interior, each of five shelves with a rosewood face, on a conforming base with a pair of paneled doors, adorned with ribbon and wave moldings throughout, h. 85-3/4”, w. 42-1/4”, d. 19”. [1800/2500] Illustrated

754Victorian Mahogany Slipper Chair, third quarter 19th century, the shaped and padded back within a molded frame, the padded seat raised on molded cabriole legs ending in casters, h. 38”. [250/400]

755American Rococo Revival Laminated Rosewood Slipper Chair, third quarter 19th century, attributed to J. H. Belter, New York, the back with a fruit- and floral-carved crest over a narrow ovoid backrest set in a pierced ground with serpentine front seat rail centered by floral and fruit carving and cabriole legs, h. 42”. A similar Belter slipper chair is illustrated on the back slip cover of John Henry Belter and the Furniture of the Rococo Revival by Schwartz, Stanek and True. [3000/5000] Illustrated

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756American Rococo Revival Rosewood Cabinet-Base Etagere, third quarter 19th century, New York, in two parts, the upper section with a hooded top mounted with a pierced foliate-carved crest over a pierced scroll-cut field and a central rectilinear mirror flanked by shaped mirrors and serpentine shelves on turned supports, the base with a shaped marble top over a pair of doors, each with an arched glazed panel and flanked by open shelves, the finials not illustrated, h. 106”, w. 52-1/2”, d. 22-1/2”. [5000/8000] Illustrated

757Rococo Revival Rosewood and Kingwood Stool, third quarter 19th century, the padded rectangular seat above a shaped frieze with raised matchbook-veneered kingwood panels, raised on like-paneled cabriole legs ending in brass caps on ball feet, h. 19”, w. 17-1/2”, d. 15”. [900/1200]

758Victorian Rosewood Slipper Chair, third quarter 19th century, in the Rococo Revival taste, the back with a floral- and leaf-carved crest, the bowed front seat rail centered by floral carving, raised on cabriole legs ending in French toes, h. 37”. [250/400]

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759Monumental American Rococo Revival Three-Piece Bedroom Suite, third quarter 19th century, probably Philadelphia, consisting of a high-back bedstead, h. 101”, inside w. 60”, l. 79-1/2”, outside w. 70”, l. 88”, a dressing bureau, h. 112”, w. 56”, d. 22-3/4”, and a washstand, h. 53-1/2”, w. 51”, d. 21-1/2”, each with an open foliate-carved crest, the bed with a paneled headboard joined to paneled rails with foliate-carved brackets, the footboard with generous octagonal post supports on an arched panel with palmette-carved crest, the dresser with a tall arched looking glass set in a carved frame on tall demi-lune hat boxes, the base retaining its period marble top, with a bank of three drawers flanked by curvate corners, the washstand with a tall arched backsplash with a period crest, retaining its period white marble top, the case with a drawer over a pair of paneled doors. [10000/15000] Illustrated

760Pair of American Rococo Revival Rosewood Sidechairs, third quarter 19th century, probably from the shop of French emigre cabinetmaker Alexander Roux, New York, the corset-form back with a deeply carved crest with a cartouche centered and flanked by richly modeled floral carving, serpentine seat and cabriole legs, h. 38”. [700/1000]

761Victorian Mahogany Dressing Bureau, third quarter 19th century, of double pedestal form, the top with a recessed band of three drawers supporting a tripartite looking glass retaining its period mirror plates, each base pedestal with ovolo corners over carved pilasters, each with a bank of four drawers, with a concave central door, h. 77”, w. 62-1/2”, d. 25-1/2”. [800/1200] Illustrated

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762“America”, Henricus Hondius (Dutch, 1597-1651), hand-colored map of North and South America, one of the first maps to correctly show California joined to the mainland, the Mar del Zur and Mar del Nort depicted with sailing ships and creatures of the deep, presented in a molded wood frame, neatline h. 14-1/2”, w. 21-1/4”, overall h. 26-1/2”, w. 31-1/2”. Illustrated in Roger Baynton-Williams’ Investing in Maps (New York: Clarkson N. Potter, 1969), p. 130. [1200/1800] Illustrated

763“L’America”, Giovanni Maria Cassini (Italian, 1745-1824), a hand-colored map of North and South America depicting the routes of Captain James Cook’s 18th-century voyages of discovery in the Pacific, the cartouche containing an allegorical figure of America, presented in a molded wood frame, neatline h. 13”, w. 18-1/4”, overall h. 24-1/4”, w. 29-1/2”. [1200/1800] Illustrated

764“Mexico, California and Texas” Hand-Colored Map, 1851, drawn and engraved by J. Rapkin, depicting the “Great Caravan Route” or Santa Fe Trail, “New or Upper California” with the “Gold” districts colored in yellow and vignettes of gold washers, Mexican peasantry and ruins at Uxmal, Yucatan, the border with elaborately scrolling vines, gourds, palmetto fronds, yucca and cactus, presented in an early 20th-century frame with parcel-gilt undulating corners, sight h. 10”, w. 13”, overall h. 17-1/4”, w. 20-3/4”. [1200/1800] Illustrated

765American School (Second Quarter 20th Century) “Vineyard at Harvest Time”, signed and dated lower right “Carter Johnson 1934”, 24” x 28”. Framed. [250/400]

766Orlando Vincent Schubert (American, 1844-1928) “River Landscape with Bridge”, watercolor on paper, signed in pencil lower left “Schubert” and twice in black ink lower right, verso retains gallery label “Tilden-Foley Gallery, 4119 Magazine Street, New Orleans”, sight 5-1/2” x 8-1/2”. Glazed, matted and framed. [350/500]

767Thomas Jefferson Folawn (American/California, 1876-1934) “Summer Rain Cloud, Boulder Colorado”, 1930, oil on canvas, signed lower left “Thos J. Folawn”, titled, dated and signed on stretcher verso, 22” x 27”. Framed. [400/700] Illustrated

768James Crawford Thom (American/New York, 1835-1898) “The Old Canoe”, oil on canvas, signed lower right “J. C. Thom”, signed in black ink on an old paper label on the reverse, 22-1/4” x 36-1/4”. Presented in a period annulated giltwood frame. [3500/5000] Illustrated

769James Topping (American/Illinois, 1879-1949) “Autumnal Winding River Landscape”, 1926, oil on canvas, signed and dated lower right “James Topping ‘26”, 20” x 20”. Glazed and presented in a gilded period carved wood frame. [4500/7000] Illustrated

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770American Sterling Silver Neo-Grec Soup Ladle, third quarter 19th century, the flat, lozenge-shaped finial decorated with anthemion and palmettes, the oval bowl engraved en suite, with matte-finish gilt interior and bright-cut lip, monogrammed “LWC”, conjoined, l. 11-1/4”, 3.73 t. oz. [400/700] Illustrated

771Twenty-Three Pieces of New Orleans-Retailed Sterling Silver “Angelo”-Pattern Flatware, the pattern introduced in 1878 by Wood and Hughes, New York, retailed by Frantz & Opitz, New Orleans, Louisiana, including six dinner forks, l. 7-1/8”, twelve teaspoons, l. 5-3/4”, three tablespoons, l. 8-1/2”, one demitasse spoon, l. 4-1/4”, and bow-style sugar tongs, l. 5-1/4”, variously monogrammed, 25.59 total t. oz. [500/800] Illustrated following page

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772Rare “Jack and Jill” Silverplate Figural Napkin Ring, fourth quarter 19th century, by James W. Tufts, Boston, Massachusetts, model number 1667, Jack with a detachable pail, the pair preparing to ascend the napkin ring which forms the hill, h. 2-1/4”, l. 4-1/2”. Reference: Lillian Gottschalk and Sandra Whitson, Figural Napkin Rings (Paducah, KY: Collector Books, 1996), p. 232, plate 569. [500/800] Illustrated

773American Silverplate Figure of a Neoclassical Water Bearer, fourth quarter 19th century, by Reed & Barton, Taunton, Massachusetts, the figure realistically modeled and presented on a circular base, h. 10-1/8”, dia. 5-1/8”. [100/200]

774Good Pair of American Sterling Silver Gilt and Ivory Fish Servers, fourth quarter 19th century, by Whiting Mfg. Co., Providence, Rhode Island, including a fish serving knife, l. 14-1/2”, and fork, l. 10-1/2, the silver gilt scimitar-shaped blade and five-tined fork each decorated with elaborate reticulated rococo scrolls, joined by ferrules en suite to tinted and carved spiral-fluted and shaped ivory handles. [800/1200] Illustrated

775Good American Sterling Silver Presentation Center Bowl and Undertray, dated 1905, by J. E. Caldwell & Co., Philadelphia, Pennsylvania, the bowl of circular form with deeply everted reticulated rim decorated with rococo scrolls and flowers separated by lattice cartouches, the sides engraved en suite, h. 3-3/4”, dia. 13”, monogrammed, on the side, “SvTE” and with presentation inscription on the underside “Stella van Tuyl Elkins/ from/ Mrs. Charles H. Howell/ April 27th 1905” and, added later, “Max Safron”, with a matching undertray decorated and monogrammed en suite, dia. 15-3/4”, 99.54 total t. oz. Stella van Tuyl Elkins (1882-1963) was the daughter of George W. Elkins and his wife, Stella E. McIntire Elkins. She is better known by her married name Stella Elkins Tyler, under which she became one of the foremost mid-Atlantic bronze artists of the 20th century; the Tyler School of Art at Temple University is named in her honor. The present lot was undoubtedly a gift on the occasion of her marriage to Philadelphia banker George Frederick Tyler (1883-1947) on April 27, 1905. The presenter was Mrs. Charles Harkness Howell, nee Annie Margaret Fitler, the wife of a prominent Philadelphia paint manufacturer. The later owner’s inscription is probably that of Max Safron (1880-1963), a noted New York autograph and book collector. For a biography of Tyler and a survey of her works, see Roberta A. Mayer, Stella Elkins Tyler: A Legacy Born of Bronze (Newton, PA: Bucks County Community College, 2004), the catalogue for a 2004 retrospective. [4500/7000] Illustrated

776Good American Sterling Silver Center Bowl, first quarter 20th century, by the Frank W. Smith Silver Co., Gardner, Massachusetts, in the rococo taste, of elaborately shaped and lobed oval form, the sides engraved with latticework cartouches and acanthus scrolls, the edges with applied rococo C-scrolls and reticulated with acanthus fronds, monogrammed, on the bowl, “MK”, h. 3-1/2”, w. 12”, l. 14-3/4”, 30.29 t. oz. [400/700] Illustrated

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777Good, Large Gorham Sterling Silver Fruit Basket, 1904, Providence, Rhode Island, of waisted oval form, the elaborate rim everting to form a shaped navette, the body decorated with opposing applied rococo cartouches joined by applied fruit swags, all on a reticulated fleur-de-lis-trellised ground, with applied rococo-scroll rim and feet, the shaped swing handle embossed with fruit, scrolls and bellflowers, h. 9-3/4” (16-1/2” with handle), w. 10”, l. 16”, 56.91 t. oz. [1800/2500] Illustrated

