After the papers were signed in June 2012, and I officially owned New Orleans Auction Galleries, I sat at my desk with a list of things to do and new things to learn. It was a long, intimidating list.

However, there is one item included that the auction does with great regularity that I knew I could handle: giving parties. I love a good party, and I love to give a good party, so I started planning theDecember party in June while working on the other list.

We knew we wanted a celebrity guest which was easy. I asked my friend, Joanne King Herring, an international figure and legendary party giver in her own right to join us. As Joanne said in her book,“Diplomacy and Diamonds: My Wars from theBallroom to the Battlefield,” “Parties in the 1970s were elegant and opulent: black ties every night, limos,caviar, Champagne … oh, it was grand.” Her parties

today have the same elegance, panache, and excitement and are unforgettable. And thus we worked to make our party grand, too! We had more than 300 guests for the December grand reopening and it was an evening none of us at the Auction will ever forget. And then the three-day auction was a tremendous success with 1.7 million in sales. What a way to end 2012. I would like to thank all of our consigners and buyers who had the courage to continue to work with NOAG through the trying years and the transition following the sale. It goes without saying: we could not have done it without you. With that fabulous close to the year behind us, when Ashton Thomas, NOAG’s president, our staff and I sat down to plan the 2013 auctions, we decided we should think a little outside of our regular box. Our first step toward that goal came when Ashton, along with Ehrhardt PR Group, arranged a partnership with Gambit Weekly, a New Orleans paper, for a special January auction, “Bidders, Brunch and Bubbles,” featuring six local designers who took our period pieces and combined them with contemporary collections to create six fresh, wonderfully imaginative vignettes. We featured Nomita Joshi-Gupta, Chet Pourciau, Shaun Smith, Elizabeth Sullivan, Jennifer Cheatham, and NOAG’s own designer, Lynn Bowker. The event included a Champagne brunch donated by Martin Wine Cellar, which judging by how fast the food disappeared, was a huge success! It was a privilege to be part of such an innovative effort that brought so many talented individuals together with the combined goal to show novice collectors how affordable many antiques are and how to combine these pieces with their own furniture.

We have an exciting announcement to make for our next auction, which will be held Feb. 23 and 24. NOAG is working with the George Rodrigue Foundation of the Arts to raise funds for its mission: motivating and engaging students and educators and encouraging arts-infused and arts-integrated curriculums. The foundation hosts an Annual Scholarship Art Contest, an Education Center in New Orleans where they offer summer art camps along with educational development and special events as well as a host of other educational services. My favorite is George's Art Closet which distributes art supplies to schools all over Louisiana. We are delighted to have the opportunity to offer Rodrigue’s “My Yellow Oak.” The proceeds from this sale will be used to provide George’s Art Closet with supplies. Please join us at our February preview party, Feb. 21, 5:30 to 8 p.m. and at our two-day auction, Feb. 23 and 24. You may want to bid on “My Yellow Oak” for your collection and have the opportunity to support art education in Louisiana at the same time! It’s a win-win opportunity!

See you in February! Susan D. KrohnCEO

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1Wong Wang Fei (Hong Kong, b. 1940), “Landscape VI”, 1970, ink on paper, mounted as a scroll, signed and stamped, titled and dated verso, 92‑1/2” x 41”. Unframed. [400/700] Illustrated

Wong Wang Fei studied Chinese ink painting and its history under Lui Shou Kwan in Hong Kong, before being accepted at the School of The Art Institute of Chicago where he received a Master of Fine Arts. He participated in numerous group exhibitions including “In Tao Arts Association”, 1968, 1970, and 1972 exhibitions, City Hall, Hong Kong; “Exhibition of Contemporary Hong Kong Art”, 1969‑1970, City Museum and Art Gallery, City Hall, Hong Kong; “Young Artists of Hong Kong 1970”, City Museum and Art Gallery, City Hall, Hong Kong; and “Art Now‑Hong Kong, Ink Painting 1”, City Museum and Art Gallery, Hong Kong, which was featured in the Arts of Asia Magazine, September‑October issue of 1971.

2Wong Wang Fei (Hong Kong, b. 1940), “Blue Landscape”, color ink on paper mounted as a scroll, signed and stamped, 46” x 29”. Unframed. [300/500]

3Large Chinese Porcelain Jar, 20th century, Yuan‑style decoration of floral scrolling with wave and phoenix borders, h. 30”. [800/1200]Illustrated

4Chinese Porcelain Covered Wine Jar, 20th century, Yuan style, heaped and piled underglaze blue decoration of figures in a landscape, h. 19‑1/2”. [200/400]

5Chinese Porcelain Vase, 20th century, the Ming‑style bottle‑shaped vase with underglaze blue decoration of an historical scene, h. 18”. [700/1000] Illustrated

6Chinese Porcelain Stem Cup, 19th century, the cup with a dark blue glaze, and with a six‑character Wan Li mark in Kai Shu script on the base, h. 4”. [400/700]

7Chinese Blue and White Porcelain Hat Stand, late 19th century, the cylindrical form hat stand with underglaze blue decoration of the “Hundred Antiques”, now drilled and mounted as a lamp and fitted with a custom silk shade, overall h. 11”. [250/400]

8Chinese Porcelain Vase, 20th century, the vase in underglaze blue decoration with peacocks in reserves on a floral scroll ground, h. 31‑1/2”. [200/400]

9Pair of Chinese Blue-and-White Ginger Jars, early 20th century, each with a flat lid above a rounded body with a scene of buildings on a shoreline, h. 9‑1/2”. [150/300]

10Chinese Porcelain Covered Jar, 20th century, underglaze blue decoration of a garden party, h. 10‑1/2”, dia. 10‑1/2”. [400/700] Illustrated

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11Pair of Chinese Porcelain Vases, late 19th century, square form with a round flaring neck, underglaze blue decoration of lotus flowers, now drilled and mounted as lamps, h. 20‑1/2”. [800/1200] Illustrated

12Chinese Porcelain Brush Washer, early 20th century, the conch‑shell‑shaped washer with underglaze blue floral scrolling and an orange glazed well with a gold landscape, six‑character Ch’ien Lung mark on the base, w. 2‑1/2”, l. 3‑1/2”. [300/500]

13Group of Three Blue-and-White Chinese Vessels, late 19th/early 20th century, consisting of a ginger jar with a flat lid and a stylized landscape, h. 7‑1/2”, a ginger jar with a domed lid and prunus blossom designs, h. 6”, and a small hexagonal jardiniere with reticulated panels, h. 4”. [150/300]

14Pair of Chinese Polychrome Fish Bowls/Tree Tubs, each of circular bulbous form, the lips with floral accents above the cobalt bodies with Koi accents, raised on ebonized X‑form stands, h. 23‑1/2”, dia. 20‑1/2”. [1000/1500] Illustrated

15Chinese Blue and White Porcelain Garden Seat, 20th century, the drum‑shaped seat decorated with stylized lotus scrolls in underglaze blue, h. 17”. [250/400]

16Chinese Porcelain Cup, 20th century, the finely painted cup with underglaze blue decoration of the three fruits, a Yung Cheng mark on the base, h. 2‑1/2”, dia. 3‑1/2”. [600/900] Illustrated

17White Porcelain Snuff Bottle, 19th/20th century, the vase‑shaped bottle with blue and red paintings of archers on a field, well hollowed with a purple Peking glass top and brass spoon, h. 3”. [200/400]

18Chinese Enameled Copper Snuff Bottle, 20th century, of flattened round form, decoration of reserves of birds and flowers, yellow borders with floral scrolls, four‑character Ch’ien Lung mark on base, h. 3”. [100/200]

19Chinese Porcelain Snuff Bottle, 20th century, transfer‑decorated with children playing, Ch’ien Lung mark on the base, h. 3‑1/2”. [125/250]

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20Anglo-Colonial Rosewood Settee, second quarter 19th century, the shaped caned back surmounted by a pagoda‑form crest with floral patera, joined by outscrolled caned arms to the like seat, raised above a foliate‑carved frieze and pierced‑ring apron on reeded feet headed by floral patera and ending in casters with custom‑upholstered bolsters and cushion, h. 37”, d. 27”, l. 91‑1/2”. [2500/4000] Illustrated

21Two Chinese Stacking Food Boxes, 20th century, red and black lacquer inset with porcelain panels, h. 12”, w. 10”, d. 6”. [500/800] Illustrated

22Chinese Stacking Food Box, 20th century, red lacquered surface with incised polychrome lacquered flowers, h. 19‑3/4”, w. 14”. [150/300]

23Chinese Altar Table, 20th century, the elmwood table with two drawers over three, with burgundy lacquer, h. 40‑3/4”, w. 47”, d. 15‑1/4”. [300/500]

24Three-Piece Suite of Chinese Rosewood Furniture, first half of the 20th century, comprised of a pair of chairs with a matching table, the pair of yoke‑backed chairs finely carved and pierced with foliation, chair h. 39‑3/4”, table h. 30‑1/2”, w. 15‑3/4”, d. 22‑1/2”. [2000/4000] Illustrated

25Pair of Chinese Rosewood Stands, 20th century, round with inset grey marble panels, h. 3”, dia. 5”. [250/400]

26Wood Grain Jasper Snuff Bottle, late 19th/early 20th century, the bottle with a flattened round shape, the grains in the stone resembling wood, well hollowed with a Peking glass goldstone top with a brass spoon, h. 3”. [200/400]

27Leopardskin Jasper Snuff Bottle, late 19th/early 20th century, the bottle with a flattened oval shape, well hollowed with a matching top and carved ivory spoon, h. 2‑1/2”. [150/300]

28Chinese Art Jasper Snuff Bottle, late 19th/early 20th century, the bottle in a flattened round shape, well hollowed with a red jasper bloodstone top with a brass spoon, h. 3”. [200/400]

29Fossilized Coral Snuff Bottle, late 19th/early 20th century, the bottle in a flattened oval shape, well hollowed with snuff residue inside, the sodalite top with a carved ivory spoon, h. 2‑5/8”. [150/300]

30Chinese Porcelain Snuff Bottle, 19th century, the cylindrical‑form bottle decorated in underglaze blue and red with an equestrian figure in a mountain landscape, a Yung Cheng six‑character mark on the base, coral stopper, h. 3”. [400/700] Illustrated

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31Cobalt Blue Peking Glass Snuff Bottle, 20th century, the bottle in the shape of a vase, carved with stylized lotus and bats descending from the sky, well hollowed with snuff residue inside, with a red coral top and brass spoon, h. 2‑1/2”. [200/400]

32Chinese Pink Quartz Snuff Bottle, late 19th/early 20th century, the oval‑shaped bottle with frosted bands throughout, well hollowed with a red coral top and brass spoon, h. 3‑1/4. [200/400]

33Marble Sculpture of a Dutch Girl, ca. 1900, Continental, figure depicted standing outside on a windy day, with wooden shoes, a billowing skirt and apron and holding a book with one finger held up in thought, h. 14”, w. 6‑3/4”, d. 6‑1/4”. [300/500]

34Suite of Six George III-Style Mahogany Sidechairs, each with a shaped foliate‑carved crest above a star and fleur‑de‑lis‑carved splat, the padded seat raised above a fluted frieze on tapering circular fluted legs ending in toupie feet, h. 38”. [2500/4000] Illustrated

35Royal Worcester Partial Dessert Service, ca. 1900, English, the service consisting of twelve plates, dia. 9”, a pair of dishes, dia. 9‑1/4”, and a pair of fruit tazze, h. 6‑1/4”, dia. 9‑3/4”, decorated in the Adams revival style, the mauve borders hold swags of green bellflowers, a covered rose diapered urn decorates the center of each piece with scattered butterflies, marked “Royal Worcester 1900” along with the retailer, “Mortlock’s of Oxford Street” and “leadless glaze”. [1500/2500] Illustrated

36Pair of Continental Hand-Painted Floral Dishes, fourth quarter 19th century, the scalloped dishes with a bleu de France border patinated with gilt cartouches, framing hand‑painted flowers on a rich, gilt ground, trimmed with a rococo raised gilt border, marked with a spurious gilt anchor in the Chelsea style, dia. 8‑1/2”. [400/700]

37George III-Style Mahogany Writing Table, late 19th century, the shaped rectangular top with an inset gilt‑tooled leather writing surface and floral guilloche‑carved edge, above a conforming frieze fitted with two drawers, above an acanthine‑carved frieze, raised on cabriole legs headed by acanthine carving and ending in pad feet, h. 31”, w. 42‑1/2”, d. 21‑1/2”. [600/900] Illustrated

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38George III-Style Mahogany Commode, in the Chippendale rococo taste, the shaped rectangular banded top above a case fitted with two long banded drawers above a pierced foliate‑modeled giltwood apron, raised on cabriole legs ending in scroll toes, h. 34”, w. 43”, d. 24”. [2000/4000] Illustrated

39Collection of Matching English Rockingham-Type Dinnerware, mid‑19th century, with raspberry borders highlighted with a gilt scrollwork frame, and with shell‑edged panels of gilt and peach feather decoration, the collection comprised of an oval covered tureen with open handles, molded lid with an oak leaf and twig‑molded knop matching the handles, h. 7”, w. 9‑1/4”, l. 13‑1/2”, a double lipped sauce boat with a matching serpentine stand, h. 4‑3/4”, w. 10‑1/4”, d. 6‑1/4”, six matching cups and saucers, h. 2‑3/4”, dia. 5‑1/2”, and six dessert dishes, dia. 5”, marked with a “513” gilt pattern. [300/500] Illustrated

40Victorian Flow Blue Partial Tea Set in the Imari Palette, fourth quarter 19th century, cobalt borders trimmed in gilt and punctuated with orange flowers decorate the set, the central panels depicting pots of flowers, the set comprised of twelve cups, h. 2”, and eleven saucers, dia. 5‑1/2”, eleven plates, dia. 7‑1/2”, a pair cake plates, dia. 9‑1/2”, and a cream jug, h. 4‑1/2”, marked with pattern number 988. [300/500]

41Suite of Fourteen Early Victorian Mahogany Sidechairs, third quarter 19th century, each with a domed back above an interlaced oval splat, the padded seat raised on tapering circular fluted legs ending in toupie feet, h. 36”. [1000/1500] Illustrated

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42Suite of Four Victorian Mahogany Chairs, fourth quarter 19th century, each with a carved crest rail and central splat, raised on turned legs, h. 37”. [300/500]

43Carved Lapis Lazuli Scarab Paperweight, Afghanistan, total approximate weight 676 carats, w. 1‑1/2”, l. 2‑1/2”. [600/900] Illustrated

44Carved Rubellite Scarab Paperweight, total approximate weight 544 carats, w. 1‑3/4”, l. 2‑1/4”. [500/800] Illustrated

45Carved Chalcedony Scarab Paperweight, total approximate weight 116 carats, w. 1”, l. 1‑1/2”. [150/300] Illustrated

46Victorian Polished Steel Sphinx English Brewer’s Advertising Mascot, third quarter 19th century, Northernhay Brewery, Exeter, the recumbent mythological beast, cast in two halves and bolted through the plinth base, cast with the motto “Puritas Viresque”, h. 28‑1/2”, l. 40”, w. 12”. [1000/1500] Illustrated

This handsome figure was the trademark of the Northernhay Brewery, which opened around 1846 under the direction of John Hyett at the premises of the Devon & Exeter Foundry on New North Road, Exeter. Heyer was probably responsible for casting the large sphinx which appeared on the pediment of the building, adorned with the brewery’s motto “Puritas Viresque” (“Pure and Strong”). The brewery was assumed in 1869 by the Bristol firm of Charles Garton Russell & Co., which retained the sphinx logo. The company changed hands again briefly in 1900 before it was replaced by a tent and tarpauling manufacturing company. The building was demolished in November 1991, and was replaced by Longbrook House, a new block of offices for the Inland Revenue; the original sphinx, a long‑time feature of the area, was refurbished and placed in a niche above the main entrance to the new building. The origin of the present lot is unknown, though undoubtedly it was used to promote the brewery’s wares at one of its retail venues.

47Cast-Bronze Egyptian-Revival Jewel Box, molded as a chest with bas relief Egyptian‑style hieroglyphics and images, with a beveled cover decorated to match and a velvet lining, marked with a lion in a shield, the same symbol and E.S. is on the key, h. 2‑1/2”, w. 4”, d. 2‑3/4”. [400/700]

48Benjamin Williams Leader (British, 1831-1923), “Landscape With a Riverside Cottage and a Figure Resting at the Fence”, oil on canvas, signed lower right “B.W. Leader”, 12” x 20”. Presented in a period giltwood and gesso frame. [2000/4000] Illustrated

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52Napoleon III Line-Strung, Brass and Porcelain Mounted Ebonized Cabinet, third quarter 19th century, the top with inlaid perimeter stringing and brass beading at the edge, the inlaid frieze centered by a porcelain plaque in the Sevres manner, the single door with a glazed panel flanked by inlay and gilt‑brass mounts, h. 43”, w. 34‑1/4”, d. 14”. [600/900] Illustrated

53Pair of Victorian Marble, Bronze and Cut-Glass Cornucopia Vases, third quarter 19th century, English, the black marble plinths support bronze moose heads holding the vases, which are cut in a honeycomb pattern with a serpentine scalloped edge, h. 7”, w. 8”, d. 4‑3/4”. [500/800] Illustrated

49Victorian Ebonized and Polychrome Center Table, third quarter 19th century, the circular tilting top featuring an elaborate scene of exotic birds in a lush floral landscape, raised on a bulbous standard to a circular base to scrolling feet, the base with floral accents, h. 28”, dia. 41‑1/2”. [600/900] Illustrated

50Victorian-Style Ebonized and Mahogany Occasional Table, the circular top with a cut‑out shaped edge and with gilt accents of a castle scene, raised on a ribbed and foliate standard to a circular base on scrolled toes, h. 26‑1/4”, dia. 21‑1/4”. [200/400]

51Victorian Ebonized Papier Mache Center Table, third quarter 19th century, the tilting shaped ovoid top centered by an inlaid mother‑of‑pearl floral spray within a gilt scrolling foliate banding, raised on a bulbous standard to a concave molded square base on scrolled toes, h. 27”, w. 28”, d. 23”. [500/800] Illustrated

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54English Staffordshire Partial Dessert Service, second quarter 19th century, the Rockingham‑style set with tan borders framed in gilt scrolls surrounding a white field decorated with scattered polychrome flowers, the set comprised of fourteen dessert plates, dia. 9‑1/4”, and a pair of oblong footed comports with handles in the form of bowknots, w. 8‑3/4”, l. 12‑1/2”, unmarked except for the pattern number “478”. [400/700] Illustrated

55Hand-Painted Continental Fish Set, ca. 1900, probably Limoges, comprised of an oblong fish platter, w. 10‑1/2”, l. 24”, a sauceboat, h. 5”, w. 8‑1/4”, d. 6”, and eight plates, dia. 9‑1/4”, all molded with gilt shell edges and hand‑painted with fish and flora on a salmon ground. [800/1200] Illustrated

56Set of Twelve Copeland Spode Artist-Signed Cabinet Plates, ca. 1937, English, the cream‑colored plates with a simple gilt trim and hand‑painted reserve panels, each hand‑painted with a different fish identified on the rear, each signed “Spode Copeland’s China England” on the rear and most signed “J. Fenn”, dia. 9‑1/2”. [1000/1500] Illustrated

57Pair of Vienna-Style Framed Cabinet Plates, ca. 1900, the plates depicting a seated male smoking, his beer mug at hand, the mauve borders decorated with raised gilt scrollwork and flowers, outlined in beading, set in rococo‑style gilded frames, encased in black shadowboxes, h. 17”, w. 17”, d. 3”. [300/500]

58Wedgwood Jasperware Jardiniere, ca. 1891‑1914, English, the dark blue body decorated with swags of grape vines supported by ringed lion’s heads, over neoclassical figures representing the arts, impressed Wedgwood and England on the base, h. 8”, dia. 9‑1/4”. [200/400]

59Large Victorian Blue and White Jasperware Cheese Dish, fourth quarter 19th century, English, both the rounded base and lower portion of the cover bordered with bands of oak leaves and acorns, the sides of the cover decorated with putti in various musical pursuits alternating with trees, urns and pots of flowers, the acorn‑form knop framed with anthemia, h. 11”, dia. 10‑1/2”. [300/500]

60English Design Reform Movement Silver Chest, fourth quarter 19th century, the stepped lid centered by decorative inlay and lifting to a lined tray, the front fitted with two like‑inlaid drawers opening to four further lined tray drawers, raised on a conforming stand with similarly inlaid end supports joined by a stretcher and ending in runner feet, h. 39”, w. 28‑1/4”, d. 24”. [700/1000]

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61English Mahogany Metamorphic Sidechair, late 19th century, in the gothic taste, the back with crocket finials and a quatrefoil and arch‑pierced splat, the wooden seat hinged and opening to form a four‑rung library ladder, raised on square legs, h. 35”, [400/700] Illustrated

62Victorian-Style Cast-Iron Garden Bench in the Gothic Taste, with an arched back in gothic tracery patterns, flanked by stylized foliage, joined to scroll arms, the seat modeled as iron slats, the scroll apron centered by a classical masque, h. 43”, w. 52”, d. 20”. [500/800]

63Jean Baptiste Robie (Belgian/British, 1821-1910), “Floral Still Life With a Bird’s Nest on a Marble Ledge”, oil on canvas, signed lower left “J. Robie”. Framed. [3000/5000] Illustrated

64Continental School (First Quarter 20th Century), “Still Life With Roses, Daisies and Hydrangeas”, oil on canvas, indiscernibly signed lower right, 31” x 25‑1/2”. Framed. [500/800]

65French School (First Quarter 20th Century), “Floral Bouquets With a Blue Ribbon”, pair of oval oils on canvas, unsigned, 36” x 23‑1/2”. Presented in matching giltwood frames. [1500/2500] Illustrated

66A. Klein (German, 19th Century), “Still Life with Peaches and Grapes”, oil on canvas, dated “August 1874” and signed lower right, 20 3/4” x 24 1/4”. Framed. [300/500]

67Victorian Rosewood Stool, third quarter 19th century, the concave rectangular padded seat above a conforming molded frame, raised on cabriole legs headed by shield carving and ending in scrolled toes, h. 18”, w. 22”, d. 17‑1/2”. [800/1200]

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68Pate-sur-Pate Minton Aesthetic Pottery Vase, fourth quarter 19th century, the brown base designed to mimic an Oriental vase stand, and is bolted to the main vase, the baluster vase with a pink/grey body decorated with trailing pate‑sur‑pate vines and leaves, interrupted by a blue band of gilt‑trimmed plum branches and blossoms, the sides set with elephant head handles grasping gilt rings, inscribed “MINTONS” on the base of the main vase, between it and the stand, h. 11‑1/4”, w. 9”. [1800/2500] Illustrated

69Chinese Export Lacquer and Pewter Tea Caddy, mid‑19th century, the rectangular caddy decorated on the cover with a temple set within a grove of pine and willow trees, with floral decorated corners, two pewter liners with covers engraved with flowers and scrollwork and ivory knops, h. 4”, w. 8”, d. 5‑1/2”. [150/300]

70Unusual Victorian Lacquerwork and Steel Letter Box, third quarter 19th century, English, the box resting on steel ogee feet, the molded sides with steel trim and a pierced steel lock surround, the slant lid trimmed in pierced steel fretwork, and a central steel cartouche matching the keyhole surround, the compartmented interior lined with gilt foil paper, the inkpot compartments with faceted steel knobs on their covers, h. 5”, w. 7‑1/2”, d. 4”. [500/800]

71Donegal Carpet, 6’7” x 10’. [1800/2500]

72Angora Oushack Carpet, 9’ x 12’. [6000/9000] Illustrated

73Turkish Angora Oushak Carpet, 9’ x 12’. [2000/4000]

74Hand-Knotted Wool Agra Carpet, 9’ x 12’. [3000/5000] Illustrated

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75Donegal Runner, 3’3” x 10’6”. [900/1200]

76Tabriz Carpet, 7’4” x 11’1”. [2500/4000] Illustrated

77Louis-Philippe-Style Aubusson Carpet, 7’ x 10’. [800/1200]

78Angora Oushack Carpet, 9’9” x 14’5”. [7000/10000]

79Turkish Angora Oushak Carpet, 9’2” x 12’. [1500/2500] Illustrated

80Semi-Antique Kirman Carpet, 8’9” x 11’8”. [700/1000]

81Turkish Angora Oushak Carpet, 4’2” x 6’2”. [500/800]

82Heriz Carpet, 7’7” x 10’9”. [2500/4000]

83Semi-Antique Persian Tabriz Carpet, 6’6” x 9’3”. [1200/1800] Illustrated

84Turkish Carpet, 9’ x 12’. [500/800]

85Antique Persian Heriz Carpet, 7’8” x 10’6”. [2000/4000] Illustrated

86Donegal Carpet, 4’3” x 6’8”. [800/1200]

87Heriz Carpet, 10’8” x 13’2”. [4000/7000] Illustrated

88Semi-Antique Tabriz Carpet, 10’5” x 14’8”. [1200/1800]

89Hand Woven Wool/Silk Tapestry, 2’2” x 6’. [2000/4000]

90Semi-Antique Lilhan Carpet, 4’6” x 6’8”. [500/800] Illustratednext page

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91Louis XVI-Style Polychrome Four-Fold Screen, late 19th century, each panel with a polychrome wooden frame and stretched with canvas, depicting an oval medallion of a landscape suspended from a ribbon garland, over a floral basket and scene of cherubs over a swag‑painted panel, the reverse with like painted panels, h. 75”, w. 128”. [3000/5000] Illustrated

92Louis XVI-Style Polychrome Settee, mid‑19th century, the padded rectangular back with foliate end finials, joined by padded downswept arms to the like seat, raised on tapering circular stop‑fluted legs headed by floral block capitals and ending in peg feet, h. 37”, w. 68”, d. 26‑1/2”. [600/900] Illustrated

93Louis XVI-Style Polychrome Bed, early 20th century, the headboard padded and upholstered, surmounted by a ribbon and foliate‑carved crest, joined by shaped scrolling foliate‑carved rails to the padded footboard, all flanked by fluted uprights and raised on tapering fluted square legs, h. 49”, inside w. 56”, inside l. 72”, outside w. 60”, outside l. 78”. Provenance: Ken McKay, Baton Rouge, Louisiana. [800/1200]

94Louis XVI-Inspired Cut and Pressed Glass and Brass Twelve-Light Chandelier, third quarter 20th century, the prism‑hung canopy over a segmented shaped glass stem joined to six brass arms with glass faces and florets, the two tiers of lights each draped with faceted glass teardrop prisms, the arms joined by beaded swags, h. 20”, dia. 26”. [400/700] Illustrated

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95Louis XVI Polychromed Trumeau Mirror, 18th century, the oil on canvas scene depicting Poseidon with a sailing vessel in the background, h. 50”, w. 28”. [500/800] Illustrated

96Pair of Continental Bronze Argente Two-Light Sconces, first quarter 20th century, in the Louis XVI taste, the backplates with a flat‑column standard with vasiform finial, from which emanate a pair of acanthus scrolling arms, each terminating in a cylindrical nozzle with gadrooned drip‑pan and detachable beaded bobeche, h. 11”, w. 6‑1/4”, d. 3‑1/4”. [250/400]

97Suite of Six Louis XVI Polychrome Fauteuils, late 19th century, each with a tapering padded rectangular back surmounted by a molded crest and foliate finials, joined by padded scrolling arms to the like seat, raised on tapering circular stop‑fluted legs ending in toupie feet, h. 35”. [900/1200] Illustrated

98Pair of Louis XVI-Style Polychrome Stools, early 20th century, each with a square padded top above a laurel garland and patera‑carved frieze, raised on tapering circular legs headed by foliate bands and ending in ball feet, h. 20”, w. 18”, d. 18”. [800/1200] Illustrated

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99Pair of Louis XVI-Style Polychrome Fauteuils, late 18th century, each with a padded medallion back within a molded frame, joined by scrolling arms to the like seat, raised on stop‑fluted tapering circular legs headed by floral block capitals and ending in toupie feet, h. 32”. [2500/4000] Illustrated

100Louis XV-Style French Gilt-Bronze Sconce, the scroll‑bordered backplate molded with cartouches, bellflowers, swags and strapwork, mounted with four scrolled candle branches, which are set with reeded drip pans and candle cups mounted with electrified candles with wax sleeves, hung with oval prisms and faceted crystal balls, h. 24”, w. 24”, d. 1‑1/2”. [300/500] Illustrated

101Pair of French Louis XVI-Style Giltwood Mirrors, ca. 1900, each with an outer frame of egg‑and‑dart molding, containing the segmented antique glass, the inner lunette executed in a scale pattern, and the upper divisions bobbin‑molded, h. 18”, l. 46”. [1200/1800] Illustrated

102Pair of Louis XVI-Style Kingwood and Marble-Top Semaniers, early 20th century, each with a rectangular top with projecting canted corners above a conforming case fitted with seven drawers, all banded, the central ones with an inlaid sunburst pattern, raised on tapering square legs ending in brass caps, h. 57”, w. 28”, d. 15”. [800/1200] Illustrated

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101pair

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103Louis XVI-Style Polychrome Fauteuil, early 20th century, the padded tapering rectangular back surmounted by an annulated crest and floral finials, joined by padded acanthine‑carved arms to the padded seat, raised on tapering circular stop‑fluted legs ending in toupie feet, h. 37”. [400/700] Illustrated

104Pair of Belle Epoque French Bronze-Mounted Covered Garniture Urns, fourth quarter 19th century, the Louis XVI‑style bronze bases with laurel leaf trimming below fluted conical feet, the yellow ground bodies decorated with neoclassical figures in an Arcadian landscape, one depicting a couple adjacent to a fountain, the other a male serenading a female in a garden, the obverses depict a lake of swans in a garden, the bronze ram’s head handles holding laurel wreaths, the covers decorated with hand‑painted flowers and set with a bronze pinecone knop, h. 18‑1/4”, w. 10”, d. 6‑1/2”. [1800/2500] Illustrated

105Pair of French Kingwood and Marble-Top Encoignures, mid‑19th century, each with a bowed and variegated marble top above a conforming case fitted with two cabinet doors, each one banded and quarter‑veneered, raised on bracket feet, h. 30”, w. 25”, d. 17‑1/2”. [1000/1500] Illustrated

106Louis XV-Style Polychrome and Parcel-Gilt Bed, early 20th century, the shaped headboard surmounted by a shell and foliate crest over a shaped floral‑patterned panel, joined by shaped rails to the lower footboard, featuring a shaped panel with a scene of courting courtiers in a pastoral landscape, all raised on foliate scrolled feet, h. 53”, inside w. 49”, inside l. 79”, outside w. 55”, outside l. 84”. [600/900] Illustrated

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107Pair of French Belle Epoque Gilt-Bronze and Walnut Three-Light Mantel Garnitures, fourth quarter 19th century, the turned bronze feet support conical burl walnut bases decorated with oak leaf and acorn bead trimmed borders of gilt bronze, the walnut urn‑form standards hung with swags of gilt‑bronze flowers supported by bow knots, the engine‑turned gilt‑bronze necks of the urns support gilt‑bronze roses and leaves, three roses on each garniture fitted with candle sockets, h. 17.5". [250/400] Illustrated

108Louis-XVI Paris Porcelain Period Cabaret Tray, 1781‑1789, by the Duc d’Auvergne factory, rue de Bondi, of reverse serpentine square form, decorated with a central panel of a gilt bird on a branch within a red and gilt sprigged border, all on a gridded field of gilt sprigwork with berry centers, marked with a rouge de fer factory mark, w. 11‑1/2”. For the mark, see Regine de Plinval de Guillebon, Porcelain of Paris, 1770‑1850 (New York: Walker & Co., 1972), p. 327, no. 6. [800/1200] Illustrated

109Follower of Francois Boucher (French, 1703-1770), “Pastoral Landscape With a Shepherd and Shepherdess”, oil on canvas, fourth quarter 19th century, unsigned, 45” x 30”. Presented in a Louis XVI‑style giltwood frame. [700/1000] Illustrated

110German School (Third Quarter 19th Century), “Portrait of an 18th Century Gentleman, possibly Wolfgang Amadeus Mozart”, oil on canvas, unsigned, 25” x 20”. Presented in a Rococo‑style frame. Provenance: The Estate of Joseph and Arlene Meraux, New Orleans, Louisiana [500/800]

111Louis XV-Style Kingwood Side Table, late 19th century, the rounded rectangular top with inset leather surface and corner ormolu mounts, above a frieze fitted with a single shaped drawer, raised on cabriole legs headed by foliate mounts and ending in sabots, h. 28”, w. 20‑1/2”, d. 17”. [900/1200] Illustrated

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112Louis XV-Style Kingwood Side Table, early 20th century, the rectangular top quarter‑veneered and with an intricately inlaid scrolling pattern, above a concave case fitted with two long drawers, raised on cabriole legs ending in sabots, the whole accented with ormolu mounts, h. 29‑1/2”, w. 20‑1/2”, d. 14”. [200/400]

113Louis XV-Style French Gilt-Bronze Cartel Clock, fourth quarter 19th century, scrollwork ornamented with grapes and grape leaves frame the wall clock, a pair of putti serve as the finial, grillwork fills the voids created by the scrollwork, the dial set with enamel numerals in the chapter ring of the molded bronze dial, h. 32”, w. 17‑1/4”, d. 4‑3/4”. [1000/1500] Illustrated

114Tiffany-Retailed Louis XV-Style French Gilt-Bronze Mantel Clock, ca. 1900, on a pierced, scroll‑footed stand, the clock with cabriole legs, a lower grillwork panel and serpentine sides molded with leafage and shell‑work, scrollwork piercing forming the finial, the enamel dial behind a convex glazed door, with delicately molded gilt‑bronze hands, stamped both by Tiffany and the maker, Samuel Marti, h. 13‑1/2”, w. 9”, d. 5‑1/2”. [500/800]

115Louis XV-Style Kingwood Bureau Plat, 20th century, the shaped rectangular top with an inset leather surface and brass banding, above a frieze fitted with a central drawer with a foliate‑modeled ormolu panel, flanked to either side by a smaller drawer, raised on cabriole legs headed by ormolu acanthine scrolls and joined by ormolu millwork to paw feet, h. 30”, w. 62”, d. 34”. [4000/7000] Illustrated

116Pair of French Bronze and Marble Louis XV-Style Three-Light Candelabra, a notched‑corner marble base supporting a gilt‑bronze column‑form plinth, edged with acanthus leaves and bellflowers in the flutes, with an egg‑and‑dart top molding, supporting a patinated‑bronze putto with garlands of ivy on the body and hair, holding the leaf‑molded scrolling gilt candle branches, set with fluted and leaf‑molded candle cups and beaded bobeches, h. 23‑1/2”, w. 10‑1/2”, d. 7‑3/4”. [1400/1800] Illustrated

117French Louis XV-Style Bronze Figural Mount, fourth quarter 19th century, depicting a putto sitting on a fringed shawl embroidered with leaves and flowers, h. 13”, w. 11‑1/4”, d. 2‑3/4”. [250/400]

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118Suite of Eight Louis XV-Style Mahogany Fauteuils, 20th century, each with a shaped padded back surmounted by a foliate shell ormolu crest, joined by padded arms to the like seat, raised on cabriole legs headed by an ormolu mount continuing to sabots, h. 44”. [2500/4000] Illustrated

119Louis XV-Style Gilt-Metal Mounted and Marquetry-Inlaid Kingwood Chest, the serpentine griotte rouge marble top over a case with a trio of conforming drawers, each with foliate and floral inlay, the returns with parquetry panels, h. 33‑1/2”, w. 25‑1/4”, d. 14”. [1000/1500] Illustrated

120French Giltwood Looking Glass, 19th century, having a floral wreath cartouche and foliate scrolls terminating in cornucopia at the upper corners, h. 42”, w. 33”. [800/1200] Illustrated

121Pair of Louis XV Molded Brass Candlesticks, fourth quarter 18th century, French, the stepped serpentine bases support ribbed vase‑shaped standards and matching candle cups, all retaining traces of original silvering, h. 9‑1/2”, dia. 5”. [250/400]

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122Pair of Tournai Chargers, third quarter 18th century, Belgian, soft paste porcelain, with serpentine gilt shell edges and molded, the sides painted with swags of bellflowers framing cobalt roses alternating with mauve bowknots supporting polychrome swags of flowers, the center panel, in a gilt shell edge, depicting a banquet of hand‑painted flowers, marked with gilt crossed swords surrounded by four small crosses, the mark used from 1757, dia. 15”. Provenance: Earle D. Vandekar. [1400/1800] Illustrated

123Regence-Style Kingwood and Marble-Top Commode, mid‑18th century, the shaped Rouge Royale marble top with molded edge above a conforming case fitted with two short drawers over two long drawers, all banded and quarter‑veneered, raised on splayed legs, h. 35”, w. 51”, d. 24”. [1500/2500] Illustrated

124German Art Nouveau Jardiniere, E & A Muller, the oval body planted with an art nouveau beauty, depicted in the center of sculpted orchids decorating the front, the sides with a bleu de France ground decorated with polychrome enamel bleeding heart vines, the sides and rim decorated with sinewy sculpted art nouveau flowers and tendrils, marked with an underglaze green “Corona” with a star, a shield and an M, in addition to impressed pattern numbers, h. 6‑3/4”, w. 11‑1/2”, d. 6”. [200/400]

125Bell Epoque Louis XV-Style Oval Enamel Box, ca. 1900, French, the hand‑painted box on a bleu de roi ground, the sides decorated with reserve panels depicting musical instruments, framed with gilt scrollwork and diapering, an engine‑turned bronze bezel latches the lid to the base, hand‑painted with a courting couple wearing 18th century costume, sitting in a garden, framed in raised gilt scrollwork, the interior lined with yellow watered silk, h. 2‑3/4”, w. 7‑1/2”, w. 5‑1/2”. [200/400]

126Raised Gilt Paris Porcelain Tea Set, second quarter 19th century, the set comprised of a teapot, h. 7”, a coffee pot, h. 8‑1/2”, a sugar basin, h. 4‑1/4”, a waste bowl, h. 4‑1/4”, and seven cups with eight saucers, h. 3”, dia. 5‑3/4”, the bleu de France ground bodies decorated with panels of birds and butterflies, framed in raised scrollwork, unusual raised gilt designs of anthemia and medallions adorn the teapot, sugar basin, coffee pot and cream jug. [800/1200] Illustrated

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127Set of Twelve Raised Gilt Service Plates, first quarter 20th century, Czechoslovakia, wide raised gilt borders depict scrollwork and flowers on a stippled ground, the inner bleu celeste border framed with a small interior raised gilt border, marked “Crown Imperial, Czechoslovakia”, dia. 10‑1/2”. [400/700]

128Pair of French Antique Engravings of Silver Patterns, each sheet 18” x 24 1/2”. Attractively float‑mounted and framed. [300/500]

129George III Mahogany and Various Exotic Woods Side Table, in the Hepplewhite manner, the serpentine top centered by a large inlaid floral spray within a floral lattice background, above a conforming shaped frieze, raised on cabriole legs, h. 35‑1/2”, w. 48”, d. 26‑1/2”. [1200/1800] Illustrated

130Twelve French Gilt-Brass and Ivory Place Card Holders, first quarter 20th century, the pierced, leaf‑molded holders decorated with ivory portraits of women from French court, each identified and under glass, h. 1”, w. 3/4”. [100/200]

131Sevres Petit Dej euner Set, fourth quarter 19th century, French, the set consisting of a cabinet tray, w. 12”, d. 12”, an inverted pear‑shaped coffee pot, h. 6‑3/4”, a covered sugar bowl, h. 4‑3/4”, and four demitasse cups with saucers, h. 5”, dia. 3‑1/4”, all decorated with a bleu celeste ground, the set with white borders decorated with gilt ivy meanders, and reserve panels of two putti holding a laurel wreath around a crowned LP, all in gilt, each piece with three overglaze marks; a blue rondel marked “Sevres, 1844”, a green oval S.40, and a rouge de fer Chateau de Tuilleries rondel mark. [1000/1500] Illustrated

132Rare Antique Chinese Straw Hat of Conical Form, Qing Dynasty, together with an additional cobalt glass and brass‑mounted finial, h. 8”, dia. 10”. [500/800] Illustrated

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133Fine Chinese Imperial Yellow Kesi Woven and Embroidered Silk Dragon Robe, Qing Dynasty(1644‑1911), the dragons finely stitched with gold thread, l. 64”. [5000/8000] Illustrated

134Pair of Chinese Linen and Embroidered Silk “Lotus Shoes”, 19th century, the soles finely quilted, created to fit the bound feet of an upper class Chinese lady, h. 2‑1/4”, l. 5”. [100/200]

135Mounted and Framed Silver Alloy Asian Wedding Necklace, having concentric chased rings and spiral pendants, h. 17”, w. 17”, overall. [250/400] Illustrated

136Two Chinese Ceremonial Court Robe Collars, first quarter 20th century, Qing dynasty, made of cutwork, embroidered and beaded silk, the polychrome dollars decorated with scrollwork and flowers, with various elements attached with beadwork, dia. 21‑1/2” and 25”. [600/900]

137Chinese Woven and Embroidered Pleated Silk Skirt, late Qing dynasty, having dragon motifs against the jade green silk outer layer, and having a robin’s egg blue silk lining, l. 36”. [500/800]

138Chinese Color and Ink Scroll Painting, a delightful abstract vision of a rural Chinese village with clustered buildings in the background and birds in flight, a willow tree in the foreground, the painting drawing the eye to discover all the aspects of the artist’s vision which is rendered simply and boldly, l. 70‑5/8”, w. 31‑3/4”. [200/400]

139Chinese Ink Scroll Painting, a dramatic ink wash on paper painting in the artist’s classic style depicting a range of high peaked mountains with a vertical central river running through a deep, eroded gorge, the river with a group of river men in their boats navigating the river and with two rural villages, one on each side of the river with the shading of the mountains, bears the signature Li Keran, l. 68‑1/4”, w. 24‑5/8”. [200/400]

140Chinese Woven Kesi Silk Panel, 19th century, depicting flying dragons amongst the clouds, w. 18”, l. 60”. [500/800] Illustrated

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141Four Chinese Wall Plaques, 20th century, each with a black lacquer inset with female figures carved from marble, bone and mother‑of‑pearl, h. 36”, w. 12”. [300/500]

142Chinese Porcelain Wine Ewer, 20th century, finely made study of an early Ming period underglaze blue decorated vessel, h. 11‑1/4”. [6000/9000] Illustrated

143Group of Eight Chinese Blue-and-White Earthenware Dishes, 20th century, consisting of an assembled set of six rice bowls, all with scrolling foliate patterns, h. 2‑1/2”, dia. 5‑1/4”, largest, and a nested set of two dishes, each of circular form with a raised canted edge, dia. 10‑1/4”, largest. [75/125]

144Pair of Porcelain Covered Jars, 20th century, the oval‑form jars with underglaze blue decoration of a long poem in Chinese characters, h. 14”. [500/800]

145Chinese Blue-and-White Pottery Storage Jar, early 20th century, the knopped lid above a tapering circular body, decorated with a floral and foliate band over a like‑decorated body, h. 11‑1/2”. [100/200]

146Chinese Altar Table, 19th century, the rosewood (Hung Mu) ornately‑carved table, pierced with birds, flowers, kylin, deer and bamboo, foo dog mask legs ending in dragon carp, heavily inlaid with carved mother‑of‑pearl and inset with grey marble plaques, h. 54”, w. 109”, d. 23‑3/4”. [8000/12000] Illustrated

147Chinese Altar Table, 19th century, the rosewood (Hung Mu) ornately‑carved table, pierced with birds, flowers, kylin, deer and bamboo, foo dog mask legs ending in dragon carp, heavily inlaid with carved mother‑of‑pearl and inset with a grey marble plaque, h. 36‑1/2”, w. 45”, d. 45”. [6000/9000] Illustrated

148Unusual Chinese Export Porcelain Imari Vase, the body decorated with alternating vertical bands of decoration, trails of peonies on a white ground and a cobalt ground overlaid with gilt grid work, punctuated with floral cartouches, the neck decorated with blue fretwork, h. 30‑1/4”, dia. 11‑3/4”. [400/700] Illustrated

149Chinese Porcelain Covered Box, 20th century, the cobalt blue glaze gilt‑decorated with bats, Shou and wan characters with three fruits, Hsien Feng mark on the base, dia. 7”. [600/900]

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150Chinese Canopy Bed, 19th century, the rosewood bed finely carved and pierced with a squirrel and grape design and archaic scrolling, with lion’s paw feet and two drawers carved with foo dog masks, h. 95‑1/2”, w. 81”, d. 55”. [5000/8000] Illustrated

151Pair of Chinese Corner Chairs, early 20th century, the rosewood chairs with back splats carved as vases of flowers, h. 32”. [500/800]

152Pair of Chinese Chairs, 19th century, the elmwood chairs with circular seats with matting and cabriole legs, back splats carved and pierced with floral elements, h. 37”. [150/300]

153Chinese Stained Hardwood Low Table/Bench, 20th century, the low rectangular banded top above a frieze accented with cloud and coin‑carved patterns, raised on square legs headed by bat carving and ending in a fret foot, h. 19”, w. 61‑1/2”, d. 16‑1/2”. [400/700]

154Chinese Bi-Fold Room Divider, early 20th century, the carved frame of foliate design and the crests featuring birds and vines, the panel with applied carved bone and mother‑of‑pearl flowers and birds, h. 77‑1/2”, w. 68”. [500/800]

155Near Pair of Chinese Architectural Elements, 19th century, the elmwood surface carved in relief with figures in garden scenes and floral decoration, lacquered in red, black and gold, mounted as mirrors, h. 55‑1/2”, w. 16‑3/4”. [200/400]

156Translucent White Peking Glass Snuff Bottle, 20th century, the round‑shaped bottle with a single red glass overlay of an Imperial three‑toed dragon, well hollowed with snuff residue inside, with a red coral top and brass spoon, h. 2‑3/4”. [200/400]

157Chinese Glass Snuff Bottle, 19th century, the cameo carved from red to snowflake, surface‑carved with water dragons, green glass stopper, h. 2‑1/4”. [300/500] Illustrated

158White Peking Glass Snuff Bottle, late 19th/early 20th century, the bottle in a flattened round shape with a single red glass overlay of ducks on water on one side and ducks jumping from the water with lotus leaves on the other, well carved and hollowed with a red coral top and brass spoon, h. 2‑1/2”. [150/300]

159Chinese Glass Snuff Bottle, 19th century, Suchon school, five color type cameo carved from red, yellow, blue, green and pink on a snowflake ground with a design of gold fish and aquatic plants, h. 2‑3/4”. [200/400]

160White Peking Glass Snuff Bottle, 20th century, of flattened oval shape, with a single green glass overlay of fish swimming, well hollowed with a Peking glass top and ivory spoon, h. 3”. [150/300]

161White Peking Glass Snuff Bottle, 20th century, the bottle with a cylindrical vase shape, with two glass overlays in brown and white of birds and flowers, well hollowed with a red carnelian top with a brass spoon, h. 3”. [150/300]

162Japanese Ivory Snuff Bottle, carved in the form of an old scholar on the back of a ram, h. 2‑3/4”. [250/400]

163Chinese Four Panel Black Lacquered Coromandel Folding Screen, 20th century, one side with bamboo decor, the other side with birds perched on foliate sprays, h. 72”, w. 64”. [200/400]

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164Pair of Black Lacquered Chinoiserie-Decorated Turned Wooden Jars, 19th century, each retaining their original lids and both bearing a signature under the bottom, h. 10‑1/2”, dia. 8”. [600/900] Illustrated

165Pair of Chinese Patinated-Bronze Candlesticks, the scrolled feet molded with bat heads, wings on domed feet support baluster‑form sticks wrapped with clinging dragons on a script‑molded ground, scalloped drip pans sit under the candle cups, h. 19‑3/4”, dia. 5‑3/4”. [300/500] Illustrated

166Chinese Rosewood Bed, 19th century, the base carved and pierced with bamboo, birds and grapes, h. 18‑1/2”, w. 62”, d. 79”. [2000/4000] Illustrated

167Chinese Porcelain Fish Bowl, 20th century, in famille rose decoration of the “Hundred Deer”, h. 16”, dia. 18‑1/2”. [1200/1800] Illustrated

168Chinese Porcelain Rice Cup, the rim with Greek‑key enameled decor, the bowl sides depicting a dragon amongst the clouds, the underfoot signed, together with a turned wooden stand, h. 2‑1/2”, dia. 4”, without stand. [200/400]

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169Chinese Porcelain Cup, 20th century, the ribbed body with a finely painted scene of a landscape in iron‑red, six‑character Tao Kuang mark on the base, dia. 3‑1/4”. [500/800]

170Chinese Porcelain Brush Washer, 19th century, the pomegranate‑shaped washer, surface decorated in famille verte enamels with a scene of Li Po drinking, six‑character Yung Cheng mark on the base, h. 5”. [600/900] Illustrated

171Chinese Porcelain Vase, 20th century, the double‑gourd‑form vase with a grey celadon ground decorated with flowers, a molded iron‑red scarf tied about the waste with gilt bats, Ch’ien Lung mark on the base, h. 7‑1/2”. [1500/2500] Illustrated

172Pair of Chinese Porcelain Bowls, Hung Hsien mark (1915) and probably of the period, with famille rose enamel decoration of rabbits in a landscape, dia. 4‑1/2”. [500/800] Illustrated

173Chinese Porcelain Vase, 18th century, the celadon vase with panels of brocade patterns in underglaze red and blue, now drilled and mounted as a lamp, h. 15‑1/2”. [600/900]

174Chinese Celadon Bowl, 10th century, Yao Chou ware, the bowl with sgraffito combed scrolling, dia. 5‑1/2”. [500/800] Illustrated

175Chinese Porcelain Basin, 19th century, the basin with famille verte decoration of a historical scene, flowers and landscapes, dia. 11‑1/2”. [600/900]

176Two Chinese Porcelain Bowls, 19th century, one with a cover, famille rose decoration and with rabbits, a pheasant and trees, cup with hallmark in red, and the other with sprigs of flowers, dia. 4‑1/2”. [250/400]