778Good Tiffany & Co. Sterling Silver-Mounted Cut Glass Flower Basket, 1902-1907, New York, the glass probably by J. Hoare, Corning, New York, the body of traditional waisted form with upturned sides, with stepped base, notched vertical miters, cane banding and fluted edge, the upturned sides with silver mounts elaborately embossed with flowers and rococo scrolls which continue to form the fixed stirrup-shaped handle, the stepped base clad in a conforming silver plinth, h. 19”, w. 6-3/4”, l. 10-1/2”. [1000/1500] Illustrated

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779Pair of Tiffany & Co. Sterling Silver Compotes, 1902-1907, New York, each of circular form with a convex-bottomed dish with everted rim raised on a waisted and domed foot, the dish and foot edge decorated with elaborate reticulated floral rococo scrolls, each monogrammed, on the center of the bowl, “EBS”, h 3-1/2”, dia. 7-1/2”, 24.63 total t. oz. [1800/2500]

780Tiffany & Co. Sterling Silver Presentation Tyg, dated 1901, the pattern introduced in 1891, New York, the bucket-shaped body with molded rim, three acanthus-mounted S-shaped handles and raised on a squat, waisted stem above a domed circular foot, the interior gilt, the body engraved on its three sections with presentation inscription “Presented to/ C. W. Bingham/ by/ Cleveland C.S.P. Men/ as a token of their/ appreciation and esteem/ July 15th, 1909”, the insignia of the Scroll & Key Society and a list of twenty-one presenters, h. 10”, dia. 7”, w. 9-3/4”, 50.61 t. oz. Noted Cleveland industrialist Charles William Bingham (1849-1929) was the son of William and Elizabeth Beardsley Bingham. He received a B.A. from Yale in 1868 and an M.A. from the same institution in 1871. He worked for his father’s firm, the Cleveland Iron Co., and also the William Bingham Co. before finally serving, for nearly fifty years, as president of the Standard Tool Co. He served, at one time or another, as director of the Mercantile National Bank, the Citizen’s Savings & Loan Co., the Cleveland Iron Co., the Western Reserve National Bank, the Bank of Commerce, the National Commerce Bank, the Citizens’ Savings & Loan Association, the Union Trust Company, the Cleveland Cliffs Iron Company and the Bourne-Fuller Co. He was a great supporter of arts and education in Cleveland, being instrumental in the construction of the Cleveland Museum of Art, as well as serving as treasurer of the Case Library and a trustee of the Huntington Art & Polytechnic Trust and the Horace Kelley Art Foundation. The Bingham Mechanical Engineering Building at Case Western Reserve University is named for him. The “C.S.P. Men” who presented Bingham with this handsome cup were fellow members of the “Collegium Sanctum Pontificum” (“College of the Holy Pontiffs”), better known as the Scroll and Key Society, one of Yale’s “big three” senior societies and the second oldest (after the Skull and Bones, from which it split in 1841). [3000/5000] Illustrated

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781Pair of Tiffany & Co. Sterling Silver Salad Servers, the pattern introduced in 1940, this example 1943-1945, New York, in the pattern commonly called “Deco Tomato” or “Pumpkin”, including a salad serving fork and spoon with gilt tines/bowl, l. 9-3/4”, 8.42 total t. oz. [400/700] Illustrated

782Set of Four Tiffany & Co. Sterling Silver Candlesticks, the pattern introduced in 1901, New York, each with a fluted baluster stem raised above a bat-wing fluted and cavetto-domed circular foot and surmounted by a short, waisted candle nozzle fitted with a detachable hexagonal bobeche, the whole with narrow bead-and-bobbin banding, h. 10”, dia. 5”, 43.73 total t. oz. [6000/9000] Illustrated

783Three Tiffany & Co. Federalist-Style Sterling Silver Sugar Urns, second quarter 20th century, New York, part of Tiffany’s line of important reproduction silverware, including one of the 1917 pattern after a late 18th-century original by Joseph Richardson (1752-1831) of Philadelphia, engraved on the plinth edge with a presentation inscription dated 1925, h. 10-1/2”, dia. 4-3/8”, and two of the 1919 pattern after a 1790 original by Garret Schanck (1755-1795) and Daniel Van Voorhis (1751-1824) of New York City, each engraved with the Bates crest and motto,h. 9-3/4”, dia. 3-7/8”, each of ovoid form with steeply waisted, domed lid with vasiform finial, beaded edges and raised on a waisted stem above a square plinth base, 52.99 total t. oz. [3500/5000] Illustrated

784Tiffany & Co. Sterling Silver Drinks Pitcher, the pattern introduced in 1936, New York, this example 1947-1956, of slightly bulbous tapering cylindrical form, with short spout and shaped handle, with threaded rim, h. 6-1/2”, l. 7”, dia. 5”, 20.13 t. oz. [500/800] Illustrated

785Tiffany & Co. Sterling Silver Well-and-Tree Platter, the pattern introduced in 1893, New York, this example after 1907, of oval form with molded rim and recessed plateau, raised on four molded bracket feet, monogrammed, on the rim, “EBW”, w. 14-1/4”, l. 20”, 58.51 t. oz. [2500/4000] Illustrated

786Tiffany & Co. Sterling Silver Sandwich Plate, the pattern introduced in 1914, New York, of circular form with wide reticulated palmette lattice border, with a recessed circular base and molded rim, dia. 10-5/8”, 12.67 t. oz. [400/700]

787Tiffany & Co. Sterling Silver Cake Stand, first quarter 20th century, the pattern introduced in 1914, New York, of circular form with reticulated palmette border, raised on a trumpeted foot, monogrammed, on a raised boss at the center of the plate, “A.M.duB.”, h. 3-1/2”, dia. 9-1/2”, 17.23 t. oz. [400/700]

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788Tiffany & Co. Sterling Silver Tazza, the pattern introduced in 1936, New York, this example 1947-1956, of slightly concave circular form, with threaded rim and applied shell-and-scroll mounts, raised above a trumpeted circular foot, monogrammed, at the center, “LMS”, h. 2-7/8”, dia. 8-1/4”, 12.80 t. oz. [400/700]

789Pair of Whiting “Colonial” Sterling Silver Salad Servers, the pattern introduced in 1907, Providence, Rhode Island, including a salad serving fork and spoon, l. 11-1/2”, each monogrammed “INA”, 7.72 total t. oz. [125/250]

790Gorham Silverplate Revere Bowl, third quarter 20th century, Providence, Rhode Island, of traditional form, with everted rim and molded foot-ring, h. 4-1/2”, dia. 9”. [75/125]

791Eight American Assorted Sterling Silver Serving Pieces, first quarter 20th century, including a SSMC/Saart Bros. “Rosemary” salad serving set, l. 7-1/2”; a Wallace & Sons “Princess Mary” sauce ladle, l. 6”; a Gorham “Old Colony, Old” pierced serving spoon, l. 8-3/4”; a Frank W. Smith “Adrienne” cream ladle, l. 5-1/2”; and a Campbell-Metcalf “Jeweled Colonial” almond scoop, l. 5-3/4”; variously monogrammed, 11.64 total t. oz. [200/400]

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792Two American Sterling Silver Serving Pieces, first quarter 20th century, including a J.B. & S.M. Knowles “Argo”-pattern fish slice, introduced in 1892, retailed by A. Stowell & Co., Baltimore, Maryland, with gilt blade, monogrammed “WS”, l. 8-3/4”; and a George W. Shiebler “Gothic”-pattern asparagus server, introduced in 1890 and manufactured by the Mauser Mfg. Co., New York, altered from a place piece, no monograms, l. 9-1/2”; 6.75 total t. oz. [100/200]

793Gorham Silverplate Chafing Dish, fourth quarter 20th century, Providence, Rhode Island, of circular form, with shaped rococo-scroll border, with fitted domed lid and turned wooden handle, all above a conforming hot water reservoir in a fitted frame, raised on thee acanthus-crested cabriole legs joined by a stretcher to a central burner, h. 11-1/2”, w. 21”, l. 21”. [150/300]

794Twelve Pieces of Small American Sterling Table Silver, second and third quarters 20th century, including a pair of International Sterling nut dishes with hammered finish and Art Deco engraving, dia. 3”; a pair of Gorham nut dishes with molded edge, dia. 2-4/8”; a four-piece Rogers, Lunt & Bowlen “Treasure” salt and pepper set, including a pair of baluster-form pepperettes, h. 4-1/2”, and a pair of “Revere”-form salt cellars, dia. 2-1/2”; a pair of Baldwin & Miller salt cellars of flattened spherical form with cobalt glass liners, dia. 2-1/2”; and a pair of unmarked baluster-form pressed glass salt and pepper casters with silver caps, h. 3-1/4”; 12.73 total t. oz. (excluding glass). [100/200]

795Mexican Sterling Silver Covered Sugar Bowl, third quarter 20th century, from Tane Orfebres, Mexico City, in the Spanish Colonial taste, of octagonal form, with gadrooned banding and rim and opposing scroll handles, raised on a conforming foot, the fitted, shallow-domed lid with melon finial, h. 6-1/2”, w. 8-1/2”, d. 6-3/8”, 35.37 t. oz. Although unidentified, the maker of this sugar bowl - known by his “A” in a triangle cypher and eagle registration mark “71” - was one of Tane’s finest, his works characterized by their stylish interpretation of traditional forms, good finish and significant heft. [1400/1800]

796American Renaissance Revival Walnut and Marble-Top Sideboard, third quarter 19th century, the top with a peaked crest and a central carved plaque above a beveled mirror and large shelf brackets, the base with a marble deck above a curved base having a row of three drawers above three doors, h. 90-1/2”, w. 57”, d. 25”. [2000/4000] Illustrated

797American Renaissance Revival Brass Six-Arm Gasolier, ca. 1875, the embossed stem set in a cage of four geometrically-modeled square section brackets, the lower bowl joined to the six “c”-form arms of like decor, each retaining its period gas key, now fitted with etched crown shades in the period taste, h. 40”, dia. 32”. [1200/1800] Illustrated

798American Renaissance Revival Walnut Fire Screen, third quarter 19th century, the period arched beadwork panel in floral decor, set in an arched frame with a carved cartouche flanked by leaf and berry swags, raised on similarly molded carved legs, h. 46-1/4”, w. 3-1/4”, d. 20”. [400/700] Illustrated

799Rare American Aesthetic Movement Walnut Rocking Chair, branded on the rear leg “Hunzinger, N.Y. Pat. March 3, 1869”, upholstered in maroon crushed velvet, h. 22”. [500/800]

800Rare American Aesthetic Movement Walnut Rocking Chair, branded on the rear leg “Hunzinger, N.Y. Pat. March 3, 1869”, upholstered in royal blue crushed velvet, h. 22”. [500/800]

801French Stone-Polished Carrara Marble Mantel Clock, third quarter 19th century, retailed by Henderson & Gaines, New Orleans, Louisiana, and so marked on the face,in the Renaissance Revival style, the glass dial cover with a beveled edge, the white enamel dial with black chapters and retailer’s name, h. 8-1/4”, w. 12-1/2”, d. 6-3/4”. [300/500]

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802Impressive Three-Piece American Renaissance Revival Walnut and Burl Walnut Bedroom Suite, third quarter 19th century, Philadelphia, comprised of a high-back bedstead with large arched and foliate-carved crest, h. 95”, inside w. 65”, l. 80”, outside w. 72”, l. 86”, and a matching pair of marble-top dresser bureaus with large mirrors, each with a three-drawer base, h. 90”, w. 49-1/4”, d. 22”. [6000/9000] Illustrated