177Chinese Porcelain Box, late 19th century, with green enamel decoration of a phoenix and floral scrolling, dia. 4”. [300/500]

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178Chinese Jade Snuff Bottle, 19th century, the bottle well hollowed in a bright green‑colored jade, with a tourmaline stopper, h. 2‑1/2”. [1400/1800] Illustrated

179Chinese Jade Snuff Bottle, 18th/19th century, the stone of a celadon color with a large area of russet skin, very well hollowed, the sides carved with faux foo dog jump rings, agate stopper, h. 2”. [600/900]

180Shadow Agate Snuff Bottle, late 19th/early 20th century, the oval‑shaped bottle of grey/brown colored bands, well hollowed and with stylized mock handles on the shoulders, agate top with ivory spoon, h. 3”. Provenance: The Collection of Ted Adameck and Dennis Marlow Auction of 1992. [1200/1800] Illustrated

181Chinese Agate Snuff Bottle, 18th/19th century, the finely carved surface in relief with kylin, the interior very well hollowed, h. 1‑3/4”. [400/700]

182Chinese Snuff Bottle, 18th/19th century, the moss agate very well hollowed, coral stopper, h. 2‑1/2”. [200/400]

183Chinese Mongol-Style Snuff Bottle, late 19th/early 20th century, the base metal inset with cabochons of coral and turquoise, shagreen body, h. 3‑1/2”. [150/300]

184Chinese Molded Gourd Snuff Bottle, Ch’ien Lung mark and probably of the period (1735‑1796), the pear‑shaped bottle surface‑decorated with the “Hundred Antique’s on a diapered ground, coral stopper, h. 2‑1/4”. [250/400] Illustrated

185Chinese Ivory Snuff Bottle, 19th century, the surface carved in relief with reserves of women in garden scenes with engraved floral borders, h. 2‑3/4”. [700/1000] Illustrated

186Chinese Snuff Bottle, 18th/19th century, carved bamboo rod with a silver‑mounted mouth, well hollowed, later carnelian stopper, h. 2‑3/4”. [250/400] Illustrated

187Very Fine Chinese Tourmaline Snuff Bottle, 19th century, the stone with a deep rubellite color, the surface carved in high relief with flowering trees, birds, a scholar, crane and deer, with a brocade stand, l. 2‑3/4”. [3500/5000] Illustrated

188White Peking Glass Snuff Bottle, late 20th century, the bottle of a flattened oval shape, painted with a yellow ground and a cricket on either side, very well hollowed with a yellow Peking glass top and brass spoon, Ku Yuch Hsuan mark on the base, h. 3”. [150/300] Illustrated

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189Chinese Amethyst Snuff Bottle, 19th century, the amethyst with pronounced zig‑zag banding, well hollowed with an agate stopper, h. 2‑3/4”. [400/700]

190Chinese Snuff Bottle, 18th/19th century, the red‑toned quartz very well hollowed, surface carved in high relief with a pine tree, a deer, a monkey and a ju‑i scepter, amethyst stopper set in gilt metal, h. 2‑1/4”. [300/500]

191Queen Anne Walnut Lowboy, 18th century, the rectangular top quarter‑veneered and with a bowed front above a conforming frieze fitted with a single drawer over two small drawers centering a drop finial, raised on cabriole legs ending in pad feet, h. 29‑3/4”, w. 33”, d. 21”. [1200/1800]

192Queen Anne-Style Walnut Lowboy, early 19th century and later, the rectangular top banded and quarter‑veneered above a case fitted with a central drawer flanked to either side by a small deeper drawer, all banded, raised on cabriole legs ending in pad feet, h. 28‑1/4”, w. 29”, d. 18‑1/2”. [500/800]

193Queen Anne-Style Walnut Cabinet-on-Stand, 19th century, the molded cornice above a case fitted with two banded cabinet doors, opening to a variety of drawers flanking a central cupboard, raised on a stand fitted with a single drawer on cabriole legs ending in pad feet, h. 48‑1/4”, w. 23‑1/2”, d. 15‑1/2”. [400/700]

194George III-Style Mahogany Firescreen, late 19th century, the adjustable screen of rectangular form and with a needlework scene of courtiers, the reverse beaded and paneled, h. 59”, panel, 24” x 17‑1/2”. [700/1000]

195Framed and Shadowboxed Needlework Panel, fourth quarter 18th century, probably English, depicting a shepherdess with her crook in the foreground and her suitor, with a flock of brown and white sheep, houses and a Chinese Chippendale garden gate in the background, all framed by trees, trimmed with braid and frame, now in a black and gilt contemporary frame on a silk matte, h. 32”, w. 28‑1/2”. [500/800] Illustrated

196British School (19th/20th Century), “Cattle at a Watering Hole”, oil on canvas, signed and dated lower left “T. Davis ‘05”, 12” x 18”. Handsomely framed. [700/1000] Illustrated

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197British School (19th Century), “Gothic Ruins”, pair of oils on canvas, unsigned, 24” x 30”. Both presented in matching, later faux‑veneer and parcel‑gilt frames. [800/1200]

198Queen Anne-Style Mahogany Drop-Leaf Table, 19th century, the rectangular top with rounded ends and two drop leaves, lifting to a circular surface, raised on tapering circular legs ending in pad feet, h. 28‑1/4”, d. 41‑1/4”, l. 14”, ext. l. 42”. [400/700]

199Queen Anne-Style Mahogany Tea Table, early 19th century, the rounded rectangular dished top with indented corners, above a scalloped frieze, raised on cabriole legs headed by scrolled knees and ending in pad feet, h. 28”, w. 28”, d. 19”. [1200/1800]

200George III-Style Mahogany Writing Table, the rectangular top with an inset leather writing surface and a carved edge, above a conforming case fitted with two paneled drawers, raised on tapering circular legs ending in pad feet, h. 29”, w. 42”, d. 25”. [1000/1500] Illustrated

201George III Mahogany Sidechair, 18th century, the back posts and crest rail with foliate carving, the central splat depicting a soldier, raised on cabriole legs ending in trifid feet, h. 39”. [200/400]

202Circle of Jonathan Richardson (British, 1665-1745), “Portrait of a Lady, Half‑Length in a Yellow Dress, Within a Painted Oval”, oil on canvas, unsigned, 29” x 25”. Framed. [3000/5000] Illustrated

203Georgian-Style Prism-Hung Cut and Pressed Glass Five-Arm Chandelier, the stem with curved glass leaves supporting two tiers on octagonal‑cut glass beaded swags, over a canopy with cut spears and beads draped to join each arm, the arms of S‑form, with prism‑hung bobeches and electrified candles, h. 34”, dia. 27”. [800/1200] Illustrated

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204Pair of Georgian Revival Sconces, ca. 1900, E.F. Caldwell & Company, New York, the cartouche‑form backplates molded with scrolls and shell‑form crests, the scrolled arms support candle sockets with beaded edges above acanthus knops, impressed with a “C” in a lozenge, drilled for electricity, h. 18”, w. 11‑1/2”, d. 5”. [800/1200] Illustrated

205George III Faux Bois and Marble-Top Side Table, late 18th century and later, the rectangular verde antico marble top above a conforming frieze with a gilt‑accented fret‑carved design, raised on square legs with gilt banded accents, h. 33‑1/2”, w. 49‑1/4”, d. 25‑1/4”. [1200/1800] Illustrated

206George III Oak and Brass-Mounted Tall Case Clock, ca. 1800, having a paint‑decorated face with various castle and European village scenes, the movement featuring time and strike along with a calendar wheel, h. 90”, w. 20‑1/2”, d. 10‑1/2”. [1800/2500] Illustrated

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207Pair of Italian Pottery Chinoiserie Figures on Stands, of male and female seated Mandarin figures, the inverted stands molded with lattice panels alternating with stippled panels, the male serenading the female on the liu qin, both seated on pillows decorated with applied flowers, stamped “Made in Italy”, h. 56‑3/4”, w. 15”, d. 15”. [1000/1500] Illustrated

208Set of Fourteen Chinese Export Porcelain Dinner Plates, ca. 1800, possibly for the Continental market, the gilt and red diapered border, enhanced with gilt and polychrome sprigging and a red meandering border and with an unusual central decoration of a grisaille feathered hat siting over a cypher, floating in a landscape with buildings in the background, dia. 9‑1/2”. [1200/1800] Illustrated

209Five Pieces of English Porcelain, the pearlware can, fourth quarter 18th century, probably Bristol or Liverpool, decorated with hand‑painted mandarin figures in a landscape, h. 6”, dia. 4”, together with a Prattware pearlware tea bowl and saucer, first quarter 19th century with yellow and blue flowers on a green, orange and brown vine, h. 2‑1/4”, dia. 5‑1/2” and a porcelain grisaille‑decorated English tea bowl and saucer, ca. 1800, hand‑painted with two‑tone grey leaves with a gilt line border, h. 2”, dia. 5‑1/2”. [250/400]

210Set of Seven Chinese Export Porcelain Soup Plates with Eight Matching Dinner Plates, ca. 1800, a fretted mauve border frames a mauve meander and polychrome sprigging on the sides, and a center medallion comprised of a gray, mauve and orange pinwheel set in a wreath of roses, dia. 9”. [900/1200] Illustrated

211Pair of Porcelain Bottle-Form Lamps in the Chinese Imari Style, molded wooden bases support the flat‑sided vases, decorated in the Imari palette with orange and blue, with plum branches and peonies, and with panels outlined in blue, h. 29‑1/2”, dia. 5‑1/2”. [600/900]

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212George III-Style Mahogany Center/Dining Table, the circular top centered by an inlaid burl panel and above a plain frieze, raised on a turned standard to four splayed and reeded legs ending in brass paws on casters, h. 30”, dia. 73”. [1200/1800] Illustrated

213George III-Style Mahogany Chest, late 19th century, the rectangular top with molded edge above a case fitted with two short drawers over three long graduated drawers, flanked to either side by a fluted pilaster, raised on bracket feet, h. 35”, w. 35‑1/2”, d. 19‑1/2”. [500/800]

214Chinese Export Porcelain Garden Seat, 20th century, in high glaze with birds amongst the foliage against a black ground, h. 18”, dia.13”. [150/300]

215Chinoiserie-Decorated Victorian Dressing Glass, mid‑19th century, English, with a black ground and gilt pagodas with Mandarin figures, with a serpentine front and scrolled mirror, h. 16”, w. 14”, d. 6‑1/2”. [200/400]

216Queen Anne-Style Polychrome Occasional Table, in the chinoiserie taste, the scalloped rectangular top above a frieze fitted with a single side drawer, raised on cabriole legs headed by ebonized Orientalist accents and ending in scrolled pad feet, h. 25”, w. 27‑1/2”, d. 20‑1/2”. [1400/1800] Illustrated

217Tole Peinte Table Lamp, first quarter 20th century, probably French, in the shape of a Doric column on a plinth, the black painted column trimmed in brown, with chinoiserie‑style temples, lotus flowers and birds, fitted with a shade, h. 31” [250/400]

218George III Green-Lacquered Hanging Bowfront Corner Cabinet, fourth quarter 18th century, fitted with two cupboard doors, each with elaborate figural oriental scenes, on a molded plinth base, h. 42‑1/2”, w. 27”, d. 18”. [500/800]

219Ebonized and Polychrome Four-Fold Japanned Screen, 19th century, the screen within a delicately rendered floral and foliate band, depicting an all‑over Oriental figural landscape with various exotic structures, the reverse tri‑paneled, each panel with avian and foliate scenes, presented on an ebonized custom electrified stand, of paneled angled form with gilt accents, screen, h. 78”, w. 102”, stand, h. 17”, l. 83”. Provenance: An elegant Fifth Avenue home, New York, New York. [3000/5000] Illustrated

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220Queen Anne-Style Ebonized Looking Glass, the domed plate within a molded frame with foliate and geometric gilt and polychrome patterns in the chinoiserie taste, h. 37‑1/2”, w. 20”. [300/500]

221Pair of Standing Figures in a Full Suite of Armor, early 20th century, each gripping a facsimile of a medieval weapon, and each standing on a square wooden pedestal, h. 83‑1/2”, w. 23”, d. 23”. [2000/4000] Illustrated

222Suite of Four Hand-Colored Engraved Maps, by Homann Heirs, published Nuremberg, 1736/1750, of various princedoms of Silesia (Poland), sight 24” x 34”. All glazed and framed. [600/900]

223Suite of Four Hand-Colored Engraved Maps, of various European countries, the maps dating between 1799‑1803, belonging to a never finished project for the atlas of the so called Societa Calcograhia, a collaboration between two major Venetian publishers of the 18th century, Antonio Zatta and Giuseppe Antonio Remondini, sight 21” x 29‑1/2” and 30” x 22”. Each glazed and framed. [600/900]

224After Jean-Francois Neufforge (Flemish, 1714-1791), collection of four architectural engravings from Recueil elementaire d’architecture, sight each 14” x 9”. Presented in pairs in two frames. [400/700]

225Continental School (Fourth Quarter 18th Century), “Portrait of a Officer in a Fur‑Trimmed Hussar Jacket”, oil on canvas, unsigned, 27‑1/2” x 20”. Framed. [500/800] Illustrated

226George III-Style Mahogany Dining Table, the rounded rectangular top banded and raised on two pedestals, each with a foliate‑carved vasiform standard to three splayed fluted legs headed by foliate carving and ending in brass paws on casters, with two 22” leaves, a felt‑covered custom table protector included, h. 30”, d. 46”, l. 76”, ext. l. 120”. [1800/2500] Illustrated

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227George III Mahogany Side Table, late 18th century, the rounded rectangular top above a frieze fitted with a single drawer, over a shaped apron, raised on square legs, h. 28”, w. 30”, d. 19‑1/4”. [300/500]

228English Regency Tortoiseshell Tea Caddy, first quarter 19th century, of block front design, sitting on maple bun feet with a conforming base molding, the front lock set with a silver escutcheon, the ivory trimmed lid set with a decorative silver plate echoing the shape of the box, the interior retaining its knobbed tortoise lids and remnants of the original paktong lining, h. 5‑1/4”, w. 8”, d. 5‑1/4”. [1800/2500] Illustrated

229George III Inlaid Satinwood Tea Caddy, ca. 1800, English, the octagonal caddy outlined in ebony stringing with a barber pole inlaid oval on the facade under the keyhole escutcheon, the top beautifully inlaid with a sand‑shaded conch shell in an oval panel, the foil‑lined interior retaining its lid, h. 4‑1/2”, w. 5‑1/2”, d. 3‑3/4”. [300/500]

230Tortoiseshell and Ivory Whist Case, fourth quarter 19th century, London, the rectangular case mounted with a spring‑loaded catch, the rounded edge cover mounted with an oval silver cartouche, signed “Lund Marker, 56 & 56 Cornhill, London” on the ivory lid trim, the fitted interior retaining two rosewood and ivory labeled “Whist” markers, with two packs of Victorian playing cards, signed “de la Rue & Co., London”, the backs decorated in the Moorish fashion with a Moorish cartouche holding flowers on a gilt ground on a field of gilt‑on‑green foliate decoration with pink edges, h. 3‑1/4”, w. 4‑3/4”, d. 3‑1/2”. [700/1000]

231Continental Ebony, Gilt-Bronze and Mahogany Magnifying Glass, ca. 1900, the oval end cap decorated with gilt‑bronze vines on an ebony field with engraved end panels, the handle sides mahogany with inlaid gilt‑bronze bordering the ebonized end, glass mounted in a brass bezel, dia. 4”, l. 10‑3/4”. [250/400]

232George III-Style Mahogany Gainsborough Chair, early 20th century, the padded rectangular back with a shaped top, joined by padded out‑scrolled arms to the like seat, raised on chamfered legs with rope carving, h. 41”. [1500/2500]

233George III-Style Mahogany Gainsborough Chair, in the Chinese Chippendale taste, the domed and padded rectangular back joined by padded fret‑carved arms to the like seat, raised on like‑carved square legs joined by a pierced H‑form stretcher, h. 42”. [500/800] Illustrated

234Queen Anne-Style Mahogany Wing Chair, late 19th century, the padded back with a back‑scrolled crest, joined by shaped sides and scrolled arms to the cushioned seat, raised on cabriole legs joined by an H‑form stretcher and ending in pad feet, h. 44”. [300/500]

235George III-Style Mahogany Wing Chair, 20th century, the domed and padded back joined by shaped sides and outscrolled arms to the padded seat, raised on chamfered square legs joined by an H‑form stretcher, h. 41” [200/400]

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236George III-Style Mahogany Wing Chair, early 20th century, the padded rectangular back and shaped sides joined by outscrolled arms to the cushioned seat, raised on chamfered square legs, h. 38”. [200/400]

237Hugh Boycott-Brown (British, 1909-1990),”Square Rigger in Stormy Weather”, oil on canvas, signed lower right, 24” x 30”. Attractively framed. [800/1200] Illustrated

238J. Hamilton Dukes (British, 19th/20th Century), “Choppy Seas”, oil on canvas, signed lower right, 24 1/4” x 20”. Framed. [300/500]

239British School (Fourth Quarter 19th Century), “Ships on a Stormy Sea”, oil on canvas, unsigned, 36” x 60”. Framed. [600/900] Illustrated

240J.A.C. Pettitt (British, 19th/20th Century),”Rough Weather in the North Sea”, 1910, signed lower left, titled lower right, signed, titled, and dated en verso of canvas, 20” x 30 1/4”. Framed. Provenance: Sold in these Galleries June, 3, 2006 as lot 429. [300/500]

241Attributed to David Ericson (American, 1869/70-1946), “Sunset Sail”, oil on panel, unsigned, verso inscribed "Address of: David Ericson, Zence, A.N. Poste Restante, France” and “this picture is the property of Mrs. Gladys M. Congalton, Duluth, Minn.”, 12” x 10”. Presented in a Rococo‑style gilwood frame. [800/1200]

242Arup Jensen (Danish, 1906-1956), “Copenhagen Harbor”, oil on canvas, signed lower right “Arup Jensen”, 32” x47”. Framed. [600/900]

243Robert Stewart (British, 20th Century), “Mountainous Lake With Boaters”, oil on canvas, signed lower right “Robt. Stewart”, 18” x 23”. Presented in a period giltwood and gesso frame. [300/500]

244Irish George III-Style Twelve-Light Cut and Pressed Glass Chandelier, the stem and bowls in diamond decor, the canopy hung with shaped pendalogues, with two tiers of S‑form arms, each hung with like‑pendalogues and joined by swags of octagonal faceted beads, h. 25”, dia. 33‑1/2”. [700/1000] Illustrated

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245Victorian Mahogany Tripod Table, mid‑19th century, in the George III taste, the tilting dished floriform top on a birdcage support, raised on a turned and spiral‑ribbed standard to three splayed cabriole legs ending in pad feet, h. 27‑1/2”, dia. 25”. [400/700] Illustrated

246Fruitwood Architectural Model of a Spiral Staircase, the stairs with a balustered rail and raised on a circular base, h. 41‑1/4”, dia. 18‑1/2”. [1000/1500] Illustrated

247Pair of Adams-Style Giltwood Sconces of Italian Origin, the leaf‑carved and turned backplate mounted with interlaced bands of bellflowers surrounding gilt pateras and leaves, the scrolled, leaf‑carved candle branches mounted with swags of bellflowers, ornamented with gilt‑metal leaves and terminate in turned giltwood candle cups, h. 43‑3/4”, w. 15‑1/2”, d. 6”. [800/1200] Illustrated

248George III-Style Giltwood Looking Glass, in the Adam taste, the oval plate surrounded by a scrolling avian crest and within an annulated and gadroon‑carved frame, each side issuing a foliate patterned candle arm, h. 41‑1/2”, w. 34”. [500/800] Illustrated

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249George III-Style Mahogany Drum Table, the circular top with an inset gilt‑tooled leather surface, above a conforming case fitted with four drawers, raised on a turned and spiral‑ribbed standard to four splayed and reeded legs ending in brass paws, h. 28”, dia. 36‑1/2”. [400/700]

250Pair of George III-Style Mahogany Demi-Lune Side Tables, early 20th century, each with a demi‑lune top above an inlaid edge and plain frieze, raised on square tapering legs headed by bellflower inlays, h. 30‑1/4”, w. 47‑1/2”, d. 22‑1/2”. [600/900]

251Pair of George III-Style Mahogany Torcheres, each with a circular dished top raised on a graduated reeded standard with wheat sheaf carving, raised on four splayed cabriole legs headed by wheat sheaf carving and ending in pad feet, h. 62”, dia. 31”. [1400/1800] Illustrated

252George III-Style Mahogany Tripod Table, 19th century, the tilting square top raised on a turned baluster‑form standard to three splayed cabriole legs ending in pad feet, h. 28”, w. 20‑1/2”, d. 19”. [200/400]

253Assembled Set of Twelve Chinese Export Green Fitzhugh Porcelain Dessert Plates, fourth quarter 19th century, the moth‑bordered plates having a central decoration with a medallion variant surrounded by four panels of peonies, dia. 8”. [700/1000] Illustrated

254Assembled Set of Fourteen Chinese Export Green Fitzhugh Porcelain Dinner Plates, ca. 1900, all with a center medallion and four panels of decoration, each exhibiting slight differences in size, thickness, slope of sides and color, dia. 9‑1/2”. [900/1200] Illustrated

255Chinese Export Green Fitzhugh Porcelain Platter, fourth quarter 19th century, the moth‑bordered platter having a central decoration with a medallion variant surrounded by four panels of peonies, l. 14”, w. 11”. [900/1200] Illustrated

256Pair of Chinese Export Green Fitzhugh Porcelain Dinner Plates, fourth quarter 19th century, the moth‑bordered plates having a central medallion variant surrounded by four panels of peonies, dia. 10”. [300/500] Illustrated

257Pair of Chinese Export Green Fitzhugh Porcelain Dishes, fourth quarter 19th century, the moth‑bordered dishes having a variant of the central medallion surrounded by four panels of peonies, dia. 9‑1/2”. [500/800] Illustrated

258Ginori Porcelain and Gilt-Bronze Ice Bucket, made in the style of an 18th century wine cooler, ornamented with scattered polychrome sprigs of various fruits and flowers, trimmed with a blue shell‑edged border, a gilt‑bronze engine‑turned ring seals the insulated liner, the lid decorated to match with a fruit form knop, marked: “Richard Ginori Pittoria Italy”, h. 6‑1/4”, dia. 8”. [450/700]

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259“Dr. Wall” Worcester Sauce Boat, third quarter 18th century, English, marked with a hand‑painted open crescent mark, and with a molded shell edge border and shell‑molded panels, decorated with hand‑painted Chinese figures on one side and floral painting on the other side and on the interior, h. 2‑1/4”, w. 2‑3/4”, l. 5”. [125/250]

260George III-Style Mahogany Tea Table, the rectangular top with a full pierced gallery above a plain frieze, raised on chamfered square legs joined by a scrolling domed X‑form stretcher, h. 27‑1/2”, w. 32”, d. 21”. [800/1200]

261Pair of Chinese Chippendale-Style Sidechairs, of large proportions, each with a domed crest above a pierced fret‑work patterned back, the cushioned wooden seat raised on pierced square legs joined by an H‑form stretcher, h. 43‑1/2”. [300/500]

262Good Pair of George III Sterling Silver Baronial Tureens, hallmarked London, 1786‑1787, by Edward Furnell, each of navette form with upswept ends, with gadrooned rim and outscrolled acanthus frond handles, the steeply domed lid with vasiform finial, the whole raised on an oval foot with gadrooned banding, engraved on the body and lid with the arms of Bridgeman quartering Newport, Wilbraham and Mathews, with Simpson in pretence, h. 10”, l. 14‑3/4”, w. 7‑3/4”, 114.20 total t. oz. [12000/18000] Illustrated

The elaborate arms here are those of Henry Bridgeman, First Baron Bradford (1725‑1800). The quarterings are those of his four grandparents, Sir John Bridgeman, 3rd Bt., and his wife Ursula Mathews, and Richard Newport, 2nd Earl Bradford, and his wife Mary Wilbraham. The arms in pretence are those of his wife, Elisabeth Simpson, daughter and heir of the Rev. John Simpson of Stoke and Balworth, whom he married on July 12, 1755. He was educated at Queen’s College Cambridge, and succeeded his father, Sir Orlando Bridgeman, as 4th Baronet in 1764. He was awarded a Doctor of Laws by Cambridge in 1769 and a Doctor of Civil Laws by Oxford in 1793. He served for 20 years as M.P. for Ludlow and Wenlock, and was elevated to the peerage as the 1st Baron Bradford upon his retirement in 1794. He also served as clerk of the household to George, Prince of Wales until the Prince’s accession as George III in 1760. Baron Bradford died in London on June 5, 1800.

263George III Sterling Silver Sugar Basket, hallmarked London, 1777‑1778, by Burrage Davenport, the ovoid body reticulated with horizontal latticework with wrigglework ovolo banding, raised on a domed foot en suite, with twist swing handle and beaded edging, fitted with a conforming cobalt glass liner, h. 4‑1/4” (6‑1/2” with handle), dia. 4‑1/4”, 5.40 t. oz. (excluding liner). [600/900]

264Pair of George II Sterling Silver Tablespoons, hallmarked London, 1751‑1752, by John Gorham, in the traditional “Hanoverian” pattern, engraved with a crest of a tower, l. 8”, 4.18 total t. oz. [200/400]

265Four English and American Sterling and Silverplate Sugar Tongs, 18th to 20th century, all bow‑style, including sterling pieces a late Georgian example by Stephen Adams, London, with beaded edge and leaf grips, engraved with a crest of a greyhound statant, l. 5‑1/2”, a Gorham “Paris” example, l. 5‑1/4”, and a Reed & Barton “Columbia” example, monogrammed “R”, l. 4”, and an Edwardian silverplate example by H. Fisher & Co., Sheffield, in the Louis XV taste, l. 5”, 3.92 total t. oz. (sterling pieces only). [250/400]

266Three European Sterling and Silverplate Serving Pieces, including a late Georgian “Old English” potato fork, hallmarked London, 1803‑1804, by Solomon Hougham, engraved with a crest of a popinjay displayed, l. 11‑3/8”, 3.21 t. oz., a silverplate “Old English” platter spoon, first quarter 20th century, by Mappin Bros., Sheffield, l. 11‑1/4”, and an unmarked continental silverplate “Fiddle Thread” platter spoon, first quarter 20th century, l. 10‑1/2”. [125/250]

267Pair of Late George III Sterling Silver “Berry” Spoons, hallmarked London, 1801‑1802, by George Wintle, in the traditional “Old English” pattern, later decorated with chased foliage on the handles and repousse fruit on the bowls, the bowls gilt, l. 9”, 3.79 t. oz. [100/200]

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268Good George III Sterling Silver Centerpiece, hallmarked London, 1791‑1792, by William Holmes, of oval form, the frame decorated with a band of chased Vi truvian scrolls with beaded edges, raised on four legs, each comprised of a beautifully‑detailed dolphin entwined among seaweed, the seaweed extending to form a peaked stretcher, all raised on four cavetto plinth feet, fitted with a later glass bowl with diamond‑cut panels, h.9‑1/4”, l. 13‑1/4”, w. 8‑3/4”, 52.92 t. oz. (excluding bowl). [8000/12000] Illustrated

269Pair of George IV Sterling Silver Servers, hallmarked London, 1821‑1823, by William Edwards, in the traditional “Fiddle” pattern, including a platter spoon and potato fork, monogrammed “HSB”, l. 11‑1/2”, 10.09 total t. oz. [300/500]

270William IV Scottish Sterling Silver Fish Slice, hallmarked Glasgow, 1833‑1834, by George White, in the traditional “Fiddle” pattern, the scimitar‑shaped blade with pierced and wrigglework fish, monogrammed “S”, l. 11‑3/4”, 4.82 t. oz. [600/900]

271Good Pair of Regency Old Sheffield Plate Wine Coolers, first quarter 19th century, by R. Gainsforth, Sheffield, each of campana form, with a well‑detailed rocaille rim and band, with opposing coquille handles, raised on a domed foot en suite, complete with collar and liner, h. 9‑1/2”, dia. 8‑1/4”, w. 9‑1/4”. [600/900] Illustrated

272Victorian Sterling Silver Toast Rack, hallmarked London, 1849‑1850, by Edward, John & William Barnard, the rounded rectangular frame with six slots formed by seven wirework partitions, with a central addorsed scroll handle, the whole raised on scroll feet, monogrammed on the handle “ADM”, l. 6‑1/4”, w. 4‑1/4”, h. 5”, 7.71 t. oz. [800/1200]

273Victorian Sterling Silver-Mounted Etched Glass Claret Jug, hallmarked Birmingham, 1867‑1868, by John Clemmons, the ovoid glass body etched with wide bands of roses and gadrooning and above a circular star‑cut foot, the slender neck clad in a silver mount with embossed “vintage” edging and decorated with a wrigglework diaper pattern, the hinged lid with a cast lion sejant finial to a strap‑work opening mechanism inside the grapevine crested arched handle, h. 12‑3/4”, w. 5‑1/2”. [2500/4000] Illustrated

274Two Late Victorian Silverplate Crumbers, fourth quarter 19th century, Sheffield, the first by Biddon Bros., in the traditional “Fiddle” pattern, the blade engraved with leafy scrolls centering a crest of a griffin’s head couped, l. 11‑3/4”, the second unmarked but with sterling ferrules by S. Biggin & Sons, with shaped ivory handle and rocaille finial joined by a beaded acanthus boss to the a blade engraved with an ivy‑ and fern‑mantled oval cartouche, l.14‑1/4”. [100/200]

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275Three Cheese Scoops, 19th century, including an American coin (.900) silver scoop in the “Leaf” (also “Shell”) pattern by John Polhamus, Albert Coles et al., l. 9”, 2.37 t. oz., and two Victorian silverplate examples with ivory handles, one with sliding push, l. 10‑3/4”, one with carved handle, l. 9‑3/4”, [150/300]

276Elkington & Co. Silverplate and Ostrich Egg Centerpiece, 1873, Birmingham, in the form of a pair of palm trees above a rocky crag, supporting an ostrich egg, h. 14”. [250/400] Illustrated

277Late Victorian Silverplate Kettle-on-Stand, fourth quarter 19th century, by James Dixon & Sons, Sheffield, the lobed, inverted pear‑shaped body decorated with engraved flowers and rococo scrolls, with a paneled spout, a hinged, domed lid with floriform finial and an ivory‑insulated, scroll‑mounted swing stirrup handle, fixed with two chained pegs to a reticulated ogee‑domed frame raised on three openwork scroll legs and trefid feet joined by a wirework stretcher to a spirit burner, h. 13‑3/4” (17” with handle), l. 12”, w. 8”. [250/400]

278Early Victorian Old Sheffield Plate Kettle-on-Stand, second quarter 19th century, of inverted pear form, the domed and hinged lid surrounded by shell‑and‑scroll banding, with short, gadrooned “gooseneck” spout, scroll‑mounted carved ivory swing handle and raised on four floral‑crested scroll feet, all above a circular stand en suite, centering a spirit burner and raised on scrolling legs with palmette feet, overall h. 11” (14‑1/4” with handle), l. 11‑1/4”, w. 7‑1/2”. [200/400]

279Seven Sterling Silver Salt Spoons, 19th/20th century, including a pair of Regency “Old English” salt shovels, hallmarked London, 1810‑1811, by Thomas Wilkes Barber, with engraved crest, l. 4‑1/4”, a near pair of Victorian “Fiddle” salt spoons, monogrammed “B”, hallmarked London, one 1856‑1857, by Hayne & Carter, l. 4‑1/4”, the other 1858‑1859, by James Beebe, l. 4”, and three Tiffany & Co. “Rat Tail” salt spoons with gilt bowls, l. 2‑3/4”, 2.37 total t. oz. [100/200]

280Pair of Victorian Sterling Silver Platter Spoons, hallmarked London, 1860‑1861, by George W. Adams (Chawner & Co.), in the traditional “Fiddle Thread and Shell” pattern with diamond heel, engraved with a crest of a cubit arm with dagger erect and the monogram “ABD”, all in a navette, l. 12”, 11.89 total t. oz. [300/500]

281Victorian Sterling Silver Vegetable Dish, hallmarked London, 1857‑1858, by Robert Garrard, of squat cylindrical form with rounded base and opposing addorsed acanthus handles, with detachable liner, engraved on the body and the liner with a crest: “out of a ducal coronet, an arm in armour embowed, holding a sword,” h. 3‑1/4”, dia. 7‑1/2”, w. 10‑1/4”.42.63 total t. oz. [1200/1800]

282Late Victorian Sterling Silver Sugar Bowl, hallmarked Birmingham, 1897‑1898, by Henry Matthews, of broad oval form, the body decorated with embossed rococo scrolls, the shaped rim with applied reed‑and‑ribbon edge and handles, the whole raised on four openwork scrolling feet, the interior gilt, h. 3‑1/4”, l. 6”, w. 3‑3/4”, 6.24 t. oz. [150/300]

283Victorian Silverplate Vegetable Dish, 1869, by Elkington & Co., Birmingham, of rounded rectangular form, with three compartments and egg‑and‑dart edging, engraved with a baronial crown on one interior side and the dual crests of Lindsay of Crawford and Balcarres on the other, l. 16‑1/2”, w. 7”. [125/250]

The distinctive dual crest and baronial crown suggest that this piece belonged to one of the Barons Wigan, a courtesy title used by the eldest son of the Earl of Crawford and Balcarres. Given the date of this piece, the likeliest candidate is the astronomer James Ludovic Lindsay (1847‑1913), who was permitted to use the title upon his father’s accession to the earldoms in 1869. Lindsay, founder of the Royal Observatory in Edinburgh and the Bibliotheca Lindesiana at Haigh Hall, himself inherited the earldoms in 1880.

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284Anglo-American Silverplate Supper Platter, fourth quarter 19th century, of rounded rectangular form, with gadrooned rim and integral rocaille handles, the plateau with three wells, one for a roast and two for vegetables, the whole raised on four leaf‑crested scroll feet, l. 25‑3/4”, w. 15‑1/4”. [200/400]

285Victorian Silverplate Hot Water Urn, fourth quarter 19th century, of bublous oval form, with milled laurel banding and opposing palmette‑mounted crest handles, the fitted domed lid with flower basket finial, all raised on four reeded flat columns crested by lion’s masques and ending in paw feet, above a rounded concave rectangular plinth centering a spherical burner, raised on four spherical feet, the body with a Regency sterling silver cartouche (applied later) hallmarked London, 1810‑1811, by Thomas Hayter, with the arms and motto of Gardener of Wallingham, h. [300/500] Illustrated

286George V Silverplate Drinks Tray, second quarter 20th century, of rounded rectangular form, with reticulated gallery and opposing shell‑crested stirrup handles, the plateau engraved with a shaped cartouche within a band of trailing grape vines, the whole raised on flattened spherical feet, l. 10‑1/2”, w. 18‑1/4”. [125/250]

287Edwardian Silverplate Epergne, first quarter 20th century, in the neoclassical taste, the circular cavetto frame with gadrooned banding and raised on three flat column legs with lion’s paw feet, joined by a rounded, concave square stretcher fitted with a short standard with four scrolling, reeded arms, each terminating in am acanthus frond‑supported gadrooned receptacle, fitted with one large and four smaller molded glass bowls of later date, h. 14‑1/2”, w. 23‑1/4”, d. 18‑1/2”. [1400/1800] Illustrated

288Victorian Scottish Silverplate Inkstand, fourth quarter 19th century, by Hamilton, Crichton & Co., Edinburgh, of oval form, with central columnar taperstand raised above three lion’s masque‑crested, haunched paw feet, flanked by a pair of cane‑cut ovoid ink and water wells with hinged silverplate caps, between to pen trays engraved with circular cartouches and ferns, the frame with leaf‑and‑dart and gadrooned banding, raised on four flattened spherical feet, h. 6‑1/4”, l. 11‑5/8”, w. 8‑7/8”. [200/400]

289Edwardian Silverplate Tray, first quarter 20th century, by Harrison Brothers & Howson, Sheffield, of oval form with pierced gallery and integral handles, the plateau with concentric flat‑embossed scrolling bands, raised on four flattened spherical feet, h. 2‑1/8”, w. 20”, d. 13‑1/2”. [125/250]

290Edwardian Silverplate Tray, first quarter 20th century, of oval form, with pierced rim and applied “vintage” rim, with opposing handles en suite, the plateau flat‑embossed with a wide floral rococo band, l. 28‑1/2”, w. 17‑1/2”. [500/800]

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291Three Edwardian Silverplate Tablespoons, first quarter 20th century, by Cooper Bros., Sheffield, in the traditional “Old English” pattern, l. 8‑1/4”. [40/70]

292Edwardian Silverplate Vegetable Dish, first quarter 20th century, of squat cylindrical form with rounded base and opposing addorsed acanthus scroll‑mounted turned ivory handles, the cavetto‑domed lid with gadrooned medallion and ivory “pineapple” finial and opening to reveal the fitted liner, the whole with narrow gadrooned edging, h. 6‑1/2”, dia. 8‑3/4”, w. 11‑1/4”. [150/300]

293George V Sterling Silver Epergne, hallmarked Sheffield, 1912‑1913, by Martin, Hall & Co., comprising an oval pierced cavetto frame raised by four scrolling arms above a domed serpentine‑lobed base with pierced lattice banding and four acanthus scroll feet, the arms each with a dangling basket with lobed strap handle and reticulated en suite, the central frame fitted with an associated pierced basket (hallmarked Birmingham, 1905‑1906, by Henry Matthews), h. 10‑3/4”, l. 17‑1/4”, w. 16”, 84.88 total t. oz. [7000/10000] Illustrated

294George V Three-Piece Sterling Silver Coffee Service, hallmarked London, 1933‑1934, by Pairpoint Brothers, including a baluster‑form coffeepot, h. 9‑1/4”, and a squat ovoid open sugar bowl, dia. 5”, and cream jug, dia. 3‑3/4”, each engraved on the shoulder with a band of rococo shells and scrolls on an imbricate ground and raised on a molded foot‑ring, the coffeepot with “duck’s beak” spout, hinged, domed lid with figural melon finial and ivory‑insulated crested handle, the sugar bowl and creamer with acanthus‑crested scroll handle(s), 41.66 total t. oz. [1200/1800] Illustrated

295Edwardian Silverplate Entree Dish, first quarter 20th century, by Ellis‑Barker, Birmingham, of rounded rectangular form, with a wide rocaille rim in the William IV manner, with fitted lid and the lyrifom finial handle detaching permitting the lid to be inverted for use as a liner or second dish, h. 6‑3/4”, l. 12”, w. 8‑3/4”. [300/500]

296Edwardian Silverplate Drinks Tray, first quarter 20th century, of rounded rectangular form with reticulated gallery and gadrooned and beaded edging, l. 12”, w. 6”. [50/80]

297Pair of English Sterling Silver Candlesticks, hallmarked London, 1956‑1957, by Richard Comyns, in the early Georgian taste, each with a baluster standard above a cavetto‑domed foot and surmounted by a cannon‑form nozzle, monogrammed on the base, “CS”, h. 10”, dia. 5‑1/4”, weighted. [1800/2500] Illustrated

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298English Sterling Silver Creamer and Sugar Bowl, hallmarked London, 1966‑1970, by Richard Comyns, retailed by Cartier, in the George I taste, each octagonally paneled, the creamer of baluster shape with crested double‑scroll handle, h. 3‑1/2”, l. 4‑1/2”, the sugar bowl with a fitted lid inverting for use as a spoon/teaball tray, dia. 4”, 16.14 total t. oz. [300/500] Illustrated

299Anglo-American Four-Piece Sterling Silver Presentation Coffee Service, dated 1935, including a George V three‑piece coffee set in the George I taste, hallmarked Birmingham 1934‑1935, by Ellis & Co. Ltd., including a coffeepot with scrolling ivory handle and conical spout, h. 9”, an open sugar bowl with acanthus crested handles, dia. 3‑3/4”, and a cream jug with pointed spout and crested handle, dia. 3‑1/4”, each of conical form with molded base and rim, and a square “Chippendale” tray by Currier & Roby, New York, w. 14‑1/4”, each piece monogrammed “L”, the underside of the tray engraved with a presentation inscription “to R.H. Lewis / from the Rund Manufacturing Company”, 82.17 total t. oz. [2000/4000] Illustrated

300English Six-Piece Sterling Silver Vanity Set, hallmarked Birmingham, 1954‑1955, by Atkin Brothers, including a hand mirror, l. 11”, a pair of handled brushes, l. 9”, a pair of clothes brushes, l. 6”, and a mitre‑cut glass powder jar, dia. 3‑3/4”, decorated with a guilloche ground and engraved scrolling border. [400/700] Illustrated

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301Good English Sterling Silver Triptych Vanity Mirror, hallmarked Birmingham, 1954‑1955, by Atkin Brothers, with a large central panel, 24” x 17”, and two hinged flanking panels, 21‑3/4” x 8‑1/2”, each of rectangular form with serpentine‑canted crest, with narrow engraved foliate edging and conforming beveled mirrored plate, the frame and easel stand of ebonized wood. [7000/10000] Illustrated

302English Sterling Silver Mirror, hallmarked Sheffield, 200, by Carr’s of Sheffield, of rectangular form, heavily embossed with rococo scrolls, the crested top centering a cartouche, with beveled mirrored plate and indigo velvet‑covered wood frame with easel support, h. 16‑1/2”, w. 10‑1/2”. [300/500]

303Pair of Continental Satyr-Form Wood and Composition Wall Brackets, fourth quarter 19th century, decorated in contrasting ebonizing and gilt, carved goat‑footed and horned satyrs support the half round shelves, h. 21‑1/2”, w. 13‑3/4”, d. 12‑3/4”. [4500/7000] Illustrated

304Continental Polychrome Wood Three-Fold Screen, early 20th century, each fold of domed form with a floral polychrome accented frame, the central embossed panel with oval portrait medallions after various renaissance masters, within a field of foliate scrolling and fleur‑de‑lis patterns, raised on shaped feet, h. 60‑1/2”, w. 54”. [500/800]

305Continental Mahogany Center Table, 20th century, the rounded rectangular top with rosewood banding and inlaid brass stringing, above a like‑banded frieze, raised on scrolling X‑form end supports, joined by a turned and bulbous stretcher and ending in casters, h. 30”, w. 71”, d. 35”. [2000/4000]

306Italian Walnut Cupboard, 19th century, the rectangular top with molded edge above a dentillated frieze and case fitted with a single drawer over two paneled cupboard doors, flanked to either side by paneled uprights, raised on bracket feet, h. 36‑1/4”, w. 31‑1/4”, d. 13‑1/2”. [1000/1500] Illustrated

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307After Luigi Rossini (Italian, 1790-1857), “Veduta dell’ Arco di Settimo” and “Veduta del Campidoglio Romano”, pair of black and white engravings, sight 15” x 22”. Both glazed , handsomely matted, and framed. [700/1000] Illustrated

308Carved and Painted Polychrome Figure of Zeus, ca. 1800, Continental, depicted standing on a rocky knoll, draped and holding a symbol of fire, h. 23‑1/2”, w. 14‑3/4”, d. 10‑1/2”. [500/800]

309Large Continental Gilt-Brass Hall Lantern, late 19th century, the circular front holder, now fitted with three electric sockets and featuring winged angel heads along the rim, h. 38”, dia. 18”. [400/700]

310Iberian Carved Walnut Hall Chair, third quarter 19th century, in the Renaissance taste, the rectangular padded back flanked to either side by lion finials and caryatid figures, joined to the padded seat by downswept arms ending in ram’s‑head hand rests, the apron with foliate carvings centered by a satyr, joined to the box stretcher by fluted and bulbous circular uprights, raised on turned bun feet, the whole upholstered in period embroidered velvet, h. 42‑1/2”. [200/400] Illustrated

311Pair of Continental Neoclassical-Style Mahogany Stools, early 20th century, each with a padded rectangular top raised on X‑form end supports with scrolling foliate and acanthine‑carved accents, ending in well carved ball‑and‑claw feet, h. 18”, w. 23‑1/2”, d. 20”. [1400/1800] Illustrated

312Giltwood Coat of Arms, depicting a variation of the Hapsburg eagle, the central shield with a silver gilt fluted surround, with a raised center depicting a green plant, a giltwood and silver gilt crown serves as a finial, h. 23”, w. 16”. [600/900] Illustrated

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313Italian Walnut Savanarola Chair, 18th century, the fabric back joined to the like slung seat by scrolling downswept arms, raised on an X‑form folding base ending in fluted runner feet, h. 38”. [1000/1500]

314Italian Tin-Glazed Tureen and Stand in the Rococo Taste, the serpentine undertray decorated with hand‑painted polychrome fruit, holding a conforming compote with pierced handles, the matching lid with a putto serving as a knop, h. 13‑1/2”, w. 15”, d. 13”. [150/300]

315Continental Mahogany Jardiniere, early 20th century, of rectangular form, the galleried upper section above a paneled lower section with decorative guilloche banding, retains the copper liner, raised on tapering turned circular legs, h. 29”, w. 42‑1/2”, d. 19‑1/2”. [400/700]

316Pair of Unusual Cold-Painted Brass Three-Light Sconces, first quarter 20th century, probably Continental, the cartouche‑shaped backplate trimmed with molded polychrome fruit, hung with tassels and trimmed with strapwork, a shell serves as the finial, three candle arms fitted with art nouveau‑style drip pans and candle cups in a copper finish, fitted for electricity, h. 26”, w. 13‑1/2”, d. 6‑3/4”. [800/1200]

317Iberian Oak Cabinet, 19th century, the molded cornice above a case fitted with three banks of five drawers, all with molded edges and inlaid with scrolls and mythical beasts, raised on a molded plinth, h. 26”, w. 27”, d. 15‑3/4”. [1500/2500] Illustrated

318Patinated Metal Bust of Dante, ca. 1900, Continental, supported by a cove‑molded green marble base, the bust depicts Dante in his usual stoic pose, marked Dan tes on either side of his neck, h. 15”, w. 17‑1/2”, d. 11”. [1400/1800] Illustrated

319Green Marble Grand Tour Souvenir Oil Lamp, carved to imitate the early oil lamps excavated from sites such as Pompeii, sitting on paw feet with a reeded bowl, having a leaf‑carved rim and matching lid, and a pair of leaf‑carved wick holders, h. 4”, w. 5‑3/4”, d. 7”. [250/400]

320Italian Mixed Metals and Bronze Lawn Ornament, with the label “1902 Sab de Angelus & Fils”, for the bronze foundry, Sabatino de Angelis & Fils, Naples, with three scroll arms joined to a square standard capped by a female mask, on a rectilinear base with a bowed front, the base with copper serpentine lines amongst silver metal leaves and berries, on paw feet, h. 46”, w. 23”, d. 25”. [2000/4000] Illustrated

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323Pair of Flemish Fruitwood Fauteuils a la Reine, 19th century, each with a tall padded rectangular back joined by downswept double‑scrolled arms to the padded seat, raised on bulbous legs joined by a shaped X‑form stretcher and ending in block feet, upholstered in period needlework of scenes of a fanciful landscape, h. 49”. [1000/1500] Illustrated

324Large Italian Wrought-Iron Eight-Light Chandelier, the twisted rods joined to scrolling arms with foliate mounts, h. 46”, dia. 41‑1/4”. [700/1000] Illustrated

324

321Rococo-Style Tinted Silver Gilt Venetian Mirror, a leaf‑molded drop serves as the base of the pierced, scroll‑molded frame, which surrounds the shield‑shaped mirror set with an old mercury plate, molded leaves frame the plate, which is crowned with a molded swan’s neck pediment and a spray of carved leaves, h. 22”, w. 16”. [500/800] Illustrated

322Pair of Bronze Pricket Sticks, fourth quarter 19th century, scrolled feet support the tripartite bases with scrolled edges on a stippled ground, baluster‑turned stems molded to match, with leaf‑molded drip pans, h. 9”, dia. 3”. [300/500] Illustrated

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325Pair of Wrought-Iron and Gilt-Metal-Mounted Three-Light Torcheres, first quarter 20th century, each with a trio of electric candles on gilt foliate‑modeled bobeches, the standard with a central rod amidst three shaped wrought straps joined to the stem with floral roundels and stamps, on a wooden base with ball feet, h. 65‑1/2”, dia. 16”. [400/700]

326After Julius Schiller (German, 1580-1627), two hand‑colored engraved celestial maps from the Coelum Stellatum Christianum, published in 1627, depicting Crown of Thorns and the Holy Sepulchre, sight 9‑3/4” x 10”. Both glazed and framed. Provenance: Bowen & Bossier, Inc. Antiques, Shreveport, Louisiana. [200/400] Illustrated

327Pair of Italian Giltwood Altar Sticks, second quarter 19th century, the paw feet support tripartite bases decorated with incised leaves, and cross‑hatched panels, reeded bases support leaf‑molded and tapered standards, with leaf‑molded capitals surmounted with tole candle cups, h. 25‑1/4”. [250/400] Illustrated

328Pair of Brass Altar Sticks, mid‑19th century, paw feet support the tripartite bases with scrolled corners and cartouches depicting Jesus, Mary and Joseph, a turned base supports the fluted standards, surmounted with fluted flared drip pans, h. 31‑1/2”, w. 8‑1/2”, d. 8‑1/2”. [150/300]

329Continental Figural Reliquary, fourth quarter 18th century, probably depicting St. Anthony of Padua, the octagonal base with an oval inset mirror in the front, figure dressed in brown and red robes, holding a book in one hand, the other extended, h. 18‑1/4”, w. 11‑1/2”, d. 9‑3/4”. [1200/1800] Illustrated

330Ecclesiastical Giltwood Tabernacle Canopy, third quarter 18th century, Continental, the bonnet top form with a scrolled pediment supporting an oval scroll‑framed cartouche inscribed “JHS” with a cross, ball finials decorate each side, h. 12‑1/4”, w. 25‑1/4”, d. 13”. [400/700] Illustrated

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331Painted, Carved and Gilded Ecclesiastical Figure of the Virgin Mary, 19th century, probably Italian, depicted kneeling with a painted and gilded robe, her arms crossed and her face downcast in reflection, h. 15”. [400/700] Illustrated

332Latin American Santos Figure of Mary and the Christ Child, 18th century, the carved wood painted figure with polychrome decoration, seated and holding the child, now mounted on an Italian painted and gilded baroque miniature chair, with cabriole legs, a plank seta, a scrolled and pierced splat and a shell‑carved and gilded crest, with an old red velvet pillow back rest, h. 20‑1/2”, w. 13”, d. 10‑1/2”. [300/500]

333Cuzco School (Fourth Quarter 18th Century), “The Immaculate Conception”, mixed media on unstretched linen, sight 40” x 26”. Glazed, handsomely matted and framed. [300/500] Illustrated

334Cuzco School (Fourth Quarter 18th Century), “Musician Archangel”, mixed media on unstretched linen, sight 44” x 27‑1/2”. Glazed, handsomely matted and framed. [300/500] Illustrated

335After Sir Joshua Reynolds (British, 1723-1792), “Venus Chiding Cupid”, oil on panel, unsigned, 7‑1/2” x 6‑5/8”. Presented in a giltwood and gesso frame. [400/700]

336Continental School (Fourth Quarter 20th Century), “Virgin and Child”, oil on panel, indiscernibly signed lower right, dated lower left “Aug 1970”, 12” x 8”. Framed. [250/400]

337Maria Schoffmann (Austrian, 1859-1941), “Christ Wearing a Crown of Thorns”, oil on panel, signed lower right “Schoffmann”, 11” x 9”. Framed. [400/700]

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338A Russian Icon of a Saint, mixed media on canvas adhered to wood panel, figure with one hand raised in blessing, the other holding the gospels, 12 1/2’ x 10”. [400/700]

339Russian Icon of a Bishop, mixed media on canvas adhered to wood panel, figure with one hand raised in blessing, the other holding the staff of office, 12 1/2” x 10”. [400/700]

340Baroque-Style Giltwood Mirror, American, the bolection‑molded frame deeply carved in pierced scrollwork, surrounding the antique mirror plate, labeled by APF master frame makers of New York, h. 14‑1/4”, w. 12”. [250/400] Illustrated

341Pair of Italian Giltwood Altar Sticks, first quarter 20th century, now mounted as lamps, metal bases support the scroll footed sticks, with scroll‑molded edges, applied scrollwork and piercing, the flaring upper standard support leaf‑molded candle cups, now wired for electricity, h. 42‑1/5”, w. 6‑1/4”, d. 6‑1/4”. [300/500]

342Carved Softwood Figure of a Nun. ca. 1900, Continental, depicted in a long, flowing habit, hands clasped, her head gazing heavenward, h. 16”. [200/400]

343Continental Carved Pine Figure of Saint Anthony, 19th century, depicted in his cassock, a skull at his feet, his rosary beads at his belt and holding one hand to his heart, h. 49‑3/4”, w. 15‑1/2”, d. 15”. [600/900]

344Continental Carved Pine Figure of the Virgin Mary, 19th century, depicted robed, head turned to one side, one arm raised and the other at her side, both now partially missing, h. 43‑1/2”, w. 16‑1/2’, d. 10‑1/4”. [600/900]

345Italian Rococo Giltwood Looking Glass, mid‑19th century, the rounded rectangular plate surmounted by a pierced scrolling foliate crest, surrounded by a foliate scrolled frame, h. 60”, w. 27”. [500/800] Illustrated

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51

346Early Rheinish Silver Communion Beaker, first quarter 18th century, Aachen, unidentified maker “PG”, of flaring cylindrical form, with molded band above oval repousse “cabochons”, engraved at the rim with scrolling foliate banding above an armorial of a water‑well with a crest of a demi‑urcheon, monogrammed “H/DB”, the underside monogrammed “IP”, h. 3‑1/8”, dia. 3”, 3.34 t. oz. [300/500] Illustrated

34718th Century Russian Parcel-Gilt Silver Tankard, 1750, Moscow, by Petr Semenov, assayer Ivan Shagin, of cylindrical form engraved with three cartouches depicting the story of St. George and the dragon, each separated by leafy scrolls, above a molded band and domed foot, the flat‑domed hinged lid engraved with fruits and flowers, the bifurcated billet hinged to the cast double “C”‑scroll handle, h. 6‑1/4”, l. 5”, dia. 4‑5/8”, 16.01 t. oz. [1800/2500] Illustrated

348Dutch Republic .875 Silver Stuffing Spoon, hallmarked Rotterdam, 1786, by Anthony Huys, Sr., in the traditional “Hanoverian” pattern with double drop, l. 15”, 7.14 t. oz. [800/1200]

349French Consular First Standard (.950) Silver Fish Slice, 1798‑1809, Paris, by Ambroise Mignerot, the scimitar shaped silver blade engraved with a fish and decorated with bright‑cut leaf‑and‑dart and pierced scroll banding, joined by a silver ferule to a turned wooden handle, l. 14‑1/4”. [300/500]

350Twelve Pieces of Napoleon III First Standard (.950) Silver Flatware, 1865‑1872, by Henin Freres, Paris, in the traditional “Double Filet” [“Fiddle Thread”] pattern, including four place spoons, l. 8‑1/2”, five place forks, l. 8‑1/2”, and three teaspoons, l. 5‑3/4”, each monogrammed “FF”, 26.49 total t. oz. [600/900]

351French Restauration First Standard (.950) Silver Cruet Frame, marked Paris, 1819‑1838, by D. Garreau (working 1818‑1834), of circular form with a pierced palmette‑banded gallery and gadrooned rim, with three circular receptacles, each with pierced gallery and leaf‑and‑dart rim raised above a pierced and embossed scene of a pair of neoclassical temple worshippers, separated by three smaller stopper holders en suite, all surrounding a central acanthus‑mounted standard with addorsed cornucopia ring handle, the whole raised on three winged lion’s masque‑crested paw feet, dia. 10‑5/8”, h. 12‑3/4”, 35.88 t. oz., fitted with three step‑cut glass bottles with lobed stoppers of later date, h. 8‑1/2”. [3500/5000]

352Maison Puiforcat First Standard (.950) Silver Tray, fourth quarter 19th century, of serpentine oval form, with molded rim and opposing rocaille‑mounted stirrup‑shaped handles, l. 31‑1/2”, w. 20‑3/8”, 154.64 t. oz. [9000/12000] Illustrated

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353Good German .800 Silver Rococo Revival Center Bowl, first quarter 20th century, by Bruckmann & Sohne, Heilbronn, of oval form, with elaborately shaped rim, decorated with embossed rococo scrolls on a reticulated lattice ground and centering “cabochon” cartouches crested by cherubim masques, the narrow ends with openwork rococo scroll handles surmounted by figures of putti, the whole raised on a conforming foot embossed and pierced en suite, h. 11‑1/2”, l. 19”, w. 9‑1/4”, 49.06 t. oz. [1800/2500] Illustrated

354Unusual German Three-Piece .800 Silver Rococo Revival Table Garniture, first quarter 20th century, Hanau, comprising a pair of cornucopia vases, h. 8‑1/2”, l. 11‑1/2”, and a single addorsed cornucopia vase, h. 10‑1/4”, w. 14”, all decorated with embossed rococo scrolls and medallions of Bacchic putti astride lions, with a central figure of a putto, raised on cast rococo scroll supports, 72.47 total t. oz. [5000/8000] Illustrated

355German 12 Lot (.750) Silver Ladle, third quarter 19th century, Rostock, in the traditional “Fiddle” pattern, with rounded, chamfered shoulders and “cauldron” bowl, l. 16”, 4.31 total t. oz. [200/400]

35619th Century Continental Silver Holy Water Font, possibly Italian, marked “AR”, the backplate richly decorated with a central medallion of St. John the Baptist surrounded by acanthus scrolls and floral swags, crested by a pair of cherubim, the font with foliate calyx, engraved floral swags and hinged lid, h. 9‑3/4”, w. 6‑3/4”, d. 2‑1/2”, 11.18 t. oz. [150/300]

357Italian .800 Silver Dresser Box, third quarter 20th century, by Perrugia & Co., Alessandria, in the rococo taste, of rectangular form, with lobed and shaped sides, decorated with engraved rococo scrolls on a matte ground, with crested rocaille feet at the corners, the conforming hinged lid domed and engraved en suite, centering a oval lapis flat cabochon and opening to reveal the gilt interior, h. 3‑1/2”, w. 9”, d. 6”, 34.01 t. oz. [800/1200] Illustrated

358Good Japanese Sterling Silver Compote, first quarter 20th century, K. Uyeda, Tokyo, of octagonally paneled form, the panels engraved with realistic bamboo, raised on a waisted standard with “bamboo ring” knop and stepped foot, h. 6‑1/2”, dia. 8”, 20.06 t. oz. [1200/1800]

359Georg Jensen Sterling Silver “Acorn” Sugar Tongs, the pattern designed in 1915 by Johan Rohde (1856‑1935), Copenhagen, with the post‑1945 Jensen mark, l. 3‑1/2”, 0.84 t. oz. [600/900]

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360Three Pieces of Georg Jensen Sterling Silver “Acorn” Flatware, the pattern designed in 1915 by Johan Rohde (1866‑1935), Copenhagen, including a jam spoon with the Jensen mark in use ca. 1910‑1925, l. 4‑3/4”, and an ice cream spoon, l. 5‑3/4” and a cheese plane, l. 8‑1/4”, both with the post‑1945 Jensen mark, the latter with stainless steel blade, 1.73 total t. oz. (excluding cheese plane). [200/400]

361Pair of Georg Jensen Sterling Silver “Acorn” Salad Servers, the pattern designed in 1915 by Johan Rohde (1866‑1935), Copenhagen, with the post‑1945 Jensen mark, with stainless steel bowl and tines, l. 10”. [150/300]

362Georg Jensen Sterling Silver “Acanthus” Cake and Pie Server, the pattern designed in 1917 by Johan Rohde (1856‑1935), Copenhagen, with the post‑1945 Jensen mark, l. 9‑3/4”, 3.60 t. oz. [125/250]

363Georg Jensen Sterling Silver “Beaded” Cake and Pie Server, the pattern designed in 1916 by Georg Jensen (1866‑1935), Copenhagen, with the post‑1945 Jensen mark, l. 10”, 3.85 t. oz. [125/250]

364Georg Jensen Sterling Silver “Old Danish” Cake Knife, the pattern designed in 1947 by Harald Nielsen (1892‑1977), Copenhagen, with the post‑1945 Jensen mark and stainless steel blade, l. 9‑3/4”. [100/200]

365Georg Jensen Sterling Silver Bowl Number 17A, designed in 1912 by Johan Rohde (1856‑1935), Copenhagen, with the Jensen mark in use 1933‑1934, h. 4‑1/8”, dia. 4‑3/8”, 5.98 t. oz. [300/500] Illustrated

366Georg Jensen Sterling Silver Ornamental Pattern #21 Cold Cut Fork, Copenhagen, with the Jensen mark in use 1933‑1944, l. 5‑1/4”, l. 7‑1/4”, 0.57 t. oz. [60/90]

367Georg Jensen Sterling Silver “Rope” Pickle Fork, the pattern designed in 1916 by Georg Jensen (1866‑1935), Copenhagen, with the Jensen mark in use ca. 1915‑1930, l. 7‑1/4”, 0.70 t. oz. [60/90]

368Georg Jensen Sterling Silver “Cactus” Jam Spoon, the pattern designed in 1930 by Gundorph Albertus (1887‑1954), Copenhagen, l. 5‑1/4”, 1.15 t. oz. [50/80]

369Three Pieces of Scandinavian Modern Silver Flatware, mid‑20th century, including a Thorvald Marthinsen “Vidar” silverplate sauce ladle, l. 5‑3/4”, a P.C.L. Frigast “Rigsmonster” letter opener with sterling silver handle and stainless steel blade, l. 8‑3/8”, and a Hans Hansen “Avresolv #18” cheese knife with sterling silver handle and stainless steel blade, l. 7‑1/4”. [100/200]

370Alfredo Sciarotta (1907-1985) Sterling Silver Bowl, third quarter 20th century, Newport, Rhode Island, for Black, Starr & Gorham, New York, New York, of oval form, with slightly asymmetrically upswept ends, raised on a foot ring formed for four “S”‑scrolling wires of square section, h. 4”, l. 10‑1/4”, w. 5‑1/4”, 14.46 t. oz. [300/500] Illustrated

371Pair of Alfredo Sciarotta (1907-1985) Modernist Sterling Silver Candelabra, third quarter 20th century, Newport, Rhode Island, each comprised of a single thick scrolling wire of square section, each apex of the scroll surmounted by an inverted bell‑form candle nozzle, h. 5”, l. 8‑5/8”, w. 4‑3/4”, 17.55 total t. oz. [400/700] Illustrated

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372Pair of Mexican Modernist Sterling Silver Candleabra, third quarter 20th century, by Liceves, Mexico City, each comprising three thick tubes joined at one end by stylized berries and scrolling out and around, each terminating upwards in a deep candle nozzle, h. 5‑3/4”. l. 3‑1/4”, w. 6‑1/4”, 38.38 total t. oz. [500/800] Illustrated

373Mexican Sterling Silver Syrup Jug and Underplate, third quarter 20th century, by Sanborn Hermanos, Mexico City, in the Spanish Colonial taste, the jug of tapering cylindrical form, with geometrically fluted spout and flat scrolling handle, the hinged, domed lid with baluster finial, presented on a serpentine‑lobed circular plate with molded rim, overall h. 4‑1/4”, dia. 4‑3/4”, 14.27 total t. oz. [300/500]

374Italian Neoclassical Fruitwood and Burl Wood Commode, mid‑19th century, the banded rectangular top with ebonized edge above a conforming case fitted with three long drawers, the lower two with decorative banding, raised on tapering square legs, h. 31‑1/2”, w. 47‑1/2”, d. 25‑1/2”. [1500/2500] Illustrated

375Neoclassical-Style Fruitwood Commode, the rectangular top above a case fitted with two long drawers, each with decorative banding, raised on square tapering legs, h. 35‑1/4”, w. 44”, d. 19‑1/2”. [500/800]

376Directoire-Style Fruitwood Writing Table, early 20th century, the rounded rectangular top with an inset leather writing surface above a conforming frieze fitted with two small drawers, raised on curule‑form end supports joined by a turned stretcher and ending in ormolu toupie feet, h. 30”, w. 39‑1/2”, d. 21‑1/2”. [1000/1500] Illustrated

377Biedermeier Birch Work Table, first quarter 19th century, the rectangular top case fitted with a frieze drawer opening to a compartmented interior, over a faux drawer, raised on a turned and bulbous standard with ebonized accents, to three splayed supports ending in ebonized toes, h. 30”, w. 19‑1/2”, d. 16‑1/4”. [400/700]

378Biedermeier-Style Tiger Maple and Brass-Mounted Side Table, early 20th century, having a pair of drawers and now with a later plate mirror top, h. 22‑1/2”, w. 18‑1/2”, d. 12‑1/2”. [200/400]

379Pair of Baker Furniture Blonde Wood Occasional Tables, each with a banded ovoid top centered by a circular burl wood panel, above a conforming frieze fitted with a pull‑out slide over a single drawer, joined by plank supports to a conforming stretcher shelf, h. 24‑3/4”, w. 24‑1/2”, d. 18”. [700/1000]

380Pair of Neoclassical-Style Mahogany, Ebonized and Marble-Top Side Tables, each with a demi‑lune marble top above a plain frieze, raised on ebonized fluted shaped supports to a smaller demi‑lune shelf, raised on paneled tapering square legs ending in peg feet, h. 32”, w. 36”, d. 17”. [600/900]

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381Diminutive Italian Walnut Commode and Provincial Neoclassical-Style Fruitwood Side Table, the commode, mid‑19th century, in the neoclassical taste, the quarter‑veneered and banded top above a case fitted with a single drawer over a cupboard door, both banded and with chevron veneers, raised on tapering square legs, h. 26”, w. 13”, d. 10‑1/4”, and the side table, 19th century, the rectangular top with canted corners above a conforming paneled frieze with applied carved urn accents and corner foliate carvings, raised on tapering fluted square legs, h. 28”, w. 26‑1/4”, d. 14”. [600/900]

382After Antonio Canova (Italian, 1757-1822), “Venus Italica”, Marble Bust, mid‑19th century, resting on a cove‑molded socle, the head and shoulders bust depicting the Medici Venus, h. 24‑1/2”, w. 15‑3/4”, d. 10”. [1500/2500] Illustrated

383Pair of Continental Neoclassical Rondels, ca. 1900, deep egg‑and‑dart and beaded border frames the views of putti, on one a pair of putti hold symbolic instruments and on the other one putto holds a wreath of flowers over the other’s head, now mounted in contemporary conforming giltwood frames, dia. 21”. [800/1200] Illustrated

384Biedermeier Kingwood Reading Stand, early 19th century, the rounded rectangular top quarter‑veneered and fitted with a central hinged panel with an easel back, flanked to either side by a hinged panel opening to a storage space, raised on shaped end supports to like runner feet, h. 28”, w. 38‑1/2”, d. 16‑1/4”. [1000/1500] Illustrated

385Pair of Paris-Style Neoclassical Covered Urns, each urn resting on a fluted, conical gilt‑trimmed base, the obverse depicting neoclassical buildings in a park, framed with gilt scrollwork, the reverse decorated with gilt scrollwork, winged and gilt‑decorated figures serve as handles, the gilt coves with scrollwork borders and leaf‑molded knops, marked with spurious Sevres signatures, h. 17‑1/2”, w. 9”, d. 7”. [900/1200] Illustrated

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386Two Paris Porcelain Cups and Saucers Attributed to Dante Freres, first quarter 19th century, French, the cup with ornithological decoration depicting a landscape with a ruby‑throated black and gray bowl, identified on a rock as “La Happe Noir d’Amerique”, in the Dante manner, h. 2‑1/4”, dia. 5”, the second cup in a documented Dante shape, decorated with a gilt, gridwork and an apricot band, h. 5‑3/4”, dia. 5‑1/4”. [150/250]

387Paris Porcelain Sauce Tureen on Stand, ca. 1800, French, Directoire period, of serpentine form with integral stand, and a twig‑form knop, with early classical decoration consisting of swags of green leaves and gilt sprigging with red bellflowers, hung from swagged scrollwork, unsigned, h. 5‑1/2”, w. 9‑1/4”, d. 5‑3/4”. [250/400]

388French Empire-Style Swan Cup and Saucer, fourth quarter 19th century, of German origin, the saucer with an unglazed biscuit border molded with anthemia, the gilt and white cup with a swan’s head and neck molded handle contrasting with biscuit molded wings against a gilt body, h. 5”, dia. 6‑1/2”. [250/400]

389Pair of Continental Landscape Paintings, including Louis Ritschard (Austrian, 1817‑1904), “Well and Vesterhorn von Meyringer”, oil on canvas, signed lower left, titled in pencil en verso, 4 3/4” x 6 1/2”, and P. Mourlot (Austrian, 19th c.), “Chateau d’Amboise, Loire”, oil on canvas, signed lower right, 4 3/4” x 6 1/2”. In matching period frames. [300/500] Illustrated

390Pierre Rochard (French/American, 1869-1950), “Pres Ranpont”, oil on canvas, signed lower left “Pierre Rochard”, 11” x 15”. Presented in a giltwood and gesso exhibition frame. [300/500]

391French Empire-Style Tole and Brass Eight-Light Chandelier, the blue painted ring‑form body decorated with cut‑cornered reserve panels of putti with urns alternating with foliate medallions, crowned with a pierced brass fret, set with rope twist candle branches and matching tole candle cups, fitted with electrified candles, and hung from chains and a matching painted canopy, h. 38”, dia. 33‑1/2”. [700/1000] Illustrated

392Unusual Empire-Style Brass Calendar, fourth quarter 19th century, the engine‑turned trimmed base set with a vase‑turned standard, holding the hemispherical calendar support, the round brass perpetual calendar with an outer ring engraved 1 to 31, a ring of months and signs of the zodiac with steel hands, h. 12”, w. 6‑3/4”, dia. 5‑1/2”. [150/300]

391

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389one of two

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393Baltic Neoclassical Mahogany Etagere, mid‑19th century, the stepped cornice with projecting canted corners and a gilt‑gadroon‑carved frieze, above two open bowed shelves with a mirrored back supported by gilt‑accented columnar supports, the lower section fitted with a single cupboard door with an applied ormolu wreath, raised on ring‑turned square feet, h. 70‑3/4”, w. 33”, d. 17”. [3000/5000] Illustrated

394Baltic Neoclassical Mahogany Looking Glass, mid‑19th century, the molded cornice above a frieze with a brass diamond applied pattern, the rectangular plate within a molded frame with corner brass accents, h. 43‑1/2”, w. 29”. [1400/1800] Illustrated

395Baltic Neoclassical Mahogany Cabinet, mid‑19th century, the rectangular top above a case with an applied giltwood patera, above a single cupboard, centered by a recessed scrolling foliate and palmetto mount, raised on a plinth base to block feet, h. 32”, w. 31”, d. 16”. [700/1000]

396French Patinated-Metal Figure of Napoleon Bonaparte, ca. 1900, depicted astride a horse, preparing to lead his troops, the horse with carefully delineated bridal and saddle, Napoleon gesturing forward with his sword at his side, mounted on a later black marble base, h. 16”, w. 14”, d. 7”. [800/1200] Illustrated

397Unusual 19th Century Brass Seal Depicting Napoleon, the brass base with a leaf‑molded edge, securing the heavy steel seal with an intaglio image of Napoleon Bonaparte, w. 3‑1/2”, d. 3‑1/2”. [200/400]

398Pair of French Empire-Style Picture Frames, the round engine‑turned frame crowned with finials in the form of a Napoleonic wreath tied with a bowknot, h. 8”, dia. 6‑1/2”. [250/400]

399Empire-Style Fruitwood Jardiniere, early 20th century, the hexagonal top with an inset circular tole liner, above a conforming paneled frieze with ormolu mounts in the Empire taste, raised on fluted circular legs and a central ormolu caryatid to a concave triangular base raised on bun feet, h. 44”, dia. 28”. [2500/4000] Illustrated

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400Malachite-Clad Tazza on Stand, 19th century, probably Russian, the square plinth trimmed with ogee molding, supports the tazza of classical form, h. 10‑3/4”, dia. 9‑3/4”. [3000/5000] Illustrated

401Continental Malachite Box, the rectangular covered box composed of brightly figured malachite, h. 2‑1/2”, w. 6”, d. 4”. [900/1200]

402Pair of French Malachite and Gilt-Bronze Neoclassical-Style Lamps, reeded bun feet support the square malachite bases, holding round malachite plinths banded with engine‑turned bronze decoration, the bronze anthemia‑molded plinth cups support Doric columns decorated with bands of engine turning and set with engine‑turned capitals, h. 36”. [3500/5000] Illustrated

403Pair of Tole Column-Form Lamps in the French Neoclassical Style, ball feet support an anthemion‑bordered base depicting figures in landscapes, the column‑form standard decorated with painted sprigging and anthemia, the capitals lotus‑shaped and decorated in black on a yellow ground, h. 33”, w. 6”, d. 6”. [200/400]

404Empire-Style Mahogany and Marble-Top Side Table, early 20th century, the rectangular verde antico marble top inset into a molded edge, above an ormolu‑mounted frieze, joined by a paneled back and tapering square supports to a concave stretcher, raised on ormolu paw feet, h. 36”, w. 25‑1/2”, d. 18”. [500/800] Illustrated

405Empire-Style Mahogany Lamp Table, 20th century, the lamp standard raised on an urn‑form base and ebonized caryatid supports, attached to a tripartite table top joined by shaped supports to the like‑shaped plinth, h. 62”, [400/700]

406Empire-Style Mahogany and Marble-Top Commode, early 20th century, the rectangular Sainte Anne des Pyrennes marble top above a conforming case fitted with a frieze drawer over three long drawers, with a plinth drawer beneath, all with annulated ormolu banding flanked to either side by stop‑fluted columns with ormolu foliate accents, raised on tapering lotus‑mounted feet, h. 36‑1/2”, w. 51”, d. 24”. [1000/1500] Illustrated

407Empire-Style Mahogany Dining Table, 20th century, the rectangular top opening to accommodate two leaves, above an ormolu‑mounted frieze, raised on square legs headed by scrolls and ending in block feet on ormolu foliate toes, with a central large support, h. 32”, w. 46”, l. 95”. [1000/1500]

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408Bronze of “Venus de Milo”, 19th century, probably French, unmarked except for a single “M” or “W” inscribed on the underside, the bronze of the iconic ancient marble with a rich patina, h. 23”, w. 6‑1/4”, d. 4‑1/2”. [1500/2500] Illustrated

409Roman-Style Neoclassical Marble Bust, probably Italian, composed of contrasting white and green marble, the white socle supporting a green marble tunic with a white marble head, h. 38”, w. 24”, d. 8”. [400/700]

410Bronze Torso of a Youth, in the classical style, the nude male torso mounted on a contemporary base, h. 26‑3/4”, w. 13‑3/4”, d. 7‑3/4”. [1800/2500] Illustrated

411French Painted Tole Bathtub, 19th century, of coffin form, each end fitted with a handle, the sides ornamented with an “X” centered by a roundel, h. 28‑1/2”, l. 60”, d. 23‑1/2”. [700/1000]

412Empire-Style Kingwood Center Table, the circular table with inlaid Greek‑key banding and scrolling foliate patterns, raised on a like‑inlaid graduated tripartite base with ormolu mask accents, raised on ormolu paw feet, h. 32”, dia. 40”. [1000/1500] Illustrated

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413Brass and Tole French Empire-Style Bouillotte Lamp, the pan base, trimmed in engine turning and pierced with anthemia, the turned standard decorated with engine turning and supports three empire‑style rhyton‑form candle arms molded with empire decoration, the square standard supports a black and gold tole shade, h. 30”, dia. 16‑1/2”. [500/800] Illustrated

414French Gilt-Bronze and Tole Bouillotte Lamp, second quarter 20th century, the pan‑shaped base trimmed in engine turning and pierced with anthemia, the fluted and leaf‑molded standard supports three empire‑style molded candle arms fitted with electrified candles, the central standard supports a green tole shade trimmed with gilt scrollwork, and supported by an arrow‑form holder, h. 27‑1/2”, dia. 15‑3/4”. [400/700] Illustrated

415Pair of Empire-Style Gilt-Brass Three-Light Sconces, first quarter 20th century, the torch‑form backplates with eagle‑decorated lower portions, green ground bodies bound with gilt brass “ribbons” and flame finials, supporting three leaf‑molded candle arms with engine‑turned cups, hung with glass teardrop prisms, fitted with electrified candles, h. 18”, w. 8‑3/4”, d. 6‑1/4”. [200/400] Illustrated

416Pair of Empire-Style Gilt-Brass Three-Light Sconces, first quarter 20th century, the torch‑form backplates with eagle‑decorated lower portions, green ground bodies bound with gilt brass “ribbons” and flame finials, supporting three leaf‑molded candle arms with engine‑turned cups, hung with glass teardrop prisms, fitted with electrified candles, h. 18”, w. 8‑3/4”, d. 6‑1/4”. [200/400] Illustrated

417Pair of French Cut-Glass and Bronze Empire-Style Lamps, acorn feet support the round cut bases, molded bronze feathers support the diamond‑cut vase‑shaped standard, crowned with gilt‑ metal downturned leaves, h. 28‑1/2”, dia. 7‑1/2”. [800/1200] Illustrated

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415and 416

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418Empire-Style Mahogany Firescreen, 19th century, the raised crest with ormolu gadroon frieze and foliate end finials above a fabric screen, raised on splayed cabriole legs ending in foliate sabots, h. 46”, w. 24‑1/2”. [800/1200] Illustrated

419Empire-Style Burl Elm Chest, 20th century, the molded cornice above a case fitted with a frieze drawer over seven long drawers, flanked to either side by an engaged pilaster headed by an ormolu maiden’s head and ending in feet, the whole raised on block legs to paw feet, h. 72”, w. 45‑1/2”, d. 19‑1/2”. [900/1200] Illustrated

420Empire Mahogany Bergere, early 19th century, the backswept padded back joined by closed arms on maiden’s head uprights to the cushioned seat, raised on square tapering legs ending in paw feet, h. 35”. [1000/1500] Illustrated

421Charles X Mahogany Fauteuil, first quarter 19th century, the rectangular back surmounted by a slightly domed crest, joined by scrolling arms to the seat, raised on sabre legs headed by palmettos and ending in scrolled toes, h. 36”. [250/400]

422Directoire-Style Polychrome Window Seat, the padded rectangular seat flanked to either side by armrests with turned crests over phoenix‑carved frieze and foliate splats, raised on sabre legs, h. 30‑1/4”, w. 30”, d. 15‑1/4”. [1200/1800]

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423Empire-Style Gilt-Metal-Mounted Mahogany Dressing Bureau, early 20th century, in two parts, the upper section with a beveled mirror flanked by pilasters with figural capitals, the marble top case fitted with a single frieze drawer over three recessed drawers, h. 86”, w. 51”, d. 24‑1/2”, [700/1000] Illustrated

424Empire-Style Gilt-Metal-Mounted Mahogany Bedstead, early 20th century, comprised of a pair of twin beds joined to accommodate a contemporary king‑sized mattress, the headboards with molded corners with an ormolu mount, the head and footboard panels centered by a mount in the form of a Napoleonic wreath and flanked by pilasters with figural mounts, h. 74‑1/2”, inside w. 78”, inside l. 77‑1/2”, outside w. 84”, outside l. 83”, [800/1200] Illustrated

425Empire-Style Ormolu-Mounted Mahogany Triple-Section Armoire, early 20th century, the stepped cornice over a long mirrored door, flanked by a pair of narrower, shallow doors fitted with mirrored panels, the doors flanked by pilasters with figural metal mounts, h. 96”, w. 88”, d. 25”, [1000/1500]

426Pair of Empire-Style Gilt-Metal-Mounted Mahogany Bedside Cupboards, early 20th century, each with metal‑mounted backsplash over a marble‑top case fitted with a single cupboard door, on turned feet, h. 46”, w. 20‑1/2”, d. 16”. [900/1200]

427Pair of Empire-Style Mahogany Twin Beds, early 20th century, each headboard with a rounded crest flanked to either side by raised giltwood urn finials, joined to the paneled footboard by shaped rails, the footboard with flaming urn finials and fronted by ormolu‑mounted columns, raised on block feet, h. 49”, inside w. 33”, inside l. 80”, outside w. 40”, outside l. 90‑1/2”. [600/900]

428Regency Rosewood Center Table, first quarter 19th century, the rounded square top banded and with decorative stringing, raised on a graduated square standard to a concave base on splayed legs ending in brass paws on casters, h. 29‑1/4”, w. 30‑1/4”, d. 30‑1/4”. [1200/1800] Illustrated

429Regency Rosewood Side Table, first quarter 19th century, the highly figured rounded rectangular top above a frieze fitted with a single drawer to one side and a faux drawer to the other, raised on paneled graduated supports to runner feet on rounded toes, h. 28‑1/4”, w. 36”, d. 19‑1/2”. [700/1000]

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430Regency Mahogany Center Table, first quarter 19th century, the octagonal top above a conforming frieze fitted with four drawers and four faux drawers, raised on a turned standard to four splayed legs ending in brass caps and casters, h. 28‑1/4”, w. 47”, d. 47”. [3000/5000] Illustrated

431Regency Needlework Memento Mori, first quarter 19th century, British, executed on a watercolor ground, depicting a churchyard with two mourners at a tomb, two women in the foreground, and a lakeside chapel with mountains in the distance, mounted in a gilt cove‑molded frame, h. 23”, w. 28”, overall. [300/500]

432Pair of English Brass Candlestick-Form Table Lamps with Blue Tole Shades, feet support the turned standards, with ring bell and vase‑shaped elements, the old tole shade painted dark blue, h. 37‑1/2”, dia. 18”. [300/500]

433Unusual Pair of Regency-Style Brass, Marble and Alabaster Candlesticks, fourth quarter 19th century, brass bases support alabaster plinths, mounted with black marble columns on leaf‑molded bases and beaded capitals, sprays of prisms sitting under engine‑turned and beaded candle cups fitted with leaf‑molded bobeches, h. 13‑1/2”, dia. 5‑1/2”. [250/400]

434Attributed to George Watson (Scottish, 1767-1837), “Portrait of a Seated Young Gentleman”, oil on canvas, unsigned, 35‑3/4” x 27‑1/2”. Framed. Provenance: Sotheby’s Colonnade, October 9, 1996 sale. [1000/1500] Illustrated

435Pair of Regency Ebonized Armchairs, early 19th century, each with a caned crest above an X‑form splat centered by an oval panel with a painted classical scene, joined to the caned seat by flat arms, raised on square tapering legs ending in spade feet, h. 32‑1/2”. [700/1000] Illustrated

436Regency Mahogany and Brass Planter, first quarter 19th century, the tripartite base set on ball feet, supporting a turned standard under the flaring mahogany basket‑form holder, the brass inset seamed and mounted with a brass carrying handle, h. 20”, dia. 13”. [250/400]

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437Regency Giltwood Convex Looking Glass, first quarter 19th century, the circular plate surmounted by an eagle on a rocky crag and foliate crest, surrounded by a molded and annulated frame with a foliate pendant, h. 46‑1/2”, dia. 28”. [2500/4000] Illustrated

438Regency-Style Giltwood and Granite Side Table, the rectangular gray granite top above a conforming dentillated frieze centered by an urn‑carved panel, raised on tapering circular fluted legs headed by foliate carving and ending in toupie feet, h. 37”, w. 55‑1/2”, d. 17‑1/2”. [400/700] Illustrated

439Regency Ebonized Cabinet, first quarter 19th century and later, the rectangular top with a shelved superstructure and gilt scene, in the Orientalist manner, above a case fitted with a single door, inset with a grille panel, the sided with figural scenes, raised on a plinth base, h. 46‑1/2”, w. 26‑1/2”, d. 12”. [800/1200]

440Regency Mahogany Secretary Bookcase, first quarter 19th century and later, the molded cornice above two astragal‑glazed doors, the lower section fitted with a secretary drawer opening to a baize‑lined surface and a variety of drawers and cubbyholes, over three long graduated drawers, raised on splayed bracket feet, h. 91‑1/2”, w. 45”, d. 21‑1/2”. [2000/4000] Illustrated

441Regency-Style Stained Wood Etagere, of square form, fitted with four tiers, all with reeded edges, the central one fitted with a drawer, joined by turned supports and raised on turned feet, h. 72‑1/2”, w. 16‑1/2”, d. 16‑1/2”. [900/1200]

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442After Sir Thomas Lawrence (British, 1769-1830), “Portrait of Douglas Bloomfield, Second Baron Bloomfield”, oil on canvas, unsigned, 30” x 25”. Framed. Provenance: Christie's New York, February 8, 2011 [300/500] Illustrated

443Late Regency Mahogany Pembroke Table, second quarter 19th century, the rectangular top with two rounded drop leaves, above a frieze fitted with a single end drawer and a faux end drawer, raised on four turned supports to a rectangular base, to four splayed legs ending in brass caps and casters, h. 28‑1/4”, w. 43‑5/8”, d. 22‑1/2”, extended l. 42‑7/8”. Provenance: Godolphin House, Helston, Cornwall, England. [500/800] Illustrated

444Regency-Style Rosewood and Faux Bois Credenza, late 19th century, the superstructure with a pierced three‑quarter brass gallery over two shelves held by brass supports and a mirrored back, the breakfront top above a conforming case fitted with two central doors inset with grilled panels flanked to either side by a paneled cupboard door, raised on a plinth base, h. 61”, w. 71”, d. 16”. [1000/1500] Illustrated

445Regency-Style Mahogany Double Pedestal Dining Table, 19th century, each pedestal with a turned standard mounted to a platform with four outcurved legs ending in brass paw feet, accompanied by two 12” skirted leaves, the underside now fitted with runners, h. 29‑1/2”, d. 48‑1/2”, l. 48‑1/2”, ext. l. 73”. [1000/1500]

446Crown Derby “Olde Avesbury” Porcelain Breakfast Set, ca.1940, decorated with brown outlined pattern of pheasants with polychrome decoration, the set comprised of a coffee pot, h. 8‑1/2”, a teapot, h. 6‑3/4”, a covered sugar bowl, h. 5‑1/4”, dia. 6‑3/4”, a cream jug, h. 5”, dia. 2‑1/2”, twelve scalloped breakfast plates, dia. 8‑3/4”, twelve tea cups and saucers, h. 2‑1/2”, dia. 6”, a jam pot with saucer, h. 3‑1/2”, dia. 4‑3/4”, and eleven coffee cups with twelve saucers, h. 2”, dia. 4‑3/4”. [400/700] Illustrated

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447Set of Four Worcester Flight, Barr and Barr Hand-Painted Porcelain Dinner Plates, ca. 1813‑1840, English, decorated in the Imari palette, depicting orchids with cobalt stems and leaves, orange and pink blossom, highlighted with delicate flowers of gilt, impressed “FBB” under a crown, dia. 9‑1/2”. [200/400]

448Two Pairs of Ashworth Imari Palette Ironstone Plates, fourth quarter 19th century, English, one pair incorporates salmon pink along with the traditional orange and blue and with both printed and impressed marks, the other pair incorporates blue and orange with iron‑red and has indistinctly impressed marks, dia. 10‑1/4”. [150/300]

449Seven-Piece Collection of Imari Palette Ironstone Plates, fourth quarter 19th century, English, the three dessert plates with cobalt and orange borders and a basket of flowers in the center, marked by an unidentified maker, dia. 6‑3/4”, together with two pairs of similar dinner plates with Imari decoration over black transfer printing, with cobalt and orange flourishes on an Imari pattern, one impressed “Ashworth”, the other “JDL Co.”, dia. 10‑1/2”. [125/250]

450Set of Sixteen English Creamware Dinner Plates, first quarter 19th century, decorated in the neoclassical style, the yellow ground borders with a gray edge, and black hand‑painted decoration of sprigging alternating with laurel wreaths containing painted leaves, dia. 9‑3/4”. [300/500]

451Campaign-Style Mahogany Partner’s Desk, 20th century, the rectangular top with a three‑quarter gallery and inset leather writing surface, above a frieze fitted with a single long drawer faced as three drawers, raised on two pedestals, each fitted with three graduated drawers, raised on bun feet, h. 32”, w. 55‑1/2”, d. 29”. [1400/1800] Illustrated

452Regency Mahogany Pembroke Table, early 19th century, the highly figured rectangular top with two rounded drop leaves, above a frieze fitted with a single end drawer and a faux drawer, raised on a turned vasiform splat to four splayed and reeded legs ending in brass caps and casters, h. 28”, d. 36”, l. 25‑1/2”, ext. l. 45‑1/2”. [800/1200] Illustrated

453Regency-Style Burl Maple Cocktail Table, early 20th century, the highly figured rounded rectangular top above a single frieze drawer flanked to either side by gilt scrolling patterns, raised on end supports to gilt paw feet, h. 20”, w. 36”, d. 17‑1/2”. [200/400]

454John Gould and H. C. Richter (British, 19th Century), “Gorgeted Partridge” and “Striped‑Breasted Partridge”, pair of hand colored lithographs, sight 14‑1/2” x 17‑1/2”. Each glazed, handsomely matted and framed. [500/800]

455John Gould and W. Hart (British, 19th Century), “Phasianus Colchicus”, hand colored lithograph, sight 14” x 21”. Glazed, French matted and presented in a molded giltwood frame. [350/500]

456William IV Mahogany Center Table, mid‑19th century, the circular top within a brass banding, raised on a concave triangular standard to three large foliate‑scroll carved feet, h. 31‑1/2”, dia. 37‑1/2”. [500/800] Illustrated next page

457William IV-Style Mahogany Cheval Mirror, second quarter 19th century and later, the slightly domed plate within a molded frame, raised on shaped supports above a scalloped stepped plinth to scrolled feet, h. 67”, w. 29”. [500/800]

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458Impressive Pair of William IV Patinated-Bronze Three-Light Candelabra, second quarter 19th century, English, the tripartite bases decorated with gilded fluting, scrolled feet under the leaf‑molded gilded lower standard, three delicate patinated reeded standards terminating in gilt lotus leaves, serving as the upper standard and supporting three gilded leaf‑molded candle branches set with leaf‑molded drip pans and cylindrical cups, flame finials set in the upper faux candle cup, h. 25”, w. 8‑3/4”, d. 8‑3/4”. [500/800] Illustrated

459Pair of English William IV Bronze Candlesticks, second quarter 19th century, resting on patinated tripartite bases trimmed in scrollwork and shells, paw feet support gilt‑bronze fluted standard supports, the fluted vase‑shaped standard with lotus‑molded gilt capitals, the leaf‑molded patinated candle cups set with leaf‑molded gilt bobeches, h. 9‑1/2”. [125/250]

460English Bronze Gothic Revival Lamp Standard, ca. 1840, mounted with a Victorian banquet font, the gilded molded base supports a border of quatrefoils, beneath a cluster column standard, the leaf‑molded pierced breather sits under the cut‑glass font, set with a duplex burner and glass shade, now electrified, h. 31‑1/4”, dia. 6‑1/2”. [300/500]

461Pair of Cut-Glass and Brass Two-Light William IV Sconces, second quarter 19th century, English, the simple tombstone molded backplates with dovetail joints to hold the candle branches, which are scrolled and notched with brass fillings and tulip‑form surrounds, h. 9‑1/4”, w. 12”, d. 7‑1/4”. [250/400]

462Neoclassical-Style Mahogany Fireplace Surround, second quarter 20th century, the top with gadrooned edge over a foliate‑carved panel supported by fluted columns, the firebox opening fitted with a gilt‑metal‑mounted screen, h. 39‑1/4”, w. 55”, d. 16”. [500/800] Illustrated

463Regency Mahogany Library Steps, first quarter 19th century, fitted with three steps, all with leather‑inset treads, the top one with a lift‑top, the middle one with a pull‑out lift‑top, raised on ring‑turned circular legs, h. 25‑1/2”, w. 17‑1/2”, d. 27‑1/2”. [800/1200]

464William IV Decorated Rosewood Box, second quarter 19th century, English, the rectangular box set with an ivory escutcheon with bird’s eye maple cross‑banded edges with ebonized corner blocks, h. 4”, w. 11”, d. 7”. [100/200]

465Marble Bust of a Gentleman, ca. 1842, English school, the waist length figure wrapped in a cloak, h. 11‑1/4”, w. 7‑1/4”,d. 4‑1/4”. [300/500]

466English Opaline and Brass Lamp Standard, mid‑19th century, now mounted as an electric lamp, design registered 1845, the leaf‑molded brass base stamped with an English registry mark, the iron underplate signed indistinctly, the opaline standard molded in a pattern of overlapping elongated leaves, capped with molded gilt‑bronze leaves, h. 27”, w. 7‑1/4”, d. 7‑1/4”. [250/400]

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467William IV Mahogany Library Chair, second quarter 19th century, the padded rectangular back joined by outscrolled arms to the cushioned seat, raised on turned tapering circular legs ending in brass caps and casters, h. 40”. [1400/1800] Illustrated

468Pair of English Porcelain Raspberry Ground Garniture Vases, second quarter 19th century, the baluster‑turned vases decorated with gilt anthemion drops and bellflower garlands, with handles on their necks, marked pattern number 3/.202, h. 6‑3/4”, w. 4”, d. 2‑3/4”. [150/300]

469Three Pieces of Ashworth Ironstone China, fourth quarter 19th century, English, comprised of a platter with two matching plates, decorated with a willow‑type pattern, executed in Chinese red transfer printing, colored with green, pink and blue and gilt‑trimmed, impressed “Ashworth Real Ironstone China” in addition to a transfer mark, platter l. w. 17‑1/2”, l. 14”, plates dia. 9‑1/2”. [250/400]

470Pair of Enoch Wood Historical Blue Staffordshire Plates, ca. 1818‑1846, English, in the “Landing on Plymouth Rock” pattern, with cartouches proclaiming “American Independent July 4, 1776” and “Washington Born 1732 Died 1799”, one with the impressed mark, the other with a printed mark, dia. 10”. [100/200]

471Two Similar Blue Staffordshire Pearlware Tea Bowls and Saucers, the first example ca. 1810‑1825, decorated with a basket of flowers on a stippled ground, signed with an impressed Adams circular mark with a crown in the center, the second example unsigned and decorated with a covered urn in a border of floral cartouches, h. 3‑1/4”, dia. 5‑3/4”. [150/300]

472Continental Rosewood Stool, mid‑19th century, the padded square inset top above a shaped frieze with applied floral medallions, raised on curved legs joined by a turned X‑form stretcher and ending in shaped feet, h. 20”, w. 17‑1/2”, d. 17‑1/2”. [800/1200] Illustrated

473Late William IV Rosewood Occasional Table, second quarter 19th century, the circular top raised on a bulbous paneled and foliate‑modeled standard to a tripartite base to circular feet, h. 28‑1/2”, dia. 17‑1/2”. [300/500]

474Anglo-Indian Pierced and Carved Ivory Box, second quarter 19th century, decorated with applied ivory banding, some with green stained incised decoration, some pierced in a leaf pattern over a foil ground, the lid with slanted sides, decorated to match the base, the interior lined with old linen, h. 4‑3/4”, w. 9”, d. 6‑1/4”. [900/1200] Illustrated

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475North African Inlaid Hardwood Dresser, late 19th century, the rectangular top with a raised superstructure and two end drawers, with front projecting corners above a case fitted with a single long drawer over two cupboard doors, each centered by a scene of courtiers on horseback, flanked to either side by a barley‑twist upright, raised on unusual turtle feet on a plinth, the whole elaborately inlaid with ebonized banding and geometric patterns, h. 47”, w. 51”, d. 26”. [700/1000] Illustrated

476Anglo-Colonial Mahogany Wardrobe, second quarter 19th century, the broken pediment with ormolu mounts, above a case fitted with two long doors, each inset with an upper oval panel and a lower rectangular panel, all banded, flanked to either side by spiral reeded pilasters, raised on bulbous feet, h. 88‑1/2”, w. 52”, d. 24”. [1200/1800] Illustrated

477Anglo-Indian Coffer, ebony carved with palmettes and floral scrolling, h. 16”, w. 21”, d. 13”. [300/500]

478Elaborate Collage of Antique Indian Wedding Dress Fragments, late 18th/early 19th century, the intricate needlework and embroidery featuring gold threads and miniature pearls, h. 35”, w. 23”, sight. Framed. [800/1200] Illustrated

479Provincial Louis-Philippe Fruitwood Fauteuil, mid‑19th century, the padded rectangular back surmounted by a shaped crest, joined by padded arms to the rush seat, raised on square legs joined by stretchers, h. 33‑1/2”. [150/300]

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480Louis-Philippe Walnut Commode, second quarter 19th century, the rectangular top with banded edge and canted corners above a conforming case fitted with a paneled frieze drawer over three long drawers with a concealed plinth drawer below, raised on molded bracket feet, h. 37”, w. 49‑1/2”, d. 21”. [800/1200] Illustrated

481Provincial Louis-Philippe Fruitwood Armoire, mid‑19th century, the domed and molded cornice with projecting canted corners, above a conforming case fitted with two doors, each inset with three panels, raised on tapering ring‑turned circular feet, the whole with ebonized accents, h. 98”, w. 60”, d. 27”. [1000/1500] Illustrated

482Empire-Style Mahogany Armoire, partially composed of antique elements, the molded cornice above a case fitted with two bi‑paneled doors, flanked to either side by engaged ormolu‑mounted pilasters, raised on turret feet, h. 75‑1/2”, w. 45‑1/2”, d. 16”. [500/800]

483Charles X Elm Fauteuil, first quarter 19th century, the padded rectangular back surmounted by a curved crest and joined by scrolling arms to the padded seat, raised on sabre legs ending in scrolled toes, h. 35”. [300/500]

484Continental School (19th Century), “Pastoral Landscape With an Aqueduct in the Distance”, oil on canvas, unsigned, 26” x 36”. Presented in a Rococo‑style giltwood frame. [700/1000] Illustrated

485Louis Ritschard (Austrian, 1817-1904), pair of oils on wood panel, including “Tell’s Capelle”, signed lower left, titled en verso, 4 3/4” x 6 3/4”, and “Naublacj”, signed lower left, titled en verso, 4 3/4” x 6 3/4”. In matching period frames. Ritschard was one of the pseudonyms of Hubert Sattler. [300/500]

486After Moritz-Michael Daffinger (Austrian, 1790-1840), “Napoleon II, Emperor of the French”, color lithograph, sight 8‑1/2” x 7”. Glazed and presented in a silvered frame with an oval liner. [500/800]

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487Empire Mahogany and Marble-Top Center Table, second quarter 19th century, the circular dished Bleu Turguin marble top above a plain frieze, raised on a paneled vasiform standard to three scrolled supports with ormolu foliate and patera mounts, to bun feet on casters, h. 29‑1/4”, dia. 38”. [2000/4000] Illustrated

488Restauration Giltwood Looking Glass, mid‑19th century, the large rectangular plate within a molded frame with carved patera, palmetto and caduceus accents, h. 71”, w. 53‑1/2”. [1500/2500]

489Restauration Polychrome Looking Glass, first quarter 19th century, the rectangular plate surrounded by a molded frame with corner and side patera and palmetto accents, h. 49”, w. 19”. [300/500]

490Pair of French Restauration Gilt-Bronze Figural Candelabra, second quarter 19th century, possibly depicting Apollo and Daphne, the tripartite bases support gilt paw feet on a leaf‑molded base, supporting a leaf‑molded standard, while the patinated figures perched aloft a semi‑sphere on one foot, and holding aloft leaf‑molded candle branches with lotus drip pans and reeded candle cups with matching bobeches, h. 20‑1/2”, w. 7”, d. 8‑1/4”. [600/900] Illustrated