803Victorian-Style Patinated Metal Wall-Mount Dog Leash Holder, fashioned as a setter within a cartouche, h. 7”, w. 3-1/4”, d. 5-3/4”. [100/200]

804Victorian Carved Mahogany and Giltwood Sideboard, third quarter 19th century, in the Neo-Grec taste, the backsplash with a beveled mirror plate flanked by a pair of broken-arch crests centered by a carved floral basket, with floral swags below, the base with a central door over an arched opening, flanked by pedestal ends, each door with a gilt winged putti masque over a shaped panel, h. 69-1/2”, w. 84-1/4”, d. 27”. [3500/5000] Illustrated

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805After Thomas Waterman Wood (American, 1823-1903) “The Contraband”, from A Bit of War History, oil on canvas, signed and dated lower right “Carrea Sanders Parmalee 1896”, 21” x 13-1/2”. Presented in a period giltwood frame. This lot is a copy of one of the panels of Wood’s triptych “A Bit of War History: The Contraband, The Recruit, The Veteran”, inspired by the imagined narrative of an African-American soldier injured in the Civil War. The original is in the collection of the Metropolitan Museum of Art. [1200/1800] Illustrated

806Pair of English Cut-Glass Two-Light Sideboard Candelabra, first quarter 20th century, in the early 19th century Anglo-Irish taste, richly dressed with draped jewel-cut bead chains, faceted teardrops and panel-cut prisms, h. 20”, w. 13”. [500/800]

807American Modern Gothic Gilt-Incised Burled Walnut and Walnut Folio Stand, fourth quarter 19th century, the paneled and hinged end boards adjusted by a turned knob on a central brace, the whole on a trestle base, h. 46”, w. 26-1/4”, d. 18”. [2500/4000] Illustrated

808American Innovative Rocking Chair, late 19th century, comprised of tubular steel, brass, wood, spring steel and leather, the armrests and sling seat in tufted leather upholstery, with wooden rockers, h. 57-3/4”. For a discussion of a similar chair by R. W. Winfield and Company and its American versions including the Berg and Hoffman 1867 patent, see David A. Hanks, Innovative Furniture in America from 1800 to the Present, pp. 130-131. [300/500]

809Wayman Elbridge Adams (American, 1883-1959; Active New Orleans 1920’s - 1950’s) “Portrait of Judge Dan Powell”, oil on canvas, signed lower left “Wayman Adams”, with artist’s estate sale inventory label en verso “118 BH 336 - Judge Dan Powell”, 47” x 36”. Handsomely framed. Provenance: Acquired from the estate of the artist in 1993 by a private collector, Austin, Texas. [2000/4000]

810Victorian Carrara Marble Pedestal, late 19th century, the canted square top raised on a spiral-reeded standard to a ribbed base on a molded octagonal plinth, h. 34”, w. 11-1/2”, d. 11-1/2”. [300/500]

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811Continental Mahogany Cylinder Desk, third quarter 19th century, the ogee-molded superstructure fitted with three drawers above the paneled roll top, opening to a pull-out leather-lined writing surface and a variety of drawers and cubbyholes, raised on two pedestals, both paneled, one opening to four drawers, the other opening to a shelved interior, both raised on low bracket feet, h. 51”, w. 61”, d. 31-1/2”. [1200/1800] Illustrated previous page

812American Turned and Mahogany-Stained Wood Three-Panel Folding Screen, fourth quarter 19th century, each panel set with a different oil-on-canvas scene, from left to right, the Natural Bridge of Virginia, a pair of white herons in a swamp, and a pair of deer on a river bank, the upper edge of each panel with a spindled gallery, h. 55”, l. 24”, extended l. 72”. [800/1200] Illustrated

813American Aesthetic Movement Silver Metal-Mounted Two-Piece Bedroom Suite, fourth quarter 19th century, comprised of a high-back bedstead and a nightstand with the impressed brand “Herts Brothers New - York”, the paneled head and foot boards adorned with ribbon, laurel wreaths, swags and beading, with fluted posts and foliate-carved capitals, on squat ball-and- claw feet, h. 64”, inside w. 58”, l. 84”, outside w. 66-1/2”, l. 89-1/2”, the nightstand with like decor, with a frieze drawer, raised on fluted columns, an open shelf and ball-and-claw feet, h. 33”, w. 18”, d. 18”. Herts Brothers, at 806 Broadway at 20th Street, New York City, was a prominent New York cabinetmaking and decorating firm from 1872 to 1908. For further information on the Herts firm, see Art and Enterprise American Decorative Art, 1825-1817, the Virginia Carroll Crawford Collection, 1999. Pieces by Herts Brothers are in the collections of the Newark Museum, and the High Museum of Art. [3000/5000] Illustrated812

813two-piece suite

813two-piece suite

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814American Aesthetic Movement Marquetry-Inlaid Bird’s-Eye Maple and Maple Dressing Bureau, ca. 1875-1880, the back of the case with the incised stamp “Herter Bros.”, the furniture design, manufacturing and decorating firm led by Christian Herter, New York City, the case with a pair of pedestal ends joined by a shelf fitted with a pair drawers supporting a tall beveled mirror in a fluted frame, the dentillated cornice with ribbon, bellflower and beaded swag inlays, the upper pedestal drawer with like inlay, h. 83”, w. 76-3/4”, d. 20-3/4”. [7000/10000] Illustrated

815Classic Early Newcomb College Pottery Vellum-Glazed Vase, 1914, in “Live Oaks and Moss” decor, decorated by Anna Frances Simpson (ca. 1888-1930), the base fully signed and numbered, h. 5”, dia. 5-1/2”. [3500/5000] Illustrated

816Classic Newcomb College Pottery Vellum-Glazed Vase, 1925, of baluster form in “Moon and Moss” decor, decorated by Anna Frances Simpson (ca. 1888-1930), the base fully signed and numbered and having a period Newcomb Pottery printed paper label, h. 6-1/4”, dia. 3-1/2”. [3500/5000] Illustrated

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817

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817Classic Newcomb College Pottery Vellum-Glazed Vase, 1921, in “Live Oaks and Moss” decor, decorated by Anna Frances Simpson (ca. 1888-1930), fully signed and numbered on the base, h. 5-1/4”, dia. 4-1/2”. [3500/5000] Illustrated previous page

818Good Shearwater Pottery Vase, 1946, thrown by Peter Anderson (1901-1984), with carved and pierced floral design by James McConnell “Mac” Anderson (1907-1998), in a double glaze - antique green under alkaline blue - by Peter Anderson, signed and dated on the underside “Shearwater/ MA/ ‘46”, h. 5-1/2”, dia. 8”. This lot is accompanied by a copy of Shearwater Pottery (Slidell, LA: Bristol Publishing, 2005), by Dod Stewart, Marjorie Anderson Ashley, et al., on page 108 of which this vase is illustrated. [4500/7000] Illustrated

819Arnold Turtle (British/Chicago, 1892-1954, active New Orleans ca. 1940’s) “Street Corner, French Quarter, New Orleans”, oil on canvas board, signed lower right “Turtle”, 16” x 20-1/2”. Handsomely framed. [2500/4000] Illustrated

820John Lang (American/New Orleans, 20th Century) “French Quarter Scenes”, group of three charcoal and graphite drawings, all signed, one example dated “9-15-40”, sight 8” x 10-1/2”. Glazed, handsomely matted and presented in matching ebonized frames. [1400/1800] Illustrated

821Dalhart Windberg (American/Texas, b. 1933) “The Last Stand”, limited edition print, signed lower left, retains artist’s certificate of authenticity on the reverse, edition number 57/1,000, sight 19-3/4” x 29-1/2”. Glazed, matted and framed. [600/900]

822Garland Roark (American/Contemporary) “Cowboy Overlooking a Canyon”, watercolor, signed lower left “Garland Roark”, sight 13” x 16-3/4”. Glazed, matted and framed. [125/250]

823Ida Kohlmeyer (American/New Orleans, 1912-1997) “Nested”, acrylic on masonite, signed lower left “Kohlmeyer”, bears gallery label en verso “Ruth White Gallery, 42 East 57th Street, New York”, 16” x 12”. Framed. [2500/4000] Illustrated

824Ida Kohlmeyer (American/New Orleans, 1912-1997) “Annular”, 1963, oil on canvas, signed lower right “Kohlmeyer”, 46” x 58”. Framed. [5000/8000] Illustrated

818

819

820suite of three

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825Ray Donley (American/Texas, b. 1950) “Portrait of a Lady”, 2009, oil on board, signed and dated lower left “Donley ‘09”, signed and dated on board verso, 20” x 16”. Presented in an ebonized frame. Provenance: Gallery Bienvenu, New Orleans, Louisiana. [2000/4000] Illustrated

826Ray Donley (American/Texas, b. 1950) “Figure with a Black Beret”, 2005-2007, oil on canvas, signed and dated lower right “Donley 05/07”, signed and dated on canvas verso, retains Bienvenu Gallery, New Orleans, label on the reverse, 24” x 18”. Presented in an ebonized frame. Provenance: Gallery Bienvenu, New Orleans, Louisiana. [2500/4000] Illustrated

823

824

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826

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827Ray Donley (American/Texas, b. 1950) “Skeleton”, 2009, oil on board, signed and dated lower left “Donley ‘09”, signed and dated on board verso, 20” x 16”. Presented in an ebonized frame. Provenance: Gallery Bienvenu, New Orleans, Louisiana. [2000/4000] Illustrated

828George Bauer Dunbar (American/Louisiana, b. 1927) “Coin du Lestin”, 1997, palladium leaf over white clay, signed lower right “Dunbar”, 16” x 12”. Handsomely custom framed. [3000/5000] Illustrated

827

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829George Bauer Dunbar (American/Louisiana, b. 1927) “Coin du Lestin”, 2007, palladium and gold leaf over red and gray clay, signed lower center “Dunbar”, 60” x 48”. Framed. This lot was included in the solo exhibition of George Dunbar’s work held at the Ogden Museum of Southern Art, New Orleans, Louisiana, held on April 26 through July 16, 2007. [18000/25000] Illustrated

830George Bauer Dunbar (American/Louisiana, b. 1927) “Coin du Lestin”, 2007, yellow gold over red clay, signed lower right “Dunbar”, 12” x 12”. Framed. [2000/4000] Illustrated

831George Bauer Dunbar (American/Louisiana, b. 1927) “Coin du Lestin”, 2007, gold leaf over red clay, signed lower right “Dunbar”, 12” x 12”. Framed. [2000/4000] Illustrated

832George Bauer Dunbar (American/Louisiana, b. 1927) “Coin du Lestin”, 2007, yellow gold over red clay, signed lower right “Dunbar”, 12” x 12”. Framed. [2000/4000] Illustrated

829

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833George Bauer Dunbar (American/Louisiana, b. 1927) “Coin du Lestin”, 2007, rose gold over red clay, signed lower right “Dunbar”, 12” x 12”. Framed. [2000/4000] Illustrated previous page