491French Restauration Bronze Candelabra, second quarter 19th century, the octagonal base and tapered plinth decorated with laurel leaves and raised lozenges holds the figural standard, an allegorical figure of America, the Indian princess dressed in a feathered skirt and headdress, supports scroll‑molded candle arms with leaf‑molded cups and molded bobeches, h. 20‑3/4”, dia. 8‑1/4”. [250/400]

492Two French Figural Two-Light Candelabra, the first, second quarter 19th century, with a bronze base on gilt cabriole legs supporting a patinated caryatid‑form standard, which support leaf‑molded scrolled candle branches and engine‑turned candle cups, now attenuated, h. 14‑1/4”, w. 9”, d. 4‑1/4”, the second, third quarter 19th century, Napoleon III and composed on a gilt ring‑turned foot supporting a white marble plinth set with a patinated‑bronze Mandarin figure holding a gilt cornucopia set with a pair of tole candle cups and drip pans, h. 13”, w. 5‑3/4”, d. 3”. [200/400]

493French Restauration Sienna Marble and Bronze Figural Clock, second quarter 19th century, the marble plinth trimmed with an anthemion‑molded bronze base, the plinth mounted with a pair of bronze columns with flame finials supporting a leaf‑molded swag, the clockworks mounted with a silvered dial behind a beveled glass door, set in a bronze bezel, flanking the clock stands a patinated‑bronze male figure clad in classical robes with outstretched arms, placing a laurel wreath on the clock, two bronze feathers nearby, h. 17‑1/4”, w. 13‑1/4”, d. 4‑1/2”. [1500/2500] Illustrated

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494Pair of Restauration Mahogany Fauteuils, second quarter 19th century, the padded back surmounted by a scrolling crest, joined by downswept reeded arms to the padded seat, raised on sabre legs headed by palmetto carving, h. 36‑1/2”. [1800/2500]

495Louis-Philippe Walnut Secretaire Abbatant, second quarter 19th century, the rounded rectangular top above a conforming case fitted with a frieze drawer over a drop‑front opening to a variety of drawers and cubbyholes surrounding an arched open cupboard, with ebonized accents over three long drawers, raised on rounded feet, h. 64”, w. 44‑1/2”, d. 23”. [2000/4000] Illustrated

496Pair of Louis-Philippe Mahogany Fauteuils, second quarter 19th century, each with a rectangular back surmounted by a slightly domed crest, joined by scrolling arms to the padded seat, raised on sabre legs, h. 36”. [400/700]

497Louis-Philippe Mahogany Fauteuil, second quarter 19th century, the rectangular back surmounted by a highly figured crest, joined to the padded seat by scrolled arms, raised on turned bulbous legs, h. 34”. [250/400]

498Pair of Neoclassical-Style Mahogany Pedestals, each of square paneled form, with a stepped circular surface, raised on a plinth base, h. 21”, w. 19‑1/4”, d. 19‑1/4”. [200/400]

499Pair of Six-Light French Bronze and Sienna Marble Restauration Candelabra, second quarter 19th century, a contemporary wooded base supports the tripartite sienna plinth, scrolled bronze feet support a leaf‑molded nozzel holding the sienna marble standards, with scrolled and leaf‑molded appliques and lotus leaf capitals, the candle branches terminating in masks and supporting lotus‑molded drip pans and leaf‑molded bobeches, now electrified, h. 41‑1/2”, dia. 11”. [1200/1800] Illustrated

500Two Pairs of Brass Candlesticks, early 19th century, the taller pair is French Restauration, second quarter 19th century, the turned sticks decorated with bands of engine‑turned decoration, h. 11”, the shorter pair is English, William IV period, the leaf‑molded bases support an elaborately‑molded standard decorated with reeding, fluting, and gadrooning, leading to a spray rose‑molded prism holder, under a candle cup with rose‑molded bobeches, h. 9‑1/2”. [300/500]

501Pair of Louis-Philippe Brass Candlesticks, second quarter 19th century, French, the round bases decorated with molded acanthus leaves, an engine‑turned base supports the reeded standards and the candle cups decorated to match with reeding and molded acanthus leaves, h. 8”. [200/400] Illustrated

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502Attributed to Francois Joseph Navez (Belgian, 1787-1869), “Half‑Length Portrait of a Young Man In a Double‑Breasted Jacket”, oil on canvas, unsigned, 24” x 20”. Framed. [1000/1500] Illustrated

503“The Dying Gaul” Bronze, fourth quarter 19th century, Continental, after the now lost Hellenistic original, and known through later Roman copies, depicting a dying, nude Celtic soldier, his sword and horn abandoned on the ground, h. 11‑3/4”, d. 11‑1/4”, l. 22‑1/2”. [1000/1500] Illustrated

504French Restauration Patinated-Bronze and Mirror Plate Plateau, second quarter 19th century, raised on leaf‑molded feet, the flaring fretted rim cast in a gothic revival pattern, with a reeded bezel holding the mercury glass mirror plate, h. 2”, w. 10”, l. 13”. [250/400]

505Pair of Neoclassically-Inspired Cast-Iron Garden Urns, each having scroll arms with roundels and graduated bellflowers, the tapering bodies adorned in the Adamesque taste, on socle bases, the surfaces with bronze patination, h. 29‑1/4”. w. 22”, d. 17”. [300/500]

506Provincial Louis XV-Style Fruitwood Settee, early 20th century, of box form, the shaped and domed padded back and sides surmounted by a molded frame, the tri‑cushioned seat raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 43”, d. 33”, l. 79”. [1500/2500] Illustrated

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507Continental Faience Covered Urn, probably Spanish, the white‑bodied urn trimmed with cobalt rippled moldings, decorated with raised orange swags and tassels, applied flowers, and applied scrolled handles around the necks, a domed cover decorated with applied flowers, h. 15”, dia. 8‑1/4”. [250/400] Illustrated

508Faience Chevrette in the 18th Century Style, decorated with a blue shell edge and panels of flowers hung from bowknots in raspberry cartouches, with a border of green diapering, the yellow and raspberry‑decorated handle molded in the form of a dragon, h. 7‑1/2”. [200/400]

509Faience Jardiniere in the 18th Century Style of Touen, French, of oval form and sitting on scrolled feet, the lower edge decorated with shells and scrollwork, the sides decorated with floral swags hanging from scrolled borders, under the shell‑molded and pierced upper edge, all decorated in traditional faience colors of cobalt, yellow, orange and green, marked “FF/1090”, h. 6‑3/4”, w. 14”, d. 8”. [200/400] Illustrated

510Faience Vase in the Eighteenth-Century Style, French, the flat‑fronted vase with curved sides on cabriole legs, with a yellow ground with scrollwork borders, and cobalt ground floral‑decorated cartouches supporting baskets of flowers, scrollwork handles decorated in yellow and green, signed indistinctly, h. 11‑3/4”, w. 6‑1/2”, d. 3‑1/2”. [150/300]

511Faience Dish in the Style of 18th Century Rouen, France, of oval form on scrolled feet, with scroll‑molded shell edges, decorated in green, cobalt, yellow and orange, the central panel hand‑painted with polychrome Mont‑Saint‑Michel, h. 4‑3/4”, w. 14‑1/4”, d. 11‑3/4”. [150/300]

512French Provincial Oak Vasselier, mid‑19th century, the molded cornice and shaped frieze over three open shelves, the lower section with a rounded rectangular top over a case fitted with two small drawers over two slightly domed cupboard doors, each inset with a shaped panel and with a star inlay, raised on scrolled toes, h. 84”, w. 41”, d. 26”. [1000/1500] Illustrated

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513Louis XVI-Style Fruitwood Bergere, mid‑19th century, the low domed and padded back within a molded frame, joined by downswept arms to the cushioned seat, raised on stop‑fluted tapering circular legs headed by floral block capitals and ending in toupie feet, h. 29‑1/2”. [400/700] Illustrated

514Continental Oak Commode, 18th century, in the rococo taste, the serpentine top above a conforming case fitted with three long graduated drawers, over a deep foliate‑carved and pierced apron, raised on molded cabriole feet, h. 33‑1/2”, w. 49”, d. 27”. [800/1200] Illustrated

515Provincial Louis XV-Style Fruitwood Table, 19th century, the rounded rectangular top with a molded edge above a conforming shaped frieze fitted with two end drawers and with shell and foliate carving, raised on cabriole legs headed by foliate carving, joined by an X‑form stretcher and ending in scrolled toes, h. 30”, w. 46”, d. 31”. [400/700]

516Pair of Louis XV Walnut Sidechairs, late 18th century, each with a shaped padded back surmounted by a floral crest, the padded seat raised above a floral‑carved shaped apron on molded cabriole legs ending in scrolled toes, h. 37‑1/2”. [800/1200] Illustrated

517Louis XV-Style Fruitwood Fauteuil, early 20th century, the padded and shaped back surrounded by a molded frame, joined by molded and padded arms to the padded seat, raised on cabriole legs ending in scrolled toes, upholstered in chinoiserie and floral patterned needlework, h. 36‑1/2”. [400/700]

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518Provincial Louis XV-Style Fruitwood Buffet a Deux Corps, early 19th century, the domed and molded cornice above a case fitted with a foliate patera and branch‑carved frieze over two doors, each inset with a glazed panel, the lower section fitted with two cupboard doors, each inset with a shaped panel, over a shaped shell‑carved apron, raised on scrolled toes, h. 99‑1/2”, w. 62‑1/2”, d. 20‑1/2”. [1200/1800] Illustrated

519Provincial Regence-Style Oak Commode, 19th century, the rounded rectangular top above a conforming case fitted with two short drawers over two long drawers, all with incised accents, raised on block feet, h. 32‑1/2”, w. 49”, d. 24”. [1000/1500] Illustrated

520Louis XVI-Style Mahogany Bergere and Ottoman, 20th century, the bergere with a padded back within a molded frame with side finials, joined by closed downswept arms to the padded seat, raised on tapering fluted circular legs ending in toupie feet, h. 38”, together with a matching ottoman, h. 15‑1/2”, w. 32‑1/4”, d. 28”. [1000/1500] Illustrated

521French Three-Panel Polychromed Folding Screen, 20th century, the panels with carved foliate swags, h. 76”, w. 48” [400/700] Illustrated

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522Continental Terracotta Tile, now mounted as a lamp, contemporary molded metal supports hold the self‑framed tile, impressed with a flower and berries with an olive outer frame under a white flower on a light green ground, h. 22‑1/4”, w. 11‑1/2”, d. 6”. [200/400]

523Louis XVI-Style Oak and Marble-Top Bedside Commode, late 19th century, the rounded square top with a shaped backpiece and inset marble top, above a case fitted with a single drawer over a paneled cupboard door, centered by an inlaid floral vase, opening to a lined interior, raised on tapering fluted circular legs, h. 31”, w. 15‑1/4”, d. 15‑1/4”. [200/400]

524French Provincial Oak and Cherrywood Armoire, mid‑19th century, the molded, rounded, rectangular cornice above a case fitted with a scroll‑carved frieze and two doors, each inset with two shaped panels and with foliate‑carved designs, raised on shaped feet, h. 89‑1/2”, w. 53”, d. 25”. [1500/2500] Illustrated

525French Provincial Fruitwood Jardiniere, 20th century, of rectangular form, retains the conforming metal liner, the body paneled, joined by bulbous uprights to a lower stretcher shelf, raised on like legs ending in toupie feet, h. 29‑1/2”, w. 26‑1/2”, d. 12”. [500/800] Illustrated

526Unique Continental Polychromed Carved Wood and Wire-Mounted Birdcage, now converted to a chandelier, the interior with a suspended brass rod with four electric sockets, h. 36”, dia. 22”. [1200/1800] Illustrated

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527Paul Renard (French, 1941-1997), “Busy Winter Street Scene, Paris”, gouache on paper, signed lower left “P. Renard”, sight 10‑1/2” x 18”. Glazed, linen matted and handsomely framed. [1500/2500] Illustrated

528Paul Renard (French, 1941-1997), “Snowy Street Scene”, watercolor and gouache on paper, signed lower right, sight 22” x 29‑1/2”. Attractively matted and framed. [2000/4000] Illustrated

529Johannes Josephus Hovener (Dutch, b. 1936), “Carnival”, oil on canvas, signed lower right “J. J. Hovener”, 24” x 31‑1/2”. Handsomely framed. [1500/2500] Illustrated

530P. Renard (French, 20th Century), “Autumn Street Scene”, oil on board, signed lower left, 23‑3/4” x 14‑3/4”. Framed [1000/1500]

531Regence-Style Walnut Commode, 18th century and later, the shaped rectangular top above a bombe case fitted with three long drawers, raised on shaped scrolled feet, h. 33”, w. 44”, d. 26”. [1800/2500] Illustrated

532Set of Six Haviland Oyster Plates, 1892‑1903, French, the scalloped gold and white plates with a gilded shell edge and flourishes of gilt in the center, both impressed and printed with the Theodore Haviland Limoges mark incorporating the legion of honor medal, dia. 8‑1/4”. [600/900] Illustrated

533Provincial Louis XV-Style Oak Armoire, 20th century, the molded and domed cornice above a floral basket carved frieze with two doors below, each inset with two shaped panels, above a shaped apron, raised on scrolled toes, h. 80‑1/2”, w. 47”, d. 21‑1/2”. [700/1000]

534French Provincial Fruitwood Side Table, late 18th century, the rectangular top with a molded edge and inset gilt‑tooled leather writing surface, above a frieze fitted with one end drawer, raised on molded cabriole legs, h. 27‑1/2”, w. 31‑1/2”, d. 20”. [800/1200]

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535Collection of Paris Porcelain Apothecary Jars, second quarter 19th century, the smallest pair with paintings of the herbs identified on the front, with matching lids, decorated with sprigs of the plant, h. 5”, the next pair with the names of the drugs painted in a gilt and mauve wreath of laurel leaves, h. 7‑1/4”, and a jar made for a store in Mexico, with a drug name in a cartouche decorated with a red and gilt drape, anchors, shells and druggist supply bottles, marked “Drogueria Universal Mexico Paris”, h. 10‑1/4”. [300/500]

536Paris Porcelain Apothecary Jar, 19th century, now mounted as a lamp, the bleu de France ground cartouche flanked by a female figure and a male figure (Aesculapius), the Roman god of medicine, the lower cartouche illustrating a physician attending a patient in bed, on an Oriental‑Style ebonized base, h. 21”, dia. 6”. [150/300]

537Collection of Paris Porcelain, fourth quarter 18th century and later, including a pair of tasse a litrons, decorated with hand‑painted bouquets of flowers on both cups and saucers, overall h. 3‑1/4”, dia. 5‑1/2” a lobed dish, the border decorated with a mauve and green hand‑painted vine and gilt monogram at the center, dia. 8‑1/2”, three gilt and white tasse a citrons by Locre, decorated with gilt sprigging, singed with the Locre underglaze blue crossed arrows, overall h. 3”, dia. 5”, and a pair of dessert plates, second quarter 19th century, decorated with a border of red and green pomegranates alternating with gilt sprigging, dia. 7‑1/2”. [150/300]

538French Sarraguemines Creamware Partial Dinner Service, ca. 1960‑1982, made in the rococo‑style with burgundy trimmed and molded borders, decorated with bunches of polychrome flowers, the set comprised of two round covered soup tureens with fruit‑form knops and scrolled handles, h. 9”, dia. 9‑1/2”, two open vegetable bowls, dia. h. 5”, 10‑1/2”, three round graduated chop plates, dia. 12” to 13‑1/4”, three low round footed fruit stands, dia. 9‑1/2”, a footed compote, h. 5‑1/2”, dia. 9‑1/2”, a small oval platter, w. 6‑1/2”, l. 10‑1/2”, a square platter, w. 10‑1/2”, l. 12‑3/4”, a sauce tureen on stand, h. 4‑1/2”, w. 6‑1/2”, l. 10‑1/4”, forty‑three dinner plates, dia. 9‑1/2”, eleven soup plates, dia. 9‑1/2” and two luncheon plates, dia. 9”. [500/800]

539Provincial Regence-Style Walnut Commode, late 18th century, the rectangular top with a serpentine front and molded edge above a conforming case fitted with three long drawers, raised above a shaped apron on bracket feet, h. 38‑1/2”, w. 53”, d. 28”. [500/800]

540French Provincial Oak Coffee Table, partially constructed of antique elements, the rectangular top with molded edge above a shaped frieze, raised on slightly splayed legs, h. 18”, w. 50”, d. 23”. [400/700]

541French Provincial Walnut Sidechair, late 19th century, the flat crest above a molded splat and wooden seat, raised on bulbous and block legs, joined by stretchers and ending in bulbous feet, h. 37”. [100/200]

542French Provincial Fruitwood Wine Table, 19th century, the tilting oval top raised on plank end supports and a swinging support, to runner feet, h. 28”, w. 63”, d. 43”. [500/800]

543French Provincial Polychrome Vasselier, the molded rectangular cornice above three open shelves, the lower section fitted with two cupboard doors, each inset with a shaped panel, raised on a plinth base, h. 77‑1/2”, w. 53‑1/2”, d. 19‑1/2”. [1000/1500] Illustrated

544Fanciful Six-Light Polychrome Chandelier, the central rod issuing scrolling foliate stems ending in faceted crystal buds, the lower cap issuing six like‑dressed arms terminating in foliate bobeches and sockets, h. 30”, dia. 33”. [300/500]

545Pair of Meissen Figures, 1954‑1955, German, depicting a couple in 18th century costume, each on a base decorated with gilt scrolls and applied flowers, the female in a skirt hand‑painted with flowers, carrying a basket of molded flowers, sculpted feathers in her hat, the male holding a staff and with a flower painted waistcoat and a tricorn hat, marked with underglaze blue crossed swords in addition to year symbols next to modelers numbers, h. 5‑3/4”. [250/400]

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546Provincial Polychrome French Looking Glass, 19th century, of Regency inspiration, the top with an applied peaked facade mounted to the upper frieze, the mirror plate flanked by turned half columns, h. 48”, w. 22”. [300/500] Illustrated

547French Provincial Fruitwood Settee, late 19th century, the padded and triple‑domed back joined by padded arms on turned uprights to the cushioned shaped seat, above a double‑tiered stretcher, raised on turned and bulbous block legs ending in toupie feet, h. 40”, d. 25”, l. 71”. [2000/4000] Illustrated

548Provincial Louis XV-Style Polychromed Armoire, late 19th century, the molded and rounded cornice above a case fitted with a fluted frieze and two long doors, each inset with two shaped panels and with floral bouquet and patera carving, the shaped apron raised on scrolled toes, h. 82‑1/2”, w. 59”, d. 25”. Provenance: Purchased by the consignor from Lucullus, New Orleans. [2000/4000]

549Provincial Louis XV-Style Fruitwood Fauteuil, the shaped padded back surmounted by a floral crest and within a molded frame, joined to the padded seat by like arms, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 35”. [200/400]

550Provincial Louis XV-Style Walnut Fauteuil, late 19th century, the shaped padded back surmounted by a floral crest and within a molded frame, joined by scrolling arms to the padded seat, raised above a floral‑carved apron on molded cabriole legs ending in scrolled toes, h. 38”. [200/400]

551Set of Four Signed Paris Porcelain Cabinet Plates, 1817‑1833, French, decorated with a complex guilloche bordering an apple green band and a wreath of anthemia framing superbly detailed polychrome flora, each signed “Feuillet” in gilt script, dia. 9”. [400/700] Illustrated

552Pair of Louis XV Brass Candlesticks, third quarter 18th century, each with a dome base decorated with molded rococo scrolls which are repeated on the vase‑shaped standard, cylindrical candle cups molded with a mid‑rib, h. 10”, dia. 5‑1/4”. [400/700] Illustrated

553Chinese Canopy Bed, 19th century, the e lmwood canopy ornately carved with phoenixes, birds and flowers, and with a latticed back and cabinet base with four drawers and double doors, surface lacquered in red and black with considerable gilt, h. 108”, w. 86”, d. 58”. [4000/7000] Illustrated next page

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554Chinese Ebonized and Polychrome Altar Table, 20th century, the narrow top with raised ends above a frieze fitted with three small drawers, all with foliate‑carved fronts, raised on cluster faux bamboo legs, h. 39‑1/2”, w. 51”, d. 10‑1/2”. [300/500]

555Chinese Polychrome and Parcel-Gilt Panel, 19th century, of rectangular form, featuring a carved and pierced scene of dragons among clouds centering a larger dragon, within a Greek‑key carved frame, h. 21‑1/4”, w. 70”. [1000/1500] Illustrated

556Burmese Occasional Table, 19th century, wood and leather with red and gold lacquer inset with multi‑colored mirror inlays, and two other elements joined together as a lamp, h. 63”. [500/800] Illustrated

557Chinese Carved and Pierced Rosewood Stand, sitting on short pad feet, the base set with a drawer decorated with bas relief‑carved dragons and set with a leaf‑form brass pull, the pierced gallery top decorated with panels of scrollwork and peonies, double gourd finials set at the four corners, h. 8”, w. 14‑1/2”, d. 9‑3/4”. [600/900] Illustrated

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558Chinese Carved Jade Boulder, 20th century, the grey jade with russet markings, carved as a mountain open to two scholars in a mountain landscape, with a fitted hardwood stand, w. 5‑1/2”, l. 7”, without stand. [5000/8000] Illustrated

559Chinese Jade Panel From a Scepter, 19th century, the white stone carved with Shou characters and the precious emblems, framed in a carved and pierced wooden frame, h. 4‑1/2, w. 5‑1/2”, jade only. [1400/1800] Illustrated

560Chinese Jade Carving, 20th century, the disc with relief carving of the animals of the zodiac, the stone of yellow/white color, dia. 3‑1/4”. [3000/5000]

561Chinese Carved Rosewood Group, late 19th / early 20th century, the scene of Mi Lo Fu with playing children, fitted hardwood stand, l. 7‑1/2”. [100/200]

562Pair of Chinese Carved and Painted Wood Figures, 20th century, the standing figures of a man and a woman marked with the names and places of acupuncture points on the body, h. 40”. [400/700]

563Chinese Rosewood Vase, 20th century, carved as a section of an ancient gnarled flowering tree with two birds, h. 9‑1/2”. [200/400]

564Chinese Musical Instrument, 20th century, the seven‑stringed instrument surface covered in brown lacquer with an historical scene in gold, the matching case with floral decoration, both with extensive inscriptions in seal characters and cursive script, l. 46”. [3000/5000] Illustrated

565Chinese “Butterfly” Zither, 19th century, the lacquered wood with metal strings and brass frets, the interior drawers containing strikers of bamboo and brass in the form of a hammer with the makers name, w. 12”, l. 29”. [600/900]

566Graduated Set of Four Carved and Polychromed Chinese Drums, 20th century, each with carved stylized dragons in gilt and ebonized decor against a red lacquered ground, together with a wooden mallet with a leather‑bound head, h. 6” to 21”, drums, l. 21‑1/2”, mallet. [300/500]

567Pair of Chinese Stained Hardwood Yoke Back Armchairs, 19th century, in the Ming style, the plank splat and downswept arms to the paneled seat, raised on circular legs joined by a box stretcher, h. 32”. [800/1200] Illustrated

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568Chinese Kang Table, 20th century, the rosewood table with foliate feet, the apron carved with stylized dragons, h. 5‑3/4”, d. 12‑3/4”, l. 23‑1/2”. [100/200]

569Chinese Elmwood Stool, 20th century, with elephant trunk legs, woven inset, h. 16”, w. 23”, d. 22‑1/2”. [200/400]

570Chinese Elmwood Cabinet, 20th century, the cabinet with a black lacquered surface with two doors over two drawers, and with a moon‑shaped face plate and mounts, h. 71”, w. 42‑1/2”, d. 23”. [800/1200] Illustrated

571Small Chinese Cabinet, 20th century, the elmwood cabinet with a black lacquered surface, with two doors over two drawers, and moon‑shaped brasses, h. 63”, w. 38”, d. 22”. [400/700]

572Chinese Two-Door Cabinet, 20th century, the elmwood cabinet with a black lacquered surface, a carved apron with archaic scrolling and a moon‑shaped face plate, h. 74‑1/2”, w. 40‑1/2”, d. 23”. [500/800]

573Pair of Small Chinese Chests, 20th century, the two‑door type elmwood chests with black lacquered surfaces, and foliate brass mounts, h. 25”, w. 27‑1/4”, d. 21”. [300/500]

574Chinese Table Screen, 20th century, the circular soapstone plaque inlaid with birds and flowers in lapis, jade, turquoise, coral and agate, carved wooden stand, h. 15”, dia. 10”, without stand. [700/1000] Illustrated

575Chinese Jade Carving, 20th century, the stone of a celadon and grey color, carved in the shape of a foo dog with ling‑chih, l. 3”. [2000/4000] Illustrated

576Chinese Jade Camel, 20th century, the dark green stone with russet markings, h. 4‑1/2”, l. 7‑1/2”. [400/700]

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577Carved Kuang-Hsü Serpentine Figure, of a windswept beauty in the 18th‑century style, c. 1900‑1905, on an elaborately carved Chinese hardwood display stand, overall h. 9‑1/2”. [200/400] Illustrated

578Chinese Jade Scepter, early 20th century, the stone of a yellow‑green color, surface‑carved with ling‑chih in relief, l. 10”. [1000/1500] Illustrated

579Chinese Jade Carving, 19th century or earlier, the white stone with black markings, carved in the shape of a cat with flowers and foliage, l. 2”. [1200/1800] Illustrated

580Chinese Carved Jade Elongated Mountain Carving, carved as one of the weird limestone southern mountains, the pale green stone with russet skin carved as flowering trees, presented on a wooden stand, h. 4‑1/4”. [100/200]

581Chinese Jade Carving, 19th century or earlier, the white jade with dark brown markings in the study of a cat, l. 2”. [800/1200]

582Chinese Jade Seal, 18th century or earlier, the chicken bone stone with a tortoise finial, the seal impression intact with traces of vermilion seal paste worn into the stone, dia. 1‑1/2”. [600/900]

583Moss Agate Snuff Bottle, late 19th/early 20th century, the bottle with a flattened round shape, well hollowed with a red jasper bloodstone top with a brass spoon, h. 3”. [200/400]

584Chinese Tiger Eye Snuff Bottle, late 19th/early 20th century, the flattened round‑shaped bottle very well hollowed, with a matching top and stained ivory spoon, h. 2‑1/2”. [150/300]

585Chinese Snuff Bottle, 20th century, the body comprised of sections of joined amber‑like material, h. 3”. [200/400]

586Chinese Porcelain Plume Holder, 20th century, Tou Tsai decoration of dragons and clouds, six‑character Yung Cheng mark, h. 3”. [600/900] Illustrated

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587Framed Chinese Porcelain Plaque, late Qing dynasty, garden scene with maiden and her attendant, signed along the upper right corner with colophon and artist’s red mark, h. 15”, w. 10”, plaque, h. 22‑1/2”, w. 16”, overall. [300/500] Illustrated

588Chinese Porcelain Bowl, first quarter 20th century, with a blue sgraffito ground with rondels of landscapes in famille rose enamels, Ch’ien Lung mark on the base, dia. 6‑1/4”. [150/300]

589Chinese Export White Porcelain Bowl, 20th century, in “Thousand Bats” decor, signed under the base, h. 3‑1/2”, dia. 8‑1/2”. [200/400]

590Chinese Porcelain Covered Box, 20th century, iron‑red decoration of the eight precious emblems and floral scrolling, foo dog finial, Ch’ien Lung mark on the base, dia. 6‑1/2”. [300/500]

591Chinese Couch, 19th century, Luo Han Chuan, the surfaces decorated in gold, red and black with historical scenes and longevity emblems, the back and sides shaped as an open scroll and the scroll feet ornately carved, h. 34‑3/4”, d. 49‑1/2”, l. 79‑1/2”. [3000/5000] Illustrated

592Chinese Table Screen, 19th century, the rosewood carved with archaic scrolling and kuei dragons, the panel now replaced with a mirror, h. 29‑1/4”, w. 19‑3/4”, d. 11‑1/2”. [300/500]

593Chinese Rosewood Weapons Rack, early 20th century, the fan‑shaped rack with supports and finials carved and pierced with dragons, inset with eight ceremonial weapons with shafts carved as bamboo, h . 97”, w. 68”. [3000/5000] Illustrated

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594Louis XVI-Style Polychrome and Parcel-Gilt Looking Glass, late 19th century, the foliate, bellflower and feather crest above a canvas panel depicting a group of figures at a table, above the rectangular plate, with a lattice pattern frieze and flanked to either side by a pair of engaged fluted and ring‑turned columns, h.62‑1/2”, w. 52”. [1800/2500] Illustrated

595Louis XVI-Style Kingwood and Marble-Top Commode, late 18th century, the rectangular variegated gray and tan marble top with rounded corners, above a conforming case fitted with three small drawers, all banded and with decorative inlay over two long banded drawers, raised on tapering fluted circular legs ending in toupie caps, h. 32‑1/2”, w. 50”, d. 23‑1/4”. [2500/4000] Illustrated

596Two Similar French Busts, fourth quarter 19th century, Continental, one terra cotta, and depicting the self portrait of Charles Antoine Coysevox and the other, tinted plaster and probably depicting Jean‑Baptiste Moliere, h. 27”. [700/1000] Illustrated

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597Pair of Louis XV-Style Mahogany Chairside Tables, early 20th century, each with an oval top with a three‑quarter pierced brass gallery centering an inlaid floral spray, above a conforming case fitted with three small drawers, raised on delicate cabriole legs, h. 28”, w. 17”, d. 12‑1/2”. [500/800] Illustrated

598Two Pairs of Engraved Portrait Miniatures, 19th century, including a pair of reproduction engravings of the Earl of Granville and Percy, Earl of Northumberland, both set in English lacquered miniature frames with convex oval glazing within a brass bezel, suspended by brass hangers supported by molded acorns and leaves, h. 6”, w. 4” , and a pair of aquatints of Louis XVI and Marie Antoinette set in round giltwood frames, dia. 4‑1/4”. [250/400] Illustrated

599Louis XVI-Style Parquetry-Inlaid Kingwood Games Table, mid‑19th century, the rectangular lattice‑inlaid top hinged and opening to a baize‑lined surface, above a like‑inlaid frieze fitted with a single drawer opening to a baize‑lined surface and two ink pots, hinged and opening to a mirrored compartment interior, raised on tapering square legs, h. 30‑1/2”, w. 27”, d. 17‑1/2”. [1000/1500] Illustrated

600Paris Porcelain Figural Corbeille, first quarter 19th century, the oval base trimmed in gilt supported by molded paw feet, the center of the base decorated with a gilt medallion flanked by biscuit figures of winged, draped angels supporting the gilt bateau‑shaped pierced basket, h. 14‑1/2”, w. 14”, d. 7”. [600/900] Illustrated

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601Sevres Three-Piece Coffee Set, fourth quarter 19th century, French, the gilt and white set comprised of a coffee pot, h. 8‑1/4”, a cream jug, h. 4‑1/2”, and a sugar basin, h.4‑3/4”, all decorated with the crowned initial of Louis‑Philippe, framed in a laurel wreath, and trimmed with a running border of gilt ivy leaves, each of inverted pear form with pierced handles, decorated with raised notches, marked with an underglaze green “5.76” in an oval, an overglaze rouge de fer Chateau de Fontainbleu mark, and an overglaze blue Sevres Louis‑Philippe mark. [400/700] Illustrated

602Paris Porcelain Encrier, 1817‑1834, signed “Feuillet” in gilt script, apparently a royal commission, with gilt initial cypher under a British ducal crown, of rectangular form, trimmed in gilt notching, with integral pens trays in two sides, a central pounce pot decorated with raised anthemia, four quill apertures, and a pair of ink pots retaining their original double‑dolphin‑handled covers, h.4”, l. 11‑1/4”, w. 6‑7/5”. For the mark, see Regine de Plinval de Guillebon, Porcelain of Paris, 1770‑1850 (New York: Walker & Co., 1972), p. 335, no. 109. According to de Guillebon, Feuillet produced many armorial pieces for royal families. [400/700] Illustrated

603Louis XVI-Style Fruitwood Settee, late 19th century, the domed and padded back surmounted by a floral crest and within a foliate‑carved frame, joined by downswept arms to the like seat, raised above a fluted apron on tapering stop‑fluted legs ending in bulbous feet, h. 38‑1/2”, d. 28”, l. 79‑1/2”. [900/1200] Illustrated

604Louis XVI-Style Giltwood Looking Glass, early 20th century, the rectangular plate surmounted by a scrolling urn crest, surrounded by an annulated molded and foliate‑carved frame with a pendant swag, h. 44”, w. 21”. [400/700] Illustrated

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605Pair of Louis XVI-Style Giltwood Window Seats, each with a cushioned seat flanked to either end by padded outscrolled arm rests, above a fluted frieze, raised on fluted tapering circular legs ending in toupie feet, h. 35‑1/2”, w. 43”, d. 19”. [4500/7000] Illustrated

606Suite of Three Gilt-Metal and Mirrored Nesting Tables, in the Louis XVI Style, each with an inset rectangular mirrored top raised on tubular reeded legs joined by stretchers and ending in tall toupie feet, h. 18”, w. 24”, d. 14”. [100/200]

607Royal Copenhagen “Flora Danica” Porcelain Serving Dish, mid‑20th century, pattern 20, item 3540, with a stem handle, crenellated gilt rim and polychrome floral center, identified as “Platanthera rotundifolia Lindl” on the reverse and fully marked, h. 2‑1/4”, l. 8‑1/2”, w. 6‑3/4”. [300/500] Illustrated

608Royal Copenhagen “Flora Danica” Porcelain Pickle Dish, mid‑20th century, pattern 20, item 3544, with a gilt crenellated rim and polychrome floral center, identified as “Stellaria Arigynum Vill.” on the reverse and fully marked, h. 2‑1/4”, l. 8‑1/8”, w. 4‑5/8”. [300/500] Illustrated

609Royal Copenhagen “Flora Danica” Porcelain Dinner Plate, mid‑20th century, pattern 20, item 3553, with a gilt pierced rim and polychrome floral center, identified as “Hieracieum umbellatum L” on the reverse and fully marked, dia.10”. [200/400] Illustrated

610Three Royal Copenhagen “Flora Danica” Porcelain Items, mid‑20th century, comprised of a small bowl, pattern 20, item 3590, with a gilt crenellated rim and polychrome floral center, identified as “Silene acaulis L.” on the reverse, dia. 5‑3/4”, a chocolate cup, pattern 20, item 3512, with a gilt rim and polychrome floral body, identified as “Corrigiola littoralis L.”, h. 2‑1/2” and a saucer, pattern 20, item 3597, with a gilt crenellated rim, dia. 5‑3/8”, all pieces fully marked. [125/250] Illustrated

611Louis XVI-Style Giltwood Looking Glass, mid‑19th century, the rectangular plate surmounted by a foliate urn crest issuing foliate swags, surrounded by a fluted frame with scrolling foliate pendant feet, h. 72”, w. 28‑1/2”. [1500/2500] Illustrated

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612Art Deco Burlwood Cabinet, early 20th century, in the Louis XVI taste, the cornice centered by an ormolu floral basket mount above an open space with mirrored back, flanked to either side by an ormolu‑mounted column and a glazed cabinet, the lower section with a bowed breakfront marble above a conforming case fitted with three drawers over three paneled cupboard doors, the central one with an inlaid floral spray, raised on tapering circular legs, h. 83‑1/2”, w. 63”, d. 22”. [1500/2500] Illustrated

613Art Deco Burlwood Server, early 20th century, in the Louis XVI taste, the backpiece surmounted by an ormolu floral basket crest above a rounded beveled mirror plate, the case with a marble top above a case fitted with three drawers over three paneled cupboard doors, raised on tapering circular legs, h. 65”, w. 51‑1/2”, d. 19”. [1200/1800]

614Louis XVI-Inspired Gilt-Metal Mounted and Line Strung Mahogany Dressing Mirror, early 20th century, the central beveled looking glass with a shell and floral ormolu crest, flanked by a pair of cabinet supports, each with an inset bowed marble top above a conforming case fitted with a single paneled drawer over a like cupboard door, raised on tapering bulbous circular legs ending in brass caps, the central mirror supporting a pair of shaped adjustable swing mirrors h. 75”, w. 52 1/4”, d. 16”. [800/1200] Illustrated

615Collection of Four French Chromolithographs, including three examples of monograms and coats of arms from an album Chiffres Modernes Fougeadoire by A. Fougeadoire, Paris and the “City of Paris Coat of Arms”, sheet size of two 10” x 13”, sight of third 8‑1/2” x 5‑3/4”.One framed. [200/400]

616Collection of Two French Chromolithographs, 19th century, including a “Lettres” plate from Journal‑Maneul de Peintures, by Pierre Chabat, and “Emaux, Metauc, Coleurs & Fourrures” from Chiffres Modernes Fougeadoire, by A. Fougeadoire, Paris, sight former 16” x 10”, sheet size latter 10” x 13”. Both glazed and attractively framed. [100/200]

617Louis XVI-Inspired Prism Hung, Faceted Cut-Glass and Brass Chandelier, of modified basket form, the upper section draped with graduated octagonal cut‑glass beads joined to a metal ring, faced with faceted cut‑glass squares, the ring and a smaller inner ring ornately dressed with assembled cut‑glass beads and cut and faceted pendalogues of various shapes and sizes, h. 36”, dia. 15”. [500/800] Illustrated

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618French Tapestry, early 19th century, depicting a courting couple of courtiers in a pastoral landscape, within a scroll banding, h. 46”, w. 64”. [500/800] Illustrated

619Baltic Neoclassical Mahogany and Marble-Top Commode, late 18th century, the rectangular marble top above a conforming case fitted with two long drawers, each with brass banding, raised on tapering fluted square legs with gilt accents, h. 34”, w. 37‑1/2”, d. 18”. [1800/2500] Illustrated

620Louis XVI-Style Fruitwood and Mahogany Side Table, early 20th century, the rectangular top with brass banding and a three‑quarter pierced brass gallery surrounding an inset leather writing surface, above a frieze fitted with a single drawer, with a floral diamond inlaid panel, raised on tapering paneled square legs ending in brass caps, h. 29”, w. 28‑1/4”, d. 16”. [400/700] Illustrated

621Louis XVI-Style Rosewood, Kingwood and Marble-Top Commode, fourth quarter 19th century, the rectangular Saint‑Pons marble top with a molded edge, above a conforming case fitted with two long drawers, each with three inlaid and banded panels, the sides inlaid en suite, raised on tapering square legs ending in brass caps, h. 34‑1/4”, w. 41‑3/4”, d. 19‑1/2”. [400/700]

622Pair of French Belle Epoque Gilt-Bronze and Porcelain Candelabra, fourth quarter 19th century, the bronze bases with ribbed bun feet supporting a base decorated with gilt reeding, the conical foot fluted and supporting the Chinese‑style blue vase that forms the body, mounted with ram’s head handles supporting gilt‑bronze swags of flowers, the base capped with a floriate‑molded bronze cover supporting gilt‑bronze branches of lilies and carnations, some of which have candlecups, h. 21‑1/2”, w. 15‑1/4”, d. 6”. [2000/4000] Illustrated

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623Two Enameled Automation Music Boxes, Continental, the first example, fourth quarter 19th century, the bomber sided case decorated with scrollwork and flowers, the lid bright‑cut with bleu de France enamel corners, polychrome gothic enamel panels of flora and enamel ivy encircling the enamel panel depicting a beautifully rendered Tyrolean landscape, the oval panel opens to reveal a singing mechanical bird, feathered and sitting on a pierced scrollwork ground, h. 10”, w. 3‑3/4”, d. 2‑1/2”, the second example, first quarter 20th century, also bombe form with gilt brass, the case sides decorated in geometric patterns, the cobalt ground enamel lid floral‑decorated with raised gilt trim, and a central enamel panel, depicting a group of people in 18th century costume in a garden, the panel opens to reveal a mechanical singing bird, which springs up when opened, on a pierced scrollwork ground, marked “EB” and metal on base, h. 1‑3/4”, w. 4‑1/4”, d. 3”. [5000/8000] Illustrated

624Pair of French Louis XV Brass Candlesticks, fourth quarter 18th century, the molded serpentine base supports a panel molded tripartite standard with an arched top, fitted with a hexagonal candle cup, h. 9‑1/2”. Provenance: Au Vieux Paris Antiques, Breaux Bridge, Louisiana. [300/500]

625Pair of Large French Tapestry Pillows, one depicting a red parrot, the other a pair of lovebirds, both in a floral bower on a tan ground, both backed with bronze silk and trimmed with silk tape, fringe and small pompoms, h. 24”, w. 24”. [500/800]

626Group of Eight Assorted Large Tassels, in combinations of ivory, burgundy, forest green and gold, tassel l. 11”, including doubled cord l. 27”. [100/200]

627Louis XVI-Style Fruitwood Desk, early 20th century, the rectangular top with an inset gilt‑tooled leather surface above a case fitted with two frieze drawers over four small drawers to one side and three drawers over four small drawers to the other side, all paneled and with brass banding, raised on tapering square paneled legs ending in pad feet, h. 31‑1/2”, w. 54”, d. 36”. [500/800]

628Transitional Louis XV-into-Louis XVI-Style Fruitwood Desk, early 20th century, the rounded rectangular top above a conforming frieze fitted with a single frieze drawer flanked to either side by two small drawers, raised on cabriole legs, h. 31‑1/2”, w. 52”, d. 28”. [600/900]

629Samson Armorial Punch Bowl, first quarter 20th century, French, decorated in the Chinese export style, decorated with panels of stylized peonies and other flowers outlined with raised white panels, a gilt fret trims the upper edge, mounted in a gilt‑bronze leaf‑molded foot ring, h. 6‑1/4”, dia. 9”. [400/700] Illustrated

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630Pair of Faux Rock Crystal and Metal Leaf Two-Light Sconces, in the Louis XVI style, the sconces in the form of pots of flowers, the vase‑form backplates support standards of flowers and leaves, leaf‑molded candle branches with matching drip pans and bobeches hung with drips and mounted with flowers, h. 29”, w.11”, d. 5‑1/4”. [1500/2500] Illustrated

631Hand Woven Wool and Silk Tapestry, 2’7” x 6’5”. [2000/4000] Illustrated

632Hand Woven Wool and Silk Tapestry, 2’4” x 5’. [2000/4000] Illustrated

633Neoclassical-Style Blush Marble Wall Fountain, the domed backpiece above a demi‑lune basin with a rounded lip and ribbed body, h. 28‑1/2”, w. 24‑1/2”, d. 17‑1/2”. [500/800]

634Neoclassical-Style Granite Urn, the circular broadly molded lip above a bulbous body, the waisted standard on a socle base, h. 14”, dia. 12”. [200/400]

635Plaque for the 1879 Paris Exposition des Sciences Appliques a L’Industrie, in the form of overlapping medals, decorated with allegorical figures of science and industry, as well as, the date and place, the organization was formed to create a link between industry and fine arts, h. 12‑1/4”, w. 28”. [500/800]

636Unusual Gilt-Metal Four-Light Table Lamp, first quarter 20th century, the scrolled and pierced base holds the vase‑shaped standard, the central light, with a flame‑shaped globe, sits atop the standard, surrounding it with three scrolled arms set with electric sockets, h. 25”, dia. 14”. [300/500]

637Pair of French Empire-Style Cut-Glass and Brass Table Lamps, square black tole bases support cut‑glass plinths trimmed in brass leaf molding, supporting strawberry pattern cut‑glass vase‑shaped columnar supports, with leaf‑molded feet and engine‑turned capitals, h. 24”, w. 5”, d. 5”. [1400/1800] Illustrated

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638French Empire Revival Bronze and Cut-Glass Lamp, a fluted bronze foot supports the domed diamond‑cut base, a fluted bronze stem supports the diamond‑cut vase‑shaped body, mounted with masque‑molded bronze loop handles, the cut‑glass cover supports the lamp standard, h. 32‑1/4”. [1800/2500]

639Pair of Continental Brass and Glass Candle Lamps, fourth quarter 19th century, the brass bases with round feet and standards decorated with impressed designs of floral bands on a stippled ground, the standards with spring‑loaded candle sockets, the vase‑shaped shade with cranberry flashed upper rims and a pattern of cut and engraved stars and floral sprigs, h. 16‑1/4”, dia. 4‑3/4”. [200/400]

640Good Pair of French Vermeil-Mounted Limoges Enamel Vases, first quarter 20th century, by Auguste Jean, active 1909‑1934, Paris, each with a flattened spherical base and tall tapering neck, the necks enameled with courting galants in a wooded landscape, the reverses with white and the bases with teal guilloche enamel, with .800 silver‑gilt rim and foot‑ring, h. 7‑1/4”, dia. 3”. [3000/5000] Illustrated

641French Art Nouveau Panel, oil on canvas, a young maiden entering a floral garden, monogrammed and dated lower right “LDB 1903”, unframed, h. 57”, w. 27‑1/2”. [300/500]

642Enamel and Bronze Napoleon III Miniature Tazza, third quarter 19th century, raised on scrolled feet supporting the turned base, the pink ground enamel body with a beaded bronze rim surrounding a complex border incorporating turquoise and opal “jewels” with rouge tracery, hand‑painted lilies of the valley decorate the center, h. 2‑1/2”, dia. 4”. [600/900]

643Pair of Continental Neo-Grec Painted Stone Rondels, decorated en grisaille with Roman soldiers’ heads on a tan ground, the convex stone rondels are velvet‑matted in contemporary giltwood frames, dia. 17‑3/4”. [400/700]

644Napoleon III Giltwood Looking Glass, third quarter 19th century, in the Louis XV taste, the shaped and domed beveled plate and surmounted by a foliate shell‑carved crest and within a molded an annulated frame, h. 71‑1/2”, w. 42”. [1000/1500] Illustrated

645Henry Schouten (Belgian, 1864-1927), “Shepherd With His Flock”, oil on canvas, signed lower right “Henry Schouten”, 20” x 28‑1/2”. Presented in a Rococo‑style giltwood and gesso frame. [2000/4000] Illustrated

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646French School (Fourth Quarter 19th Century), “Wooded River Landscape With a Fisherman”, oil on canvas, signed lower right “Barsalou”, 15” x 18”. Presented in a period giltwood frame. [300/500]

647Napoleon III Ebonized and Boulle Bureau de Dame, third quarter 19th century, the superstructure with a three‑quarter pierced brass gallery above two cupboard doors, each with a raised shaped Boulle panel, over two small drawers, flanked to either side by ormolu caryatids, the lower section fitted with a drop‑front writing drawer, raised on cabriole legs headed by maiden’s head mounts and ending in sabots, the whole accented with Boulle panels, h. 49‑1/2”, w. 30”, d. 20‑1/2”. [800/1200] Illustrated

648Renaissance Revival Marble and Cast-Metal Mantel Clock, fourth quarter 19th century, scrolled cast‑metal lion’s head feet support the black and mottled green marble base, decorated with incising, the pierced metal clock case decorated with scrollwork and griffin handles, the movement set with an enamel dial with Roman numeral chapter ring, the urn‑shaped finial scroll‑molded and supports trailing pierced scrollwork, h. 15‑1/2”, w. 11”, d. 5‑1/2”. [200/400]

649Napoleon III Giltwood Bergere, late 19th century, in the Louis XV taste, the padded trisected back and sides surmounted by a shell and foliate crest, the padded seat raised on molded cabriole legs ending in scrolled toes, h. 26”. [500/800]

650Belgian School (Third Quarter 19th Century), “Expansive Landscape With Cattle Watering and a Shepherd With His Flock”, oil on canvas, indiscernibly signed and dated “1875” lower right 29” x 41”. Framed. [3000/5000] Illustrated

651Xeno Munninghoff (Dutch, 1873-1944), “Autumnal River Landscape With Laborers”, oil on canvas, signed lower right and verso “Xeno Munninghoff”, 13‑3/4” x 21‑1/2”. Framed. [500/800] Illustrated

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652Jacobus Freudenberg (Dutch, 1818-1873), “Visit by the Fence”, oil on canvas, signed lower right “J. Freudenberg”, 24‑3/4” x 30”. Framed. [700/1000]

653Alfred Stevens (British, 1817-1875), “L’Amateur Dans L’Atelier”, oil on canvas, signed lower right “A. Stevens”, reverse with an “Arthur Tooth & Sons, Ltd., London, UK” bill of sale to the original owner, Mrs. Theodore Francis Turner of Syosset, NY, 18” x 15”. Presented in a giltwood and gesso frame with a linen liner. Provenance: Private collection, NY. [8000/12000]

654French Bronze Statue of a Classical Warrior, probably Perseus, fourth quarter 19th century, h. 21”, l. 20”, d. 10”. [1000/1500] Illustrated

655Pair of Exceptional Patinated-Bronze and Sienna Marble Napoleon III Two-Light Candelabra, third quarter 19th century, French, the sienna marble blocks support the individually sculpted patinated‑bronze pan figures of putti with goat’s feet, grasping limb‑molded candle branches with integral drip pans, and Louis XV‑style fluted candle cups with beaded bobeches, h. 13‑1/4”, w. 10”, d. 4‑1/2”. [1000/1500] Illustrated

656Belle Epoque Bronze Putto, ca. 1900, French, on ball feet with a walnut base, with a beaded border at the molded support under the patinated‑bronze putti, h. 5‑1/4”, dia. 3”. [200/400]

657Pair of Napoleon III Neo-Grec Bronze and Marble Garniture Urns, third quarter 19th century, French, the black marble bases trimmed in rouge marble, the vases made of alternating black marble, rouge marble, and bronze, the urn bodies decorated with bas‑relief‑molded bronze classical figures, the top mounted with scrolled bronze handles, h. 10”, w. 3‑1/2”, d. 3‑1/2”. [200/400]

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658Impressive Sarreguemines Majolica Bronze-Mounted Urn, ca. 1865‑1880, French, the cast‑bronze elements, which fully embrace Victorian eclecticism, have a pierced base employing bird’s feet, medieval helmets and cartouches, the Majolica body flute and cobalt glazed, with pale ribs and a raised gilt shoulder border employing with reverse strapwork and raised gilt flowers, the winged dragons gilt‑bronze handles under gothic canopies with beaded finials, the gilt‑bronze neck rim employs swags of bellflowers on a stippled ground, and a scalloped edge with molded anthemia, covered with a brass cap, base impressed “Sarreguemines Majolica”, h. 28‑3/4”, w. 15‑3/4”, d. 11”. [3000/5000] Illustrated

659Cobalt Ground Neoclassical Urn Mounted as a Lamp, fourth quarter 19th century, probably German, a square base supporting the vase, mounted with bronze goat’s head handles, now electrified, h. 26‑3/4”, w. 6‑1/4”, d. 4‑3/4”. [150/300]

660French Bronze of “Althea” by Lalaouette, 19th century, signed on the plinth, gowned figure with one arm raised and holding a dagger, h. 27”. [3000/5000] Illustrated

661Pair of Brass Busts of Roman Emperors, fourth quarter 19th century, Continental, each mounted on turned fruitwood bases, one labeled and depicting Otho, and the other labeled Civlius, possibly depicting Claudius, each clad in elaborate Imperial robes, h. 12‑3/4”, w. 6”, d. 4‑1/2”. [400/700]

662Bronze and Marble “Mercury” Table Lamp, first quarter 20th century, the round marble plinth supports the wing‑footed Mercury, supported on one foot, and holding aloft an electrified candle in a wax sleeve, h. 20”, w. 7”, d. 4‑1/2”. [200/400]

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98

663Empire-Style Mahogany Armoire, 20th century, the domed and molded crest above an ormolu‑applied frieze, above a case fitted with two doors, each inset with two quarter‑veneered panels, above a single drawer, raised on bun feet, h. 83”, w. 51‑1/2”, d. 24”. [1000/1500] Illustrated

664Empire-Style Mahogany Armoire, 20th century, the domed and molded crest above an ormolu‑applied frieze, above a case fitted with two doors, each inset with two quarter‑veneered panels, above a single drawer, raised on bun feet, h. 83”, w. 51‑1/2”, d. 24”. [1000/1500] Illustrated

665French Impressionist School (Fourth Quarter 19th Century), “Summer Landscape With a Village in the Distance”, oil on canvas, unsigned, verso with painted out, partially discernable inscription “Paysage de....” 14” x 20”. Presented in an attractive, contemporary giltwood frame. Provenance: Private collection, New Orleans, Louisiana; Heritage Auction Gallery, May 15, 2012, Estate of Graham Williford sale. [2500/4000] Illustrated

666Robert Cusner (Belgian, 19th/20th Century), “Landscape With a Pond and Village in Distance”, oil on canvas, signed lower right “R. Cusner:, 18” x 23‑1/2”. Framed. [400/700]

667F. Sun (Continental, 20th Century), “The Salon”, watercolor on paper, signed lower right, sight 8” x 9”. Attractively glazed, matted, and framed. [100/200]

668Attrivuted to Jan Stanislawski (Polish, 1860-1907), “Ukranian Landscape”, oil on board, partial signature visible lower right, verso with artist’s name and indiscernible title of work, 5‑1/2” x 9‑1/4”. Framed. [900/1200] Illustrated

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99

669Marie Laurencin (French, 1885-1956), “Visage de Femme”, 1947 and “Jeunne Femme”, two etchings, former initialed in plate lower right, reverse affixed with a letter from the artist, latter initialed in pen lower right margin, former sight 8‑1/2” x 6”, latter sight 5” x 3‑3/4”. Both glazed, matted and framed. [300/500]

670Anton Mauve (Dutch, 1838-1888), “Seated Boy With a Pipe”, graphite and crayon on paper, signed lower right “A Mauve”, verso with a Cleveland Museum of Art inventory label, sight 12” x 8”. Framed. Exhibited: The Cleveland Museum of Art, August‑December 1970. [1000/1500] Illustrated

671After Mary Cassatt (American, 1844-1926), “Looking Into the Hand‑Mirror”, drypoint etching, unsigned, image 8” x 5‑3/4”. Glazed, attractively matted and framed. [500/800]

672Bronze Bust of “Diana”, after Jean-Antoine Houdon, fourth quarter 19th century, probably French, figure with her hair held by a half moon, retaining its rich brown patina, inscribed “Houdon Sculpt” on rear, h. 27”, w. 16”, d. 9‑3/4”. [700/1000] Illustrated

673Pair of French Bronze Belle Epoque Garniture Urns, now mounted as lamps, square patinated bases support a fluted column‑form base trimmed with molded and pierced flowers, gilt paw feet support patinated urns set with laurel leaf swags and pierced handles, the fluted, gilded neck supports a patinated cover with a foliate, gilded ornament, h. 25”, w. 7”, d. 6”. [900/1200] Illustrated

674Pair of Moderation-Style Brass Rococo Revival Lamps, masks and strapwork decorate the base, while putti in a landscape play musical instruments on the mail body, the collar and neck scroll‑molded, h. 25”, dia. 5”. [150/300]

675Continental Brass Letter Holder, ca. 1900, in the renaissance revival style, resting on leaf‑molded feet, with scrollwork decorated pen holders below letter compartments formed by pierced scrollwork panels, supported by a scroll‑decorated carrying handle, h. 7‑3/4”, w. 9‑1/2”, d. 5‑1/2”. [150/300]

676Continental Brass and Crystal Encrier, fourth quarter 19th century, the rectangular base raised on beaded feet, decorated with pierced floral borders and supported with side handles, swirl pattern crystal ink pots, possibly Baccarat, capped with dome brass reeded covers, h. 6”, w. 15‑1/2”, d. 7‑1/4”. [500/800]

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100

677Unusual Pair of Baluster Vases, mid‑19th century, probably Limoges, with pate‑sur‑pate decoration, the bleu‑de‑France ground decorated with hunt‑themed pate‑sur‑pate, on one side a hunting dog retrieves a duck from a stand of cat tails, scattering the flock, on the other side, a wolf stalks a pheasant in a stand of cat tails, the decoration framed in gilt scrollwork, matching decoration on the rear, now mounted as lamps on blue painted wooden bases, h. 39”. [900/1200] Illustrated

678Pair of Belle Epoque Bronze and Alabaster Cassoulettes, fourth quarter 19th century, French, in the Louis XV‑Style, the bronze bases decorated with a pierced guilloche, molded leaves support the alabaster sides, set with bronze lion’s heads and laurel swags, conical caps pierced to disperse incense, reverse to support candles with a bronze fluted candle cup and bobeche, h. 8‑1/4”, dia. 3”. [400/700] Illustrated

679Pair of Belle Epoque Bronze and Marble Garniture Urns, ca. 1900, French, turned feet support marble bases decorated with oak leaves and acorns tied in bowknots with a beaded rim, under plinths decorated with swags of flowers held with bowknots, leaf‑molded bronze feet support marble urns with goat’s head handles and engine‑turned bronze rims, h. 10‑1/4”, dia. 4‑1/4”. [300/500]

680Qashqai Carpet, 5’3” x 8’2”. [1000/1500]

681Turkish Angora Oushak Carpet, 6’4" X 9’2”. [700/1000]

682Peshawar Sultanabad Carpet, 12’ x 18’. [1500/2500] Illustrated

683Turkish Angora Oushak Carpet, 9’4” x 13’6”. [2500/4000] Illustrated

684Kerman Carpet, 10’ x 13’4”. [4000/7000]

685Louis-Philippe-Style Needlepoint Carpet, 8’ x 10’. [500/800]

686Persian Heriz Runner, 3’8” x 15’1”. [500/800]

682

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101

687Sarouk Carpet, 8’ x 10’. [700/1000]

688Peshawar Ikat Carpet, 9’ x 12’4”. [3000/5000]

689Donegal Carpet, 4’9” x 7’10”. [900/1200]

690Turkish Angora Oushak Carpet, 8’ x 10’. [1500/2500] Illustrated

691Semi-Antique Kashan Carpet, 9’7” x 13’4”. [600/900]

692Donegal Carpet, 8’4” x 13’4”. [3000/5000] Illustrated

693Pair of Hand Woven Wool/Silk Tapestries, 2’6” x 7’5”. [3500/5000]

694Semi-Antique Persian Tabriz Carpet, 6’10” x 9’7”. [600/900]

695Semi-Antique Persian Heriz Carpet, 8’6” x 11’9”. [1800/2500] Illustrated

696Empire-Style Aubusson Carpet, 9’ x 12’. [1200/1800] Illustrated

692

695

696

683

102

697Burmese Betel Nut Box, late 19th century, the basket work with carved elements, surface-lacquered gold and red and inset with glass jewels, Hamsa bird finial, h. 37”. [400/700] Illustrated

698Burmese Architectural Elements, late 19th/early 20th century, each piece carved and pierced with geometric motifs inlaid with mirror panels and lacquered red and gold, h. 24-41/2”, w. 25”. [1000/1500] Illustrated

699Burmese Carved Wooden Figure of a Donor, surface of white, black and gold lacquer inlaid with glass, h. 25”. [500/800] Illustrated

700Burmese Wooden Sculpture, 20th century, the standing figure of a monk holding a begging bowl, the surface with gold and black lacquer, h. 30-1/2”. [100/200]

701Carved Wooden Architectural Element, late 19th/early 20th century, Thailand, spire-shaped and carved with horses, traces of paint remaining, h. 75”, w. 6-1/2”, d. 5-3/4”. [800/1200] Illustrated

702Tibetan Stone and Silver Encrusted Conch Shell, decorated with a silver Buddha cameo, framed with concentric rings of turquoise alternating with coral and lined with silver, the edges decorated with silver-lined turquoise leaves on a coral ground, h. 3-3/4”, w. 3-3/4”, l. 6-1/4”. [100/200]

697

698

699

701

103

703Buddhist Icon, 18th/19th century, Tangka of Yama, with mineral pigments on heavy cloth, h. 21”, w. 14-1/2”. Framed. [900/1200] Illustrated

704Buddhist Icon, 18th/19th century, Tibet, the Tangka of Mount Meru with lineage figures and mineral pigments on heavy cloth, h. 21”, w. 14-1/2”. Framed. [900/1200]

705Burmese Painting on Silk, 20th century, featuring a dancing ceremonial figure, 64” x 44”. [200/400]

706Chinese Bronze Buddha Head, 20th century, mounted to a cube-form ebonized wooden base, h. 22”, head, h. 32”, overall. [600/900] Illustrated

707Chinese Bronze Buddha Head, 20th century, h. 16”. [500/800]

708Chinese School, “Figures and Dragon”, watercolor and mixed media on paper, signed lower right, sight 65” x 26”. Framed. [800/1200] Illustrated

703

708706

104

709Chinese Stoneware Figure, 20th century, the grey glazed figure of the goddess of mercy Kuan Yin, h. 4”. [400/700] Illustrated

710Chinese Soapstone Dish, carved in the form of a lily pad, with lotus blossoms, buds and reeds to the side, h. 2”, w. 10”, d. 7-1/4”. [200/400]

711Japanese Stoneware Vase, Meiji ware (1868-1912), Satsuma ware, decorated with dancing figures molded in high relief with polychrome enamels and gilt, h. 18-1/2”. [1800/2500] Illustrated

712Japanese Stoneware Bowl, 19th century, Satsuma ware, the bowl with a foliated shape and a decoration of dragons and clouds, flowers and chidori plovers above crashing waves, with considerable use of Gosu-blue, dia. 9-3/4”. [500/800]

713Pair of Japanese Hanging Panels, late 19th/early 20th century, the lacquered surface inlaid with birds in flowering trees in bone and mother-of-pearl, gold framed, h. 39-1/2”, w. 26”. [1500/2500] Illustrated

709

711

713

713

105

714Japanese Stoneware Bowl, 19th century, Satsuma ware, decorated with birds and flowers with a phoenix at the center, dia. 6-1/4”. [400/700]

715Japanese Stoneware Vase, 19th century, Satsuma ware, the bottle-shaped vase with applied tassels, decorated with scholars and Buddhist saints, h. 10-1/2”. [500/800] Illustrated

716Japanese Molded and Gilt-Brass Mirror, early 20th century, the outer framed decorated with a border of pressed grapes and grape leaves, molded dragons decorate the area around the mirror plate, the back set with nickel-plated fillings, h. 11-1/2”, w. 8-3/4”. [150/300] Illustrated

717Pair of Japanese Stoneware Vases, 19th century, Satsuma ware, the pilgrim flask-form vases with reserves of children and various brocade borders, carved stands, h. 9-3/4”, without stands. [2500/4000] Illustrated

718Pair of Japanese Stoneware Vases, 19th century, Satsuma ware, decorated with children playing and various brocade patterns, now mounted as lamps, h. 14-1/2”. [500/800] Illustrated

715

716

717

718

106

724Japanese Ivory Box, Meiji period (1868-1912), the surface and cover carved in high relief with dragons among swirling clouds, with eyes inlaid in mother-of-pearl, h. 3”, dia. 3-1/2”. [2500/4000] Illustrated

725Two Chinese Ivory Carvings, the first a snuff bottle carved as a melon and the second a figure of a scholar beneath a pine tree, l. 4”. [100/200]

726Carved Chinese Ivory Figure, depicting a sleeping male figure with a woven basket, carved and painted, signed on the bottom, h. 3”. [300/500] Illustrated

719Japanese Lacquered Box, 19th century, the box with gold lacquer decoration of the “three friends” pine prunus and bamboo on a black ground, gilt copper mounts, h. 6”, w. 6”, l. 7”. [600/900] Illustrated

720Set of Three Japanese Wedding Cups, 19th century, the lacquered wood cups in three graduated sizes, with gold lacquer design of the three friends (pine, prunus, and bamboo) on a red ground, dia. 3-1/4” to 4-3/4”. [400/700] Illustrated

721Japanese Footed Lacquered Bowl, Meiji period (1868-1912), the bowl with a scarlet lacquered body with silver and gold stylized cranes in high relief, and a silver rim, h. 5”, dia. 5-3/4”. [800/1200] Illustrated

722Japanese Round Lacquered Box, 18th century, Nashiji ground with Hiramaki decoration of heraldic mons and foliate scrolling, dia. 5-1/4”. [700/1000] Illustrated

723Five Rectangular Japanese Trays, 19th century, decorated with sprigs of flowers in gold on a sprinkled gold ground, w. 5-1/2” to 8”. [400/700] Illustrated

720 723

722

721

719

724

726

107

727Chinese Ivory Carving, early 20th century, the standing figure of a woman holding a branch of flowers and a fan, engraved and colored floral decoration, h. 10-3/4”. [800/1200] Illustrated

728Chinese Carved Ivory Figure, depicting a kneeling female musician, carved and painted, signed on the bottom, h. 3-1/2”. [300/500]

729Pair of Japanese Ivory Brooches, Meiji period (1868-1912), the surfaces carved and stained as a courtier and a geisha, with silver backings, l. 2-1/4”. [400/700]

730Chinese Ebonized and Gilt-Decorated Trunk, early 20th century, of rectangular form, the lid and sides with gilt floral sprays, the front with a dragon and phoenix among clouds, raised on an ebonized stand of molded square legs, h. 25-1/4”, w. 33-1/2”, d. 24”. [400/700] Illustrated

731Chinese Lacquered Bamboo and Wrought-Iron Lunch Basket, fourth quarter 19th century, comprised of five intricately woven split bamboo compartments, the cover and carrying stand reinforced and embellished with wrought-iron elements and a carrying handle, the top secured in place with an iron pin, h. 15-3/4” not including the handle, w. 10-1/2”, d. 5-1/2”. [300/500] Illustrated

732Pair of Chinese Pillar Plaques, 19th century, the black and gold lacquer carved with Shou characters and dragons and engraved with Confucian admonitions, h. 101-1/2”, w. 14”. [1000/1500] Illustrated

727

730

731

732

108

733Chinese Lacquered and Polychromed Eight Panel Screen, 20th century, depicting garden scenes incorporating structures, people and natural life, h. 84”, w. 16”, each panel. [600/900] Illustrated

734Pair of Chinese Lamp Stands, 20th century, h. 70-1/2”, w. 11”, light d. 7-1/2”. [400/700]

735Pair of Chinese Polychrome End Tables, each with a square top featuring a scene of koi among lily pads against a gilt ground, raised on molded square legs joined by a pierced stretcher shelf, h. 24”, w. 24-3/4”, d. 24-3/4”. [500/800] Illustrated

736Chinese Porcelain Wine Cup and Saucer, 20th century, the mustard-yellow glaze with green glazed chih lung, six-character K’ang Hsi marks on the cup and saucer, dia. 4”. [800/1200] Illustrated

737Pair of Chinese Porcelain Saucer Dishes, the mustard-yellow-colored dishes decorated with an aubergine and green dragon, Kuang Hsu mark and possibly of the period, dia. 4-1/4”. [600/900] Illustrated

738Chinese Polychrome Cabinet, the rectangular banded top above a conforming case fitted with two drawers over two paneled cupboard doors, raised above a paneled frieze on square legs, h. 34”, w. 37-1/2”, d. 19-1/2”. [400/700]

739Chinese Porcelain Dish, K’ang Hsi mark and possibly of the period, San Tsai glaze decoration of the three fruits on a dragon engraved ground, dia. 9-3/4”. [500/800]

735

733

736

737

109

740Chinese Pine and Elm Wood Cupboard, early 20th century, of rectangular form, fitted with two sets of sliding doors, one set slatted and paneled, the other set grilled and paneled, and seven small drawers, the lower section fitted with two slatted and paneled sliding doors raised on a plinth base, h. 67-1/2”, w. 72”, d. 19”. [800/1200] Illustrated

741Chinese Elm Cabinet, 20th century, the rectangular top bisected and hinged and opening to a drop-front shelved interior, over two cupboard doors, opening to an interior fitted with an upper drawer and two tiers of wine racks, the whole with decorative incised brass hardware, h. 41”, w. 37-1/2”, d. 22-1/4”. [400/700] Illustrated

742Chinese Jumu Wood Altar Table, late 19th century, the banded rectangular top above a case fitted with two small paneled drawers over a paneled and shaped frieze, raised on rounded legs, h. 30-1/2”, w. 38”, d. 19”. [200/400]

743Near Pair of Chinese Kang Cabinets, early 20th century, each elmwood cabinet with two drawers and with a lacquered surface, h. 15” to 16”, w. 13-1/4” to 13-3/4”, d. 13-1/4” to 13-3/4”. [200/400]

744Chinese Stained Hardwood Cabinet, late 19th century, the banded rectangular top above a case fitted with two small drawers over two paneled cupboard doors, raised on plank legs, h. 32-3/4”, w. 32”, d. 20”. [300/500]

745Chinese Polychrome Demi-Lune Side Table, the demi-lune top paneled and above a shaped frieze, raised on cabriole legs ending in pad toes, h. 34”, w. 35”, d. 17”. [400/700]

746Chinese Apothecary Cabinet, 19th century with later elements, the cabinet with a black lacquered surface, with forty-two drawers labeled with the original contents beneath and with an open gallery and brass mounts, h. 70”, w. 40-1/4”, d. 19-3/4”. [1200/1800] Illustrated

747Pair of Chinese Terracotta Hat Stands, now mounted as lamps, the hardwood bases with scrolled feet support the lobed stands, which have a stippled ground decorated with raised dragons highlighted with brown, h. 31-1/2”. [250/400]

740

741

746

110

748Chinese Brush Pot, 20th century, the persimmon wood pot in a cylindrical wasted form, h. 5-1/2”, dia. 4-1/2”. [1200/1800]

749Chinese Bamboo and Hardwood Three-Piece Suite, early 20th century, consisting of two armchairs and a table, the chairs each of box form and with a decorative pierced splat, the wooden seat raised on bamboo legs joined by a box-form stretcher, h. 36”, the later square table fitted with two tiers and raised on clustered bamboo legs, h. 31”, w. 16”, d. 16”. [300/500]

750Chinese Bamboo Root Display Shelf, late 19th/early 20th century, with nine shelves with ornately-shaped section of root, h. 67”, w. 42-1/2”, d. 24”. [1000/1500]

751Stoneware Puzzle Vase, 20th century, Thailand, the black glazed vase surface decorated with monkeys and floral elements, h. 5-1/2”. [100/200]

752Chinese Stained Softwood Storage Basket, early 20th century, of circular tiered form, the circular lid removing to two stacked compartments, with a tall handle, h. 21”, dia. 16”. [150/300] Illustrated

753Chinese Stoneware Water Buffalo, 20th century, Yi Hsing ware, four-character Ch’ien Lung mark on the base, h. 7”, l. 12-1/2”. [600/900] Illustrated

754Chinese Stoneware Jar, Ming period (1368-1644), Tsu Chou ware, the cream-colored glaze decorated with a Shou character and floral scrolling in black, h. 5-3/4”. [250/400]

755Chinese Stoneware Bowl, Ming period (1368-1644), soft Ting ware, the cream-glazed bowl carved with a sgraffito lotus scroll, with a copper edge, dia. 6-1/4”. [500/800]

756Good Chinese Bronze Altar Food Vessel and Cover (DOU), Qianlong mark and period (1736-1795), the circular bowl raised on a flared base cast with archaic style decoration and having a conforming domed cover with twisted loop handles, the base with a cast six-character Qianlong reign mark in a line on the foot, the interior of the domed cover with a cast six-character Qianlong seal, the interior of the base with a pasted paper label with calligraphy, h. 10”, dia. 6-1/4”. [1500/2500] Illustrated

752

753

756

111

757Chinese Gilt-Bronze Paperweight, 20th century, study of a foo dog, h. 3-1/”, l. 4”. [200/400]

758Japanese Bronze Censer, ca. 1920, champleve enamel with stylized floral decoration, kylin finial, h. 9-1/2”. [250/400]

759Chinese Stoneware Saucer, Ming period (1368-1644), Chun ware blue green surface, dia. 4-1/2”. [400/700]

760Chinese Porcelain Bowl, Yuan period (1279-1368), Ying Ching ware, the exterior carved with lotus scrolls, dia. 7”. [300/500]

761Pair of Chinese Stoneware Vases, early 20th century, in the form of a moon flask, each vase with applied dragon handles, “oatmeal” ware with famille verte historical scenes, the bottom with an incised Ch’eng Hua mark, h. 17”. [500/800] Illustrated

762Pair of Chinese Soapstone and Brass Table Lamps, first quarter 20th century, the round brass bases decorated with scrollwork and flowers on a stippled ground, set with carved soapstone figures, the male depicting the immortal Shou Lao, the female depicting Kwan Yin, h. 28-1/2”. [450/700] Illustrated

763Chinese Carved Soapstone Figure, 20th century, the seated figure of a Luohan holding a scroll, h. 5”. [500/800]

764Japanese Hanging Scroll, 18th/19th century, the scroll with ink and colors on silk of sparrows in a snow-covered tree with flowering camellias, a harbinger of spring, brocade mounts, w. 21”, l. 50”. [500/800] Illustrated

765Chinese Porcelain Bowl, early 20th century, famille rose decoration of quail and millet with a poem, Ch’ia Ch’ing mark on the base, dia. 10-1/4”. [800/1200]

764

762

761

112

766Pair of Chinese Porcelain Vases, 19th century, rose mandarin ware with famille rose decoration of reserves with figures in garden scenes with borders of birds and flowers, and lion mask faux jump rings, now drilled and mounted as lamps, h. 14”. [1800/2500] Illustrated

767Two Chinese Export Porcelain Famille Rose Plates, fourth quarter 18th century, the soup plate with scalloped borders, pink diapered sides and scroll edged cartouches of crosshatching alternating with flowers, the panel depicting a finely rendered bouquet of roses held in a bowknot, picked out on gilt, the plate with a scalloped edge and a pink diapered border trimmed with a shell edge and scrollwork, the fret bordered central panel depicting roses and peonies, dia. 9”. [200/400] Illustrated

768Chinese Famille Rose Plate, 20th century, decorated with actors and their lines from opera, dia. 8-1/4”. [400/700]

769Chinese Porcelain Vase, 20th century, the vase with famille rose decoration with monkeys and peaches, company mark on the base, h. 19-1/2”. [200/400]

770Pair of Chinese Porcelain Vases, late 19th century, the roleau-shaped vases with famille rose decoration of historical scenes, h. 17-3/4”. [600/900] Illustrated

771Chinese Porcelain Bowl, early 20th century, the famille rose decoration of the three friends, (pine, prunus, and bamboo), Ch’ia Ch’ing mark on the base, dia. 6-1/4”. [300/500]

772Chinese Famille Rose Plate, 20th century, decorated with peaches and flowering plants, Tao Kuang mark on the base, dia. 8-1/2”. [400/700] Illustrated

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772

767

766

113

773Chinese Porcelain Dish, 20th century, the dish with famille rose decoration of the “Hundred Birds”, Ch’ia Ching mark on the base, dia. 9-3/4”. [300/500]

774Pair of Chinese Porcelain Vases, 19th century, the vases with famille rose decoration of theatrical scenes in reserves with borders of birds, flowers, insects and fruit , now truncated, drilled and mounted as lamps, h. 21”. [900/1200] Illustrated

775Nine Chinese Stoneware Wine Pots, 19th century, Yi Hsing ware, the surface decorated with polychrome enamels in floral patterns, h. 4-3/4”, tallest. [400/700]

776Pair of Chinese Porcelain Vases, 20th century, famille rose decoration of the immortals, with lion mask handles, h. 9-1/4”. [400/700] Illustrated

777Pair of Chinese Porcelain Covered Jars, 20th century, in the rose medallion style, h. 20”. [125/250]

778Chinese Export Reverse Glass Painting, ca. 1870, of a woman holding a chin stringed instrument, gilt frame, h. 23”, w. 15-1/2”. [1000/1500] Illustrated

779 Chinese School, 18th/19th century, “Double Ancestor Portrait”, mixed media on paper, sight 46” x 36”. Framed. [500/800]

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780Pair of Chinese Porcelain Wall Pockets, 19th century, underglaze blue decoration of the hundred antiques, h. 6”, w. 4”, d. 2”. [900/1200] Illustrated

781Chinese Porcelain Vase, 20th century, the octagonal-form vase decorated in famille rose with reserves of the immortals on a stylized lotus ground, h. 14-1/4”. [600/900] Illustrated

782Pair of Chinese Porcelain Vases, 20th century, the beaker-form vases in famille rose decoration of birds and flowers with underglaze blue borders, h. 7-1/2”. [400/700] Illustrated

783Chinese Porcelain Vase, early 20th century, the vase with molded sides, underglaze blue “cracked ice” decoration with famille verte historical scenes, h. 13-1/4”. [300/500] Illustrated

784Chinese Porcelain Brush Pot, 20th century, famille verte decoration of landscapes, birds and flowers, h. 6”, dia. 7”. [500/800] Illustrated

785Chinese Porcelain Planter, 20th century, famille rose decoration of the “Hundred Antiques”, h. 7-1/2”, dia. 9”. [400/700] Illustrated

786Pair of Chinese Porcelain Vases, 20th century, with applied dragon handles, famille rose decoration of the hundred antiques, Shen Te Tang mark on the base, h. 7”. [300/500] Illustrated

787Large Chinese Porcelain Cup, 20th century, underglaze blue decoration of dragons and clouds, six-character Jia Jing mark on the base, h. 4-1/2”, dia. 4-3/4”. [600/900] Illustrated

788Chinese Export Porcelain Vase, 18th century, famille rose decoration of women and children in a pastoral setting, underglaze blue borders of floral scrolling, h. 16”. [900/1200] Illustrated

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789Chinese Porcelain Planter, 19th century, the square graduated-form planter with a molded basketweave turquoise-glazed surface and famille rose flowers, reserves of birds and flowers on a yellow ground with lime green borders, Ch’ien Lung mark, h. 8-1/4”, w. 8-1/4”, d. 8-1/4”. [400/700] Illustrated

790Chinese Porcelain Vase, ca. 1920, the square-form vase with a green ground, decorated with famille rose enamels of vases and flowers, now drilled and mounted as a lamp, h. 16”. [300/500] Illustrated

791Chinese Porcelain Covered Jar, 19th century, the jar in famille rose decoration with dragon roundels on a peony scrolled pink ground, carved and pierced fitted rosewood cover, h. 5-3/4”. [125/250]

792Chinese Porcelain Wine Cup, 20th century, the cup with famille rose decoration of flowers, six-character Yung Cheng mark on the base, dia. 2-1/2”. [1200/1800] Illustrated

793Chinese Export Oval Porcelain Platter, 19th century, with famille rose decoration with a bird in a flowering tree, w. 12”, l. 14-1/2”. [250/400]

794Chinese Porcelain Vase, 20th century, the celadon glaze with phoenix-shaped jump rings, surface-molded with peony scrolling, h. 17”. [100/200]

795Lady’s Stamped Tiffany Eighteen-Karat Yellow Gold Oak Leaf Design Vintage Pin, the pin composed of twenty-three round brilliant-cut pave-set diamonds with an approximate total weight of 0.45 carats, and with an elongated blue turquoise, l. 2”. [3000/5000] Illustrated

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796Lady’s Eighteen-Karat Yellow Gold and Diamond Starburst Pin/Pendant, the pendant set with eighty-nine European-cut diamonds with an approximate total weight of 2.68 carats, l. 1-1/4”. [800/1200] Illustrated

797Lady’s Eighteen-Karat Yellow Gold and Diamond Necklace, the necklace composed of interwoven links, the lower half of the necklace set with round brilliant-cut diamonds with an approximate diamond weight of 7.50 carats, total approximate gold weight is 123.50 grams. [20000/40000] Illustrated

798Lady’s Fourteen-Karat Yellow Gold Cosmetic Case, the case set with two European-cut diamonds and two single-cut diamonds with a total approximate weight of 0.12 carats and with five elongated baguette-cut rubies, stamped: “7660” and the makers mark for Gutenstein Brothers, Inc., New York, approximately 3 oz. of gold excluding the mirror and contents, w. 2-1/2”, l. 2-1/2”. [1000/1500] Illustrated

799Eighteen-Karat Yellow Gold Cartier Ingot Pendant with Chain, the pendant with a half an ounce of a gold bar dangling from a twenty-four link design fourteen-karat gold chain, chain l. 24”, ingot l. 3/4”. [1400/1800]

800Lady’s Custom-Designed Fourteen-Karat Yellow Gold and Mother-of-Pearl Shell Earrings, the earrings adorned with ruby, sapphire and emerald cabochons. [1800/2500] Illustrated

801Lady’s Eighteen-Karat Yellow Gold, Pearl and Diamond Bee Pin, the pin composed of two cultured pearls in the body of the bee and round brilliant-cut diamonds with an approximate total weight of 0.40 carats, l. 1”. [400/700]

802Lady’s Fourteen-Karat White Gold and Diamond Engagement Ring, the ring composed of a single diamond with an approximate total weight of 0.50 carats, size 7-3/4. [450/700]

803Lady’s Tiffany Eighteen-Karat White Gold Ring, the ring with roman numeral, stamped “Tiffany”, size 7-1/2. [600/900]

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804Lady’s Platinum Diamond Wedding Band, the ring composed of eighteen round brilliant-cut diamonds with an estimated total weight of 0.22 carats, size 7-1/2. [700/1000]

805Lady’s Fourteen-Karat White Gold and Diamond Ring, the ring composed of a central princess-cut diamond with an approximate total weight of 0.79 carats and with six single-cut diamond flanking each side of the center stone with an approximate total weight of 0.18 carats, size 6. [2000/4000] Illustrated

806Lady’s Fourteen-Karat Yellow and White Gold and Ruby Ring, the ring composed of an oval-shaped color-enhanced ruby with an approximate weight of 5.79 carats, surrounded by two rows of round single-cut diamonds with an approximate total weight of 0.88 carats, size 7-3/4. [5000/8000] Illustrated

807Lady’s Eighteen-Karat Yellow Gold, Ruby and Diamond Ring, the ring composed of a single round-cut ruby with an approximate weight of 0.32 carats and two pear-shaped diamonds with an approximate weight of 0.36 carats, size 7-1/4. [1000/1500]

808Lady’s Eighteen-Karat White Gold, Amethyst and Diamond Bracelet, the bracelet composed of eleven diamond-shaped links with forty-four square-cut amethysts surrounding a single central diamond, alternating with eleven diamond-shaped links with one hundred and twenty-one round brilliant-cut diamonds, total approximate amethyst weight is 13.50 carats and total approximate diamond weight is 0.65 carats, l. 7”. [1800/2500] Illustrated

809Pair of Lady’s Eighteen-Karat White Gold, Platinum, Sapphire and Diamond Earrings, the earrings composed with two round-cut sapphires with a total approximate weight of 6.30 carats and surrounded by eight pear-shaped diamonds and eight heart-shaped diamonds, total approximate diamond weight is 4.76 carats, clip-on backs. [20000/40000] Illustrated

810Lady’s Platinum Custom-Made Vintage “Crown” Ring, the ring composed of two cabochon-cut color-enhanced rubies with an approximate total weight of 10.00 carats, twenty round brilliant-cut diamonds with an approximate total weight of 0.50 carats, one cabochon emerald with an approximate total weight of 1.00 carats and fourteen sapphires with an approximate total weight of 1.00 carats, size 7-1/4. [7000/10000] Illustrated

811Lady’s Platinum, Diamond and Ruby Cigar Ring, the ring composed of a central round brilliant-cut diamond with an approximate weight of 1.04 carats, surrounded by one hundred round brilliant-cut diamonds with an approximate weight of 0.70 carats and fifty-six calibrated cut rubies with an approximate weight of 2.55 carats, size 8. [7000/10000] Illustrated

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812Lady’s Stamped Yellow and White Gold and Ruby Ring, the ring composed of a central oval-shaped ruby, flanked on either side with ten baguette-cut rubies and two cabochon rubies set on the sides of the center stone, total approximate ruby weight is 2.63 carats, size 7. [6000/9000] Illustrated

813Lady’s Platinum and Diamond Engagement Ring, the ring composed of a round brilliant-cut diamond with an approximate total weight of 0.31 carats, and with two pear-shaped diamonds with an approximate total weight of 0.34 carats, size 7-1/2. [1400/1800]

814Lady’s Eighteen-Karat White Gold, Pink Sapphire and Diamond Pendant with Chain, the bow pendant composed of a pear-shaped pink sapphire drop with square-cut pink sapphire accents, and with thirty-seven round brilliant-cut diamonds, 2.77 carats total approximate pink sapphire weight and 0.50 carats total approximate diamond weight, chain l. 16”. [2000/4000] Illustrated

815Eighteen-Karat White Gold, Pink Tourmaline and Diamond Cross Pendant with Chain, the pendant composed of six tapered baguette-cut pink tourmalines with an approximate weight of 2.96 carats, one round brilliant-cut diamond mounted in the center with an approximate total weight of 0.11 carats, chain l. 18”. [700/1000]

816Lady’s Eighteen-Karat Rose Gold, Amethyst and Diamond Ring, the ring composed of a central cushion-cut amethyst with an approximate total weight of 15.50 carats, surrounded by forty round brilliant-cut diamonds in a halo design around the center stone and fifty-four round brilliant cut diamonds down both sides of the shank, total approximate diamond weight is 1.02 carats, size 7. [2000/4000]

817Pair of Lady’s Platinum and Diamond Cluster Earrings, the earrings composed of twelve marquise-cut and two pear-shaped diamonds with a total approximate weight of 4.33 carats. [12000/18000] Illustrated

818Lady’s Platinum and Diamond Engagement Ring, the ring composed of a central round brilliant-cut diamond with an approximate total weight of 2.80 carats, with thirty round brilliant-cut diamonds flanking either side of the stone and on the crown and bridge of the ring with an approximate total weight of 0.65 carats, size 7-1/2. [25000/40000] Illustrated

819Stunning Lady’s Platinum and Diamond Custom-Made Bracelet, the bracelet composed of forty-five round-cut diamonds mounted in the center of the bracelet, bordered by forty-nine baguette-cut diamonds, 44 carat approximate total diamond weight, l. 7”. [30000/50000] Illustrated

820Stunning Lady’s Platinum Diamond Ring, the ring composed of a central round brilliant-cut diamond with an approximate weight of 4.83 carats, J color, SI2, flanked on either side by two tapered baguette-cut diamonds with an approximate total weight of 0.40 carats, GIA certification 5131669344, size 7-1/4. [60000/90000] Illustrated

821Elegant Lady’s Custom-Made Platinum Vintage Diamond Brooch, the brooch composed of eight marquis-cut diamonds with an approximate weight of 5.25 carats, 126 baguette-cut diamonds with an approximate weight of 9.00 carats and twenty-two round brilliant-cut diamonds with an approximate weight of 4.75 carats, l. 3-1/2”. [30000/50000] Illustrated

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822Lady’s Eighteen-Karat White Gold and Diamond Bow Pin, the pin composed of two hundred and ninety-one round brilliant-cut diamonds with an approximate total weight of 1.69 carats, l. 2”. [1800/2500] Illustrated

823Lady’s Vintage Eighteen-Karat White Gold, Diamond and Emerald Necklace, the necklace composed of five oval-shaped emeralds with an approximate total weight of 6.00 carats and two hundred and forty-three round brilliant-cut diamonds with an approximate total weight of 14.00 carats, l. 15”. [20000/40000] Illustrated

824Lady’s Eighteen-Karat Yellow Gold, Platinum, Emerald and Diamond Ring, the ring composed of a central round-cut emerald with an approximate total weight of 2.53 carats, surrounded by four pear-shaped diamonds with an approximate total weight of 1.01 carats and four round brilliant-cut diamonds with an approximate total weight of 0.60 carats, size 6-3/4. [14000/18000] Illustrated

825Lady’s Eighteen-Karat White Gold, Diamond and Rose Quartz Butterfly Pin, the pin composed of seventy-two round brilliant cut diamonds with a total approximate weight of 0.86 carats, l. 2-1/2”. [1400/1800]

826Lady’s Eighteen-Karat White Gold, Tourmaline and Diamond Cross Pendant with Chain, the pendant composed of seven emerald-cut green tourmalines with an approximate total weight of 4.75 carats and three round-cut pink tourmalines with an approximate total weight of 0.24 carats and with a four round brilliant-cut diamonds in the center of the cross with a total approximate weight of 0.05 carats, chain l. 18”. [900/1200]

827Pair of Lady’s Eighteen-Karat White Gold and Diamond Dangle Earrings, the earrings composed of round brilliant-cut and baguette-cut diamonds with a total approximate weight of 2.00 carats. [3000/5000] Illustrated

828Lady’s Fourteen-Karat White Gold and Diamond Ring, the ring composed of a central princess-cut diamond, flanked on either and under the bridge of the center stone by ten princess-cut diamonds, total approximate diamond weight is 5.50 carats, size 7-1/4. [1000/1500]

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829Lady’s Eighteen-Karat White Gold and Diamond Eternity Band, the ring composed of twenty-one round brilliant-cut diamonds with an approximate total weight of 2.68 carats, size 7. [2000/4000]

830Striking Lady’s Fourteen-Karat White Gold and Diamond Ring, the ring composed of a central emerald-cut diamond with an approximate total weight of 6.02 carats, the center diamond flanked on either side by two straight baguette-cut sapphires with an approximate total weight of 0.30 carats and with forty round brilliant-cut diamonds bordering the top and bottom of the central stone and on the side of the ring shank with an approximate total weight of 0.40 carats, size 5. [30000/50000] Illustrated

831Lady’s Vintage Platinum and Diamond Ring, the ring composed of three European-cut diamonds with an approximate total weight of 0.90 carats, surrounded by synthetic square-cut sapphires, size 5. [3000/5000]

832Lady’s Eighteen-Karat White Gold Filigree and Diamond Ring, the ring composed of a central European-cut diamond with an approximate total weight of 0.52 carats with four single-cut diamonds flanking each side with an approximate total weight of 0.05 carats, size 7. [1400/1800]

833Faberge 84 Zolotnik (.875) Silver Compact, 1898-1909, Moscow, of circular form, decorated with a band of laurel, the hinged lid inset with a mirror and opening to reveal the gilt interior, the underside of the lid with applied medallion “Souvenir de Ruinart, Pere et Fils, Rheims”, retaining the original marabou feather powder puff, dia. 1-5/8”, 0.83 t. oz. (including mirror). Provenance: Henri Adolphe Pecquet du Bellet (1852-1924), by direct descent in the family to the consignor. [600/900] Illustrated

Henri Adolphe Pecquet du Bellet de Verton was born in New Orleans on December 18, 1852, to Pierre Paul Pecquet du Bellet de Verton and his wife, Sarah Ann Elizabeth Moncure. The family also lived in Paris, and because of the family’s prominence in France and his fluency in the language, Henri Adolphe was given a consular appointment in Rheims by President Grover Cleveland. Upon the expiration of his commission in 1897, the champagne company Ruinard Pere et Fils offered him a position with their firm, selling and promoting their champagne to the Russian court and establishing a branch in St. Petersberg. Faberge was commissioned to supply him with these small souvenir bibelots, which were also manufactured with a hardstone lid as a pillbox for gentlemen. (For identical examples, see Eve Auction, Paris, December 2008 and Gelos Auction, Moscow, February 2009.) Pecquet du Bellet was a commander of the Red Cross during WWI, and died in Paris on October 2, 1924. The Pecquet du Bellet family was the subject of an exhibit in 1987‑1988 at the Museum of French and American Friendship at Chateau Blerancourt, Picardie and the Musee de Nouveau Monde in La Rochelle; the family papers are conserved in the Louisiana and Lower Mississippi Valley Special Collections at Louisiana State University, Baton Rouge, Louisiana.

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834Daniel K., New York City, Lady’s Platinum and Diamond Wedding Ring Set, the ring composed of a single Ascher emerald-cut diamond with an approximate weight of 1.33 carats with eighteen round brilliant-cut diamonds flanking each side of the ring, together with a matching band with eighteen round brilliant-cut diamonds, engagement ring size 6-1/2, wedding band size 7-1/2. [7000/10000] Illustrated

835Lady’s Eighteen-Karat Yellow Gold, Platinum, Yellow and White Diamond Pendant with Necklace, the pendant composed of two pear-shaped and one marquis-cut diamond with an approximate total weight of 0.40 carats and a pear-shaped yellow diamond with an approximate weight of 0.77 carats and laser inscribed GIA certification 2121581810, chain l. 18”. [2500/4000] Illustrated

836Lady’s Platinum, Eighteen-Karat Yellow Gold and Diamond Ring, the ring composed of a central radiant-cut yellow diamond with an approximate total weight of 0.70 carats, flanked on either side by two tapered baguette-cut diamonds with an approximate total weight of 0.15 carats and with hand-engraving on the sides of the ring, size 5-1/2. [1500/2500] Illustrated

837Lady’s Three-Piece Custom-Designed Eighteen-Karat White Gold and Diamond Jewelry Set, the set comprised of a necklace with three round brilliant-cut diamonds on the clasp, l. 16”, a bracelet with three round brilliant-cut diamonds on the clasp, l. 8” and a pair of clip/pierced earrings. [4000/7000] Illustrated

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838Lady’s Eighteen-Karat White Gold and Rose-Cut Diamond Earrings, the custom-designed earrings each featuring a pear-shaped rose-cut diamond hanging from a round rose-cut diamond, all surrounded by round brilliant-cut diamonds, 3.52 carats total approximate diamond weight. [5000/8000] Illustrated

839Lady’s Custom-Designed Eighteen-Karat White Gold and Diamond Dome Ring, the ring composed of seventy-six round brilliant-cut diamonds with an approximate weight of 0.51 carats, size 7-1/4. [1000/1500]

840Single Strand of South Sea Natural Pearls with a Fourteen-Karat White Gold and Diamond Clasp, the pearls white in color with a good luster, ranging in size from 11.5mm to 14.0mm in diameter, and with an off-round shape, the fourteen-karat white gold clasp set with sixty-seven single-cut diamonds and four round brilliant-cut diamonds, total approximate diamond weight is 0.25 carats, l. 18”. [6000/9000]

841Single Strand of South Sea Pearls with a Fourteen-Karat White Gold Diamond Clasp and Rondels, the assortment of rose, near white, lavender and cream-colored pearls ranging in size from 11.5mm to 12.5mm in diameter, with six fourteen-karat gold rondels with seven single-cut diamonds, the clasp with thirty-two single-cut diamonds, total approximate diamond weight is 0.33 carats, l. 18”. [4000/7000]

842Pair of Lady’s Fourteen-Karat Rose Gold and Rutilated Quartz Earrings, the earrings composed of oval-shaped rutilated quartz surrounded by round brilliant-cut diamonds with an approximate total weight of 0.50 carats. [1400/1800]

843Lady’s Multi-Strand Fourteen-Karat Yellow Gold and Freshwater Pearl Necklace, the necklace composed of ten strands of freshwater pearls finished with a ribbed fourteen-karat yellow gold clasp, l. 18”. [200/400]

844Lady’s Fourteen-Karat Yellow and White Gold and Sapphire Ring, the ring composed of a central greenish-grey oval-shaped sapphire with an approximate total weight of 14.75 carats, surrounded by eighty-two round single-cut diamonds which are also on each side of the shank, with an approximate total weight of 0.82 carats, size 7. [3000/5000] Illustrated

845Lady’s Eighteen-Karat Yellow and White Gold and Yellow Diamond Ring, the ring composed of a central radiant-cut yellow diamond with an approximate weight of 0.41 carats, flanked on either side by six baguette-cut diamonds with an approximate total weight of 0.53 carats, size 7. [1800/2500] Illustrated

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846Lady’s Antique Platinum and Diamond Band, the ring composed of five baguette-cut diamonds with an approximate total weight of 0.20 carats, size 6-1/2. [500/800]

847Lady’s Platinum Vintage Diamond Necklace, the necklace composed of fifty-nine kite-shaped diamonds and sixty epaulet diamonds, total approximate diamond weight is 40.0 carats, l. 17”. [70000/100000] Illustrated

848Lady’s Eighteen-Karat White Gold and Diamond Leaf Pin, the pin composed of eighty-five round brilliant cut diamonds with a total approximate weight of 2.09 carats, l. 2”. [1400/1800]

849Lady’s Eighteen-Karat White and Yellow Gold and Diamond Ring, the ring composed of four central princess-cut yellow diamonds with an approximate weight of 0.36 carats, surrounded by fifty round brilliant-cut diamonds with an approximate total weight of 0.48 carats, size 7. [1400/1800]

850Lady’s Eighteen-Karat White Gold and Diamond Star of David Pendant with Chain, the pendant composed of eighteen round brilliant-cut and six baguette-cut diamond with an approximate total weight of 0.25 carats, chain l. 18”. [600/900]

851Lady’s Fourteen-Karat White Gold and Diamond Pendant with Chain, the pendant composed of five round brilliant-cut diamond mounted in a cluster design with an approximate total weight of 0.95 carats, chain l. 18”. [900/1200]

852Lady’s Silver, Gold Vermeil and Diamond Bangle Bracelet, the bracelet composed of large and small single-cut diamonds with an approximate total weight of 15.54 carats, size 9-1/2. [7000/10000] Illustrated

853Lady’s Eighteen-Karat Yellow and White Gold and Diamond Ring, the ring composed of five bezel-set round brilliant-cut diamonds with an approximate total weight of 1.50 carats, size 7-3/4. [3000/5000] Illustrated

854Lady’s Eighteen-Karat Yellow and White Gold and Diamond Wedding Band, the ring composed of four round brilliant-cut diamonds and three baguette-cut diamonds with a total approximate weight of 0.63 carats, size 7-1/4. [700/1000]

855Lady’s Platinum and Diamond Ring, the ring composed of a round bezel-set brilliant-cut diamond with an approximate total weight of 0.25 carats, size 7-3/4. [900/1200]

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856Lady’s Twenty-Two-Karat Yellow Gold Enamel Pendant with Chain, the flower-shaped pendant in multi-colored enamel hanging from an enamel-adorned section centered on the foxtail chain, finished with enamel accents at the clasp, l. 15”. [1400/1800]

857Lady’s Eighteen-Karat Rose Gold and Diamond Heart Pendant with Chain, the pendant composed of ninety-eight round brilliant-cut diamonds with an approximate total weight of 1.26 carats, chain l. 16”. [1400/1800]

858Eighteen-Karat Yellow Gold, Citrine and Diamond Cross with Chain, the cross pendant composed of five citrines with an approximate weight of 4.45 carats and nine round brilliant-cut diamonds with an approximate weight of 0.07 carats, chain l. 18”. [800/1200]

859Lady’s Fourteen-Karat Yellow Gold Necklace, the interwoven necklace with a round clasp, l. 17”. [400/700]

860Lady’s Eighteen-Karat Yellow Gold, Sapphire and Diamond Ring, the ring composed of a central oval-shaped sapphire with an approximate weight of 3.04 carats, surrounded by sixteen round brilliant-cut diamonds and twelve baguette-cut diamonds, total approximate diamond weight is 1.45 carats, size 7. [5000/8000] Illustrated

861Lady’s Eighteen-Karat Yellow Gold, Ruby and Diamond Ring, the ring composed of an oval-cut enhanced ruby with an approximate total weight of 2.30 carats, surrounded by twenty baguette-cut diamonds and six round brilliant-cut diamonds, total approximate diamond weight is 1.46 carats, size 7. [6000/9000] Illustrated

862Lady’s Fourteen-Karat Yellow Gold and Diamond Wedding Set, the set composed of a central round brilliant-cut diamond with an approximate total weight of 0.46 carats, surrounded by six marquise-cut and two round brilliant-cut diamonds with an approximate total weight of 0.56 carats, the bands fused together at the back, size 6-3/4. [900/1200]

863Custom-Made Eighteen-Karat Yellow Gold, Diamond, Ruby and Sapphire Guitar Pin, the body of the guitar with seventy-eight round brilliant-cut diamonds with an approximate total weight of 0.80 carats, the bridge of the guitar with nine square-cut sapphires and two square-cut rubies, l. 2”. [1200/1800]

864Lady’s Eighteen-Karat Yellow and White and Gold and Diamond Horse Pin, the pin composed of eighteen round brilliant-cut diamonds with an approximate total weight of 0.10 carats and with a round-cut ruby set in the eye of the horse, l. 1”. [500/800]

865Lady’s Eighteen-Karat Yellow Gold Double Twin Poodle Pin, the pin with two round-cut rubies in each eye, l. 1-1/4”. [400/700]