834George Bauer Dunbar (American/Louisiana, b. 1927) “Coin du Lestin”, 1970, gold leaf over clay, 15” x 22-3/4”, signed and dated twice, lower left and right corners. Framed. [4500/7000] Illustrated

835Noel Rockmore (American/New Orleans, 1928-1995) “Alien, Female Nude and the King of Clubs”, 1991, mixed media on paper, signed and dated lower left “Rockmore 91 Mar”, verso with “Cassell Gallery, New Orleans” label, sight 11-1/2” x 9”. Glazed, matted and framed. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [300/500]

836Ronald King (American, b. 1932) “Commander”, color serigraph, pencil numbered and titled lower left “5/25”, pencil signed lower right “Ronald King”, sight 27-1/4” x 20”. Glazed and framed. [100/200]

834

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837American School (20th Century) “Reclining Nude”, oil on burlap, monogrammed lower right, 14” x 18-3/4”. Framed. [250/400]

838Ronna S. Harris (American/New Orleans, Contemporary) “Nude Seated by a Sunlit Brook”, oil on canvas, signed lower left “Ronna S. Harris”. Framed. Provenance: Still-Zinsel Gallery, New Orleans, Louisiana. [4500/7000] Illustrated

839Noel Rockmore (American/New Orleans, 1928-1995) “Nude in Red Stockings”, 1981, oil on masonite, signed and dated lower left “Rockmore 81”, 8” x 10”. Handsomely framed. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [500/800]

840James Michalopoulos (American/Louisiana, b. 1951) “Callow’s Luma” 1994, oil on canvas, signed lower left “Michalopoulos”, signed and dated on the reverse of canvas “Mitchell Michalopoulos 1994”, titled and numbered “2401” on the stretcher verso, 28” x 22”. Framed. [2500/4000] Illustrated

841Semi-Antique Hamadan Carpet, 3’ 8” x 9’ 10”. [200/400]

842Persian Carpet, 5’ 3” x 6’ 4”. [500/800]

843Semi-Antique Heriz Carpet, 7’ x 10’. [400/700]

844Semi-Antique Caucasian Carpet, 3’ x 5’. [125/250]

845Antique Persian Carpet, 4’ 2” x 5’ 10”. [500/800]

846Persian Kashan Carpet, 9’ 6” x 12’ 6”. [3000/5000]

847Isfahan Carpet, 13’ 5” x 9’ 4”. [900/1200]

848Yazad Carpet, 15’ 3” x 9’ 5”. [900/1200]

849Turkish Angora Oushak Carpet, 8’ 3” x 9’ 10”. [1200/1800] Illustrated

850Turkish Angora Oushak Carpet, 8’ 9” x 12’. [1500/2500] Illustrated

851Agra Sultanabad Carpet, 13’ 9” x 14’ 3”. [2500/4000]

849

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146

852Peshawar Serapi Carpet, 9’ 1” x 12’ 3”. [1400/1800] Illustrated

853Agra Serapi Carpet, 10’ x 13’ 10”. [1800/2500]

854Shiraz Carpet, 4’ 9” x 6’. [500/800]

855Turkish Prayer Rug, 3’ 9” x 5’ 8”. [200/400] Illustrated

856Iranian Kilim Carpet, 4’ 5” x 9’ 5”. [200/400]

857Agra Serapi Carpet, 9’ x 11’ 9”. [1200/1800]

858Uzbek Kazak Carpet, 6’ 3” x 9’ 7”. [700/1000]

859Uzbek Kazak Carpet, 8’ 9” x 11’ 7”. [1500/2500]

860George III-Style Mahogany Server, late 19th century, the banded rectangular top with a bowed center section above a conforming fluted frieze centered by a banded panel, raised on fluted tapering square legs ending in spade feet, h. 34”, w. 96-1/2”, d. 24-1/4”. [1800/2500] Illustrated

861Regency-Style Figured Birch Bowfront Chest, 19th century and later, the bowed top with rosewood banding above a case fitted with two short drawers over three graduated long drawers, all with inlaid stringing, raised on splayed bracket feet, h. 45”, w. 42”, d. 20-1/4”. [1400/1800] Illustrated

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147

862Lewis John Wood (British, 1813-1901) “Busy Day by the Cathedral”, oil on canvas, faint signature lower left, 12” x 16”. Handsomely framed. [1200/1800] Illustrated

863George III-Style Walnut Cabinet, late 19th century, the rectangular top with molded edge above a conforming case fitted with a central paneled cupboard door flanked to either side by a bank of three graduated drawers, further flanked by fluted uprights, the whole raised on block feet, h. 34”, w. 82”, d. 21”. [1400/1800] Illustrated

864George III Mahogany Drop-Leaf Table, late 18th century, the rectangular top with two like shaped leaves, raised on tapering circular legs ending in pad feet, h. 27-1/2”, w. 48”, d. 19”, extended l. 57”. [800/1200] Illustrated

865Pair of Queen Anne Walnut Sidechairs, 18th century, each with a back-scrolled crest above a pierced and baluster-form splat, the padded and shaped seat raised on cabriole legs joined by a crinoline stretcher and ending in pad feet, h. 36-1/2”. [1000/1500] Illustrated following page

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864

148

866George III Mahogany Tripod Table, fourth quarter 18th century, the tilting rounded rectangular top raised on a ring-turned baluster-form standard to three splayed cabriole legs ending in pad feet, h. 28-1/2”, w. 30-1/4”, d. 33”. [500/800]

867George III-Style Walnut and Parcel-Gilt Looking Glass, early 19th century, the rectangular plate surmounted by a broken swan’s-neck pediment centered by a carved foliate shield, within a shaped carved wooden frame with side applied gilt drapery accents, h. 58-1/4”, w. 25-1/2”. [1500/2500] Illustrated

868George III-Style Mahogany Tripod Table, the shaped circular top with a sunburst inlay and raised foliate-carved edge, raised on a fluted urn-form standard to three splayed legs headed by foliate carving and ending in pad feet, h. 31”, dia. 36”. [250/400]

869Pair of George III-Style Mahogany Sidechairs, late 19th century, each with a scalloped and earred crest above a pierced baluster-form splat, the padded seat raised on chamfered square legs joined by an H-form stretcher, h. 37-1/2”. [500/800] Illustrated

870George III-Style Oak Games Table, third quarter 19th century, the rectangular top hinged and opening to a gaming surface, raised on chamfered square legs, h. 28-7/8”, w. 35”, d. 17”, open 34”. [500/800]

871Japanese Carved Ivory Okimono, Meiji Period (1868-1912), depicting a flower seller holding a basket of flowers with his right hand and supporting a partridge with his left, with intricate incised carving on the robes, basket and face, and incisely stained, unsigned, h. 9”. [600/900] Illustrated

872Japanese Ivory Mystery Ball Carving and Stand, the ball consisting of nine concentric and independently carved balls, with reticulated star and circle designs atop the stand depicting a woman holding a lotus flower, on a rounded base, h. 9-3/4”. [300/500]

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873Japanese Carved Ivory Okimono, Taisho Period (1912-1926), depicting a standing man holding a ceremonial object above his head, atop a celestial cloud, all resting on a highly detailed and carved circular base, h. 10”, dia. 4-3/4”. [300/500]

874Japanese Carved Wooden Traveling Shrine, Meiji Period (1868-1912), in the form of a circular seal paste box, opening to reveal figures of deities carved in relief and decorated with polychrome decoration, dia. 2-1/2”. [700/1000] Illustrated

875Good Japanese Carved Ivory Figure of a Rhinoceros, first quarter 20th century, the ivory figure well and realistically carved as a rhinoceros standing foursquare with stained detail in areas of its skin, the belly with a lacquer artist’s signature, w. 2”, l. 4”. [200/400]

876Fine Japanese Silk, Silver and Bone Gentleman’s Purse/Tissue Holder, late Meiji Period, ca. 1910, the rectangular body in the form of a wallet, embroidered all over with designs of flowering wisteria and foliage, the interior with three compartments, the exterior with a silver landscape clasp and a carved bone ojimi attached to the purse with eighteen silver chains, l. 5-3/8”. [200/400] Illustrated

877Group of Four Japanese Prints on Paper, second half 19th century, each depicting a long-haired female deity in loose robes holding a bronze mirror, in three of the prints she is attended by other deities, each with calligraphic impressions, the female deity appears to be Amatersu, the sun goddess, supposedly linked to the Japanese Imperial lineage, h. 29”, w. 9-3/8”. Provenance: Antique Maps and Works on Paper, Ltd., Santa Fe, New Mexico. [400/700] Illustrated

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874

876

877suite of four

150

878Edwardian Mahogany Sideboard, ca. 1900, in the George III style, the bowed and earred top with inlaid string banding above a conforming case fitted with a central baize-lined cutlery drawer over a deep recessed drawer, flanked on either side by a cupboard door, all with ivory escutcheons, raised on tapering square legs ending in spade feet, h. 35”, w. 71”, d. 24-1/4”. [1400/1800] Illustrated

879George III Mahogany Bookcase, early 19th century, the molded cornice above two astragal-glazed doors, the lower section fitted with a deep drawer over three graduated long drawers, raised on splayed bracket feet, h. 92-1/4”, w. 50”, d. 21-1/2”. [1500/2500] Illustrated

880George III Giltwood Looking Glass, ca. 1800 and later, the shaped and mirrored crest surmounted by a Prince of Wales feather carving and with applied floral and foliate designs, the rectangular plate with a mirrored banding with corner shell and rinceau accents, within a molded frame, h. 60”, w. 31”. [1800/2500] Illustrated

881George III Mahogany Triple-Top Games Table, fourth quarter 19th century, the rectangular top opening to a gaming surface and further opening to a baize-lined gaming surface with recessed pockets for pieces, raised on chamfered square legs ending in outscrolled feet, h. 30”, w. 35”, d. 16-1/2”. [1400/1800] Illustrated

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882Trio of Hand-Colored Engravings, by Carrington Bowles and Bowles and Carver, London, consisting of “The Drawbridge Canal and Great Orphan House of the Hague”, “A General View of Constantinople”, and “A General View of the City of London”, all fourth quarter 18th century, sight 10-3/4” x 16”, titled in English and French, the frame backs with the printed gold foil labels of “The Antiquarium Antique Print and Map Gallery, Houston”. Presented in beaded giltwood fillets within carved and ebonized wood frames in the neoclassical taste and glazed. [400/700]

883George III Mahogany Side Table, third quarter 18th century, the rectangular top with a shaped and bowed front with projecting corners, above a plain conforming frieze, raised on fluted, tapering circular legs ending in tall turned peg feet, h. 34”, w. 63-1/2”, d. 27”. [2500/4000]

884Pair of George III-Style Mahogany Sidechairs, 19th century, each with a string-inlaid ladderback above the padded seat, raised on tapering square legs joined by an H-form stretcher, h. 35”. [400/700] Illustrated

885Large Chinese Rosewood Altar Table, mid-20th century, the rectangular top with downturned ends and a central floating panel, over a carved and pierced apron with cloud terminals, archaic fretwork and bi disks, and low-relief floral carving, all under a rich, dark rosewood finish, h. 42-1/2”, w. 86”, d. 18-1/2”. [700/1000] Illustrated

886Two Good Chinese Monochrome Bowls, 19th century, the first of circular form with everted rim, glazed all over in a rich oxblood glaze, the base with a six-character underglaze blue Kangxi reign mark within a double circle; the second of circular form with low sides glazed all over in a caramel-colored glaze, the base with a six-character Wanli reign mark in underglaze blue within a double circle, dia. 3-1/4” and 3-7/8”. [300/500]

881

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887Set of Two Early 18th-Century Chinese Temple Tiles, composed of gray pottery with remnants of color, one depicting a herdsman whistling, the other wearing an official’s headpiece and carrying a ruyi scepter, presented in custom gilded frames, h. 17-1/2”, w. 9”, d. 3”. [700/1000] Illustrated

888Set of Two Early 18th-Century Chinese Temple Tiles, composed of gray pottery with remnants of color, one depicting a musician with a rattle, the other a dancer carrying a fan, both with elaborate coiffures of the period, presented in custom gilded frames, h. 17-1/2”, w. 9”, d. 3”. [700/1000] Illustrated

889Chinese Rootwood Brush Pot, 18/19th century, of large size following the shape of the trunk, the surface covered all over with burled knots, the interior hollowed leaving a thick wall, h. 8-1/2”, w. 9-3/4”. [1500/2500] Illustrated

890Good Chinese Gold Splash Bronze Vase, 17th century or later, of bottle form with slightly splayed foot and elongated neck with banded rim, the dark brown-patinated body with scattered gold speckling, the base with a cast four-character Kangxi mark, h. 14”. [2500/4000] Illustrated

891Chinese Scholar’s Rock (Lingbi), in the form of a horizontal mountain with craggy folds and outcrops, the stone in dark brown and ochre, presented on a fitted wooden base, h. 5”, l. 11”. [300/500] Illustrated

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892Chinese Carved Tortoiseshell Covered Box, late 19th century, of circular form with a solid base, the cover and sides carved and reticulated with overall designs of flowering plants and vines, dia. 4-3/4”. [900/1200] Illustrated

893Unusual Group of Six Chinese Carved Jade Articles, 19th century, comprised of white, brown and green jade pieces, including a bi disk with archaic scrolls; two carvings of cats; a fruit group with bats; a peach with foliage; and a hair ornament in the form of a clenched fist; l. 1-1/2” to 2-1/2”. [500/800] Illustrated

894Chinese Shaped and Polished Jasper Specimen, of flattened ovate form with truncated base, the variegated stone exhibiting black, brown, ochre and rose colors, presented on a fitted wooden stand, h. 10-1/4”, w. 8”. [125/250]

895Unusual Chinese Lacquered and Gilded Decorative Door Lintel, 20th century, composed of black- and gilt-lacquered panels with naturalistic decoration on the top and sides, the center decorated with pierced and gilded naturalistic decoration of flowers and birds in two strips centered by a red and gilt strip, h. 21”, w. 77”. [400/700] Illustrated

896Good Chinese Painting on Silk, 18th century, executed in ink and colors on silk and depicting an archer on horseback galloping down a slope from a rocky outcrop, a calligraphic inscription across the top with a seal, another seal in lower right, mounted on silk brocade in a custom giltwood frame and glazed, h. 26-1/2”, w. 42-3/4”. [2500/4000] Illustrated

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897Chinese Carved Amber Miniature Teapot, the body formed of compressed amber pieces and carved as a rustic teapot of tree trunk form with flowering branches in high relief, with branch handle and spout, l. 4”. [500/800] Illustrated

898Chinese Monochrome Porcelain Bowl, 19th century, of circular outline with everted lip rim and ring foot, glazed on the exterior and the interior with a caramel-colored monochrome glaze, the white recessed foot with a six-character Wanli reign mark, dia. 4-5/8”. [250/400] Illustrated

899Chinese Enameled Glass Snuff Bottle, of flattened pear form, enameled on both sides in polychrome enamels with mountainous autumnal landscapes and figures admiring nature, the base with a four-character Qianlong mark in raised blue enamel, h. 3-1/4”, presented in a silk box. [400/700] Illustrated

900Unusual Pair of Chinese Porcelain Double-Gourd Vases, bearing Hongxian marks, 1916, and probably of the period, each decorated with overglaze blue, puce and red enamels with scrolling foliate designs, each with a circular reserve panel decorated in famille rose enamels with landscape scenes, the bases with four-character Hongxian marks in raised blue enamels, h. 7-1/2”. [400/700] Illustrated

901Japanese Wood and Crystal Meditation Sphere and Stand, Meiji Period (1868-1912), the wooden stand carved as three monkeys supporting a sphere of flawless crystal, h. 3”. [1200/1800] Illustrated

901899

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902Large Chinese Blue and White Porcelain Moon Flask, of flattened form, slightly flared neck and archaic-style handles, decorated all over with flowering lotus and foliage and a wave-pattern border at the lip, with a six-character Yongzheng seal mark on the base, h. 17-1/2”. [1400/1800] Illustrated

903Framed Chinese Famille Rose Porcelain Wall Plaque, depicting a sage and attendant with a red-crowned crane beneath a tree, the reverse stating that the painting is by Ren Yi (1840-1896), referring to the colophon and seal in the upper right of the plaque, presented in a wooden frame with brass hanger, h. 20-1/2”, w. 15-1/2”. [600/900] Illustrated

904Fine Chinese Enameled Porcelain Meibing, 20th century, of tapered ovate shape with small everted mouth, thinly potted with recessed base, and delicately enameled with a scene of a peacock and peahen on rockwork beneath flowering trees and a calligraphic inscription with three seals, the base with a four-character Yongzheng seal mark within a double border in raised blue enamel, h. 8”. [300/500] Illustrated

905Good Pair of Chinese Famille Rose Porcelain Tea Bowls, Republic Period (1917-1949), each thinly potted with everted lip rim and countersunk base, decorated with continuous scenes of exotic fowl among rockwork and flowering plants, the bases with four-character Qianlong marks in raised blue enamels, presented on wooden stands, dia. 4-1/4”. [800/1200] Illustrated

906Pair of Chinese Famille Rose Porcelain Handled Bottle Vases, 20th century, each of bulbous form with garlic-head top and tubular handles with ruyi heads, the bodies decorated with floral mons and a floral border at the base of the neck, the bases with six-character Yongzheng seal marks in underglaze blue, h. 9-3/4”. [1500/2500] Illustrated

907Large Chinese Blue and White Porcelain Brush Pot, 19th century, of cylindrical form with straight sides, decorated in vivid underglaze blue with a continuous scene of the Seven Sages of the Bamboo Grove, with additional decoration of attendants and banana trees in a grove, the brown-glazed base with a circular central reserve medallion with a six-character Kangxi reign mark, h. 6”, dia. 7-1/2”. [200/400] Illustrated

908Chinese Blue and White Porcelain Melon Jar, 19th century, of lobed bulbous form, decorated with a continuous scene of fruiting melons and foliage among tendrils, the shoulders with a foliate band and a fretwork band at the neck, h. 6-1/2”, dia. 8”. [300/500] Illustrated

909Large Chinese Blue and White Porcelain Brush Pot, 19th century, of cylindrical form with straight sides, decorated in vivid underglaze blue with a continuous landscape of mountains and lakes with two figures on a rocky outcrop above a boatman on the lake, the brown-glazed base with a circular central reserve medallion with a four-character inscription, h. 5-3/4”, dia. 7-1/2”. [200/400] Illustrated

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910Chinese Blue and White Porcelain Garlic-Head Vase, the bulbous body with molded lion-head ring handles and elongated neck, with a lotus-petaled garlic-head lip, decorated all over with a continuous design of peony flowers and foliage, the base with a six-character Qianlong seal mark in underglaze blue, h. 14”. [400/700] Illustrated previous page

911Large and Impressive Chinese Blue and White Porcelain Mounted Vase, 19th century, the cylindrical body with flared neck, enameled in an underglaze blue ground with darker Buddhistic emblems and mons, the shoulders and neck with applied white dragons, with Foo-dog handles, mounted on an elaborate footed bronze stand and bronze liner and lip rim, h. 30-1/4”. [5000/8000] Illustrated

912Chinese Famille Rose Porcelain Miniature Vase, Republican Period, ca. 1920, of baluster form with elongated neck enameled with a figure of a sage in informal robes with a basket of flowers, indistinct iron-red seal mark on the base, h. 5-1/8”. [250/400]

913Good Chinese Blue and White Porcelain Small Vase, 19th century, the bulbous body with tubular neck, decorated in underglaze cobalt blue, the body divided into six reserve panels, each depicting birds perched in flowering branches, the neck decorated with a dragon amongst flowers above a border of three dragons amongst flowers on the shoulder, the base with a six-character Yongzheng mark within a double circle, h. 6”. [700/1000] Illustrated

914Group of Four Chinese Porcelain Storage Jars, first quarter 20th century, each of ovoid form with underglaze blue decoration, two depicting Buddhistic lions on a pale celadon ground, with wooden lids; one depicting birds among flowering plants on a pale celadon ground, with original lid; and one depicting a cock on rockwork with flowering peonies on a white ground, also with original lid; h. 11-1/2” to 13-1/2”. [250/400]

915Chinese Carved Amber Covered Vase, 19th century, of flattened form with lion-head handles suspending loose rings and a conforming cover with Foo-dog finial, the body with low-relief floral decoration, h. 7-3/4”. [1000/1500] Illustrated

911

913

915

916

157

916Pair of Chinese Imari Porcelain Urns with French Ormolu Mounts and Lids, 18th century, each of urn form with floral decoration and four pierced holes, mounted with ormolu bases, rims and domed covers with vegetable finials, h. 9”. [2500/4000] Illustrated

917Rare, Large Chinese Chicken Blood Stone Seal, the tall squared base topped with a knob of three cavorting figures of horned sheep, the stone of deep red color with light gray mottling, the base carved in archaic characters, presented in a brocade box, h. 5”, w. 2-1/2”, l. 2-1/2”. [800/1200] Illustrated

918Chinese Iron Red-Decorated Porcelain Bowl, Guangxu Period (1875-1908), decorated on the exterior in iron red with two confronting dragons pursuing the Flaming Pearl among flames and clouds above a wave border, the base with a six-character Guangxu mark in iron red, presented in a brocade box, dia. 8-1/4”. [900/1200] Illustrated

919Good Chinese Peking Glass Gu-Form Vase, 19th century, the even-colored amber glass body of elegant form with tapered lower section, bulbous knop and dramatically flared lip rim, h. 13-3/4”. [900/1200] Illustrated

920Chinese Carved and Painted Wood Covered Storage Container, 20th century, in the shape of an incense burner of hexagonal shape on three legs, with a conforming domed cover with shaped finial and dragon handles, decorated with panels of dragons and phoenix, lotus and auspicious characters in polychrome colors on a red ground, h. 30-1/2”, w. 27”. [500/800] Illustrated

917

918

919

920

158

921Group of Three Chinese Jade Snuff Bottles, 19th century, comprised of a spade-shaped green jadeite bottle with low-relief floral carving; a brown and white jade bottle with low-relief carving of archaic designs; and a plain greenish/white pebble-shaped bottle; h. 2-1/2” to 3-1/8”. [500/800] Illustrated