866Eighteen-Karat Yellow and White Gold, Onyx Horse and Jockey Pin, the pin composed of sixty-six round pave-set brilliant-cut diamonds with an approximate total weight of 0.70 carats, and with a single ruby cabochon in the eye of the horse, l. 2”. [1000/1500]

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867Lady’s Four-Piece Fourteen-Karat White Gold and Green Sapphire Jewelry Set, the set composed of a necklace, bracelet, earrings and ring, all set with oval- and pear-shaped green sapphires, with a total approximate weight of 68.32 carats, necklace l. 15”, bracelet l. 6”, ring size 8-1/2. [8000/12000] Illustrated

868Eighteen-Karat Yellow Gold Plique-a-Jour Enamel Butterfly Pin, the pin with multi-colored Plique-a-Jour enamel and with two round brilliant-cut diamonds in the body of the pin, l. 1-1/2”. [900/1200]

869Pair of Lady’s Fourteen-Karat Yellow Gold, Turquoise and Diamond Earrings, the earrings composed of turquoise in a drop shape, hanging from two white diamonds and one hundred and two black diamonds with an approximate total diamond weight of 1.11 carats. [1200/1800]

870Pair of Lady’s Fourteen-Karat Rose Gold, Coral and Diamond Earrings, the earrings composed of reddish/orange coral in a drop design, hanging from one hundred and four round brilliant-cut diamonds with an approximate total weight of 1.10 carats. [1400/1800]

871Lady’s Fourteen-Karat Yellow Gold, Coral, Black Onyx and Diamond Necklace, the necklace composed of twenty-seven round 14.00mm enhanced coral beads and twenty-two 10.00mm black onyx rondel beads, interspersed with six diamond rondels with an approximate total weight of 2.75 carats, l. 22”. [2500/4000]

872Lustrous Chocolate Brown Mink Coat, size 4-6, vertical pelts, with a convertible shawl collar, slightly fitted at the waist with one front hook closure, inset tapering sleeves and two on-seam side pockets, lined in black silk, bearing a cloth label: “Rubenstein’s / Shreveport Bossier”, retains the Koslow’s tag stating that the coat has been cleaned and glazed, accompanied by a self mink tie and a dark brown kidskin tie, length from the shoulder: 45-1/2”, sleeve length: 23” [600/900] Illustrated

873Deep Chestnut Mink and Rainwear Fabric Reversible Coat, size 4-6, with a notched spread collar and front hook closure, the set-in sleeves slightly gathered at the shoulder, with two on-seam side pockets, the reverse side of rain-resistant pale khaki fabric with two on-seam side pockets, one pocket bearing the label: “Gus Goodman / New York”, accompanied by a self mink tie and a chocolate brown kidskin tie, length from the rear neck: 44”, sleeve length: 22”. [500/800]

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874Alina Caribbean-Green Ostrich Skin “Tremezzo” Handbag, with two logo-stamped-buckle handles attached to silver rings, the body with a front slip pocket with magnetized closure, with two deep open bone nappa leather-lined pockets, one containing a slip pocket, the other containing a zippered pocket below the silver metal label stamped: “the logo / ALINA / MADE IN ITALY”, with a large zippered, bone nappa leather-lined central pocket, the body resting on four circular silver logo-stamped feet, a red dust bag included, h. 9-1/2”, w. 15-1/2”, d. 5”, handle drop: 9”. [2500/4000] Illustrated

875Alina Orange Ostrich Skin Shoulder Bag, with two rolled and stitched straps attached to hammered gold rings, the rings secured with gold-studded tabs, the front and back body gathered at the shaped opening, the open pouch with a fold over strap ending in a shaped, studded and ringed hammered gold magnetized closure, the tan nappa leather-lined interior with a slip pocket on each side, one of these below a zippered pocket with the hammered gold label stamped: “logo / ALINA / MADE IN ITALY” above it, a red dust bag included, h. 14”, w. 13”, d. 5-1/2”, strap drop: 8-1/4”. [2500/4000] Illustrated

876Chanel, Paris, Quilted Black Lambskin “2.55” Handbag, opening to a burgundy lambskin-lined flap-covered interior having a snap closure, the burgundy interior with interlocking trapunto “Cs” and “CHANEL” stamped in gilt above three half-gusseted pockets, the opposing side stamped in gilt: “MADE IN FRANCE”, a flat pocket lies in front of and behind the central interior, the outer top flap with an interior flat zippered pocket, the gold interlocking “Cs” exterior closure fully marked, with a small slip pocket on the rear exterior, the leather-laced gold chain convertible, dust bag included, h. 5-1/2”, w. 9”, d. 2-3/4”, Chain drop: doubled 7-1/2”, extended 14”. [400/700] Illustrated

877Two Judith Leiber Karung Convertible Frame Clutches of Art Deco Inspiration, the black example with a shirred front below a silver pierced bar inset with faux marcasites, rose quartz and onyx, two open pockets flank a center silver frame pocket with an onyx-inset push closure, the textured side frame stamped: “Judith Leiber” in script, with a silver metal snake-link drop-in shoulder strap, the black satin-lined interior with a zippered pocket and a scalloped slip pocket below the silver label stamped: “Judith Leiber” in script, a tasseled silver comb included, h. 5-1/4”, w. 9”, d. 2-1/4”, strap drop: 19-1/2”, the white example with a shirred front panel, the karung-covered frame with a faux-marcasite, rose quartz, chrysoprase and karung flip-over closure, the underside stamped: “Judith Leiber” in script, with a silver metal snake-link drop-in shoulder strap, the white satin-lined interior with a zippered pocket and a scalloped slip pocket below the silver metal label stamped: “Judith Leiber” in script, a tasseled silver comb, silver swing mirror and dust bag included, h. 5-1/2”, w. 8-1/4”, d. 2”, strap drop: 19-1/4”. See Enid Nemy & John Bigelow Taylor, Judith Leiber: The Artful Handbag (New York: Harry N. Abrams, 1995), p. 103, top, for an identical example in black. [500/800]

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878Chanel, Paris, Quilted Red Satin and Lambskin Camera Bag, the front with trapunto interlocking “Cs”, the satin body piped in lambskin, the top inset with lambskin having a rhinestone and lambskin-tasseled zipper closure, the interior lined with matching lambskin having a zippered pocket stamped in gilt: “CHANEL”, the pocket interior bearing the authenticity number, stamped: “MADE IN ITALY” on the opposite side, with a leather-laced gold chain shoulder strap, dust bag included, h. 5”, w. 7-1/2”, d. 3”, strap drop: 18”. [400/700] Illustrated

879Judith Leiber Black Karung and Calfskin Convertible Frame Clutch, the front and back with alternating “pleated” karung and calf panels, the gold metal frame inset with matching karung, carnelian and onyx, topped with an onyx push down closure, with a removable stitched calf strap having toggle ends, the interior lined with black faille, one side with a scalloped slip pocket bearing the gilt-brass label stamped: “Judith Leiber” in script, the opposite side with a long flat zippered pocket, a faille coin purse and gold swing mirror included, h. 8”, w. 13”, d. 1”, strap drop: 18-3/4. [400/700] Illustrated

880Judith Leiber Ivory Karung and Lucite Convertible Frame Clutch, with two open pockets on either side of the rhinestone-inset lucite-topped frame center compartment, the cream satin-lined interior with one scalloped slip pocket below the silver label stamped: “Judith Leiber” in script, having a removable stitched karung shoulder strap, a matching coin purse, oval two-sided mirror and dust bag included, h. “, w. 8”, d. 1-3/4”, strap drop: 23-1/2”. [300/500] Illustrated

881Judith Leiber Black Alligator Handbag, with gusseted sides and having two rolled and stitched handles ending in gold slanted rectangles, the expandable zippered closure extending down both sides, both ends secured with a gold metal flip down tab, the black calfskin-lined interior with three deep compartments, both sides with a scalloped slip pocket, one bearing a brass metal label stamped: “Judith Leiber” in script, includes a matching black kidskin coin purse and two-sided oval mirror, the bag resting on four small conical feet, dust bag included, h. 7-3/4”, w. 14”, d. 2-12/4”, handle drop: 6-1/4”. [800/1200] Illustrated

882Judith Leiber Gold Silk Brocade and Rhinestone Convertible Frame Clutch, the oriental brocade body with bamboo leaves and flowers accented with topaz rhinestones, piped in gold kidskin, the arched gold metal frame set with matching topaz rhinestones, the candlelight satin-lined interior with two scalloped slip pockets, one below the gilt-brass label stamped: “Judith Leiber” in script, with a textured gold metal removable shoulder strap, a gold kidskin coin purse, reversible oval mirror and dust bag included, h. 6”, w. 9-1/2”, d. 1-1/2”, strap drop: 12-1/4”. [400/700] Illustrated

883Two Judith Leiber Black Karung Snake Convertible Frame Clutches, the larger example with a gusseted shirred body and tubular reeded gunmetal and gold frame, the fold over closure ended with an inset basalt cameo of a classical head, with a stitched karung fold down shoulder strap, the black faille-lined interior with a scalloped slip pocket on one side below the gilt-brass label stamped: “Judith Leiber” in script and a zippered pocket on the opposite side, includes a matching coin purse and gold tasseled comb, h. 7”, w. 10-3/4”, d. 2-1/2”, strap drop: 19-1/2”, the smaller example with a gusseted shirred body resting on four small ball feet, both sides of the frame with applied fluted arrows and a triangle all inset with semi-precious cabochons, a side pull spring closure and fold down stitched karung shoulder strap, the black faille-lined interior with two scalloped slip pockets, one bearing the gilt-brass label stamped: “Judith Leiber” in script, h. 5-1/2”, w. 8”, d. 2-1/2”, strap drop: 19”. [400/700] Illustrated

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884Two Judith Leiber Black Snakeskin Convertible Frame Clutches, the smaller example with a pleated body, the shaped frame with inset black snake and a flip over closure inset with tiny semi-precious cabochons, the black faille-lined interior with one zippered pocket below the gilt-brass label stamped: “Judith Leiber” in script, with a gold metal snake-link drop-in shoulder strap, h. 4-1/4”, w. 9-1/4”, d. 1-3/4”, strap drop: 19-3/4”, the larger example with a gusseted shirred body and two open pockets on either side of the center frame pocket, the frame with a snake-inset spiral around a grooved gold bar with a side-pull spring closure, two drop-in gold metal straps within the open side pockets, the black satin-lined interior with two scalloped slip pockets, one below the gilt-brass label stamped: “Judtih Leiber” in script, one dust bag included, h. 5-1/2”, w. 9”, d. 1-3/4”, strap drop: 14-1/2”. [400/700]

885Judith Leiber Red Snakeskin “Cobweb” Convertible Frame Clutch, the top-stitched design covering the body on both sides, with an open compartment on either side of the center compartment each having a drop in gold metal segmented shoulder strap, the center compartment with a snap closure frame, the red faille-lined interior with a scalloped slip pocket bearing the gilt-brass label stamped: “Judith Leiber” in script on one side and a zippered pocket on the opposite side, includes a matching coin purse and two-sided oval mirror, h. 7”, w. 11-3/4”, d. 3”, handle drop: 13-3/4”. [400/700] Illustrated

886Alina Multi-Colored Patchwork Alligator “Vicenza” Handbag, with two rolled and stitched handles along with a detachable red alligator shoulder strap, the fold over top flap secured with a silver metal closure bearing the logo, the gusseted body with two front fold over flap gusseted pouches each secured with a tab inserted into a silver bar stamped: “ALINA”, the interior with two nappa leather pockets, one a slip pocket, the other gusseted and zippered below the silver label stamped: “the logo / ALINA / MADE IN ITALY”, a red dust bag included, h. 10-1/2”, w. 14-1/4”, d. 6”, handle drop: 3”, strap drop: 17-3/4”. [2500/4000] Illustrated

887Judith Leiber Black Satin and Needlework Convertible Frame Clutch, the body with alternating floral needlework panels and satin strips, the frame inset with needlework, with a drop-in gold metal shoulder strap, the black satin-lined interior with two scalloped slip pockets, one below the gilt-brass label stamped: “Judith Leiber” in script, the other with an applied leather label stamped in gilt: “Neiman-Marcus / by / Judith Leiber”, an oval two-sided mirror included, h. 6-1/4”, w. 7-1/2”, d. 1-1/4”, strap drop: 19”. [200/400]

888Two Vintage French Caviar-Beaded Evening Bags, mid-20th century, the red example with a beaded handle and “pearl and jewel”-set gilt-brass flip up spring closure, the candlelight satin-lined interior with a small mirror and three metallic thread-trimmed slip pockets, one labeled: “Made in France”, h. 5-1/2”, w. 10-1/4”, handle drop: 6”, the midnight blue example with a gilt-brass snake link handle and beaded floral-enameled rope-trimmed flip up spring closure, the midnight blue satin-lined interior with one slip pocket, h. 5-3/4”, w. 9”, strap drop: 4-1/2”. [100/200]

889Vintage Tapestry, Gilt-Brass and Enamel Evening Bag, mid-20th century, the front tapestry panel depicts three musical maidens, the reverse panel an elaborate classical garden, the finely detailed “jewel”-set gilt-brass frame enameled in cobalt and white, centered with a tiny cameo, the closure pierced, enameled and inset with a pearl, the bag perimeter trimmed in taupe grosgrain, the peach satin-lined interior with a matching coin purse and two slip pockets, one bearing the label: “Lester Bags / 669 Madison Avenue / New York”, h. 8”, w. 6-1/2”, strap drop: 8-1/2”. [100/200]

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890Peshawar Mahal Runner, 2’10” x 10’3”. [400/700]

891Agra Bakshaish Carpet, 8’2” x 10’7”. [1200/1800] Illustrated

892Angora Oushack Carpet, 6’1” x 9’9”. [3000/5000] Illustrated

893Agra Serapi Carpet, 8’1” x 10’. [1000/1500] Illustrated

894Oushack Donegal Design Carpet, 9’ x 12’. [3000/5000]

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130

895Semi-Antique Persian Mashad Sheik Safi Carpet, 10’ x 13’10”. [2000/4000] Illustrated

896Donegal Carpet, 4’3” x 4’10”. [600/900]

897Oushak Carpet, 8’7” x 13’. [3000/5000] Illustrated

898Turkish Angora Oushak Carpet, 7’10” x 10’3”. [1200/1800]

899Persian Hamadan Runner, 3’8” x 15’1”. [400/700]

900Esfahan Carpet, 10’ x 16’2”. [4000/7000]

901Tirkaman Carpet, 6’9” x 10’3”. [1500/2500]

902Oushak Carpet, 9’7" x 14’5". [2000/4000] Illustrated

903Angora Oushack Carpet, 9’ x 12’1”. [6000/9000] Illustrated

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131

904Antique Persian Kirman Carpet, 10’ x 14’. [800/1200] Illustrated

905Persian Hamadan Runner, 3’8” x 14’. [400/700]

906Angora Oushack Carpet, 10’ x 14’9”. [8000/12000] Illustrated

907Turkish Angora Oushak Carpet, 5’2” x 7’1”. [600/900]

908Antique Oushak Carpet, 12’ x 13’6”. [12000/18000] Illustrated

909Semi-Antique Persian Kirman Carpet, 10’8” x 15’. [1200/1800] Illustrated

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910Semi-Antique Caucasian Shirvan Carpet, 4’9” x 6’6”. [900/1200]

911Antique Sarouk Carpet, 12’ x 18’. [1500/2500] Illustrated

912American Provincial Painted Pine Chest, in the French Louis XV Taste, ca. 1750-1800, the serpentine single-board top over a bank of three graduated drawers, each drawer face exhibiting losses at the perimeter ends exposing the dovetails, with a shell-carved apron and raised on stout cabriole legs, h. 36-3/4”, w. 38-1/2”, d. 21-1/2”. [6000/9000] Illustrated

Rarely found in North America, French‑Canadian influenced commodes reflect eighteenth‑century exploration, settlement and craftsmanship in Louisiana’s Upper Mississippi River Valley. A mid to late eighteenth‑century three‑drawer white pine commode discovered in New York relates to two cedar and cherry examples of Louisiana’s Upper River Valley and now in the Missouri History Museum and the Holden Collection of Point Coupee, Louisiana. (See Francis J. Puig’s “Creole Furniture from the Upper Valley of Louisiana” in Jack D. Holden, H. Parrott Bacot and Cybele T. Gontar, Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835 (New Orleans: Historic New Orleans Collection, 2010), p. 438‑439. A third example, of butternut and white pine, is in the Museum of Fine Arts, Boston and was made in Montreal, Quebec, Canada (acc. no. 1994.83). Similar features include and arbalete, or crossbow facade, stylized acanthus or shell carving in the apron, raised side panels, a conforming to with molded edges, and rounded front stiles. These aspects are plentifully represented in pieces documented by Jean Palardy in Les Meubles Anciens du Canada Francais (Paris: Arts et Metiers Graphiques, 1963). Yet the present piece’s heavy cabriole‑inspired feet, rather than claw‑and‑ball, terminate the front legs and the back feet are round. Original pegged, scrub plane, hand‑wrought nails and adz marks are visible throughout. New Orleans Auction Galleries would like to thank Cybele T. Gontar for graciously providing the description of this lot. Mrs. Gontar is one of the authors of Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835.

913North Carolina Walnut Stepback Cupboard/China Press, early 19th century, in two parts, the projecting molded cornice over a pair of six-light mullioned glazed doors, the base with a pair of drawers over a pair of paneled doors, raised on turned legs, in un-touched original condition, primarily yellow pine secondary woods with poplar drawer sides, h. 82”, w. 41-1/2", d. 19”. [5000/8000] Illustrated

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133

914Large American Cast-Iron “Plantation” Bell, second half 19th century, the yoke stamped “32 Yoke”, together with a cast-iron stand secured to a wooden base, h. 43”, w. 38”, d. 28”, dia. 32”. [2000/4000] Illustrated

915American Cast-Iron “Plantation Kettle” 19th century, with flared rim and mounted with a pair of integral “handles”, h. 19”, w. 32”, d. 28-1/2”. [800/1200]

916Vernacular Southern Cypress Farmhouse Table, 19th century, with a pegged top, the deep apron fitted with a single wide drawer, raised on tapering square legs, h. 30-1/8”, w. 40-1/2”, d. 23-1/2”. [500/800]

917Pair of American Painted Gourds, including “Early Autumn” and “Land, Sky, and Water”, each titled and signed “Andrea” at bottom, tallest h. 14”. [100/200]

918American Federal Walnut Side Table, in the Hepplewhite taste, ca. 1800, Shenandoah Valley, VA, with a projecting top, one end fitted with a drawer with beaded perimeter and raised on tapering legs, h. 30”, w. 20-1/4”, d. 33-1/4”. [1800/2500] Illustrated

919American Federal Mahogany Butler’s Desk, circa 1800, the rectangular top above a case fitted with an oval-paneled drop-front secretary drawer opening to a leather inset writing surface and a variety of drawers and cubbyholes, over two paneled cupboard doors, raised on shaped bracket feet, h. 43”, w. 45-1/2”, d. 21”. [700/1000]

920American Federal Banded Mahogany Chest in the Hepplewhite Taste, Southern, probably Virginia, the top and drawer edged with cross-beaded drawers, with scalloped apron and flare feet, h. 38-1/4”, w. 38-3/4”, d. 21-3/4”. [1200/1800] Illustrated

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134

921New England Inlaid Cherry and Maple Letterbox, first quarter 19th century, probably Connecticut River Valley, the facade with a heart-shaped maple inlaid escutcheon, flanked by the initials A.B., the top with a cherry lozenge set with a period lion’s head ring pull, the interior divided to hold ink pots and other items, h. 4-3/4”, w. 11”, d. 8”. [600/900] Illustrated

922Marie Madeleine Seebold Molinary (American/Louisiana, 1866-1948), “Chrysanthemums”, oil on canvas, signed upper right, 31-1/4” x 21”. Attractively framed. Provenance: Private Collection, New Orleans, Louisiana. Literature: Painting The Town: The Woodward Brothers Come to New Orleans, Jean Bragg Gallery, illustrated page 32. [50000/80000] Illustrated

Although she painted portraits, genre scenes and landscapes, Marie Madeleine Seebold Molinary was known as “The Flower Painter of New Orleans”. The artist once stated: “Violets are my favorites, and next to them chrysanthemums.” Molinary grew up in a household whose patriarch, William Seebold was not only an eminent art connoisseur, promoter, and a gallery owner, but also someone who encouraged his daughter to begin formal art education at an early age. She studied at the Art Union, the Artists’s Association of New Orleans with Bror Andres Wikstrom and Andres Molinary (whom she married at his deathbed in 1915), later in New York with William Merritt Chase, and at the Art Institute of Chicago. She was the second woman member of the Artists’s Association of New Orleans and was involved with the Southern States Art League. An accomplished painter who exhibited regularly, Molinary also worked as a graphic designer, producing a number of invitations, programs, and backdrops for some of the Carnival organizations in New Orleans. She also taught art classes at the Delgado Museum of Art (now the New Orleans Museum of Art) as well as giving private lessons in her home.

923Edith Fairfax Davenport (American/Florida, 1880-1957), “New Orleans Staircase”, 1923, oil on canvas, signed, inscribed, and dated lower left, 21-1/4” x 14”. Framed. Provenance: Private Collection, New Orleans. [3500/5000] Illustrated next page

Edith Fairfax Davenoprt was born in Kansas City, but spent most of her career in Florida where she actively exhibited and was a member of various art organizations. She studied at the Academie Julian in Paris and is said to have been the first American woman officially admitted to the Ecole des Beaux Arts.

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135

924Alberta Kinsey (American/Louisiana, 1875-1952), “Brulatour Courtyard”, oil on canvas, signed lower right, 20” x 16”. Framed. Provenance: Private Collection, New Orleans. [3500/5000] Illustrated

925Knute Heldner (American/Louisiana, 1875/77-1952), “Birch Trees in Autumn”, oil on board, signed lower left “Knute Heldner”, 16” x 20”. Framed. [2000/4000] Illustrated

926Knute Heldner (American/Louisiana, 1875/77-1952), “Minnesota Moonlit Winter Landscape With a Cabin” and “Autumnal Wooded Landscape”, double-sided oil on board, one side signed lower right “Knute Heldner”, 11-1/2” x 13-1/2”. Framed. [1500/2500] Illustrated

923

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136

927Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou Landscape”, oil wash on board, signed lower right “A. J. Drysdale”, sight 9-1/2” x 29-1/2”. Glazed and framed. [1500/2500] Illustrated

928Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou Landscape at Dusk”, oil wash on board, signed and dated lower right “A. J. Drysdale 1916”, sight 18-1/2” x 28-1/2”. Glazed and framed. [3000/5000] Illustrated

929Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou With a Cypress Tree”, oil wash on board, signed lower right “A. J. Drysdale”, sight 19-1/4” x 5-1/2”. Glazed and presented in a contemporary ebonized and parcel-gilt frame. [2000/4000] Illustrated

930Carole Hardy Pigott (American/Louisiana, Contemporary), “Winter Landscape With a Cabin”, watercolor on paper, 1978, signed and dated lower right, sight 15” x 28-1/2”. Glazed, matted and framed. [450/700]

931Wiley Churchill (American/Louisiana, 1900-1987), “Lazy Fishin’, Bayou Bienvenue, LA”, watercolor on paper, signed lower right “Wiley Churchill”, titled in pencil on mat lower right, sight 17-3/4” x 26-3/4”. Glazed, matted and presented in a silvered frame. [1500/2500] Illustrated

932Judi Betts (American/Louisiana, b. 936), “The Porch", watercolor on paper, signed lower right “J. Betts”, sight 28” x 20-3/4”. Glazed, attractively matted and framed. [500/800]

929

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137

933Southern School (Second Quarter 20th Century),”Bayou Scene”, oil on board, unsigned, 18” x 24”. In an attractive period carved wood frame. [200/400]

934Colette Pope Heldner (American/Louisiana, 1902-1990), “Swamp Idyl”, oil on canvas, signed lower left, 16” x 20”. Framed. [800/1200] Illustrated

935Colette Pope Heldner (American/Louisiana, 1902-1990), “Swamp Idyl, Dusk”, oil on canvas, signed lower left, 16” x 20”. Framed. [800/1200]

937Ella Miriam Wood (American/Louisiana, 1888-1976), “Flagship of the W.A. Bisso Towboat Line”,1917, oil on canvas, signed and dated lower right, 20” x 30”. Framed. Provenance: Private Collection, New Orleans. [8000/12000] Illustrated

A native of Birmingham, Wood studied at the Newcomb Art School under Ellsworth and William Woodward where she was awarded the Fannie Estelle Holley Memorial Medal for proficiency in water‑color painting. She later attended the Pennsylvania Academy of the Fine Arts and studied with William Merrit Chase in New York City. She is listed as one of the participants of the 1922 Exhibition of the Pennsylvania Academy of the Fine Arts. Upon returning to New Orleans, Wood received numerous commissions for portraits and scenes of local life; the present painting was likely one such commission. The Bisso Towboat Co., still in existence today, was founded by Joseph Bisso. A native of Grenoble France, Bisso moved to New Orleans as a young man, eventually joining the Confederate Navy. References: Ormond and Irvine, Louisiana's Art Nouveau: The Crafts of the Newcomb Style. 1976: Gretna, LA., Pelican Publishing; Catalog of the Sixth Exhibition of the Pennsylvania Academy of the Fine Arts. 1922: Chester Springs, PA; LIFE Magazine, August 13, 1956.

937

936

934

936Robert Rucker,(American/Louisiana, 1932-2001), “Spring Garden”, 1971, oil on canvas, signed and dated lower right, 16” x 20”. Framed. [1400/1800] Illustrated

138

938James Hardy III (British, 20th Century), “The Battle of Memphis”, oil on board, 24” x 36”, signed lower right. Framed. [700/1000] Illustrated

The First Battle of Memphis, on June 6, 1862, was a strategically significant naval engagement which took place on the Mississippi River, well in view of the citizenry of the city. It resulted in a defeat of the Confederate Naval forces, the official surrender of the city, and presented the Union Navy with almost unrestricted shipping access of the River.

939James Hardy III (English, 20th Century), “Monitor Versus Merrimac”, oil on board, signed lower right “James Hardy”, 24” x 36”. Framed. [700/1000] Illustrated

The Battle of the Monitor and the Merrimack, March 8/9, 1862, was one of the most significant naval confrontations of the Civil War and took place on the James River at the edge of the Chesapeake Bay. An attempt on the part of the Confederacy to break the Union blockade, it was the first time two ironclad warships met in the heat of combat. After two intense days of fighting, the battle ended in a stalemate; within the year, both ships had been destroyed.

940Russell Whiting (American/Louisiana, b. 1955), “Female Figure With Oustretched Arms”, iron, steel and copper sculpture, h. 72”. [3000/5000] Illustrated

941Charles Whitfield Richards (American/Louisiana, 1906-1992), “French Quarter Street Scene”, oil on canvas, signed lower left “CRichards”, 16” x 20”. Presented in a molded giltwood frame. Provenance: Private Collection, New Orleans, Louisiana. [5000/8000] Illustrated

941

938

939

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139

942Carel Lodewiijk Dake, the Younger (Dutch, 1886-1946),”French Market, New Orleans”, oil on board, signed lower left, 17” x 21”. Framed. Provenance: Private Collection, New Orleans. [3000/5000] Illustrated

943William Tolliver (American/Mississippi/Louisiana, 1951-2000), “Woman in a Field”, oil on canvas, signed lower left “W. Tolliver”, 16” x 12”. Framed. [1500/2500] Illustrated

944William Tolliver (American/Mississippi/Louisiana, 1951-2000), “Spring Landscape”, oil on board, signed lower right “W. Tolliver”, sight 9” x 12-3/4”. Glazed, attractively matted and framed. [1800/2500] Illustrated

943

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140

945Clarence John Laughlin (American/Louisiana, 1905-1985), “The Enigma”, silver gelatin print, mounted on white board, signed in ink lower right, titled and dated “1941” lower left on mount, numbered “28” and with artist’s studio stamp en verso, 13-1/2” x 10-1/2”. Unframed. [2000/4000] Illustrated

946Clarence John Laughlin (American/Louisiana, 1905-1985), “Strange Dialogue”, silver gelatin print mounted on black board, signed in crayon lower right, titled and dated “1957” lower left on mount, numbered “38” and with artist’s studio stamp verso, 13-1/2” x 11”. Unframed. [1500/2500] Illustrated

947Clarence John Laughlin (American/Louisiana, 1905-1985), “A Strange Regard”, silver gelatin print, mounted on cream board, signed in ink lower right, titled and dated “1945” lower left on mount, numbered “40” and with artist’s studio stamp en verso, 9-1/2” x 10”. Unframed. [1500/2500] Illustrated

948Clarence John Laughlin (American/Louisiana, 1905-1985), “Final Paradise for Dead Birds”, silver gelatin print mounted on Crescent board, signed in crayon lower right, titled and dated “1951” lower left on mount, numbered “A-3” and with artist’s studio stamp verso as well as Neikrug Gallery Inc. hand stamp, 11” x 14”. Unframed. [1500/2500] Illustrated

945

948

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141

949George Rodrigue (American/Louisiana, b. 1944), “House Maids”, oil on canvas, signed lower left “Rodrigue”, signed en verso canvas, titled en verso stretcher, stretcher with a “George Rodrigue Gallery” stamp, 20” x 16”. Framed. Provenance: Private Collection. [20000/40000] Illustrated

950George Rodrigue (American/Louisiana, b. 1944), “Blue Dog and Cypress”, acrylic on canvas, signed lower left, 14” x 18”. Attractively matted and framed. [8000/12000] Illustrated

949

950

142

951George Rodrigue (American/Louisiana, b. 1944),”Looking for my Soulmate”, 1998, acrylic and oil on canvas, signed lower right, signed, dated and titled en verso of canvas, 11” x 14”. Attractively matted and framed. [7000/10000] Illustrated

952George Rodrigue (American/Louisiana, b. 1944), “My Yellow Oak”, oil on canvas, 2002, signed lower left, signed, titled and dated verso canvas, 36” x 48”. Framed. [25000/40000] Illustrated

New Orleans Auction Galleries and The George Rodrigue Foundation of the Arts are pleased to offer this painting by George Rodrigue for the benefit of the Foundation’s ongoing mission of enriching art education in Louisiana’s schools. The purpose of the George Rodrigue Foundation of the Arts (GRFA) is the advocacy of the visual arts in the development and education of local youth. In addition to providing financial assistance in the arts and other areas, the GRFA creates, develops, and implements a series of unique educational programs such as Art Contest and George’s Art Closet. These programs are designed to enhance and expand art curriculums, even in the face of continuing state and federal cutbacks. The proceeds from the sale of “My Yellow Oak” will be used to provide art supplies for Louisiana schools.

951

952

143

953Jack Wilkinson (American/Louisiana, 1913-1974), “Nude In a Wicker Chair”, oil on canvas, 50” x 38-1/2”. Presented in a box frame. [800/1200] Illustrated

Jack Wilkinson studied at the University of Oregon and at the California School of Fine Arts where he became an assistant and apprentice to Maurice Sterne. He was awarded the J.D. Phelan Travelling Scholarship, which enabled him to travel extensively throughout Europe. He established a studio in Paris where he became influenced by Cezanne and Pissaro. Wilkinson had a long career at the art department of the University of Oregon, but after a 37‑year tenure, he moved to Louisiana State University where he was the art department head until his death in 1974.

954Rivet Hedderel (Louisiana, 1935-1996), “Floral Still Life in a Glass Vase”, oil on canvas, signed and dated lower right “Rivet 90”, 30” x 24. Presented in a Louis XV-style polychrome frame with a linen liner. [400/700] Illustrated

955Jose Maria Cundin (Spanish/Louisiana, b. 1938), “Dona Feisa Lirtiaga”, tempera on paper, 1977, signed and dated lower left, titled lower right, sight 15” x 11”. Glazed, matted and framed. [800/1200] Illustrated

956Jose Maria Cundin (Spanish/New Orleans, b. 1938), “Seignor Garcia”, oil on canvas, signed and dated lower left “Jose Maria Cundin 1968”, 20” x 22”. Framed. [3000/5000] Illustrated

957Natalie Hays Hammond (American, 1904-1985), “San Francisco Plantation, River Road”, 1950, watercolor on paper, signed lower right, titled and dated lower left, sight 6-3/4” x 5-1/4”. Matted. Provenance: Estate of Artist; Child’s Gallery, Boston, Massachusetts; Private Collector. [200/400]

955

954

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144

958Natalie Hays Hammond (American, 1904-1985), “St. Michael’s Cemetery, St. John’s Parish”, 1950, watercolor on paper, signed lower right, titled and dated lower left, sight 5-1/2” x 4-3/4”. Matted. Provenance: Estate of Artist; Child’s Gallery, Boston, Massachusetts; Private Collector. [200/400]

959Natalie Hays Hammond (American, 1904-1985), “St. Louis Cemetery”, 1948, pencil and charcoal on paper, signed and dated lower right, sight 15” x 12-1/2”. Matted. Provenance: Estate of Artist; Child’s Gallery, Boston, Massachusetts; Private Collector. [200/400]

960Morris Henry Hobbs (Louisiana, 1892-1967), group of three etchings, including “Courtyard at St. Ann Street”, pencil signed lower right and titled lower left, “Wishing Well Patio”, pencil signed lower right and inscribed “1943- for Katherine Davis”, lower left, and “New Hampshire Woods”, pencil signed lower right, titled lower left, each 5” x 3-1/2”, including original shipping envelope. Two matted and framed. [600/900]

961Margaret Wirstrom Evangeline (Louisiana, Contemporary),”Untitled Study”, 1985, pastel and pencil on paper, signed and dated lower right, sheet size 29-3/4” x 22-1/2”, Glazed, matted, and framed. [400/700]

962Ida Kohlmeyer (Louisiana, 1912-1997), “Abstract”, mixed media, unsigned, sight 25-3/4” x 19-3/4”. Framed. [2500/4000] Illustrated

963Allison Stewart (Louisiana/Contemporary), “Abstract”, mixed media, unsigned, 34-1/4” x 23-1/2”. Matted and framed. [800/1200] Illustrated

964Mitchell Long (American/Louisiana, Contemporary), “The Artist’s Kitchen”, oil on paper, 1999, signed lower right “Long”, sight 19” x 26-3/4”. Glazed, handsomely matted and framed. [500/800]

963

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145

965Andree Ruellan (American, 1905-2006), “Flambeau”, sanguine on paper, signed lower right, sight 20” x 13”. Matted and framed. Provenance: Artist to West School of Art Benefit; Private Collection, Connecticut. [800/1200] Illustrated

Born to French‑émigré parents in New York City, Ruellan was a self‑trained child prodigy. At the age of nine she so impressed Robert Henri that he included her work in an exhibition he was having with George Bellows at St. Mark's Church in the East Village. At fifteen she was awarded a scholarship to The Arts Students League where she studied with Maurice Sterne, later following Sterne to Rome when he opened a drawing Academy there. In 1923 she traveled to Paris where she had her first solo exhibition; she was to remain in the city until after her marriage in 1930, when she and her husband, a fellow artist, returned to the United States. During the Depression, Ruellan traveled throughout the Southern states, spending several years in New Orleans. Enthralled by the vibrant atmosphere of the city, particularly evident during Mardi Gras, Ruellan painted numerous images of the African‑American community. The present work reveals the artist's accomplished use of fluid strokes of ink to create form, an approach likely influenced by her study of the ancient Asian sumi brush technique. In her later years, Ruellan was an active member of the Woodstock Artists Association. References: New York Times Obituary, August 6, 2006; The New Georgia Encyclopedia; Andrew Landis, Andree Ruellan Ever Young.

966Maggie Hasbrouck (American/Georgia, Contemporary), “Summernight”, photoencaustic, 2001, signed, titled and dated verso, affixed with “The Lowe Gallery, Atlanta, GA” label, 36” x 48”. Framed. [2000/4000] Illustrated

967Gustavo Duque (Colombian/New Orleans, Contemporary), “Black and White”, mixed media on canvas, signed and dated lower left G. Duque " 08”, signed and titled on the reverse stretcher, 48” x 60”. Unframed. [1400/1800] Illustrated

968Carl Rice Embrey (American/Texas, b. 1938), “Small Room”, acrylic polymer emulsion, watercolor, and tempera emulsion on panel, October 1966-January 1967, signed lower left “C.R. Embrey”, titled, signed and dated on the reverse label, 13-3/4” x 10-1/2”. Presented in a custom shadowbox-style frame. [900/1200]

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969George Bauer Dunbar (American/Louisiana, b. 1927), “Torso Fragments”, 24K gold leaf on red clay, 1992, verso with a Galerie Simonne Stern label, 17-1/2” x 19”. Framed [3000/5000] Illustrated

970George Bauer Dunbar (American/Louisiana, b. 1927), “Untitled”, oil and mixed media on canvas, signed and dated lower right “Dunbar 84”, 46” x 56”. Framed. [8000/12000] Illustrated

971George Bauer Dunbar (American/Louisiana, b. 1927), “Torso”, clay relief, 1990, signed and dated verso, 23” x 25-3/4”. Framed. [8000/12000] Illustrated

972Jean Seidenberg (American/Louisiana, b. 1930), “In the Studio”, acrylic on canvas, 73” x 73”, accompanied by signed copy of artist’s monograph. Box frame. Provenance: Private Collection, New Orleans, Louisiana; purchased from artist. Literature: Jean Seidenberg, 2009: Louisiana Endowment for the Humanities, illustrated page 120. [25000/40000] Illustrated

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973Anglo-American Blown Glass Hurricane Shade, first quarter 19th century, a folded foot rim supports the vase-shaped shade, h. 20-1/2”, dia. 7-3/4”. [400/700]

974Good Blown Leech or Fish Bowl, second quarter 19th century, the conical foot resting on a folded rim, the bowl with a flaring lip with a folded rim, h. 12-1/2”, dia. 9”. [200/400]

975Pair of Blown and Etched Hurricane Lamps, the blown mercury glass bases support the lamps, which have frosted sides decorated with etched urns of flowers in oval panels, glass candle sockets set in the interior, h. 18-1/4”, dia. 7-1/2”. [500/800]

976American Sheraton Mahogany Library Table, first quarter 19th century, Mid-Atlantic, of octagonal form, with inset tooled leather work surface, the conforming apron with inset figured panels and a pair of drawers, raised on reeded tapering legs ending with cup casters, h. 30-1/2”, w. 61-1/2”, d. 47-1/2”. [5000/8000] Illustrated

977American Sheraton Reeded Mahogany Sofa, ca. 1815. Baltimore, the back with a reeded and rolled crest rail, joined to reeded closed arms on reeded baluster-form supports over inset panels with gothic arches and reeded legs ending with cap casters and bowed seat rail, h. 35-35/8”, w. 80”, d. 30”. [3000/5000] Illustrated

A nearly identical sofa in the collection of the Maryland Historical Society, was made in 1817 for Dr. William Hillery.

978American Sheraton Mahogany Drop-Leaf Breakfast/Dining Table, first quarter 19th century, probably South Carolina, the single board top flanked by a pair of deep single-board drop leaves, each supported by a swing leg, the legs ring-turned and reeded, by tradition reportedly found on Wadmalan Island, South Carolina, h. 29”, w. 20-1/4”, d. 45”, ext. l. 60”. [2500/4000] Illustrated

979Fine American Sheraton Mahogany Stand, first quarter 19th century, Eastern Virginia, the projecting top over a pair of cock-beaded drawers, each with ebony diamond-form escutcheons and period embossed brass pulls, the drawers flanked by reeded panels, raised on reeded legs, yellow pine secondary woods throughout the case, the drawers with yellow pine, poplar and cherry secondary woods, a stand with similar legs has been used as a companion to Jefferson’s bed at Monticello, h. 28-1/8”, w. 18-1/8”, d. 13-3/8”. [1800/2500] Illustrated

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980Exceptional Cornflower Pattern Paris Porcelain Platter, 1775-1791, of serpentine form with dents de loup border , unusual both for its large scale and the exceptional quality of its decoration, h. 3”, l. 22”, w. 14-3/4”. For the mark, see Regine de Plinval de Guillebon, Porcelain of Paris, 1770-1850 (New York: Walker & Co., 1972), p. 340, no. 162. [800/1200] Illustrated

981Two Pieces of Louis XV Cornflower-Decorated Paris Porcelain, fourth quarter 18th century, including a sauce tureen on stand, by the Duc d’Angouleme factory, of oval form, with integral stand attached by a brass screw and nut, overall h. 6”, l. 10”, w. 7-1/4”, and a mustard pot, the mark rubbed but also probably Duc d’Angouleme, of barrel form, with applied fruit and leaf top, with a dents de loup border, overall h. 4”, l. 5-3/4”, w. 4-1/2”. For the tureen mark, see Regine de Plinval de Guillebon, Porcelain of Paris, 1770-1850 (New York: Walker & Co., 1972), p. 327, no. 11. [300/500]

982Paris Porcelain Shell Dish and Coffee Pot, fourth quarter 18th century, each decorated with cornflowers, the shell dish with a handle with shell edge and leaf molding, w. 9”, d. 9-1/4”, coffee pot appears to have a partial Locre signature, with a serpentine handle and modeled spout with pointed knop, h. 6-1/2”, w. 7-3/4”, d. 4-1/4”. [300/500]

983Four Pieces of Cornflower Decorated Paris Porcelain, fourth quarter 18th century, including an ecuelle signed by Guerhard et Dihl, 1781-1789, with square handles and berry-form knop, h. 4-1/4”, dia. 5-3/4”, dia. 7-1/4”, a mustard pot, h. 4-1/4”, dia. 4”, w. 6” and miniature sugar basin, h. 4-1/4”, dia. 3-1/4”, both by the Du d’Angouleme factory (the mustard pot lid of different origin), and an unmarked early bombe-sided double salt, l. 5-1/4”, w. 2-3/4”. See Regine de Plinval de Guillebon, Porcelain of Paris, 1770-1850 (New York: Walker & Co., 1972), p. 328, no. 15, and 327, no. 4 for the Duerhard et Dihl and Duc d’Angouleme marks, respectively. [500/800] Illustrated

984Collection of Four Signed Paris Porcelain Tasse Citron and Soup Coupes, fourth quarter 18th century, including a signed Queen’s Factory example, another rare Monsieur factory example, 1775-1791, with bands of cornflowers, and a pair by Locres, 1773-1844, h. 3”, dia, 5”. For the marks, see Regine de Plinval de Guillebon, Porcelain of Paris, 1770-1850 (New York: Walker & Co., 1972), p. 344, no. 209 (Queen’s), p. 340, no. 165 (Monsieur), and p. 338, no. 143 (Locre). [300/500]

985American Sheraton Mahogany Game Table, ca. 1820, Massachusetts, in the manner of Samuel McIntyre of Salem, the reeded fold-over top with ovolu corners and supported by a fly leg, the serpentine apron joined to legs with foliate-carved capitals over reeded legs, h. 30”, w. 37”, d. 18-1/2”, ext. l. 37”. [900/1200] Illustrated

986American Classical Mahogany Tilt-Top Stand, first quarter 19th century, the shaped single-board top on a beehive-turned pedestal joined to a tripodal base, h. 28-5/8”, w. 28”, d. 18-1/2”. [200/400]

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987Empire-Style Gilt-Metal and Bronze Patinated Six-Light Chandelier, with a trio of beaded and lotus-modeled chains joined as a leaf and berry cast ring supporting gilt arms with foliate bobeches and hung with cut-glass spears, a foliate-modeled bowl and pineapple finial, electrified, h. 27”, dia. 28”. [400/700]

988American Neoclassical Gilt-Bronze-Mounted Mahogany Pier Table, second quarter 19th century, Philadelphia, the marble top over a frieze adorned with mounts depicting musical trophies and putti, raised on columns set in a demi-lune niche, each with a gilt-metal capital and base, the bowed shelf centered by a floral wreath mount, the gilt bun feet beneath moth mounts, h. 34-1/2”, w. 43”, d. 19”. [1500/2500] Illustrated

989Paris Porcelain Neoclassical Dinner Service for Eight, ca. 1810-1834, French, made by Deroche, the partial service decorated with gilt borders of leaves and berries and with a green chain motif, most pieces signed, stenciled Deroche a Paris in black of Baltimore interest, probably found in Northern Baltimore county, the set comprised of a soup tureen with a molded acorn knop and anthemia-molded scroll handles, h. 12”, w. 14-1/2”, d. 8”, a nest of four oval platters, w. 12” to 17-3/4”, a pair of oval sauce tureens with integral stands, with masque handles and shell-form knops, h. 6-1/2”, w. 10”, d. 5”, a square notched corner salad bowl, h. 3-3/4”, w. 9-1/2”, d. 9-1/2”, a pair of square dishes, w. 9”, d. 9”, twelve dinner plates, dia. 9”, nine soup plates, dia. 8-1/2”, two soup plates, dia. 9”, eight luncheon plates, dia. 8-1/4”, and a sauce boat on stand, molded with a swan’s head handle, h. 7”, w. 11”, d. 6”. [5000/8000] Illustrated

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990American Classical Parcel-Gilt and Ebonized Mahogany Game Table, first quarter 19th century, New York, the fold-over top with canted corners, on a conforming frieze adorned with a die-cut brass band at the lower edge, raised on four columns joined to a concave platform raised on winged paw feet, h. 29”, w. 37”, d. 18-3/4”, ext. l. 37-1/2”. [900/1200] Illustrated

991Antique Model of a Clipper Ship, probably American, named “Matilda”, fully rigged but without sails, mounted on a black velvet floored contemporary walnut base in a plexiglass cover, h. 20-1/2”, w. 26”, d. 11”. [300/500]

992William Pierce Stubbs (American, 1842-1909), “The Howard Williams with Three Lighthouses in the Distance”, oil on canvas, signed and dated lower left “Stubbs 1879”, 24” x 36”. Framed. Provenance: Descended through the family of the Howard Williams. [4000/7000] Illustrated

The three lighthouses seen in the distance of this painting, depicting the vessel “The Howard Williams”, are likely the so called Three Sisters, built in 1837 at a particularly dangerous stretch of The Cape Cod coastline. The original towers were built of brick and painted white with black lantern decks. In 1892, the Three Sisters, victims of coastal erosion, were replaced by three movable wooden towers. Due to the further encroachment of the sea, the central tower was moved back and the other two sold. The central tower was decommissioned in 1923 and eventually all three were acquired by The National Park Service and moved near Nauset Beach, a quarter of a mile from their original location.