922Chinese Carved Jade Water Bowl on Jade Stand, 18th/19th century, the well-hollowed bulbous water bowl with raised lip and indented foot, along with a fitted jade stand raised on three cabriole-style feet, h. 3-1/4” including stand, dia. 3”. [600/900] Illustrated

923Framed Chinese Wooden Ventilator Panel Fragment, 20th century, carved as a flower basket and decorated all over with gilding, mounted on red silk and presented on a black fabric mat within a carved frame with a gilded and faux-tortoiseshell finish, h. 19-3/4”, w. 19-3/4”. [250/400]

924Large Chinese Export “Rose Medallion” Porcelain Punchbowl, 20th century, of circular outline and decorated in famille rose enamels with a central floral medallion and floral rim border, with alternating reserve panels of figures in domestic settings and panels of flowers and butterflies against a ground of fruit and butterflies, dia. 14-5/8”. [700/1000] Illustrated

925Chinese Export Porcelain Vase, 19th century, of baluster form with flared lip rim, applied dragon figures and Foo-dog handles, decorated in famille rose enamels in the “Rose Medallion” pattern with alternating reserve panels of figural and naturalistic designs against a floral ground, h. 10”. [125/250]

921

922924

926

159

926Pair of Chinese Export “Rose Medallion” Porcelain Vases, 19th century, each of squat baluster form with scalloped, flared lip rim, applied dragon decoration and Foo-dog handles, decorated with alternating reserve panels of domestic scenes and naturalistic decoration against a ground of floral and fruit decoration, h. 14-1/2”. [800/1200] Illustrated

927Diminutive Chinese Export Porcelain Covered Vase, 19th century, of baluster form with molded dragons on the shoulder, decorated in the “Rose Medallion” pattern with figural and naturalistic designs, now wired as a lamp and fitted with a hardwood base, h. 19”. [125/250]

928Pair of Chinese Export Porcelain Vases, 19th century, each of rouleau shape, decorated in famille rose enamels in the “Rose Medallion” pattern with reserve panels of figures alternating with flowers, all against a ground of flowers and butterflies, h. 9-1/8”. [200/400]

929Louis XV-Style Kingwood and Mahogany Bureau de Dame, ca. 1900, the superstructure with a banded quarter-veneered top with a three-quarter pierced brass gallery, above two open shelves, flanked to either side by a cupboard faced as a row of leather-bound books, the lower section with a pull-out leather writing surface above a frieze fitted with a single long drawer, raised on tapering square legs ending in sabots, h. 38”, w. 33”, d. 18-1/2”. [1800/2500] Illustrated

930Large Modern Chinese Export Blue and White Crackle Porcelain Punchbowl, in the “Canton” style, fitted with elaborate antiqued brass mounts in the Louis XV style to form a two-handled centerpiece, presented on an earlier turned and stained Chinese hardwood display stand of the traditional design, h. 15”, w. 25”, d. 17-1/2”. [2500/4000]

931Pair of French Porcelain and Gilt-Brass Chinoiserie Candlesticks, first quarter 20th century, of diminutive size in the Louis XV taste, each base modeled as a porcelain seated Chinese scholar within a stylized arbor of painted flowerheads, now mounted as accent lamps, the floriform candlesockets electrified and fitted with faux candles, h. 9-1/4”. [500/800]

932Diminutive Pair of Tung Chih Blue Porcelain Vases, third quarter 19th century, of baluster form, third quarter 19th century, mounted in gilt-brass in the Louis XVI style to form a pair of two-handled garniture vases, the porcelain of sky-blue ground with cobalt floral decoration and butterflies on the reverse, h. 9”, w. 5”. [400/700]

933Louis XV-Style Ebonized and Marble-Top Bombe Commode, late 19th century, in the chinoiserie taste, the shaped Violet Jura Brocatelle marble top above a conforming bombe case fitted with two drawers, each drawer and side featuring gilt and gesso orientalist landscape scenes, raised on splayed legs ending in sabots, the top stamped “Chardonnay”, h. 32-1/2”, w. 31-1/2”, d. 16-1/2”. [1800/2500] Illustrated

929

933

160

934French Cast and Reticulated Brass Firescreen, of fan form in the chinoiserie taste, second quarter 20th century, the facades embellished with the figure of a Chinese maiden holding aloft a flaming sphere, h. 33”, open w. 46”. [400/700]

935Large Napoleon III Giltwood Oval Looking Glass, third quarter 19th century, of ovolo-carved and parcel-ebonized giltwood with a boldly modeled cresting in the form of a furled bowknot in the Louis XVI taste, retaining the tastefully aged and clouded period plate, h. 41-1/2”, w. 32”. [1000/1500] Illustrated

936French Ebonized and Mirrored Armoire, late 20th century, in the Louis-Philippe taste, the molded cornice above a case fitted with two doors, each inset with two beveled mirror panels, raised on block feet, h. 84”, w. 44-1/4”, d. 21-1/4”. [500/800]

937Group of Seven Brown and Olive Silk Pillows, three with floral designs, four with stripes, the smallest 18” x 11”, the largest 19” x 19”. [600/900] Illustrated

938Pair of Louis XV Beechwood Bergeres, mid-18th century, the tri-paneled back and sides surmounted by a foliate- and floral-carved crest, joined to the cushioned seat by downswept padded arms, the like-carved shaped apron raised on cabriole legs ending in scrolled toes, h. 36”. [2500/4000] Illustrated

939Follower of Jean-Francois de Troy (French, 1679-1752) “Bacchus and Ariadne Attended by Putti”, oil on oval panel, fourth quarter 18th century, unsigned, 6-3/4” x 8-1/4”. Presented in a good period carved giltwood and plaster frame in the Louis XVI style. [1000/1500] Illustrated

940Italian Walnut and Marble-Top Bombe Commode, mid-20th century, the shaped verde antico marble top above an exaggerated bombe case fitted with four long drawers, the bottom one with a centrally applied ormolu mask, raised on splayed legs ending in scrolled sabots, h. 37-1/2”, w. 61”, d. 23”. [3500/5000] Illustrated

941Pair of Gilt- and Bronze-Patinated Brass “Putto” Chenets, in the Louis XVI style, modeled as patinated putti holding floral garlands within a gilded arbor of foliate scrolls, the billets of wrought iron, h. 13”, w. 13-1/4”. [1500/2500] Illustrated

935

937

938

161

942Napoleon III Ebonized and Marble-Top Occasional Table, third quarter 19th century, the inset variegated black marble top within a beaded banding, above a conforming frieze with an applied ormolu garland, raised on a bulbous standard to a concave square base on foliate toes, the base with ormolu accents and mill work, h. 25-1/2”, dia. 19”. [500/800]

943Napoleon III Giltwood Looking Glass, third quarter 19th century, in the rococo taste, the rectangular plate within an ebonized slip and molded frame with elaborate corner floral accents, h. 31”, w. 26-1/2”. [500/800]

944Good Napoleon III “Catherine de Medici” Mantel Clock, third quarter 19th century, composed of gilt-lacquered bronze and black slate, the oblong case surmounted with a patinated bronze figure of the redoubtable Catherine holding a book, the white enamel dial with a beveled glass cover, manufactured by Vincenti et Cie, Paris, h. 18-1/4”, w. 13-1/2”, d. 5”. [1000/1500]

945Attractive Pair of French Gilt-Brass and Wrought-Iron Chenets, second quarter 20th century, in the Louis XVI style, composed of gilt-brass vases surmounting arched addorsed scroll feet of blackened wrought iron, h. 16-1/4”, w. 8-1/4”, d. 22-1/4”. [800/1200]

946Louis XV-Style Giltwood and Marble-Top Console Table, early 19th century, the shaped Rouge Royal marble top above a pierced and shaped foliate- and shell-carved frieze, raised on molded cabriole legs with an applied floral garland, joined by a pierced stretcher and ending in scrolled toes, h. 34-1/2”, w. 33”, d. 15”. [1500/2500] Illustrated

939

940

941

946

162

947Large French Tiered Thirty-Six Light Gilt-Brass Chandelier, second quarter 20th century, of cage form, in the Louis XVI taste, elaborately dressed with cut pendalogues, faceted drops, cut kite-form drops, cut bobeches of saucer form and tall panel-cut spikes, electrified and fitted with faux candles, h. 54”, dia. 47”. [4000/7000] Illustrated

948L. Durand (French, Late 19th Century) “Portrait of Adele Frick Holding a Viola”, oil on canvas, signed lower right, 60-1/2” x 33”. Handsomely framed. [2500/4000] Illustrated

949French Gilt-Brass and Cut Glass Four-Light Chandelier, first quarter 20th century, of corbeille form in the Louis XV taste, the basket-form lower element covered with frosted and clear glass fleurettes and fitted with an additional three lights on the interior, the three foliate-scroll arms each fitted with an etched glass shade of tulip form, with an additional downlight, similarly shaded, at the center, h. 36”, dia. 29”. [700/1000]

947

948

951

952pair

163

950Opulent Belle Epoque Gilt-Bronze Nine-Light Chandelier, ca. 1900, of stylized lantern form in the Louis XVI taste, the primary candlearms modeled as termes embracing pairs of stalks containing the calyxiform light sockets, the basal edge with a trio of matching calyxiform light sockets, h. 41”, dia. 24”. [1800/2500]

951Continental School (19th Century) “Portrait of a Young Lady in a Black Dress Wearing a Garland of Flowers in Her Hair”, oil on canvas, unsigned, 31-1/4” x 25”. Presented in a period giltwood frame en tondo. [500/800] Illustrated

952Large Pair of French Gilt-Bronze Tiered Six-Light Appliques, in the Louis XV style, the curvate foliate candlearms fitted with floriform bobeches and spiraled candlesockets, electrified and fitted with faux candles, h. 9”, w. 9”, d. 8-3/4”. [1800/2500] Illustrated

953Louis XV-Style Mahogany and Fruitwood Marble-Top Commode, mid-20th century,t he shaped variegated white marble top with a molded edge and above a conforming case fitted with three long drawers, all with matchbook veneers, the sides quarter veneered, the whole raised on splayed legs ending in sabots, h. 33”, w. 43”, d. 20-1/4”. [2500/4000] Illustrated

954Large Aubusson Floral Tapestry Panel, first quarter 20th century in the Louis XVI taste, designed as floral arbors centered with pendant trophees musicales above large clusters of flowering plants, the ground color cinnamon, properly backed in green linen and fitted with multiple brass hanging rings, 7’ 10” x 10’ 2”. [1800/2500] Illustrated

955Stylish Pair of Gilt-Brass-Mounted French Ecru Tavertino Marble Two-Handled Covered Garniture Vases, first quarter 20th century, in the Louis XVI taste, of baluster form, the handles with griffon masque terminals, the domed covers with gilded upright pomegranate finials, h. 16-1/2”, w. 6”. [1000/1500] Illustrated

953

954

955

164

956Pair of Belle Epoque Low Gilt-Brass Two-Light Candelabra, first quarter 20th century, in the Louis XV style, the central finials of stylized foliage and foliate scrolls, the bobeches of stylized floral form below calyxiform candlesockets, h. 7”, w. 9-1/2”. [800/1200] Illustrated