993Continental School (First Quarter 19th Century), “Portrait of a Child”, oil on panel, unsigned, 14-1/2” x 12”. Presented in a later giltwood and gesso frame. [200/400]

994“Venus Genetrix” Signed Sevres Biscuit Sculpture by Alexandre Brachard, 1810, French, modeled after a celebrated Venus Genetrix moved to the Louvre in 1803, “The Aphrodite of Frejus”, depicting the Roman goddess Venus in her aspect of mother (genetrix) as honored by the Julio-Claudian dynasty of Rome, stamped “Sevres” on the front, inscribed A.B. on the rear plinth in script, and “A.B IV 10”, indicating it was the work of Alexandre Brachard and completed in 1810, h. 14-1/2”, w. 6”, d. 6”. [2000/4000] Illustrated

Brachard executed busts of both Napoleon (presented to Ferdinando III, Grad Duke of Tuscany) and Maria Louise, now in the collection of the Pitti Palace, Florence. See Svend Eriksen and Kirsten A. Piancenti, French Porcelain in the Pallazzo Pitti (Florence: Centre di Scalam 1973) pp.100‑101 and 114. 992

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995American Classical Mahogany Center Table, ca. 1825, probably Richmond, Virginia, the period circular marble top over a conforming apron with beaded lower edge, on a columnar pedestal joined to a molded circular platform with four acanthus-carved paw feet, h. 29”, dia. 35-3/4”. [2000/4000] Illustrated

996American Classical Ebonized and Mahogany “Drum” or Small Center Table, ca. 1820, Baltimore, Maryland, the top with an ebonized disc centering figured crotch-cut veneer arrayed in a “pie-wedge” pattern on a tripodal base with a vasiform pedestal joined to reeded sabre legs terminating in brass paw cup casters, h. 28-1/4”, dia. 30”. [3000/5000] Illustrated

997Rare Bronze Table Thermometer, commemorating completion of the Washington Monument in Baltimore, Maryland, designed by Robert Mills, ca.1830, the square plinth holding the Tuscan column standard with centigrade scale and French notations, h. 7-3/4”, w. 2-1/4”, d. 2-1/4”. The monument was built in 1815, Washington was added in 1829. Similarly, the Maryland Historical Society owns an argand lamp in the form of the Battle Monument, made to commemorate its completion. [1000/1500] Illustrated

998American Classical Mahogany Sideboard, ca. 1825, Baltimore, Maryland, the top with a reeded gallery and scroll ends, the case with a wide projecting center drawer flanked by narrower drawers, over a band of paneled doors, flanked by reeded pilasters with foliate-carved capitals, the apron reeded across the front and wrapping around on the returns, raised on beehive-turned legs, h. 46-3/4”, w. 71-1/2”, d. 24-1/4”. [2000/4000] Illustrated

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999American Classical Giltwood Tripartite Looking Glass, second quarter 19th century, the back panel with a Baltimore newspaper covering, the mirror plates in a molded frame with egg-and-dart and foliate decor, h. 26-1/2”, w. 43”. [400/700]

1000Large American Late Classical Giltwood Mantel Mirror, mid-19th century, with the stenciled label, “from Samson Cariss Fancy Hardware & Looking Glass Store No. 138 & 110 Balt. St., Baltimore”, the period mirror plate set in a molded frame, h. 60”, w. 50”. [800/1200]

1001American Classical Revival Tripartite Argente and Giltwood Mantel Mirror, ca. 1900, the projecting cornice over foliate-adorned pilasters, the central mirror plate flanked by narrow plates and pilasters of like form, h. 28”, w. 64”, d. 5”. [400/700]

1002American Giltwood Mirror, second quarter 19th century, Mid-Atlantic, the peaked sides mounted with bunches of acanthus leaves, set with an old mirror plate and retaining an old gold leaf surface, h. 36-1/2”, w. 24-1/2”. [500/800]

1003Fine American Classical Mahogany Armoire, ca. 1820, the Grecian pediment flanked by acroter, over a pair of bisected paneled doors, opening to reveal a petitioned interior, one half with an open niche for hanging apparel, the other with a bank of linen drawers centered by a medial belt of two drawers, the doors flanked by reeded pilasters with foliate-carved capitals, raised on bun feet, h. 79-1/8”, w. 51-1/4”, d. 19-1/4”. [2000/4000] Illustrated

1004Rare Empire Paris Porcelain Topographical Spill Vase, first quarter 19th century, French, a round gilt-trimmed plinth supports winged paw feet, finished in biscuit, the cylindrical vase with a superbly detailed view of the Pantheon, which is identified in the tooled gilt border framing it, the raspberry ground decorated with medallions, anthemia and gilt grillwork, h. 5”, dia. 2-1/2”. [600/900] Illustrated

1005Paris Porcelain Neoclassical Urn, second quarter 19th century, French, decorated in all-over gilt with the exception of the reserve panel on the obverse, the standard-shaped urn with molded swan-form handles and the polychrome panel depicting a shepherdess watering her flock at a fountain, all contained in a tooled gilt border, h. 11”, w. 6-1/4”, d. 3-3/4”. [300/500]

1006Paris Porcelain Campagna-Form Urn, second quarter 19th century, French, the square base and turned stem support the green ground body decorated with a hand-painted reserve panel depicting a peasant woman with a goat on the obverse and a floral panel in a raised gilt panel on the reverse, the handles terminate with classical heads finished in contrasting matte gilt, h. 9-1/4”, dia. 6-3/4”. [300/500]

1007Pair of Paris-Style Mantel Urns, each with bases and necks decorated with flowers alternating with green bands, the bodies with Italian hand-painted scenes, set with handles molded with winged figures, marked with a spurious Sevres-style mark, h. 12-1/4”, w. 6-1/4”, d. 4”. [400/700]

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1008American Classical Mahogany Wash Stand, second quarter 19th century, Baltimore, Maryland, the inset marble top set in a reeded gallery with scroll ends, the rear of the top with a raised platform, the frieze with a molded drawer flanked by foliate-carved panels, raised on tapering turned columns joined to a concave base on bun feet, h. 33-1/2”, w. 25-1/2”, d. 23”. [1800/2500] Illustrated

1009American Classical Mahogany Wash Stand, second quarter 19th century, Baltimore, Maryland, probably John Needles, the inset King of Prussia marble top in a reeded gallery, the back with a raised platform, the case with a bank of two drawers over a narrower, deeper drawer, flanked by reeded pilasters and raised on turned legs with ball feet, h. 33”, w. 26”, d. 22-3/4”. [1500/2500] Illustrated

1010American Classical Mahogany Chest, second quarter 19th century, Baltimore, Maryland, the projecting fold-out upper drawer opening to reveal a fitted interior, over a bank of three graduated beaded drawers flanked by reeded pilaster with foliate-carved capitals, on bun feet, retaining period embossed brass pulls, h. 45”, w. 44-1/4”, d. 20-3/4”. [800/1200]

1011Paris Porcelain Cachepot, 1808-1818, by Stone, Coquerel et Legros, Paris, in two-parts, the flaring upper section with integral shaped vine handles and decorated en grisaille with a transfer print of Poseidon on one side and Apollo in his chariot on the other, the base decorated with transfer-printed garlands of polychrome fruit, overall 7”, dia. 6.25”. For the mark, see Regine de Plinval de Guillebon, Porcelain of Paris, 1770-1850 (New York: Walker & Co., 1972), p. 338, no. 136. [400/700] Illustrated

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1012Set of Five Rare Paris Porcelain Tasse Litrons, 1808-1818, attributed to Stone, Coquerel et Legros, transfer printed en grisaille with pairs of classical profiles under a classical border, the saucers with single profiles, identified on the underside: La Calomnie, Amphitrite, Endimyon, l’Esperance and Acteon, overall h. 2-1/2”, dia. 5”. [400/700] Illustrated

1013Pair of Stone, Coquerel et Legros Paris Porcelain Cabinet Plates, 1808-1818, transfer printed en grisaille with the subjects “Sylla abdique la pictature” and “Marcellus exhorte Pompei a defendre la Republique”, scenes from Roman history, within borders of black transfer-printer garlands of flowers, unmarked, dia. 5-3/4”. [300/500]

1014Two Stone, Coquerel et Legros d’Anisy Cabinet Plates, ca. 1809-1818, Paris, France, the sepia-printed example with the full transfer print signature, with a sepia fretwork border trimmed with gilt and a view of Halswell, an English country house in Goathurst, Somerset, England, and labeled on the plate “Chateau de Halswell, Conte’ d Sommerset, Angleterre”, the plate depicts the house, a plowman and a horse and the green printed example with a grape and grape vine border, and a rondel of a fisherman with a fish, "Le Pecheur et le Petit Poisson”, the plate is not signed but firmly attributed, dia. 8-3/4” and 9-1/8”. [250/400]

1015Pair of American Late Classical Faux Rosewood Sidechairs, Attributed to Duncan Phyfe and Sons, New York, second quarter 19th century, each with a yoked crest rail and shaped splat, the molded seat rail with applied roundels at each end, retaining its rare original faux rosewood finish, h. 33-1/4”. For a discussion of Phyfe chairs with a yoked back similar to the present example, see Duncan Phyfe Master Cabinetmaker in New York by Kenny, Brown, Bretter & Thurlow, plates 49 & 50. A dining suite with an apparently identical splat and scrolling support rail, and with apron and feet like that in Plate 50, sold at New Orleans Auction, St. Charles Gallery in 2003. [700/1000] Illustrated

1016American Classical Mahogany Work Table, ca. 1825, New York, the fold-over top supported at the back by a pivoting slide, the case with a shallow drawer over a deeper drawer, each retaining period embossed brass pulls, on ring-turned and spiral-reeded Sheraton legs, h. 28-1/2”, w. 22”, d. 17”, ext. l. 34”. [400/700]

1017Carved Marble Lamb, fourth quarter 19th century, probably American, depicted reclining on a marble plinth, with its face looking up, patinated and dappled with moss, h. 16-1/4”, w. 22-1/4”, d. 8-1/2”. [1200/1800] Illustrated

1018American Late Classical Mahogany “Voltaire” Armchair, second quarter 19th century, the shaped back with a scrolled crest rail, open arms with S-scroll supports and baluster-form turned front legs, h. 39”. [800/1200]

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1019American Classical Mahogany Game Table, ca. 1825, the fold-over top over an apron centered by a foliate-carved tablet, raised on an acanthus-carved column joined to molded sabre legs ending in carved paw feet, h. 29”, w. 35-3/4”, d. 18”, ext. l. 36”. [600/900] Illustrated

1020Pair of Patinated-Bronze and Bright Gilt Stand Argand Lamps, ca. 1825, probably French, square bases support cylindrical plinths with beaded gilt trim, decorated with birds drinking from a fountain, the fluted oil tanks, hung with Georgian prisms, retain their original burners, now mounted with period tulip-shaped argand shades, cut with running flowers on a frosted ground, h. 7-1/2”, dia. 5”. [1000/1500] Illustrated

1021English Patinated-Bronze Stand Argand Lamp, second quarter 19th century, mounted with a period shade, gilded bottom feet support the square base, molded acanthus leaves trimmed in gilt, form the standard, the vase-shaped font converted to kerosene, with a reeded and fluted base and gilt trim, the period ball shade with a frosted ground cut with oak leaves and acorns, h. 18-1/2”, dia. 5-3/4”. [500/800]

1022American Late Classical Mahogany Game Table, second quarter 19th century, New York, the fold-over top over a paneled frieze, supported by a tapering column with concave faces on a concave base with scroll feet, h. 29-3/4”, w. 35-3/4”, d. 18”, ext. l. 36”. [300/500]

1023American Classical Figured Maple Wash Stand, second quarter 19th century, probably Philadelphia, the gallery with shelves at each corner, the top cut-out to accommodate a basin, the bowed apron flanked by small drawers on molded scroll columns joined to a low shelf with molded drawer, raised on turned legs, h. 36”, w. 19”, d. 17”. [800/1200] Illustrated

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1024American Late Classical Revival Mahogany Library Table, first quarter 20th century, the molded apron fitted with a pair of drawers, supported by baluster-form octagonal columns on a low platform with scroll feet, h. 30-1/2”, w. 60”, d. 34”. [600/900]

1025American Late Classical Mahogany Game Table, second quarter 19th century, the fold-over top over a cyma-molded frieze, raised on a shaped pedestal joined to a low platform with scroll feet, h. 28-1/2”, w. 36”, d. 17-3/4”, ext. l. 35-1/2”. [300/500]

1026American Late Classical Mahogany Banquet Table, fourth quarter 19th century, the circular top over a split pedestal opening to accommodate four 23-3/4” skirted leaves with gadrooned edge, the aprons with crotch veneers, the pedestal with foliate carving and four acanthus-carved legs ending in paw feet, h. 29”, dia. 54”, ext. l. 148”. [3000/5000] Illustrated

1027American Late Classical Mahogany Secretary Bookcase, second quarter 19th century, the upper case with an ogee cornice molding above a pair of glazed arched glass doors, the base with a fold-down writing desk and a pair of blind doors below, h. 89”, w. 46”, d. 21”. [800/1200] Illustrated

1028Pair of Neoclassical-Style Cast-Iron Garden Urns, each of campagna form, with egg-and-dart-molded rim and a fluted body, h. 31-1/2”, dia. 25”. [300/500]

1029Jimmy Lee Sudduth (American/Alabama, 1910-2007), “Books”, mixed media on board, signed upper left, 24” x 24”. Unframed. [450/700]

1030Jimmy Lee Sudduth (American/Alabama, 1910-2007), “Brown Cat”, mixed media on board, signed lower left, 24” x 24”. Unframed. [450/700] Illustrated

1031Mose Ernest Tolliver (American/Alabama, 1919-2006), “Two Chickens”, acrylic on wood panel, signed lower left, 11 1/4” x 28 3/4”. Unframed. [700/1000] Illustrated next page

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1032William Hemmerling (American/Louisiana, 1943-2009), “Little Pass, Notre Cote de Mer”, 2003, acrylic on wood panel, signed bottom right, inscribed, signed, and dated en verso, 42 3/4” x 16”. Unframed. Provenance: Purchased from the artist; Private Collection, New Orleans, Louisiana. [6000/9000] Illustrated

1033William Hemmerling (American/Louisiana, 1943-2009), “Louisiana Strawberry Growers Association, 1930”, acrylic on wood panel, signed lower right, 26 1/2’ x 26 3/4”. Provenance: Purchased from the artist; Private Collector, New Orleans, Louisiana. [6000/9000] Illustrated

1034Byron Levy (American/Louisiana, 20th/21st Century), “Jazz Band”, mixed media on panel, signed lower right “Byron Levy”, 18” x 24”. Framed. [550/800]

1035John Tarrell Scott (American/Louisiana, 1940-2007) “Untitled”, mixed media on paper, signed “John T. Scott” and bearing signatures of other New Orleans artists along the edges, 30” x 22-1/2”. Unframed. [600/900]

1036Louise Guidry (Louisiana, b. 1930), “Maui Cliffs”, encaustic on hand-made paper, signed lower right, sight 16” x 22”. Attractively matted and framed. Provenance: Collection of the artist. [800/1200] Illustrated

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1037Louise Guidry (Louisiana, b. 1930), “Yellow Abstract”, acrylic and mixed media on canvas, signed bottom center, 30” x 30”. Unframed. Provenance: Collection of the Artist. [1200/1800] Illustrated

A native of St. Martinville, Louisiana, Guidry has been painting since she was a child. Her works emphasize the balance of color and texture, often incorporating various media and techniques to achieve the desired effect.

1038Janice R. Sachse (American/Louisiana, 1908-1998), “Red Flowers”, watercolor on paper, signed lower left “JR Sachse”, sight 28” x 20-1/2”. Glazed, matted and framed. [1800/2500] Illustrated

1039Louise Guidry (Louisiana, b. 1930), “Trees”, acrylic on canvas, signed lower left, 36 1/4” x 24 1/2”. Unframed. Provenance: Collection of the Artist. [1500/2500] Illustrated

1040Charles Thysell (American, b. 1950), “The Quarry”, oil on canvas, unsigned, 34” x 28”. Handsomely framed. [400/700] Illustrated

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1041James McConnell Anderson (American/Mississippi, 1907-1998), “Brown Pelicans”, oil on masonite, signed and dated lower right, “JMcCA 88”, sight 15” x 23”. Framed. [1800/2500] Illustrated

1042James McConnell Anderson (American/Mississippi, 1907-1998), “Two Men in Pines”, oil on masonite, signed and dated lower right “JMcCA 97”, sight 15” x 23”. Framed. [1800/2500] Illustrated

1043Mark Bercier (American/Louisiana, b. 1950), “Still Life with Healin", gouache on handmade paper, signed and dated lower left “Bercier 2012”, sheet 29-1/2” x 21-1/2”. Glazed and framed. [500/800] Illustrated

Bercier is a prolific artist who uses his own visual language, composed of hieroglyphic‑like symbols found in the background of his work. He explains: “For the past two decades I have been working with a language created from twenty‑six images juxtaposed with twenty‑six words, that do not necessarily go together. This personal iconography reflects my fascination with language, both visual and verbal, and our ways of communication, or lack thereof. It has taken taken me years to collect this language and incorporate it into my paintings, prints, drawings and sculpture. The language is called The Healin’ Symbols.”

1044Mark Bercier (American/Louisiana, b. 1950), “Key”, gouache on 19th century sheet music, signed and dated lower right “Bercier 2011”, sheet 12-1/2” x 9-1/2”. Glazed and attractively framed. [200/400]

1045Mark Bercier (American/Louisiana, b. 1950), “Sun”, gouache on 19th century sheet music, signed and dated lower right “Bercier 2011”, sheet 12-1/2” x 9-1/2”. Glazed and attractively framed. [200/400]

1046Mark Bercier (American/Louisiana, b. 1950), “Fish”, gouache on 19th century sheet music, signed and dated lower right “Bercier 2011”, sheet 12-1/2” x 9-1/2”. Glazed and attractively framed. [200/400]

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1047Tom Secrest (Louisiana, Contemporary), “Untitled”, acrylic on canvas, unsigned, 28” x 22”. Unframed. [1400/1800] Illustrated

A native of Columbus, Ohio, Secrest has spent most of his life in Lafayette, Louisiana, where he was a professor of Visual Arts at the University of Louisiana until his retirement. An accomplished printmaker and draughtsman, Secrest's work seamlessly melds the psychological and fantastical. There is an intentional ambiguity as to subject, meaning, and symbolism, resulting in works which suggest the visionary and verge on the dystopian. This feeling is enhanced by his frequent use of self‑portraiture in his compositions. As the artist himself has stated, "The issue of reality had little interest in me. To be the dreamer and escaping person has long been my way of living." His works are in numerous private and public collections, including the New York Public Library, the New Orleans Museum of Art, and the College of William and Mary. References: Hancock, Tom Secrest: Exhibition Catalogue , CUE Art Foundation. New York, 2008.

1048Tom Secrest (Louisiana, Contemporary), “Untitled”, charcoal and pastel on paper, signed and dated “12” lower left, 24” x 18”. [700/1000] Illustrated

1049Tom Secrest (Louisiana, Contemporary), “Untitled”, pencil and pastel on paper, 30” x 22”. Unframed. [700/1000]

1050Tom Secrest (Louisiana, Contemporary), “Untitled”, charcoal and pastel on paper, signed lower right, 30” x 22”. [700/1000]

1051Tom Secrest (Louisiana, Contemporary), two charcoal and pastels on paper, including “Toppled”, signed bottom left, 12” x 9”, and “Toppled II”, signed lower right, 4 3/4” x 13 3/4”. Both unframed. [700/1000]

1052Tom Secrest (Louisiana, Contemporary), two charcoal and pastels on paper, including “Tree”, signed lower right, 15” x 11”, and “Skull”, signed mid-right, 9” x 12”. [700/1000]

1053Colo Milling (b. Robert Milling Gamble) (American/Louisiana, 1939-2007), pair of serpentine-form mantel bronzes, h. of tallest 17 1/4”. [400/700] Illustrated

A native of New Orleans, Louisiana, Milling attended the John McCrady School of Fine Arts in the French Quarter and later studied at the Art Students League and the Sculptorís Workshop in New York. He was an instructor in the ancient lost‑wax technique at the Sculpture Center in New York City for a number of years. Fascinated by religion, mythology, and the world of fantasy and fairytales, Milling's textural bronzes are fraught with symbolism and teem with an almost visceral sense of energetic tension. Known for his portraits of politicians, sports figures, and prominent New Orleanians, Milling's work can be found in the collections of Newcomb College of Tulane University, the Ogden Museum of Southern Art, the Louisiana State Capitol Memorial Hall, Louisiana State University, and the Italian American Renaissance Museum.

1054Colo Milling (b. Robert Milling Gamble) (American/Louisiana, 1939-2007), “Ta-Da”, bronze, h. 8 3/4”, on a thin white marble base. [300/500]

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1055Colo Milling (b. Robert Milling Gamble) (American/Louisiana, 1939-2007), “Jack in the Box”, bronze, signed at foot, h. 6”, on a thin granite base. [300/500] Illustrated

1056Colo Milling (b. Robert Milling Gamble) (American/Louisiana, 1939-2007), “Four Horsemen of the Apocalypse”, bronze, h. 37 1/2”, l. 39”, w. 18”. [2000/4000] Illustrated

1057Colo Milling (b. Robert Milling Gamble) (American/Louisiana, 1939-2007), “Emmile”, bronze, artist’s mark on left buttock, titled at right foot, h. 8”. [200/300]

1058Colo Milling (b. Robert Milling Gamble) (American/Louisiana, 1939-2007), “Original Sin”, bronze, artist’s mark on female figure’s left thigh, h. 15 3/4”, on a thin white marble base. [300/500]

1059Colo Milling (b. Robert Milling Gamble) (American/Louisiana, 1939-2007), “Erato”, h. 11-1/2”. [500/800]

1060Colo Milling (b. Robert Milling Gamble) (American/Louisiana, 1939-2007), “The Temptation of Eve”, bronze figural group, h.16”. [500/800]

1061Colo Milling (b. Robert Milling Gamble) (American/Louisiana, 1939-2007), “Erato 2”, the artist’s mark on the left shoulder, h. 18”. [500/800]

1062Colo Milling (b. Robert Milling Gamble) (American/Louisiana, 1939-2007), “Elephant Walk”, pair of bronzes, one signed at underbelly, each h. 3 1/2”. [150/250]

1063Colo Milling (b. Robert Milling Gamble) (American/Louisiana, 1939-2007), “Unicorn”, bronze, artist’s mark on right flank, h. 9 1/4”. [200/300]

1064Colo Milling (b. Robert Milling Gamble) (American/Louisiana, 1939-2007), “Peter Pan”, bronze, self-portrait of the artist, artist’s mark at hip, h. 14 1/4” on a rectangular plinth. [300/500] Illustrated

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1065Colo Milling (b. Robert Milling Gamble) (American/Louisiana, 1939-2007), “Capricorn”, bronze, artist’s mark on right buttock, signed at right foot, h. 18”. [300/500]

1066Colo Milling (b. Robert Milling Gamble) (American/Louisiana, 1939-2007), “Rumplestilskin and Goldspinner” bronze group, h. 16”. [700/1000] Illustrated

1067George Rodrigue (American/Louisiana, b. 1944), “Double Blue Dog”, color silkscreen, signed lower right, numbered 44/120 lower left, sight 14 1/2” x 18 1/4”. Attractively matted and framed. [500/800]

1068George Rodrigue (American/Louisiana, b. 1944), “Mardi Gras Blue Dog”, color silkscreen, signed lower left, numbered 172/500 lower right, sight 25 1/2” x 18 3/4”. Matted and framed. [400/700]

1069Fine American Coin (.900) Silver Presentation Pitcher, dated 1841, by Gale, Wood & Hughes, New York, New York, of inverted pear form, decorated with elaborate repousse rococo cartouches of neoclassical architecture, with a repousse acanthus from calyx below and milled leaf-and-berry band above, the flaring collar with integral spout engraved with flowers and rococo scrolls, with melon-knopped crested scroll handle, the whole raised above a knopped and domed foot en suite, the cartouche engraved with a presentation inscription “to Capt. Rich’d. B. Cleland / of British Steamer / Britannia” from the passengers of his May 1841 voyage from Liverpool to Boston, h. 15-1/2”, l. 10-1/2”, dia. 7”, 44.30 t. oz. [6000/9000] Illustrated

The Britannia was the first ship of the Cunard line, whose maiden voyage was in July 1840. The trip ushered in the age of the luxury ocean liner, at the forefront of which Cunard would remain for the next hundred years. Glasgow‑born Captain Richard B. Cleland (1809‑1891) was not at at the helm of that voyage, though he did captain Cunard’s second ship, the Caledonia on her maiden voyage of the same route in September 1840. He was evidently seconded to the Britannia by the spring of the following year, when twenty‑one of his passengers were signatories on this magnificent pitcher, an elegant artifact of the earliest days of luxury sea travel. (Though there were those who were not so impressed; see the recollections of the Britannia’s most famous ‑ and most famously miserable ‑ passenger, Charles Dickens, whose January 1842 crossing on the steamship is covered in comical detail in his American Notes.

1070New York Coin (.900) Silver Chinoiserie Three-Piece Tea Set, dated 1853, by Eoff & Shepherd for Ball, Black & Company, comprising a teapot, h. 10”, covered sugar bowl, h. 9”, and cream jug, h. 8”, each with a pear-shaped body decorated with repousse Asian scenes centered by opposing rococo cartouches, the necks lobed and hinged to conforming domed lids, with handsomely chased and applied openwork spouts feet and finials, each piece engraved, on one of the cartouches: “To Hon. Fred.k A. Tallmadge/a Tribute of respect/by his friends/April 27, 1853”, 68.10 total t. oz. [1400/1800] Illustrated next page

Frederick Augustus Tallmadge was born in Litchfield, Connecticut, on August 29, 1792, the son of patriot Benjamin Tallmadge and his first wife, Mary Floyd. He studied at Yale and was admitted to the bar in 1811, moving to New York to establish his practice in 1813. After a successful legal career he entered into politics, serving as New York City Alderman (1834), Councilman (1836), New York State Senator (1837‑1840), New York City Recorder (1841‑1846 and 1849‑1852), U.S. Congressman (1846‑1848), New York City Police Superintendent (1857‑1862) and Clerk of the New York Court of Appeals (1862‑1865). He retired back to Litchfield in 1869, and died there on September 17 of that year. The present lot was presumably presented to him in appreciation of his second term as Recorder. (He was the first person elected to the office by popular ballot.) His tenure was marked by his controversial role in quashing the Astor Place Riots of 1849: a violent culture clash between New York’s elite and working class played out over, of all things, whether Shakespeare was better performed by British or American actors, and which left two dozen dead at the steps of the Astor Opera House. See Nigel Cliff, The Shakespeare Riots (New York: Random House, 2007).

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1071Good Set of Six Old Baltimore Standard (.896) Silver Teaspoons, first quarter 19th century, by Andrew Ellicott Warner (1876-1870), Baltimore, Maryland, with long “fiddle” handles and pointed shoulders, engraved with an armorial, “sable, on a chevron argent between three griffin’s heads couped, a rose”, l. 5-1/2”, 4.56 total t. oz. [150/300]

1072Five Old Baltimore Standard (.896) Silver Tablespoons, first quarter 19th century, by Andrew Ellicott Warner (1876-1870), Baltimore, Maryland, with long “fiddle” handles and pointed shoulders, monogrammed “JSJ”, l. 7”, 5.40 t. oz. [150/300]

1073Baltimore Assay Period Standard (.917) Silver Ladle, 1821, by John & Robert Monteith, Baltimore, Maryland, with long “fiddle” handle, pointed shoulders and elliptical bowl, engraved with the monogram “T” surmounted by a crest of a raven rising, l. 13-1/2”, 6.62 t. oz. [400/700]

1074American Three-Piece Coin (.900) Silver Coffee Service, second quarter 19th century, by Taylor & Lawrie for Bailey & Kitchen, Philadelphia, Pennsylvania, including a coffepot, h. 11-1/4”, covered sugar basin, h. 10”, and cream jug, h. 18”, each with a serpentine lobed ovoid body and everted milled acanthus rim, with a mushroom-knopped and domed foot en suite, the pot with elaborate acanthus-mounted “gooseneck” spout and crested “S” scroll handle, with a hinged domed lid with large acanthus bud finial, the sugar basin with two crested handles and fitted lid, the cream jug with integral spout and single crested handle, each piece monogrammed “AB”, 89.38 t. oz. [4500/7000]

1075Fine American Five-Piece Coin (.900) Silver Tea and Coffee Service, second quarter 20th century, by Robert Dunlevy (1803-1865), Philadelphia, Pennsylvania, including a hot water pot, h. 11-1/4”, a coffeepot, h. 10-1/2”, a teapot, h. 10-3/8”, a sugar bowl, h. 10-1/2”, and a cream jug, h. 8-1/4”, each of squat inverted pear shape, decorated with a band of conjoined circular cartouches decorated with handsomely chased repousse thistles separated by acanthus fronds, with domed lids en suite with “fruitbasket” finals, “gooseneck” spouts decorated en suite, and richly crested “S”-scroll handles, all raised on a flare-knopped ogee domed foot, with milled floral banding at the collar and knop and milled leaf-and-dart banding at the edge and base, 210.14 total t. oz. Provenance: (as stated on a card accompanying the lot) James R. Wilson “to whom it was given about the year 1835 by some gentlemen of Philadelphia as a token of appreciation of his tact and talent as a lawyer in managing a difficult business affair”, to his sister-in-law Jane Corning Townsend (Mrs. Guilford Reed Wilson), to her daughter Gertrude Corning Wilson (Mrs. William C. Francis), to their daughter, Florence G. Francis (Mrs. Tucker). [10000/15000] Illustrated

Robert Dunlevy was born in Philadelphia on January 30, 1803, the son of ship captain Robert Dunlevy and his wife, Sarah Beck, and christened at St. Peter’s church there on June 29, 1803. There is no record of his apprenticeship, but he is first listed as a silversmith in the Philadelphia directory of 1830, and thereafter until 1867. He is occasionally listed in partnership with other silversmiths ‑ Edward G. Shaw (1833), George Dowell (1843‑1846) and George K. Wise (1847‑1850) ‑ but these partnerships appear to have been exclusive of his own shop, which is listed on Lodge Alley until around 1845, and thereafter on Chestnut Street. His was evidently a reasonably large concern; the 1860 census lists, in addition to himself and his son Craig, five apprentices and journeymen. He married English‑born Claressa Lancaster around 1826 and had nine children; in addition to Craig, his sons Lewis and William also worked as silversmiths, though none evidently remained in the trade very long. Dunlevy died of tuberculosis on March 23, 1865. He was interred in Philadelphia’s now defunct Lafayette Cemetery on March 27, 1865.

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1076American Coin (.900) Silver Coffeepot, third quarter 19th century, by Isaac Speer (1809-1879), Chicago, Illinois, of ovoid form, with waisted collar, robust “gooseneck” spout, crested “S”-scroll handle and hinged and domed lid with vasiform finial, the whole raised on an ogee-domed foot, decorated throughout with annulated banding, monogrammed on the body “MS”, h. 12-3/4”, l. 10-1/2”, w. 5-3/4”, 30.86 t. oz. [1500/2500] Illustrated

1077Four Pieces of American Coin (.900) Silver Flatware, 19th century, including a pair of “coffin fiddle” teaspoons by Caleb Warner (1784-1861), Salem, Massachusetts, monogrammed “MS”, l. 5-7/8”, bow-style “double fiddle” sugar tongs by John Schuyler Walter (1791-1864), New York, New York, with shell grips, monogrammed “EGM”, l. 6-1/4”, and a sugar spoon, by the Whiting Mfg. Co., North Attleboro, Massachusetts, with “fiddle” handle and shell bowl, monogrammed “MS”, l. 6-7/8”, 3.15 total t. oz. [125/250]

1078Five American Coin (.900) and Other Silver “Fiddle Thread” Spoons, 19th century, including coin pieces a tablespoon by M. W. Galt & Bro., working 1847-1879, Washington, D.C., monogrammed “B”, l.8-1/4”, a teaspoon by Henderson & Gaines, working 1841-1865, New Orleans, Louisiana, l. 6”, and a pair of coffee spoons by Henry Peat Buckley (1822-1903), New Orleans, Louisiana, monogrammed “SEH” and later “JHB”, l. 4-3/8”, and a Baltimore standard (.917) egg spoon by Samuel Kirk (1793-1872), engraved with a crest of a greyhound’s head erased and monogrammed “T”, l. 4”, 4.11 total t. oz. [125/250]

1079Three Virginia Coin (.900) Silver Teaspoons, third quarter 19th century, by Joseph Moseley Freeman (ca. 1806-1882), Norfolk, Virginia, in the traditional “Fiddle Thread” pattern, monogrammed “A”, l. 5-3/4”, 2.37 total t. oz. [125/250]

1080American Aesthetic Period Silverplate Double-Walled Ice Water Pitcher, fourth quarter 19th century, of tapering conical form, flat-chased with circular cartouches and flora between milled floral bands, with palmette-mounted crested handle and “duck’s beak” spout, domed lid with finial en suite, and plinth base, h. 13-3/4”, dia. 7”. [150/300] Illustrated

1081Good Gorham Sterling Silver Neoclassical Hot Water Urn, third quarter 19th century, Providence, Rhode Island, the body with hemispherical lower half and steeply domed and waisted upper half, with large palmette-mounted ring handles, the gadrooned and domed fitted lid surrounded by milled geometric banding on the body, the spherical handle of the downturned spigot adorned with beaded banding and three laurel wreaths, the whole above a reticulated base raised by four palmette-mounted sabre legs, engraved, on the back of the body, “B”, h. 14”, w. 8-1/2”, d. 9-1/2”, 57.48 t. oz. [1800/2500]

1082American Sterling Silver Fruit Bowl, first quarter 20th century, by the Whiting Mfg. Co., Providence, Rhode Island, in the Arts and Crafts taste, the hemispherical bowl with lobed calyx below a band of repousse “cabochons” on a hammered ground, with beaded rim and raised on a domed foot en suite, the interior gilt, h. 7-1/2”, dia. 9-1/2”, [1400/1800] Illustrated1076

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1083American Sterling Silver Grape Stand, first quarter 20th century, by the Mauser Mfg. Co., New York, New York, the circular plate pierced and blind-stamped with Renaissance-style scrolls and cartouches, centered by a thin baluster standard terminating with a stirrup finial handle surrounded by three grape cluster hooks, h. 13”, dia 10”, 14.21 t. oz. [300/500]

1084Henry Hammond Ahl (American, 1869-1954), “Landscape With a Farm”, oil on board, signed lower left “Ahl”, 8” x 10”. Presented in an Arts and Crafts style frame. [800/1200] Illustrated

1085Gordon Coutts (American, 1880-1937), “Woodland Pond”, oil on canvas, signed lower left, 9 3/4” x 13 1/2”. In an antique cove-molded wood frame. [700/1000] Illustrated

1086American Renaissance Revival Giltwood Mantle Mirror, third quarter 19th century, the crest with a cabochon-carved cartouche flanked by scrolls, the corners with shell-carved finials, the gently arched mirror plate flanked by beaded, palmette and foliate-carved pilasters, h. 69”, w. 53”, d. 7”. [500/800] Illustrated

1086AAntique French Gilt Bronze Encrier, with central figure of "Courage Militaire", after the ca. 1875 sculpture by Paul Dubois (1829-1905) from the tomb of General Lemoriciere (1806-1865) at Nantes, cast signature and inscribed "F. Barbedienne, Fondeur" at base, on a dark gray mottled red marble base, overall h. 15 1/2î. [1800/2500]

1087American Globe on Cast-Iron Stand, ca. 1868-1875, New York, made and signed by J. Schedler, New York and sold by bookseller S. Steiger, patented November 24, 1868, the cast-iron stand with a leaf-form feed, molded anthemia on the base and a vase molded support, the globe canted in calibrated full meridian in original gold paint, geographical entitles indicated in a variety of colors, h. 13”. [450/700]

1088Silvered Brass Figural Tobacco Box, fourth quarter 19th century, French, molded to resemble a sailor sitting atop a packing crate, heavily constructed with a hinged lid, the “crate” mimics a nailed wooden crate, reinforced with rope, labeled “Havane, France Haut and Bas” on the top and bottom, and “Berqueta”, possibly the manufacturer, h. 8”, w. 4”, d. 5”. [400/700]

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1093American Aesthetic Movement Lacquered-Brass Six-Arm Gasolier, fourth quarter 19th century, the conical stem joined to a bowl supporting six scroll-form arms, each arm joined by a shaped brass rod extender, to beneath the canopy, electrified, h. 33-1/2”, dia. 39”. [700/1000] Illustrated

1094Large Hexagonal Gilt-Brass Filigree Hall Lantern, early 20th century, the side panels fitted with rippled glass and the interior having three electric sockets, h. 34”, w. 13”, d. 13”, lantern only. [500/800]

1095Gilt-Bronze Neoclassical Table Lamp, first quarter 20th century, possibly Edward Caldwell Co. of New York, bronze, numbered turtles serve as feet to the round base, which has a beaded rim and bas-relief-molded Bacchanalian decoration, a winged caryatid serves as the base to the standard which is alternately leaf-molded, twisted and reeded, with an applied bronze bird, mounted with triple light sockets, h. 24-1/2”, dia. 13-3/4”. [500/800]

1096Classical Revival Bouillotte Lamp Base, in the Caldwell Manner, first quarter 20th century, American, the beaded base supports a fluted three column form standard, set with leaf-molded candle branch drip pans and candle cups molded with a wave motif, fitted with faux electrified candles, h. 16”, w. 7-1/4”. [300/500]

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1089Pair of Unusual Napoleon III Gilt-Bronze Candlesticks, second quarter 19th century, scrolled feet support pierced, lily-molded bases, set with shell-molded supports holding patinated female figures adorned in laurel wreaths, supporting lily candle cups, h. 17-1/2”, w. 7-1/2”, d. 6”. [800/1200] Illustrated

1090Bronze and Marble Six-Light Napoleon III Candelabra, third quarter 19th century, French, on bronze paw feet, the black marble base decorated with gilt incising, a draped bronze caryatid figure supports six scrolled candle branches with incised drip pans and candle cups, now mounted as a lamp, h. 37”, dia. 13”. [400/700]

1091Louis C. Girault (American/New Orleans, active 1970-1892), “Bridge Over a River”, pastel on paper, initialed lower left “L. C. G.”, 8-3/4” x 12”. Glazed and presented in a attractive period giltwood and gesso frame. [900/1200] Illustrated

1092Majolica High Glazed Pedestal, early 20th century, the circular green glazed top, transitioning into gold and brown tones, h. 31-1/2”, dia. 12”. [250/400]

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1097Jane Sage Fuller (American, 1897-1984), pair of cat-form bronze andirons, ca. 1924, individually sculpted andirons on oval plinths decorated in bas relief with images of mice and wheat, and dated two years after the 1922 discovery of King Tut’s tomb, a time when Egypto-mania was at the height of popularity, the andirons stamped by the foundry, Roman Bronze Works of New York, a connection documented in their archives, now held at the Amon Carter Museum, signed “Jane Fuller”, h. 19-1/4”, w. 5-1/4”, d. 23-1/4”. [700/1000] Illustrated previous page

1098Pair of E. F. Caldwell and Company Gilt-Bronze Candlesticks, first quarter 20th century, New York, in the Adams revival style and marked with a “C” in a lozenge, the oval electrified sticks elaborately decorated with leaf-molded bases, tapered standards decorated with swags of beadwork, leaf-molded drip pans and fluted and beaded candle cups, fitted with faux electric candles, h. 9-1/2”. [300/500]

1099American Colonial Revival Mahogany Tall Case Clock, ca. 1900, bearing the engraved retailer’s label of Tiffany & Co., New York, the case with fluted quarter columns, the hood with a broken arch pediment, carved rosettes and brass finials, the movement featuring time and hour strike, h. 98”, w. 21”, d. 15-1/2”. [7000/10000] Illustrated

1100American Aesthetic Movement Ebonized Stand, the circular top on a tripodal base, each support in the form of an elephant head with contrasting light wood tusks, the trunks extending to a low serpentine shelf on bun feet, h. 34-1/2”, dia. 16-1/21”. [400/700]

1101Paris Porcelain Platinum Ground Charger, fourth quarter 19th century, surviving in a remarkable state of preservation, the platinum ground decorated with hand-painted roses surrounding a raised gilt cartouche decorated with anthemia, scrolls and chain work around a hand-painted view of a mill with a water wheel, initials on the rear, “PHL/aL”, unrecorded and probably refer to the artists who did the decoration, dia. 13”. [900/1200] Illustrated

1102Pair of Paris Platinum Ground Earthenware Garniture Vases, fourth quarter 19th century, square, gilt-trimmed feet support the rounded vases decorated with beautifully detailed depictions of noblemen in Elizabethan dress, decorated on the reverse with faux coats-of-arms, retailed and marked by Bailey, Banks and Biddle, Philadelphia, h. 15-1/2”, w. 8-1/2”, d. 3-1/2”. [1800/2500] Illustrated

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1103Tiffany-Retailed Hand-Painted Soupiere in the Sevres Style, the hand-painted floral bouquets on a white ground decorate the sides, with a bleu celeste border decorated with a raised gilt flora edge, the matching cover with a melon-form knop, signed in hand-painted rouge de fer “Tiffany & Co/ Private Stock/ Hand Painted/ Made in France”, along with the decorator’s and gilder’s initials, h. 8”, w. 9-1/2”, d. 8”. [400/700]

1104Ott and Brewer American Belleek Bowl, after 1883, Trenton, NJ, the aesthetic movement bowl molded with a cream-colored Japonesque ground and decorated with raised gilt flowers and leaves, and with a scalloped rim, marked in red, “Belleek” over a crown with a sword, over O&B, h. 3”, dia. 7-1/2”. [100/200]

1105Unusual Pair of Continental Art Glass Vases, first quarter 20th century, the serpentine-sided vases with a lozenge-shaped foot print, and decorated with stylized trees in a landscape with a meandering stream with swans, all in a matte finish with mottled decoration, h. 9”, w. 3”, d. 2-1/2”. [350/500]

1106French Champleve Enamel Mantel Clock, first quarter 20th century, the leaf-molded feet support the base, decorated with turquoise ground enamel panels, canted corners set with matching enamel colonettes, a matching border decorates the top edge of the case, an enamel mansard roof supports a gilt-bronze covered cup finial decorated with an enamel lid, the works behind a beveled glass door and set in an enameled bezel with an enamel dial, formerly hung with a pendulum, h. 18-3/4”, w. 8-1/2”, d. 7-1/4”. [400/700] Illustrated

1107Brass Carriage Clock, first quarter 20th century, possibly American, the unsigned example with bracket feet supporting the brass case, set with beveled glass panels, the works set with an enameled dial, a brass carrying handle completes the top, h. 6”, w. 3”, d. 2-3/8”. [100/200]

1108Stephen Maxfield Parrish (American/Pennsylvania, 1846-1938) “New England Winter Landscape with Bridge Over a Frozen River”, oil on panel, signed lower right “Stephen Parrish”, 12” x 18”. Unframed. [1000/1500] Illustrated

Stephen Parrish was the father of noted illustrator Maxfield Parrish.

1109Classical Revival Carved Marble Floor Lamp Standard, ca. 1927, probably Italian, the bold paw feet support the cove-molded base, carved with swags, the tapered leaf-carved standard supports four interlocking carved putti, under the upper acanthus leaf-carved standard, h. 71”, dia. 17-1/2”. Provenance: Saenger Theatre, New Orleans, Louisiana. [3000/5000] Illustrated

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1110Samuel Johnson Woolf (American/New York, 1880-1948), “Portrait of a Seated Young Lady in a Pale Yellow Dress”, oil on canvas, signed and dated upper left “S.J. Woolf 1910”, 40” x 30”. Glazed and presented in a Rococo-style giltwood and gesso frame. [1200/1800] Illustrated

1111Art Nouveau Alabaster Bust of a Woman, a coved socle supports the waist length likeness, the gowned figure with flowers on her shoulder, wearing a wide-brimmed hat, her eyes downcast, h. 13”, w. 7-3/4”, d. 3-3/4”. [150/300]

1112Oscar Bach Bronze and Mica Table Lamp, made after 1913, New York, in the arts and crafts style, the bronze conical base with a verdigris finish contrasting with gilt trim, and continuing on the lamp standard, retaining an original or old segmented mica shade and satyr-form pierced lamp finial, the Oscar Bach nameplate attached to the base, h. 34-1/2”, dia. 16”. [400/700]

1113James Calvert Smith (American, 1878-1962) “Housatonic Valley, Salisbury”, oil on canvas, signed lower right, titled on reverse of frame, 25” x 38-3/4”. Presented in a giltwood frame. [700/1000] Illustrated

1114Shearwater Cast Fish Bowl by James McConnell (Mac) Anderson, ca. 1940, thrown by Peter Anderson, in the distinctive bronze glaze, the interior a pale celadon high-glaze, accompanied by a copy of Dod Stewart’s Shearwater Pottery (Slidell, Louisiana: Bristol, 2005), with a photograph of this bowl on page 105 having an incorrect height, h. 6-1/4”, dia. 8-1/4”. [1800/2500] Illustrated

1115Shearwater Pottery Cobalt Blue Vase, ca. 1950, cast by Peter Anderson, h. 8”. Illustrated in Stewart, Shearwater Pottery, p. 32. [400/700]

1116Shearwater Pottery Bud Vase, ca. 1960, by Peter Anderson, in cobalt and chrome glaze, accompanied by a certificate of authenticity, h. 5-3/4”. [200/400]

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1117San Ildefonso Pueblo Sunrise Brown Olla, ca. 2000, by Linda Dunlap (b. 1955), limited edition of 36, the stovepipe neck with stepped rim and demi-lune crest and decorated with avanyu (“eater serpent”) and threaded grey/black slip banding, signed sgrafitto on the underside "Linda Dunlap San Ildefonso Pueblo”, h. 7”, dia. 6-1/2”. Provenance: purchased by the consignor at The Rancho de Chimayo Collection, Santa Fe, New Mexico. [1500/2500] Illustrated

Linda Dunlap is a third generation Pueblo potter, the daughter of Carmelita Dunlap (1925‑2000), who was in turn a niece of the acclaimed Maria Martinez (1887‑1980), who is generally credited with the preservation and revival of the traditional craft of the Pueblo peoples. Carmelita is the last living protege of Maria Martinez; she won the Indian Market first prize and unprecedented twenty times, and was declared a National Treasure during the Nixon administration. She passed the craft on to five of her children: Martha Appleleaf (b. 1950), Jeanne Mountain Flower (b. 1953), Linda (b. 1955), Carlos, Jr. (1958‑1981) and Cynthia Starflower (b. 1959). Cynthia is credited with the revival of the “Sunrise Brown” pottery, executed here by her sister Linda with her distinctive stepped rim.