957Good French Gilt-Bronze Wall Clock, third quarter 19th century, in the Louis XVI taste, of stylized cartouche form, the white enamel dial signed in black “Julien Leroy/ a Paris”, with a convex glass dial cover and retaining the gilded “Apollo Masque” pendulum, h. 27”, w. 15”. [3000/5000] Illustrated

958Regence-Style Giltwood Looking Glass, early 19th century, the arched crest surmounted by a foliate shield-form crest and within a paneled mirrored frame with corner foliate floral accents and incised patterns, h. 31”, w. 18”. [1200/1800] Illustrated

956

957

958

961

165

959Good White and Gold Paris Porcelain Soup Tureen, second quarter 19th century, possibly the Schoelcher Manufactory, of circular and footed form in the neoclassical taste, the domed lid with pyriform finial, the body with opposing scroll handles and old metal rivet repairs on one wall, h. 12-1/4”, w. 13-1/4”, dia. 10”. [200/400]

960Belle Epoque Gilt-Brass Rococo-Style Candlestick, first quarter 20th century, in the manner of Juste-Aurele Meissonier (1675-1750), now electrified and fitted with faux candles and a custom Shou-embroidered white silk pagoda-form shade, h. 10” (15-1/2” to socket top), base dia. 5-1/2”, shade w. 10”. [200/400]

961Two Pieces of Meissen Porcelain, ca. 1900, both richly gilt and floral polychromed in the early 19th-century neoclassical taste, comprising a paneled coffeepot, h. 10-1/4”, and a matching octagonal sweetmeats serving plate, w. 8”, each piece marked on the base with the crossed Meissen swords in underglaze blue. [600/900] Illustrated

962Viennese Silver-Gilt-Mounted Miniature Covered Pot-Pourri Vase, fourth quarter 19th century, elaborately enameled in the neoclassical taste, the body with four figural reserves of, respectively, “Mars and Venus attended by Eros”, “Hebe”, “Venus at her Bath”, and an allegorical figure of “Peace”, the domed cover petal pierced, h. 4-3/4”, dia. 2-1/4”. [4000/7000] Illustrated

963Group of Four Beige Silk Pillows, each with floral and leaf design, the smallest 17” x 11”, the largest 17” x 17”. [400/700] Illustrated

964Belle Epoque Gilt-Brass-Mounted Breche Violette Marble Garniture Vase, fourth quarter 19th century, of covered, two-handled form in the Louis XVI style, h. 13-1/4”, w. 5-1/2”, d. 3-3/4”. [500/800] Illustrated

965Regence-Style Kingwood and Marble-Top Commode, late 19th century, the shaped Rouge Royale marble top with molded edge and above a conforming bombe case fitted with two long drawers, the whole with diamond-patterned parquetry veneers and with decorative ormolu mounts, raised on splayed legs ending in sabots, h. 34”, w. 46”, d. 23”. [3000/5000] Illustrated

962

963

964

965

166

966Pair of Regence-Style Giltwood Stools, each with a padded rectangular top, raised on bulbous and paneled square legs with lotus and foliate carving, joined by a shaped H-form stretcher and ending in foliate-carved block feet, h. 17-1/2”, w. 19”, d. 17”. [600/900]

967Large Pair of French Flower-Bedecked Porcelain Cachepots, in the neoclassical taste, the parcel-gilded white porcelain pails with arrangements comprised of a rust-finished wrought-iron stalks help by white pebbles and supporting white pottery tulip blooms in the Mennecy-Vincennes manner, h. 22”. [400/700]

968Large French Gold-Banded White Porcelain Cachepot, in the Restauration style, of pail form, with gold bands and opposing handles, h.9-1/2”, dia. 10-1/4”. [200/400] Illustrated

969Twenty-Six-Piece Chased Gold-Rim Partial Stemware Service, for eight persons, first quarter 20th century, in the St. Louis style, including seven iced water goblets, h. 6-3/4”, five red wine goblets, h. 5-1/2”, eight white wine goblets, h. 4-7/8”, and six sherry/port goblets, h. 4”. [400/700]

970Large French Gilt-Bronze and Cut Glass Ten-Light Chandelier, 20th century, attributed to Bagues, Paris, in the Louis XVI style, richly dressed with panel-cut spikes, faceted and cabochon drops, cut pendalogues, small faceted bead drops and cut fleurettes, fitted with faux candles, h. 39”, dia. 35”. [4500/7000] Illustrated

971Large and Elegant Pair of French Brass Chenets, first quarter 20th century, in the Louis XV style, h. 24”, w. 17-1/2”, d. 8-3/4”. [1500/2500] Illustrated

968

970

971

167

972Jean de Saulx (French, 1853-1931) “The Blue Cravat”, oil on canvas, a portrait of a self-assured mustachioed man wearing a blue cravat set with a pearl stick pin, signed lower left, 28” x 23”. Presented in a period carved oak frame in the Regence style. [250/400]

973Pair of Napoleon III Brass Five-Light Putto Candelabra, third quarter 19th century, in the Louis XVI taste, the putto standards supported on spiral-ribbed columnar six-footed pedestal bases, each central candlesocket fitted with a detachable brass bobeche, h. 24-1/2”, w. 10-1/2”. [1200/1800]

974Napoleon III Mahogany Bergere, circa 1900, in the Louis XVI taste, the domed and padded back surmounted by a floral crest and within an annulated and rope-carved frame, joined by padded acanthine-carved arms to the padded seat, raised on turned and tapering fluted circular legs ending in toupie feet, h. 45”. [600/900]

975Large and Elaborate Pair of Belle Epoque Patinated Bronze Tiered Seven-Light Appliques, second quarter 20th century, each modeled as a flock of playful putti holding torchere forming the candlearms and -sockets, fitted for electrical wiring, h. 34”, w., 22-1/2”, d. 9”. [2000/4000]

976Regence-Style Walnut and Parcel-Gilt Looking Glass, 19th century, the rectangular plate surmounted by a shaped crest centered by a shield carving and surmounted by a shaped scrolling foliate carved frame with a pendant mask medallion, h. 48”, w. 35”. [300/500]

977Semi-Antique Caucasian Carpet, 4’ 4” x 2’ 7”. [50/100]

978Persian Pictorial Tabriz Carpet, 10’ x 14’. [6000/9000] Illustrated

979Semi-Antique Mahal Runner, 3’ 6” x 14’ 6”. [1800/2500] Illustrated

980Semi-Antique Mahal Carpet, 8’ x 12’ 11”. [600/900]

981Turkish Runner, 6’ x 12’. [300/500]

982Malayer Carpet, 4’ 3” x 6’ 4”. [500/800]

983Tabriz Carpet, 12’ 8” x 9’ 8”. [900/1200]

984Persian Tribal Carpet, 5’ 3” x 9’ 6”. [700/1000]

985Antique Persian Yosheghan Carpet, 9’ x 12’. [1200/1800]

978

979

168

986Semi-Antique Kerman Carpet, 10’ x 23’ 5”. [3000/5000] Illustrated

987Antique Heriz Carpet, 7’ 9” x 10’ 6”. [2500/4000] Illustrated

988Agra Serapi Carpet, 6’ 9” x 10’. [800/1200]

989Agra Sultanabad Carpet, 8’ x 10’. [700/1000]

990Persian Hamadan Carpet, 6’ x 11’ 4”. [2000/4000] Illustrated

991Turkish Kilim Carpet, 4’ 7” x 6’ 5”. [300/500]

992Caucasian Carpet, 3’ 3” x 4’ 5”. [700/1000]

993Caucasian Kilim Carpet, 5’ 8” x 10’ 5”. [600/900]

994Uzbek Kuba Carpet, 7’ 4” x 8’ 9”. [1000/1500]

995Antique Caucasian Runner, 3’ 9” x 8’ 10”. [1800/2500]

996Heriz Carpet, 11’ x 8’ 1”. [2000/4000]

986

987

990

A

Adams, Wayman Elbridge 809

American School 711, 712, 742, 752, 765, 837

Aubierre, Antoine - Louis 441

Audubon, John James (after) 706

B

Bonheur, Isidore Jules 111

Breenbergh, Bartholomaus (circle) 323

British School 1, 2, 9, 14, 303, 609, 882

Buonarroti, Michelangelo (after) 340

C

Calder, Alexander 514, 515

Chagall, Marc (after) 521

Continental School 279, 293, 296, 322, 349, 488, 951

Cruz-Diez, Carlos 542

D

De Saulx, Jean 972

Donley, Ray 825, 826, 827

Doret, Louis 101

Dunbar, George Bauer 828, 829, 830, 831, 832, 833, 834

Durand, L. 948

Dutch School 518

F

Folawn, Thomas Jefferson 767

Fortescue, Henrietta Anne 272

Fragonard, Jean-Honore (follower) 110

French School 367, 375, 379

G

Gleye-Eberhardt, Nadel 29

Greek School 422

H

Harris, Ronna S. 838

Herve, Jules Rene 361

Hoppner, John (circle) 630

Hoppner, John (manner) 614

I

Italian School 339

K

King, Ronald 836

Kohlmeyer, Ida 823, 824

L

Lang, John 820

Largilliere, Nicolas de 121

Leger, Fernand 519, 520

M

MacDonald, Murray J. 21

Mapplethorpe, Robert 492

Marshall, John Fitz 7

Max, Peter 543, 544

Michalopoulos, James 840

Mignard I, Pierre (circle) 138

Moulin, Hippolyte Alexandre Julien 391

N

Norther European School 331

Index of ArtIsts And PrIntmAkers January 29-30, 2011

P

Panini, Giovanni Paolo (follower) 316

Podchernikoff, Alexis Matthew 324

R

Raeburn, Sir Henry (circle) 181

Renoir, Pierre-Auguste (after) 147

Rivers, Larry 529

Roark, Garland 822

Rossini, Luigi (after) 627

S

Schubert, Orlando Vincent 766

Slonem, Hunt 474

Southern School 716

T

Thom, James Crawford 768

Titian (after) 310

Topping, James 769

Toulouse-Lautrec, Henri (after) 486, 487

Troy, Jean-Francois de (follower) 939

Turtle, Arnold 819

V

Van Gaelen, Alexander (attributed) 256

W

Warhol, Andy 528

White, George Harlow 271

Windberg, Dahlart 821

Wood, Lewis John 862

Wood, Thomas Waterman (after) 805

Wouwerman, Philips (circle) 252

Index of ArtIsts And PrIntmAkers January 29-30, 2011

The Artist’s Name: In New Orleans Auction Galleries opinion, a work by the artist.

Attributed to: In New Orleans Auction Galleries opinion, a work of the period of the artist that may be in whole or in part the work of the artist.

School of: In New Orleans Auction Galleries opinion, a work by a follower of the artist.

Circle of: In New Orleans Auction Galleries opinion, a work of the period of the artist and showing his influence.

Manner of: In New Orleans Auction Galleries opinion, a work in the style of the artist, p ossibly of a later period.

After: In New Orleans Auction Galleries opinion, a copy of the work of the artist.

Signed: Has the signature which in New Orleans Auction Galleries opinion is that of the artist.

Bears Signature: Has a signature which in New Orleans Auction Galleries opinion might be the signature of the artist.

Dated: Is so dated and in New Orleans Auction Galleries opinion was executed at about that date.

Bears Date: Is so dated and in New Orleans Auction Galleries opinion may have been executed at about that date.

GlossAry

Conditions of sale

The following as amended by any posted notices or oral announcements during the sale, constitutes the entire terms and conditions on which property listed in the catalog shall be offered for sale or sold through New Orleans Auction Galleries, Inc. (the “Company”), for any consignor

of such property for whom we act as agent.

As used herein, the term “bid price” means the price at which a lot is knocked down to the purchaser and the term “purchase price” means the aggregate of (a) the bid price (b) a premium of 23% of the bid price up to and including $200,000 and 10% of the amount by which the lot exceeds $200,000 payable by the purchaser to the Company and (c) unless the purchaser is exempt by law from the payment thereof, any Louisiana state or local sales taxes. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%.

On the fall of the auctioneer’s hammer, the highest bidder shall be deemed to have purchased the offered lot in accordance with all of the conditions set forth herein and thereupon (a) assumes full risk and responsibility therefor (b) if requested will sign a confirmation of purchase thereof, and (c) will pay the purchase price in full.

The Company reserves the right to withdraw any lot at any time before the actual sale. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the catalog and no lot shall be divided for sale.

The Company reserves the right to reject a bid from any bidder. The highest bidder acknowledged by the auctioneer shall be the purchaser. In the event of any dispute between bidders, or in the event the auctioneer doubts the validity of any bid, the auctioneer shall have sole and final discretion either to determine the successful bidder or to re-offer and resell the lot in dispute. If any dispute arises after the sale, the Company’s sales records shall be conclusive in all respects. In the event of a tie bid between an absentee bidder and a live bidder, the lot will be sold to the live bidder.

If a lot is offered subject to a reserve (the confidential minimum price below which the lot will not be sold), the Company may implement such reserve by bidding on behalf of the consignor, whether by opening bidding or continuing bidding until the reserve is obtained, by placing consecutive bids or bids in response to other bidders. Consignors shall not be permitted to bid on their own items.

While the Company has endeavored to catalog and describe the lots correctly, each lot is sold “as is”, and neither the Company nor the seller warrants or represents, nor shall be responsible for, the description, genuineness, provenance, importance, or condition of a lot. No statement contained in the catalog or made verbally prior to or during the sale shall be deemed to express any warranty, representation, or assumption of responsibility by the Company or the Seller.

In the event that the buyer of any lot fails to pay the purchase price thereof when due, the Company shall have the option, at its sole discretion, to (a) enforce payment by civil action or other proceedings against the buyer; (b) to void the sale as if said sale had not occurred; or (c) 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 Louisiana Civil Code, Article 2622, including the subsequent enforcement of any deficiency against the initial buyer (d) to charge successful bids to your credit card, including the 23% buyer premium.

The Company reserves the right to require that advance bids received either by mail or by means of telecommunications be accompanied by a 25% deposit. The Company further reserves the right to require payment in full of the sales price (“Hammer Price”) at the moment of successful bid. The Purchase Price must be paid by the successful bidder on or prior to the close of the auction. Checks are not acceptable unless a buyer is accredited with the Company; otherwise certified checks are required.

Absolutely no items may be removed before the end of the auction. All items must be removed by the purchaser thereof promptly after the auction. The Company is not liable for any damage to goods after they have been sold. A storage charge of $5 per item per day will be assessed against any items remaining in the custody of the Company by the close of business of the fifteenth day following the auction.

GOVERNING LAW AND JURISDICTION 11. These Conditions of Sale, as well as the Purchaser’s and the Company’s respective rights and obligations hereunder, shall be governed by and construed and enforced in accordance with the laws of the State of Louisiana. By bidding at an auction, whether present in person or by agent, order bid, telephone, internet, or other means, the Purchaser shall be deemed to have consented to the exclusive jurisdiction of the state courts of, and the federal courts sitting in, the State of Louisiana.

This Form musT Be suBmiTTed By Friday aT 5:00 p.m.

Paddle #_______________

801 Magazine Street l New Orleans, LA 70130800-501-0277 l 504-566-1849 l Fax: 504-566-1851

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, Inc. catalog as amended by any posted notices or oral announcements during the sale, such conditions of sale together with the following conditions applicable to telephone and absentee bids, constitute the entire terms and conditions on which property listed in the catalog shall be offered for sale or sold through New Orleans Auction Galleries, Inc. (the “Company”).Additional Absentee and Telephone Bid Conditions: The Company is hereby authorized to bid on the following lots up to the price entered and will treat this figure as a budget and will obtain the item as reasonably as possible within the budget. We assume no responsibility for failure to execute bids for any reason whatsoever. The Company encourages collectors to place absentee and telephone bids as soon as possible and cannot guarantee the implementation of bids left after 5:00 p.m. the evening before the sale. In the event absentee bids of identical amounts are submitted, the earliest bid received takes precedence. Please date this form. In the event of a tie bid, live bidders and telephone bidders, respectively, take precedence over absentee bids. A successful bid results in a purchase price which is the aggregate total of the final bid, a 23% buyer’s premium of the final bid price up to and including $200,000 and 10% of the amount by which the lot exceeds $200,000 added to the hammer price on all lots sold, together with any tax due on the item. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. The bidder is responsible for calling the Company for sales results during the week after the sale. Dealers purchasing for resale must enter appropriate Dealer Resale Number on this form and provide the Company with proper documentation. The Company does not pack or ship items purchased at auction. The buyer is responsible for packing and shipping. The Company is not liable for any dam-age to goods after they have been sold. A storage charge of $5 per item per day will be assessed against any items remaining in the custody of the Company by the close of business of the fifteenth day following the auction.GOVERNING LAW AND JURISDICTION 11. These Conditions of Sale, as well as the Purchaser’s and the Company’s respective rights and obligations hereunder, shall be governed by and construed and enforced in accordance with the laws of the State of Louisiana. By bidding at an auction, whether present in person or by agent, order bid, telephone, internet, or other means, the Purchaser shall be deemed to have consented to the exclusive jurisdiction of the state courts of, and the federal courts sitting in, the State of Louisiana.

Lot # Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$$$$$$$$$$

VISA / MasterCard #: ____________________________________________ Expiration Date: ________________Credit Card V-Code: _______________ (Three-digit code on the back of credit card, following the account number)

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 23% 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 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): ___________________________________ Please fax this completed form to: 504-566-1851

abse

ntee

/ te

leph

one

bid

form

ABSENTEE/TELEPHONE BID FORM(CONTINUED)

Name (Please Print): ______________________________________

Lot # Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

This Form musT Be suBmiTTed By Friday aT 5:00 p.m.

Please note that the following are estimates only and the actual time each lot is offered may vary.

Saturday

January 29, 2011Lots 1-544

SundayJanuary 30, 2011

Lots 545-996

10:00-11:00 1-9911:00-12:0012:00-1:00

100-199200-299

1:00-2:00 300-3992:00-3:00 400-4993:00-3:30 500-544

11:00-12:00 545-64412:00-1:00 645-7441:00-2:00 745-8442:00-3:00 845-9443:00-3:30 945-996

Customers, Please Note:DeaDliNe for abseNtee/telePhoNe biDDiNg

5:00 P.m. CeNtral – friDay, JaNuary 28, 2011guiDeliNes for telePhoNe biDDiNg

1. eaCh item must have a low estimate of at least $500

2. telePhoNe biDDers must agree to biD the low estimate oN eaCh item.

DeaDliNe for CoNDitioN rePort requests

5:00 P.m. CeNtral – thursDay, JaNuary 27, 2011

We Accept VISA, MasterCard and American Express for Invoices Up to $25,000

There will be a buyer’s premium of 23% (3% discount if paying by cash, check or wire) of the final bid price up to and including $200,000 and 10% of the amount by which the lot exceeds $200,000 added to the hammer price on all lots sold.

Items in the catalogue are sold as is, where is. On the fall of the auctioneer’s hammer, the highest bidder shall be deemed to have purchased the lot in accordance with the Conditions of Sale. All sales are final. Where possible, significant damage is mentioned but does not include all faults and imperfections. Unless stated in the catalogue description, lampshades and keys are not included.

801 Magazine StreetNew Orleans, Louisiana 70130

504-566-1849Fax 504-566-1851

1330 St. Charles AvenueNew Orleans, Louisiana 70130

504-586-8733Fax 504-586-8841

– Authorized Release Form –

Name: ________________________________________________________________________

Business Name: _________________________________________________________________

Telephone(s): __________________________________________________________________

Email Address: _________________________________________________________________

I authorize: _______________________________________________________to pick up items

New Orleans Auction No.:______________________________or Sale Date:_________________

Lot #(s): ______________________________________________________________________

_____________________________________________________________________________

Please sign below:

X________________________________________________ Date____________________

Print name: __________________________________________

Please provide the shipping agent with the appropriate New Orleans Auction location and fax this form to the correct gallery listed above.

Note: Items will not be released without a signed authorization

CATALOG ORDER FORM

Annual Subscription (Domestic) r New Orleans Auction Galleries/St. Charles Gallery (12 issues) - $150.00

Annual Subscription (Domestic) r St. Charles Gallery (6 issues) - $75.00

Annual Subscription (International) r New Orleans Auction Galleries (6 issues) - $300.00

Single Catalog for Upcoming Auction (Domestic) r New Orleans Auction Galleries - $25.00 r St. Charles Gallery - $25.00

Single Catalog for Upcoming Auction (International) r New Orleans Auction Galleries - $50.00

r I do not wish to subscribe at this time, but please include me on your mailing list.

Mail check and order form to:New OrleaNs auctiON Galleries, iNc.

801 MaGaziNe street New OrleaNs, lOuisiaNa 70130

1-800-501-0277 • 504-566-1849 • Fax 504-566-1851

r VISA r MasterCard r American Express Card # Expiration Date Amount $ Signature (Required)

r Check #___________ Amount $ ____________Office Use: Mail Code: ______ Sub. End Date: ____

Name Address City Zip Code E-Mail Address Business Phone Home Phone Mobile Phone Fax Phone

Jean VidosPresident

Kelly EpplerManaging Director

Tessa SteinkampAuctioneer

Charles C. CageOffice Manager / Silver Specialist

Ireys BowmanConsignments

John AbajianConsignments

Richerson L. Rhodes, G.G., N.J.A.Consignments / Oriental Specialist / Jewelry Specialist

Thomas HalversonDirector of American Furniture and Decorative Arts

Michelle CastroFine Art Consignments

Camille HorosBusiness Manager

Michael MaggioDirector of Marketing / Graphic Designer

Kim Lemon Director of Customer Service

Ralph A. CheramieDirector of Inventory Control

John W. Keefe / Ellen McKenzieCataloguers

Bryce ReveleyCataloguer - Textiles, Couture

Robin Ruiz WilkinsonAuctioneer / Cataloguer

Peyton BrunsDirector of Estate and Appraisal Services

Lynn BowkerExhibition Staff / Interior Designer

Clarke “Doc” HawleyExhibition Staff

Randy White Operations Manager

Joey Thomas / Stanley ThomasCo-Operations Managers

Bennie Amos / Sol Carter Jr. / Thomas Johnson / Rodney Junius

Operations Department

Gary Michael GittelsonPhotographer