1118Tiffany Studios Pine Needle Pattern Blotter Corners, first quarter 20th century, New York, made in the gold dore finish, each stamped “Tiffany Studios, New York, 997”, h. 5-3/4”, w. 5-3/4”. [400/700] Illustrated

1119Tiffany Studios Pine Needle Pattern Inkwell, first quarter 20th century, New York, made in the gold dore finish, the sides lined with caramel slag glass inserts, the rounded, hinged lid opening to reveal a pressed glass inkpot insert, signed “Tiffany Studios, New York, 845”, h. 3”, w. 3-1/4”, d. 3-1/4”.â [500/800] Illustrated

1120Tiffany Studios Pine Needle Pattern Letter Holder, first quarter 20th century, New York, in the gold dore finish with caramel slag glass inserts, with serpentine top edges stamped “Tiffany Studios, New York, 1008”, h. 6-1/2”, w. 10”. [800/1200] Illustrated

1121Tiffany Studios Pine Needle Pattern Blotter, first quarter 20th century, New York, made with a curved bottom and with a caramel slag glass insert, in the gold dore finish, stamped “Tiffany Studios, New York, 995”, d. 2-3/4”, l. 5-3/4”. [300/500] Illustrated

1122Tiffany Studios Pine Needle Pattern Pen Tray, first quarter 20th century, New York, executed in the gold dore finish and sitting on bun feet, with impressions for three pens, lined with caramel slag glass insert and stamped “Tiffany Studios, New York”, w. 9-3/4”, d. 2-3/4”. [700/1000] Illustrated

1123Tiffany Studios Pine Needle Pattern Stamp Box, first quarter 20th century, New York, the rectangular box with caramel colored slag glass inserts, and an insert to hold stamps, executed in the gold dore finish, stamped “Tiffany Studios, New York, 801”, on the base, w. 4”, d. 2-1/4”. [500/800] Illustrated

1124Tiffany Studios Pine Needle Pattern Hinged Note Pad Cover, first quarter 20th century, New York, executed in the gold dore finish, with a hinged lid and stamped “Tiffany Studios, New York, 1022”, w. 4-3/4”, l. 7-3/4”. [800/1200] Illustrated

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1125Charles Dickens (1812-1870), The Posthumous Papers of the Pickwick Club, First Edition in book form, London: Chapman and Hall, 1837, mixed early issues, octavo, in three quarter red morocco with buckram boards and marbleized endpapers, with gilt fillet, the spine with raised bands and gilt lettering, ruling and decoration, the top edge gilt, with marbleized endpapers, extra illustrated with thirty-nine original watercolor sketches by “Kyd” [Joseph Clayton Clark (1857-1937)] an engraved portrait of the author, and thirteen plates from the 1894 edition by T. Ohwhyn and colored by Pailthorpe, front board and preliminaries of volume I detached but present, overall 8-1/8” x 5-3/8””. [Smith I: 3 (pp. 19-27); Eckel: pp.23-50; Engel: 20] [300/500] Illustrated

1126Charles Dickens (1812-1870), Dombey & Son, First Edition in book form, London: Bradbury and Evans, 1848, octavo, in three quarter red morocco with buckram boards and marbleized endpapers, with gilt fillet, the spine with raised bands and gilt lettering, ruling and decoration, probably George Bayntun, the edges cut and gilt, with marbleized endpapers, and Dickens centenary tribute stamp mounted on the flyleaf, extra illustrated with thirty inserted plates, overall 8-1/2” x 6”. [Smith I: 8 (pp. 70-73); Eckel: pp.71-74.] [300/500] Illustrated

1127Thirty-Five Books on New Orleans and Other Architecture and Interiors, including six volumes of the New Orleans Architecture series, Malcom Heard’s French Quarter Manual, Richard Sexton and Randolph Delehanty’s New Orleans: Elegance and Decadence, and eight other works on New Orleans and its environs, with Mills Lane’s Architecture of the Old South omnibus edition and three state-specific volumes, Louisiana, North Carolina, and South Carolina, plus works on antebellum Alabama and Maryland homes, the architects McKim, Mead & White and James Dakin, period bed hangings and wallpaper, and other topics. Complete list available on request. [100/200]

1128Three Books on Male Nude and Portrait Photography and Art, including Herb Ritts, Work (New York: Little Brown & Co., 1996), John Cheim, ed. Bruce Weber (New York: Alfred A. Knopf, 1989) and Cecile Beurdeley, L’Amour Bleu (New York: Rizzoli, 1978). [100/200]

1129American Sterling Silver Sauce Boat, third quarter 20th century, by the Ellmore Silver Co., Meriden, Connecticut, in the Georgian taste, of oval form with everted pout and serpentine-shaped rim, with crested double-scroll handle and raised on four shell-crested scroll-and-pad feet, h. 4-3/4”, l. 7-1/2”, w. 3-3/4”, 6.75 t. oz. [150/300]

1130One Hundred and Fifty-Six Piece Set of Durgin/Gorham “Fairfax” Sterling Silver Flatware, the pattern designed in 1910 by Barton Pickering Jenks (1870-1941), Concord, New Hampshire, including eight dinner forks, l. 8”, eight luncheon forks, l. 7-1/4”, sixteen salad forks, l. 6-1/8”, twelve seafood/cocktail forks, l. 5-1/2”, thirty-two teaspoons, l. 5-3/4” (six 5-1/2”), eight tablespoons, l. 8-3/8”, eight dessert spoons, l. 7-1/8” seven cream soup spoons, l. 8-1/2”, eight iced tea spoons, l. 5-3/4”, eight demitasse spoons, l. 4-1/8”, eight dinner knives with stainless steel “Old French”-shaped blades, l. 9-5/8”, eight luncheon knives with stainless steel “Old French”-shaped blades, l. 9-1/4”, fifteen butter spreaders, l. 5-1/2”, a buffet fork, l. 8-5/8”, a cold meat fork, l. 7-3/8”, a two-piece carving set with stainless steel blade/tines, l. 9-7/8” and 8-7/8”, a cheese server with stainless steel blade, l. 6-1/2”, a jelly spoon, l. 6-1/4”, a sauce ladle, l. 6-3/8”, a sugar spoon, l. 5-7/8”, a cucumber server, l. 6-5/8”, and a pickle fork, l. 5-5/8”, forty-one pieces monogrammed “I” and seventy-seven pieces monogrammed “P”, 138.64 total t. oz., presented in a fitted, Pacific cloth-lined wooden case, 3-1/4” x 18-1/2” x 11”, together with a Durgin/Gorham “Colfax” salad fork, l. 6-1/4”, 0.96 t. oz. [3000/5000]

1131Eleven Reed & Barton “Hepplewhite” Sterling Silver Salad Forks, the pattern designed in 1907 by Charles A. Bennett, Taunton, Massachusetts, monogrammed “S”, l. 6”, 11.06 total t. oz. [200/400]

1132Twelve Pieces of Wallace “Nile” Sterling Silver Flatware, the pattern designed in 1908 by Charles A. Bennett, Wallingford, Connecticut, including six dinner forks, l. 7”, and six dinner knifes with “Old French”-shaped plated steel blades, l. 8-1/2”, monogrammed “S”, 7.65 total t. oz. [200/400]

1133Pair of American Sterling Silver Candlesticks, third quarter 20th century, by Fisher Silversmiths, Jersey City, New Jersey, each with a baluster standard above a domed and gadroon-banded foot and surmounted by an urn-form nozzle with fixed, gadrooned bobeche, h. 8-1/4”, dia. 4-1/2”, weighted. [200/400] Illustrated

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1134American Sterling Silver Five-Piece Coffee & Tea Service, first quarter 20th century, by Reed & Barton, Taunton, Massachusetts, in the Colonial Revival taste, including a coffeepot, h. 10”, teapot, h. 8-3/4”, covered sugar bowl, h. 7-1/2”, cream jug, h. 5-3/4”, and waste bowl, h. 4-1/2”, each of tapering canted rectangular section, with stepped and squared handles, tall conforming waisted lids, the pots with “gooseneck” spouts en suite, each piece monogrammed “R”, 68.03 total t. oz. [1500/2500] Illustrated

1135One Hundred and Seventy-Three Piece-Set of Tiffany & Co. “Gramercy/Hamilton” Sterling Silver Flatware, the pattern designed in 1921 by Arthur LeRoy Barney (1884-1955), New York, New York, including twelve dinner forks, l. 7-5/8”, twelve luncheon forks, l. 7”, twelve salad forks, l. 6-3/4”, twelve seafood/cocktail forks, l. 6”, twenty-four teaspoons, l. 6”, twelve dessert spoons, l. 7”, twelve cream soup spoons, l. 6-3/4”, twelve iced tea spoons, l. 7-1/2”, twelve demitasse spoons, l. 4-3/4”, twelve dinner knives with stainless steel “New French”-shaped blades, l. 10”, twelve luncheon knives with stainless steel “New French”-shaped blades, l. 9-1/4”, a master butter knife, l. 6-3/4”, twelve butter spreaders, l. 6”, four tablespoons, l. 8-1/2”, a serving fork, l. 8-5/8”, a salad serving fork with gilt bowl, l. 10-1/8”, a two-piece carving set with stainless steel blade/tines, l. 14” and 10-3/4”, a cold meat serving fork, l. 8-3/4”, a buffet fork, l. 9”, a sugar spoon, l. 5-3/4”, a tomato server, l. 7-3/4” a cream ladle, l. 6-7/8”, a sauce ladle, l. 7-1/4”, a cheese knife with stainless steel blade, l. 7-1/8”, and a cake knife with stainless steel blade, l. 10-1/4”, one hudred and fifty-five pieces monogrammed “R”, 218.05 total t. oz. (excluding pieces with stainless steel fittings), presented in a pair of Hagerty blue Pacific cloth fitted and zippered drawer liners. [6000/9000] Illustrated

1136American Sterling Silver Bread Basket, first quarter 20th century, by Frank M. Whiting, North Attleboro, Massachusetts, of navette form, with reticulated rim and and fixed strap handle, monogrammed “BD”, h. 5-3/4”, l. 13”, w. 6-1/2”, 9.58 t. oz. [200/400]

1137One Hundred and Eighty-Seven Piece Set of Reed & Barton “Cotillion” Sterling Silver Flatware, the pattern designed in 1938 by George Logan Turner, Taunton, Massachusetts, including twelve dinner forks, l. 7-5/8”, twelve luncheon forks, l. 7-1/8”, twelve salad forks, l. 6-1/4”, twelve seafood/cocktail forks, l. 5-1/2”, twelve ice cream forks, l. 5-1/4”, twelve fish/dessert forks, l. 6-1/8”, twelve teaspoons, l. 6”, twelve soup spoons, l. 6-3/4”, twelve bouillon spoons, l. 5-1/2”, twelve cream soup spoons, l. 6-1/8”, twelve iced tea spoons, l. 7-3/4”, twelve demitasse spoons, l. 4-1/2”, twelve dinner knives with stainless steel “New French”-shaped blades, l. 9-1/2”, twelve luncheon knives, with stainless steel “New French”-shaped blades, l. 8-7/8”, twelve butter spreaders, l. 6-3/8”, two serving spoons, l. 8-7/8”, a two-piece salad serving set, l. 8-3/4”, a small two-piece carving set with stainless steel blade/tines, l. 10-1/4” and 8-7/8”, and a cheese/pate server with stainless steel blade, l. 6-1/2”, one hundred and eighty-two pieces monogrammed “S”, 178.89 total t. oz. (excluding pieces with stainless steel fittings), [4000/7000]

1138American Sterling Silver Bowl, first quarter 20th century, of serpentine-lobed hexagonal form, with elaborately shaped and embossed floral scroll rim, h. 2-1/2”, dia. 9-1/2”, 8.68 t. oz. [350/500]

1139Reed & Barton “Francis I” Sterling Silver Center Bowl, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, with the Reed & Barton date mark for 1956, engraved “Anniversary 1960”, l. 15-1/4”, w. 10-1/2”, 31.83 t. oz. [800/1200] Illustrated next page

1134

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1140Eighty-Nine Pieces of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including twelve luncheon forks, l. 7-1/4”, twelve salad forks, l. 6-1/8”, twelve seafood/cocktail forks, l. 5-1/2”, twelve teaspoons, l. 5-7/8”, twelve dessert/place spoons, l. 7-1/4”, twelve luncheon knives with stainless steel blades, nine with “New French”-shaped blades, l. 9-1/8”, and three with “Modern”-shaped blades, l. 8-7/8”, twelve butter spreaders with sterling blades, l. 5-3/4”, one sugar shell, l. 6-1/4”, one sauce ladle, l. 6-1/2”, one salad-serving fork, l. 9-1/4”, and a two-piece carving set including a knife, l. 10-1/2”, and fork, l. 8-1/2”, both with stainless steel blade/tines, two pieces (one luncheon fork and one dessert/place spoon) monogrammed on the reverse, the remaining eighty-seven pieces without monograms, 108.99 total t. oz. (excluding pieces with stainless steel blades/tines). [4500/7000] Illustrated

1141Reed & Barton “Francis I” Sterling Silver Sandwich Plate, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 11-1/4”, 15.05 t. oz. [400/700]

1142Reed & Barton “Francis I” Sterling Silver Bread Tray, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, with the Reed & Barton date mark for 1951, l. 10-3/4”, w. 7-1/2”, 13.70 t. oz. [300/500] Illustrated

1143Reed & Barton “Francis I” Sterling Silver Strawberry Fork, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 4-3/4”, 0.51 t. oz. [40/70]

1144Two American Sterling Silver Cake Servers, mid-20th century, including a Reed & Barton “Francis I” example with sterling blade and filled handle, l. 10-1/2”, and an unmarked cast and pierced example in the Dutch taste, l. 9-3/4”, 3.15 t. oz. (latter example only). [150/300]

1145American Silverplate Platter, first quarter 20th century, by the Paul Revere Silver Co., Boston, Massachusetts, of oval form with large, naturalistic applied “vintage” rim, l. 20-1/4”, w. 14-3/4”. [125/250]

1146Three American Sterling Silver Dishes, first quarter 20th century, all of oval form, including a pair of Whiting candy dishes with reticulated sides, l. 5-1/4”, w. 3-7/8”, and a Mauser waiter with applied floral art nouveau edge, monogrammed “Q”, l. 8”m w, 5-1/2”, 9.25 total t. oz. [200/400]

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1147Eighty-Three Pieces of Reed & Barton “English Provincial” Sterling Silver Flatware, the pattern introduced in 1965, Taunton, Massachusetts, including twelve dinner forks, l. 7-1/2”, twelve salad forks, l. 6-1/2”, twelve teaspoons, l. 6”, twelve soup spoons, l. 6-3/4”, twelve iced tea spoons, l. 7-1/8”, twelve luncheon knives with stainless steel “Modern”-shaped blades, 9”, a master butter knife with stainless steel scimitar-shaped blade, l. 7-1/4”, three tablespoons, l. 8-1/2”, a slotted tablespoon, l. 8-1/2”, a cold meat fork, l. 8-1/2”, a sauce ladle, l. 7”, a sugar shell, l. 6-1/8”, a lemon fork, l. 5”, a pickle fork, l. 5-3/4”, and a cake server with stainless steel blade, l. 11”, no monograms, 95.23 total t. oz.. (excluding pieces with stainless steel fittings), presented in a fitted, blue Pacific cloth lined case, 3-1/4” x 15-3/4”, x 11-1/4”, together with eight International Deep Silver silverplate “Wakefield” demitasse spoons, l. 4-1/4”. [1500/2500]

1148Five American Sterling Silver Reticulated Cake or Sandwich Plates, first half 20th century, including examples by Meriden Britannia, monogrammed “RBS”, dia. 9-3/4”, R. Wallace & Sons, dia. 9-1/2”, Webster, monogrammed “R”, dia. 9”, Gorham, dia. 9”, and Roger Williams, monogrammed “S”, dia. 8-3/4”, 34.78 total t. oz. [700/1000]

1149Two American Sterling Silver Fruit Bowls, first quarter 20th century, both circular, including a Gorham example with embossed rococo scroll and bead-and-bobbin banding on the rim, dia. 9-1/4”, and an Alvin example with reticulated rim and embossed rococo scroll edge, dia. 9”, 15.17 total t. oz. [300/500]

1150Good Set of Eight American Sterling Silver Shell Dishes, second quarter 20th century, by Currier & Roby, New York, New York, each of coquille form, raised on three spherical feet, l. 1-1/4”, w. 4-3/4”, 41.21 toal t. oz. [2500/4000]

1151Good Set of Eighteen Sterling Silver Service Plates, second quarter 20th century, by Shreve & Co., San Francisco, California, each of serpentine-lobed circular form, with recessed circular plateau and applied laurel, acanthus and bead edge, monogrammed on the rim, “RSV”, dia. 10-3/4”, 311.93 total t. oz. [12000/18000] Illustrated

1152Sixty-Three-Piece Set of Gorham “English Gadroon” Sterling Silver Flatware, the pattern designed in 1939 by Frederick Russell Woodward (1888-1988) and Axel Herman Staf (1869-1941), Providence, Rhode Island, including eight dinner forks, l. 7-1/2”, eight salad forks, l. 6-1/4”, eight seafood/cocktail forks, l. 5-1/4”, twelve teaspoons, l. 5-3/4”, eleven soup spoons, l. 6-1/4”, eight demitasse spoons, l. 4-1/4” and eight dinner knives with stainless steel blades (four “New French”-shaped and four “Modern”-shaped), l. 9-1/2”, no monograms, 57.23 total t. oz. (excluding dinner knives), presented in a fitted, plum Pacific cloth-lined case, 5-1/4” x 14-1/4” x 10-3/4”. [1200/1800]

1153International Silver “Prelude Chased” Sterling Silver Water Pitcher, the pattern designed in 1939 by Alfred Grover Kintz (1885-1963), Meriden, Connecticut, h. 9”, l. 8-3/4”, dia. 5”, 22.31 t. oz. [500/700] Illustrated

1154Wallace “Grand Baroque” Sterling Silver Medium Compote, designed in 1941 by William S. Warren (1888-1965), Wallingford, Connecticut, h. 5-1/4”, dia. 6-1/2”, 7.13 t. oz. [300/500]

1155Seventy-Five Pieces of Wallace “Sir Christopher” Sterling Silver Flatware, the pattern designed in 1936 by William S. Warren (1888-1965), including twelve place forks, l. 7-1/4”, twelve salad forks, l. 6-1/4”, twelve teaspoons, l. 6”, twelve cream soup spoons, l. 6”, twelve place knives with stainless steel “New French”-shaped blades, l. 9” twelve butter spreaders, l. 6-1/4”, a serving fork, l. 7-3/4”, a tablespoon, l. 8-1/4”, and a sugar spoon, 6”, no mongrams, 87.71 total t. oz. [5000/8000]

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1156Two American Sterling Silver Serving Spoons, first half 20th century, including a Reed & Barton “Marlborough” berry spoon, l. 9-1/4”, and a Frank M. Whiting “Florence/Victoria” casserole spoon, l. 8-3/4”, no monograms, 6.75 total t. oz. [100/200]

1157Pair of Gorham “Imperial Chrysanthemum” Dessert Spoons, the pattern designed in 1894 by William Christmas Codman (1839-1923), Providence, Rhode Island, monogrammed “O”, l. 6-3/4”, 2.70 t. oz. [75/125]

1158Reed & Barton Five-Piece Silverplate “Winthrop” Coffee and Tea Set with Associated Gorham Tray, the tea set with the Reed & Barton date mark for 1942 (the waste bowl 1955), Taunton, Massachusetts, including a coffeepot, h. 12-1/4”, a teapot, h. 10-3/4”, a sugar bowl, h. 8”, a cream jug, h. 7-1/8”, and a waste bowl, h. 3-1/2”, the Gorham tray of “turtleback” form with applied rococo scroll edge, integral handles and engraved rococo banding on the plateau, l. 27”, w. 1-3/4”. (6 pieces total.) [300/500]

1159American Sterling Silver Water Pitcher, mid-20th century, by Preisner Sterling Co., Wallingford, Connecticut, the ovoid body, stepped shoulder, crested “S”-scroll handle, flaring collar, integral spout and ogee-domed foot ring, h. 8-5/8”, l. 8-1/2”, dia. 5-1/2”, 16.65 t. oz. [400/700] Illustrated

1160Set of Fifteen Sterling Silver Water Goblets, mid-20th century, by Preisner Sterling Co., Wallingford, Connecticut, each with an inverted bell-form body and trumpeting stem and foot, h. 6-1/4”, dia. 3-1/4”, 54.91 total t. oz. [1000/1500] Illustrated

1161American Silverplate Drinks Tray, third quarter 20th century, by Dodge, Inc., Los Angeles, California, of rectangular form, with gadrooned rim and opposing rocaille handles, l. 25-7/8”, w. 11-1/4”. [100/200]

1162Eighty-Six Piece Set of Lunt “Chased Classic” Sterling Silver Flatware, designed in 1936 by Frederick William Koonz (1868-1958), Greenfield, Massachusetts, including twelve dinner forks, l. 7-7/8”, twelve salad forks, l. 6-1/4”, eight seafood/cocktail forks, l. 5-1/2”, eleven teaspoons, l. 6”, six cream soup spoons, l. 6-3/8”, eight iced tea spoons, l. 7-3/8”, twelve dinner knives with stainless steel “New French”-shaped blades, l. 8-3/4”, a master butter knife, l. 7-1/8”, twelve butter spreaders, l. 6”, a tablespoon, l. 8-1/2”, a slotted tablespoon, l. 8-1/2”, a cream ladle, l. 5” and a sugar spoon, l. 5-7/8”, sixty-eight pieces monogrammed “I”, 83.59 total t. oz. (excluding dinner knives), presented in a fitted, Pacific cloth lined wooden case, h. 4-1/4”, w. 15”, d. 13-1/4”. [2000/4000]

1163Set of Six Alvin “Bridal Bouquet” Sterling Silver Demitasse Spoons, designed in 1832 by Axel Herman Staf (1869-1941), Providence, Rhode Island, monogrammed on the reverse “S”, l. 4-1/4”, 2.44 total t. oz. [60/90]

1164Six American and Continental Silver Table Articles, first half 20th century, including a French first standard (.950) powder jar by Andre Delpy, working Paris, 1905-1933, of circular form, with guilloche engraving and gilt interior, the lid glazed over a gouache on paper of flowers in a basket, dia. 4-1/2”, an American sterling silver box by Hausmann’s, New Orleans, of plain rectangular form with hinged lid and gilt interior, w. 3”, an American wheel engraved glass salad dressing bottle with sterling stopper, monogrammed “B”, h. 7-1/4”, and three American paneled glass cosmetic jars with sterling lids, one by Foster & Bailey and set with a faux amethyst, h. 1-1/2” to 1-3/4”, 11.44 t. oz. (weighable silver). [300/500]

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1165Charles Demuth (American, 1883-1935), “Cyclamens”, 1919, watercolor on paper, signed and dated lower left, sight 11 1/2” x 8 1/4”. Matted and framed. [20000/40000] Illustrated

1166Arthur Dudley (British, fl. 1890-1907), “Still Life With a Basket of Cherries, Green Pottery Vase, and Oranges” and “An Orange Branch”, pair of watercolors on paper, both signed lower right “A. Dudley”, each sight 10” x 29”. Both glazed, handsomely matted and framed. [800/1200] Illustrated

1167Henry Alexander Ogden (American/New York, 1856-1936), “Colonial Courtship” and “The Mayor and First Lady”, pair of watercolors on paper, both signed “H. A. Ogden”, each sight 12-1/2” x 8-1/2”. Both glazed and presented in period Federal-style giltwood and gesso frames. [900/1200] Illustrated

A skilled watercolor artist, Henry Alexander Ogden is known for his depictions of Colonial domestic and social life, paying particularly close attention to accurate renderings of dress, uniforms, customs and architecture. He began working for Leslie’s Illustrated Magazine as a staff artist at the age of seventeen and was commissioned by The Quartermaster General of the U.S. to provide paintings of U.S. Army uniforms from pre‑revolution to present times. He was a member of the New York Historical Society and the Illustrators Society. References: Ray Davenport, Davenport’s Art Reference, Walt Reed, The Illustrator in America, 1860‑2000, Peter Hastings Falk, Who Was Who in American Art, 1564‑1975.

1168After Edward Henry Potthast (American, 1857-1927), “Woman with Lorgnette”, pencil on paper, unsigned, image 11” x 7”, verso with a “Hammer Galleries/New York” label along with an inventory label attributing work to Potthast. Attractively glazed, matted and framed. [200/400]

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1169Knute Heldner (American/Louisiana, 1875/77-1952), “Elderly Woman Knitting”, charcoal, graphite and crayon on paper, signed in pencil lower right “Knute Heldner”, sight 9-3/4” x 7-1/2”. Glazed and framed. [500/800]

1170Thomas Hart Benton (American, 1889-1975), “Flood”, lithograph, signed lower right, signed in plate lower left, AAA Publishers, sight 10” x 12 3/4”. Matted and framed. [700/1000] Illustrated

1171Thomas Hart Benton (American, 1889-1975), “ A Drink of Water”, lithograph, signed lower right, signed in plate lower left, AAA Publishers, sight 10 3/4” x 14 3/4”. Matted and framed. [800/1200] Illustrated

1172Six-Arm Cast-Brass Gothic-Style Chandelier, early 20th century, the upper portion featuring a kneeling angel on a bulbous turning, h. 29”, dia. 21”. [600/900] Illustrated

1173English Oak Writing Table, 19th century, the rectangular top with shaped corners above a frieze with carved Gothic arches and a single side drawer, raised on cluster column quatrefoil legs ending on square bases, h. 29”, w. 62”, d. 38”. [1200/1800] Illustrated

1174Pair of Cast-Iron Garden Benches in the Gothic Taste, late 20th century, each with an elaborately pierced back centered by quatrefoils amidst crocheted arches, the seat comprised of open joined hexagons with a geometrically modeled perimeter, h. 34”, w. 55-1/2”, d. 20-1/2”. [900/1200] Illustrated

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178

1175American Cast-Iron Dressing Mirror, ca. 1860, the leaf-form feet support the flag decorated standards on the mirror, made virtually on the eve of the Civil War, the pierced mirror frame supported by hoop-skirted females standing on olive branches, symbolizing the hope for peace, accompanied by a pair of mirror stands, now fitted with a light holder, h. 2-1/2”, w. 13-1/2”, d. 6-1/2”. Ref: Donald Pierce, Art and Enterprise: American Decorative Arts, 1825‑1917, the Virginia Crawford Carroll Collection (Atlanta: High Museum of Art, 2006), p. 48. [500/800] Illustrated

1176American Rococo Revival Gilt-Brass and Mixed Metal Six Arm Gasolier, mid-19th century, probably Cornelius & Baker, Philadelphia, h. 26”, dia. 34”. [700/1000] Illustrated

1177American Rococo Revival Gilt-Brass and Crystal Six-Arm Chandelier, mid-19th century and later, h. 30”, dia. 27”. [600/900]

1178Monumental Pair of Paris-Style Rococo Revival Garniture Vases, leaf-molded gilt and white feet support the bases decorated with gilt and white scrollwork borders against a cobalt ground with gilt rocaille decoration, the bodies of the flared vases with fluted bases and pierced cobalt and gilt handles, framing reserve panels hand-painted with a trio of French soldiers on horseback on the obverse, and polychrome flowers on the reverse, pierced lattice work edged with gilt scrollwork forms the upper edge, h. 31-1/2”, w. 27-1/2”, d. 10”. [3000/5000] Illustrated

1179Pair of Old Limoges Fan Vases, third quarter 19th century, French, made in the typical fan form, the flaring vase set with pierced gilded handles molded with laurel wreaths and berries, the central reserve panel decorated with hand-painted flowers, the top is rocaille-molded and gilded, h. 15”, w. 13’, d. 6”. [400/700]

1176

1175

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179

1180American Rococo Revival Rosewood Marble Top Etagere Attributed to Thomas Brooks, Brooklyn, New York, third quarter 19th century, the upper structure with a central arched mirror flanked by open shelves to each side with mirrored backs and a floral carved crest above, the base retaining its original white marble above a central drawer and mirrored cabinet door below, each end with open shelves, h. 88”, w. 53”, d. 21”. [1500/2500] Illustrated previous page

1181American Solar Lamp with Period Double Turban Shade, mid-19th century, Boston, the double step base with a gilt-bronze leaf molding, the cobalt glass standard decorated with gilt scrollwork and mounted with a grape-molded breather and a leaf-molded tank, all retaining a bright gilded surface, the double turban shade cut with gothic panels, leaves and crosshatched ovals, h. 21”, dia. 6-1/4”. [800/1200] Illustrated

1182American Rococo Revival Rosewood Cabinet, third quarter 19th century, the black and gold Egyptian marble chest with canted corners, the conforming case with a pair of doors and fitted with an arched mirror plate, the upper corners with applied foliate and cabochon carvings, on bracket feet, h. 38”, w. 48”, d. 22”. [1000/1500] Illustrated

1183Paul Cornoyer (American, 1864-1923), “Still Life With Peaches, Grapes and Watermelon”, oil on canvas, signed lower left “Paul Cornoyer, St. Louis”, 22” x 33-1/2”. Presented in a period giltwood and gesso frame. [3500/5000] Illustrated

1184Southern School (Third Quarter 19th Century),”Portrait of Three Siblings”, pastel on paper, unsigned, sight 18 3/4” x 15 1/4”. In an antique gilt lined carved and gessoed giltwood frame. [200/400]

1185American School (Fourth Quarter 19th Century), “Oval Portrait of a Girl, Holding a Bouquet of Flowers”, oil on canvas, unsigned, 27” x 21”. Presented in a period giltwood and gesso frame. [400/700]

1186Rare Pair of American Lyriform Three-Light Girandoles, second/third quarter 19th century, composed of silvered brass and white marble, dressed throughout with large period cut glass prisms, presented on oblong white marble bases of block form, h. 19”, w. 17-1/2”. [200/400]

1183

1181detail

1182

1181

180

1187Paris Porcelain Figural Garniture Vase, mid-19th century, decorated with a bleu de France ground, the conical foot decorated with two putti, a male with Bacchanalian headdress, and a female, all resting against a gilt and white basketwork ground below a cartouche-molded stem, the main body with a hand-painted panel of a courting couple in 18th century costume in a garden, framed in gilt scrollwork, the reverse decorated with hand-painted roses framed in gilt scrollwork, the pierced handles decorated with a knot of gilt laurel leaves, and the pierced gilt and white fretwork lip decorated with anthemia, marked with a spurious Sevres signature, h. 15-1/4”, w. 16”, d. 10”. [900/1200] Illustrated

1188Steinway and Sons Rosewood Parlor Grand Piano, third quarter 19th century, New York, of rectilinear form, the end folding back to reveal a keyboard and sheet music stand in the form of a lyre flanked by arabesques, raised on generous cabriole legs with a carved shield at the knee and ending in French toes, h. 38”, w. 81”, d. 39-/4”. [800/1200] Illustrated

1189Continental Carved Mahogany Breakfront in the Rococo Taste, late 19th century, the molded cornice centered by a broken arch pediment with an elaborately-modeled cartouche, foliate and floral carved pierced crest, over a gadrooned and carved frieze, the projecting center with a door with arched glazed panel and swag tracery, flanked by turned columns and a pair of narrow doors with like decor, the base fitted with a drawer in each section, scalloped apron and scroll feet, h. 112”, w. 102”, d. 27”. [3500/5000] Illustrated

1190American Gilt-Bronze Solar Lamp, second quarter 19th century, Boston, the marble base holds a plinth, tapered standard, breather and tack, all retaining original stripe-decorated gilt, the period ball shade frosted and cut with grapes alternating with medallions of acorns and leaves, h. 27”, dia. 7-1/2”. [600/900] Illustrated

1191American Brass and Marble Solar-Style Table Lamp, the double-stepped marble base supporting a brass composite capital column standard on a shell-molded base, the faux front molded with acanthus leaves, mounted with a cut and frosted shade and hung with spear-point prisms, h. 21-3/4”, dia. 8-1/2”. [75/125]

1187

1190

1189

1188

181

1192Pair of Cranberry Cased Bohemian-Style Engraved Garniture Vases, the round bases decorated with scrollwork supporting flaring vases with fluted lower sections, and upper sections decorated with rococo cartouches, castles and leaping stags, h. 14-1/2”, dia. 6”. [500/800] Illustrated

1193Pair of Cranberry Cased Bohemian-Style Engraved Bottle Vases, the base engraved with a detailed stag grazing in the woods, the neck depicting a hunting dog in the woods, h. 13”, dia. 4-1/4”. [400/700]

1194Pair of Cranberry Cased Bohemian-Style Engraved Claret Jugs, cut to clear decoration depicting a castle, and a leaping stag in the woods, separated by rococo diapered cartouches, the necks with fluting alternating with scrollwork, and matching stoppers, h. 16-1/2”, dia. “. [500/800]

1195Set of Brilliant-Type Ruby Cut Stemware, the ruby-plated glass cut to clear with star-cut bases, notched stems and bowls decorated with cut swags, the set comprised of thirteen red wine goblets, h. 8-3/4”, nine white wine goblets, h. 7-1/4” and eleven champagne coupes, h. 6-3/4”. [300/500]

1196Pair of French Crystal Hurricane Lamps, first quarter 20th century, possibly Baccarat, a beaded rim supports a base molded with bulls’ eyes, the vase-shaped reeded stem holds a matching prism ring hung with spear-point prisms, the shades engraved with floral borders and decorated with cranberry flashed flowers, h. 21-1/4”, w. 3-1/2”. [200/400] Illustrated

1197Enameled and Gilded Bohemian Compote, third quarter 19th century, the emerald-green body with a faceted foot decorated with panels of gilt scrollwork, the lower edge of the body is opaline plated, cut to reveal green panels decorated with gilt scrollwork, the side with panels plated with opaline glass enamel with hand-painted landscapes and flowers against panels of gilt scrollwork, h. 6-1/2”, dia. 8”. [400/700]

1198Islamic Blue Glass Mosque Light, in the classic vase-shaped form, decorated with scrollwork and flowers on the bottom and lower edge, with chain suspension locks alternating with enameled calligraphy on the sides, more calligraphy appearing on the flaring neck bordered with gilt scrollwork, h. 11”, dia. 9”. [3500/5000] Illustrated

1199Middle Eastern Covered Vessel, of waisted cylindrical form, with bands of incised calligraphy and symbols, along with pointed arch cartouches, the conforming lobed, domed lid decorated en suite, with patinated surface overall, h. 4-3/4”, dia. 4-1/4”. [500/800]

1200Middle Eastern Patinated Metal Oil Lamp, the bottle-form body above a conical foot, mounted with a spurred handle on one side and a lipped wick holder on the other, h. 10-1/4”, w. 5-1/4”. [250/400]

1201Iznik-Style Glazed Pottery Charger, of Middle Eastern origin, the cobalt border decorated with purple and white alternating flowers, scrolled stylized flowers, leaves and buds in blue-green and purple decorate the center on a white field, dia. 13-1/2”. [150/300] Illustrated

1192

1201

1198

1196

182

1202Continental Cold-Painted Bronze Orientalist Bust, first quarter 20th century, mounted on a molded onyx plinth, the bust depicts a turbaned Arabian male, retaining most of its original painted surface, h. 12-1/2”, w. 13-1/2”, d. 8-3/4”. [1800/2500]

1203Middle Eastern Carved Rosewood Panel, divided into three bands, the panel utilizes relief-carved rondels of two sizes, Islamic script, alternating with symbols, fills both rondels and the space between, h. 9-1/2”, l. 54-1/2”. [1200/1800]

1204Inlaid Hanging Wooden Planter of Middle Eastern Origin, the wooden bowl, possibly from a root, bone-inlaid with birds, flora and script with stylized flowers on each end, hanging from a heavy brass chain, h. 15”, w. 12-1/2”, d. 5”. [400/700]

1205Cold-Painted Metal Orientalist Bust, ca. 1900, Continental, the bracket feet support the square tapered base, pierced with ottoman arches and decorated with bas relief Oriental scrollwork, the female form posed with her head cocked to one side and her eyes downcast, wearing a headdress and elaborate beaded jewelry decorated with enamel and “coins” and with more “coins” outlining her forehead below the jewelry affixed to her scarf, h. 28-1/2”, w. 12”, d. 7-1/4”. [900/1200] Illustrated

1206Silverplate Middle Eastern Hanging Lantern, first quarter 20th century, terminating in a ring finial, the bowl-shaped base decorated with convex rondels joined with a running border, all incised with strapwork decoration, the upper border pierced in strapwork patterns, and mounted with scrolled chain supports ornamented with pierced leaves, the conical center support holds a large candle socket with a pierce shade holder, the rod-form “chains” are made to match, h. 49”, dia. 24-1/2”. [1200/1800] Illustrated

1207Provincial Louis XV-Style Fruitwood Day Bed, late 19th century, the long cushioned seat flanked to either end by padded outscrolled arms surmounted by a floral crest and fronted by a scrolling molded frame, raised on shaped cabriole legs ending in scrolled toes, h. 37”, d. 37”, l. 93”. [1000/1500] Illustrated

1208Provincial Pine Welsh Dresser, 19th century, in the Pennsylvania Dutch style, the molded cornice above three open shelves, the lower section fitted with two tri-paneled cupboard doors all with chevron-patterned reeded banding, raised on a plinth base, h. 77”, w. 52”, d. 17-1/2”. [800/1200] Illustrated

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1207

1205

183

1209Pair of Provincial Louis-Philippe Fruitwood Bergeres, late 19th century, the padded rectangular back joined by closed arms and bulbous uprights to the cushioned seat, raised above a fluted frieze on bulbous legs joined by an H-form stretcher and ending in toupie feet, h. 35”. [400/700]

1210Provincial Louis XV-Style Fruitwood Buffet, late 18th/early 19th century, the rectangular top with canted corners above a conforming case fitted with a single central frieze drawer over two cupboard doors, each inset with a shaped panel, above a shaped shell-carved frieze, raised on scrolled feet, h. 40”, w. 52”,d. 24”. [900/1200] Illustrated

1211Provincial Louis XV-Style Fruitwood Chaise Longue, early 20th century, one end with a padded back surmounted by a foliate shell crest joined by downswept padded arms to the long padded seat, the lower end crested en suite, raised on molded cabriole legs ending in scrolled toes, h. 41”, d. 27-1/2”, l. 81”. [700/1000] Illustrated

1212Ninety-Four Piece Partial Set of Haviland Limoges Schleiger Pattern “701A” Dinnerware, ca. 1893-1930, French, decorated with brown, green and blue scrolled borders, the set comprised of twelve dinner plates, dia. 9-3/4”, eleven salad plates, dia. 7-1/2”, twelve bread and butter plates, dia. 6”, twelve soup bowls, dia. 7-1/2”, twelve custard dishes, dia. 5”, fourteen coffee cups, h. 2”, dia. 3-1/4”, twelve saucers, dia. 5-1/4”, a double-lipped gravy boat on stand, h. 3”, dia. 6-1/4”, a pair of covered vegetable tureens, h. 5”, w. 10-1/4”, a dome top butter dish with insert, h. 4”, w. 8-1/4”, a cream jug, h. 2-3/4”, w. 4-3/4”, a sugar bowl, h. 3”, dia. 6-1/4”, and three graduated oval platters, w. 5” to 8-1/4”, l. 8” to 11-3/4”, dual marks indicate it was both made and decorated by Haviland. [400/700] Illustrated

1213Pair of Louis XV-Style Fauteuils, late 18th century, each with a slightly domed and padded back surmounted by a floral crest, joined by padded and scrolling arms to the padded seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 36-1/2”. [1500/2500] Illustrated

1213

1211

1210

1212

184

1214Joseph Raymond Paul Gayrard (French, 1807-1855), bronze of a borzoi on a rouge marble plinth, the oval plinth echoes the shape of the sculpture, which depicts a reclining dog, signed “Gayrard” near his tail, h. 3”, w. 4”, d. 7-1/4”. [500/800] Illustrated

1215Provincial Louis XV-Style Fruitwood Fauteuil, the domed and caned back within a molded frame, joined by flat arms to the cushioned caned seat, raised on cabriole legs, h. 32”. [200/400]

1216Pair of Louis XV-Style Fruitwood Fauteuils, mid-19th century, the rectangular caned back surmounted by a shell and foliate crest, joined by foliate-carved arms to the cushioned caned seat, raised on cabriole legs, headed by shield carving, joined by an X-form stretcher and ending in scrolled toes, h. 37-1/2”. [400/700] Illustrated

1217French Provincial Oak Armoire, mid-19th century, the molded and rounded rectangular cornice above a case fitted with two doors, each inset with two shaped panels, raised on large bun feet, h. 79”, w. 58”, d. 19-1/2”. [1200/1800] Illustrated

1218Pair of Louis XV-Style Fruitwood Fauteuils, mid-19th century, each with a shaped padded back surmounted by a floral crest, joined by scrolling padded arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, h. 34”. [700/1000] Illustrated

1214

1218

1217

1216

185

1219Jacques Francois Carabain (Belgian, 1834-1892), “Italian Village Scene”, oil on canvas, signed lower right “J. Carabain”, 21-1/2” x 16”. Presented in an exhibition frame. [5000/8000] Illustrated

1220Italian School (Second Quarter 20th Century), “Mid Day Promenade On the Steps” and “Lively Market Scene Outside the City Gates”, two watercolors on paper, former signed lower center “De Fioloia”, latter signed lower left “Giuliani”, each sight 12” x 6-1/4”. Both glazed and presented in matching attractive giltwood frames. [1200/1800] Illustrated

1221Leonce de Joncieres (French, 1871-1947), “Village Street Scene With Figures Returning From Market”, oil on canvas, signed lower right “L de Joncieres”, 14” x 9-1/2”. Presented in a attractive giltwood and gesso frame. [1400/1800] Illustrated

1222Continental School (Fourth Quarter 19th Century), “Picking Flowers At the Edge Of The Wood”, oil on canvas, partially discernable signature lower right , 24” x 16”. Presented in a molded giltwood frame. [700/1000] Illustrated1220

one of a pair

1219

1221

1222

186

1223Alessandro Sani (Italian, 1870-1950), “Market Day”, oil on board, signed lower right “A. Sani”, 17” x 24”. Framed. [800/1200]

1224Continental School (Third Quarter 19th Century), “Gypsies in the Medieval Ruins”, oil on canvas, indistinctly signed lower right, 26” x 30”. Framed. [400/700]

1225French Provincial Oak Cabinet, early 19th century, the carved overhanging cornice above a case fitted with four cabinet doors divided by two drawers, all with elaborately carved geometric and foliate patterns, raised on plank feet, h. 75-1/2”, w. 62”, d. 28-1/2”. [1000/1500] Illustrated

1226Louis XIII-Style Mahogany Fauteuil, late 19th century, the domed and padded rectangular top joined by downswept arms to the padded seat, raised on turned block and bulbous legs joined by a like H-form stretcher and ending in bulb feet, h. 44”. [200/400] Illustrated

1227Pair of Spanish Baroque-Style Wrought-Iron and Stained Fruitwood Floor Lamps, second quarter 20th century, each with a brocade shade concealing a trio of lights on wrought-iron brackets, on a segmented turned standard joined to scrolling wrought-iron legs, h. 70”, dia. 24”. [400/700] Illustrated

1228French Provincial Fruitwood Cabinet, early 19th century, the molded cornice above a case fitted with two cupboard doors divided by a large drawer, all with decorative geometric-modeled panels, raised on block feet, h. 83”, w. 44”, d. 29”. [1000/1500] Illustrated

1228

1227

1226

1225

187

1229Near Pair of Metal and Mirror Table Plateaus, each decorated with cut and sculpted three dimensional flowers, the round plateau with a silvered finish on the metal, h. 3”, dia. 23”, and the oval example with an oxidized surface, h. 3”, w. 22”, l. 27”. [200/400]

1230Third Republic Brass Thirteen-Light Chandelier, late 19th century, the ring joined to a canopy by a trio of chains and centered by an oil font, now electrified, the lower bowl joined to the ring by foliate and scroll-modeled arms supporting a dozen candles, now electrified, h. 70”, overall, dia. 24”. [700/1000] Illustrated

1231French Provincial Oak Bureau Cabinet, partially composed of antique elements, the paneled slant front opening to a fitted interior, over a single drawer and paneled cupboard door, raised on shaped feet, h. 42-1/2”, w. 22”, d. 14-1/4”. [400/700]

1232Unusual Oak and Fruitwood Pedestal, partially composed of antique elements, the square top raised on a large turned wooden standard, formed from an industrial screw, raised on a molded octagonal base to a plinth, h. 45-1/4”, w. 12”, d. 12”. [200/400]

1233Unusual Fruitwood and Oak Pedestal, partially composed of antique elements, the octagonal top raised on a standard formed from an old industrial screw to a molded, stepped, canted square plinth, h. 43”, w. 18”, d. 18”. [300/500]

1234Two Pieces of European Copper Kitchenware, first quarter 20th century, the tin-lined copper ladle with a cast-iron handle, h. 15-3/4”, dia. 7”, together with a copper cylindrical cooking vessel, h. 6-3/4”, dia. 9-3/4”. [100/200]

1235Provincial Polychrome Shutters, 19th century, each of the two panels with two tiers of metal spindles, retains traces of polychrome and original hardware, h. 37-1/2”, overall w. 42”. [150/300]

1236Italian-Style Giltwood and Marble-Top Center Table, the circular Carrara marble top raised on a large tripartite base with shield and acanthine designs and raised on ball-and-claw feet, h. 29-1/2”, dia. 42”. [800/1200] Illustrated

1237Painted and Silver Gilt Mirror in the Baroque Venetian Style, scrolled decoration in tinted silver gilt surround the mirror, with a broken pediment at the top, the ground painted pale green and an egg-and-dart molded frame surrounds the degraded mirror plate, h. 32”, w. 13-3/4”. [500/800] Illustrated

1230

1236

1237

188

1238Italian Neoclassical Giltwood Looking Glass, 19th century, the crest with a floral urn, cartouche and a rectangular mirror plate below, h. 41”, w. 24”. [400/700]

1239Pair of Continental Silver-Gilt and Giltwood Finials, 19th century and later, the round silver-gilt base holding graduated lobed giltwood flattened spheres, topped with silver-gilt flame finials, h. 16-1/4”, dia. 6-3/4”. [700/1000] Illustrated

1240Provincial Italian Polychrome Commode, 18th century and later, the rectangular faux marbre top with a serpentine front, above a conforming case fitted with two bi-paneled drawers, raised on cabriole legs ending in sabots, h. 32”, w. 36-1/2”, d. 20”. [2500/4000] Illustrated

1241Pair of Italian Neoclassical Polychrome Fauteuils, 19th century, each with a tapering rectangular padded back, joined by scrolling arms to the padded seat, raised on tapering paneled square legs, h. 34”. [800/1200] Illustrated

1242Painted Venetian-Style Mirror, sitting on scrolled supports, the molded, shield-shaped frame with an inner reeded liner, the upper portion shell-edged and crowned with a pierced leaf carving, the frame painted white and trimmed in faded red with scattered floral painting, h. 29”, w. 16”. [400/700] Illustrated

1243Italian Polychrome and Faux Marbre Console Table, 18th century and later, the breakfront rectangular top with an inset faux ochre marble surface above a pierced swag frieze centered by a torchere-carved single drawer, raised on molded rope-carved legs centered by an urn-form stretcher and ending in foliate feet, h. 35”, w. 41-1/2’, d. 20-1/2”. [500/800]

1242

1241

1240

1239

189

1244Italian Neoclassical-Style Polychrome Sidechair, having a lyre-form back, and woven rush seat of generous proportions, h. 37-1/2”, w. 24”, d. 19”. [300/500]

1245Large Continental Carved, Parcel-Gilt and Polychromed Architectural Cartouche, 19th century or earlier, the central panel bearing a carved date of 1798, h. 76”, w. 87”. [1500/2500] Illustrated

1246Italian Giltwood and Marble-Top Console Table, early 20th century, the shaped marble top above a conforming frieze centered by a cherub’s head medallion flanked to each side by floral carving and lattice-patterned panels, raised on cabriole legs headed by foliate shells and joined by an elaborate foliate and floral carved and pierced stretcher, ending in scrolled toes, h. 32”, w. 42-1/2”, d. 19”. [2000/4000] Illustrated

1247Italian Giltwood Looking Glass, 18th century, having a shell-form cartouche and floral ears at the shoulders, h. 46-1/2”, w. 24”. [400/700] Illustrated

1248Bronze Figure of Apollo, fourth quarter 19th century, raised on a cove-molded bronze plinth with a mounting aperture, depicted wearing sandals with a goatskin over his shoulder, one arm raised, h. 25”. [700/1000] Illustrated

1247

1245

1246

1248

190

1249Set of Eight Blown and Gilded Bavarian Rummers, fourth quarter 19th century, domed feet support knopped stems decorated with applied gilt punties, the bowls decorated with gilt bands decorated with polychrome leaves, bordered with a gilt fret, h. 4”. [450/700] Illustrated

1250Italian Burl Walnut Bombe Chest, early 20th century, in the rococo taste, the serpentine top inset with a shaped banded panel and above a bombe case fitted with three drawers, the sides also inset with banded panels, raised on splayed legs, h. 34-1/2”, w. 43”, d. 22-1/2”. [1800/2500] Illustrated

1251Latin American Reverse Painted Mirror, the segmented mirror, trimmed in giltwood, with an outer frame of red ground, reverse panels of flowers and scrollwork, the inner frame depicts angels, flowers and scrollwork on a white ground, with decoration in the Baroque style, h. 25-1/2”, w. 22”. [800/1200] Illustrated

1252Continental Giltwood and Marble Rococo-Style Wall Bracket, the wall bracket formed from pierced rocaille scrollwork supporting the serpentine giltwood shelf, which has a conforming brown and red marble top with a molded edge, h. 19”, w. 25”, d. 10”. [250/400]

1253Pair of Italian Polychrome and Ebonized Blackamoors, early 20th century, of a male and female figure, each loosely garbed in brightly-colored and gilt garments in the Florentine manner, each holding aloft a torchere, raised on ebonized square pedestals inset with faux porphyry panels to a socle base, h. 86”. [5000/8000] Illustrated

1254Attributed to August Hermann Knoop (German, 1856-1900), “In the Artist’s Studio”, oil on panel, unsigned, verso with a “G. M. Long, Ltd. Fine Art Galleries, London” label, inscribed with the artist’s name and title of work, 12-3/4” x 9-1/2”. Presented in a period giltwood and gesso frame. [600/900] Illustrated

1253

1254

1250

1249

1251

191

1255Continental School (Fourth Quarter 19th Century), “The Jewelry Box”, oil on canvas, indistinctly signed lower left, 18” x 12”. Presented in a giltwood and gesso frame. [500/800]

1256Continental Mahogany Wing Chair, 19th century, the high domed and padded back joined by shaped sides and padded arms to the like seat, raised above a fluted frieze on square tapering stop-fluted legs headed by patera capitals and ending in spade feet, h. 53”. [1800/2500] Illustrated

1257Otto Poertzel (German, 1876-1963), “Minstrel and the Maiden”, bronze, figures with ivory heads and arms, signed at base, mounted on a later marble and onyx deco-style plinth, h. 21-1/2”, w. 16”, d. 7-3/4”. [2500/4000] Illustrated

1258Continental Rosewood and Walnut Secretary, mid-18th century and later, the domed and molded cornice above a shield-carved frieze over two doors, each with an applied banded panel and opening to a shelved interior, the lower section fitted with a banded drop front opening to a series of drawers above a serpentine case fitted with three long drawers, raised on foliate-carved scrolled toes, h. 91”, w. 49”,d. 28-1/2”. [8000/12000] Illustrated

1259Pair of Continental Marble Figures of Women, now mounted as lamps, ca. 1900, the brass bases support the figures, one carrying a lute, the other a basket of flowers, h. 29”, w. 7”, d. 9”. [500/800]

1258

1256

1257

192

1260Tabriz Carpet, 8’4” x 11’8”. [2000/4000]

1261Donegal Carpet, 3’6” x 11’. [1000/1500]

1262Persian Isphahan Carpet, 9’10” x 13’8”. [1400/1800]

1263Sultanabad Carpet, 10’2” x 14’ 3”. [1000/1500]

1264Donegal Carpet, 4’ x 8’. [900/1200]

1265Turkish Angora Oushak Carpet, 8’3” x 9’8”. [1200/1800]

1266Kashan Carpet, 8’4” x 11’6”. [2500/4000] Illustrated

1267Aubusson Carpet, 7’8” x 9’7”. [700/1000]

1268Donegal Carpet, 8’5” x 11’4”. [2500/4000]

1269Qashqai Carpet, 4’10” x 7’9”. [2000/4000]

1270Oushak Carpet, 8’9” x 13’8”. [3500/5000] Illustrated

1271Aubusson-Style Needlepoint Carpet, 9’1” x 11’8”. [300/500]

1272Persian Heriz Runner, 4’ x 17’. [400/700]

1273Donegal Carpet, 4’3” x 6’2”. [700/1000]1266

1270

193

1274Semi-Antique Persian Mahal Carpet, 10’8” x 17’10”. [1200/1800]

1275Turkish Angora Oushak Carpet, 9’9” x 14’. [3000/5000] Illustrated

1276Verdure Tapestry, 6’3” x 8’10”. [700/1000]

1277Semi-Antique Aubusson-Style Needlepoint Carpet, 11’6” x 18’. [600/900] Illustrated

1278Arthur Wardle, RI RBC (British, 1864-1949), “Mischief-Makers”, oil on canvas, signed lower right, titled en verso of canvas, 37-1/2” x 18”. Attractively framed. [20000/40000] Illustrated

Considered one of the pre‑eminent British animal painters of his day, Wardle was a completely self‑taught artist. A native of London, he exhibited his first work at the Royal Academy at the young age of sixteen. Acclaimed for his depictions of dogs and exotic animals, Wardle was equally proficient in oil, pastel, and watercolor. Combining a quick, painterly brushstroke with a rich color palette, Wardle created works teeming with a sense of energy. A popular artist for commissions of show and breed dogs, Wardle approached the paintings of individual dogs in much the same way portraitists approached their subjects, with a certain degree of idealization. In comparison to his more rigidly composed compositions of purebred dogs, Wardle's animal genre scenes have a spirited, almost quixotic, appeal. In the work represented here, he deftly captures the playful quality of the central figure of the collie. His works are in the Victoria and Albert Museum, the Tate Gallery, the Leeds City Art Gallery, and numerous private collections. His paintings and watercolors were used to illustrate several books including, A History and Description of the Collie, Modern Dogs, and Show Dogs. References: Bowron, Rebbert, et al. Best in Show. 2006. New Haven: Yale University Press; Wood. Victorian Painters:Volume II The Text. 1998: Antique Collector's Club.

1277

1275

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194

1279Anton Karssen (Dutch, b. 1945), “Supper Time”, oil on canvas, signed lower left “A. Karssen”, 20” x 16”. Handsomely framed. [2000/4000] Illustrated

1280Anton Karssen (Dutch, b. 1945), “St. Bernard Puppy”, oil on canvas, signed lower right “A. Karssen”, 14” x 18”. Presented in a giltwood and gesso frame. [2000/4000] Illustrated

1281Circle of Marie Therese Bernard de Jaham (American/Louisiana, 1869-1916), “Portrait of a St. Bernard”, oil on canvas, unsigned, 20” x 14”. Presented in a period oak frame. [300/500]

1282American School (Third Quarter 20th Century), “Bird Dog With Catch”, oil on canvas, unsigned, 12” x 17”. Framed. [300/500]

1283S. Pearce (British, 19th Century), “The Meet”, oil on canvas, signed lower right, titled bottom center, 16” x 24”. Framed. [500/800] Illustrated

1284Louis Basset (French, b. 1948), “On the Race Track”, oil on panel, signed lower right “L. Basset”, 19-1/2” x 27-1/2”. Presented in a molded polychrome frame. [1200/1800] Illustrated

1285Australian School (Second Quarter 20th Century), “White Horse”, oil on canvas, unsigned, “Ophelia Fine Arts/ Oxford Street/ NSW Australia’ stencil en verso of canvas, 20” x 16-1/4”. Framed. [300/500]

1286Fred Thurlby (British, 20th Century), “Tally-ho”, 1926, oil on canvas, signed and dated lower right, titled lower center, 16” x 20”. Framed. [500/800]

1280

1279

1283

1284

195

1287J. H. Shaw (British, active 1890s), “Stallion”, 1891, oil on canvas, signed and dated lower left, 13-1/4” x 19-1/4”. In an antique cove-molded wood frame. [500/800] Illustrated

1288Carved Hardwood Figure of a Menacing Bulldog, probably Continental, the realistically carved dog depicted crouching as if poised to attack, his mouth open and ears back, h. 9-1/2”, w. 6”, l. 17-1/2”. [250/400]

1289Pair of Stone and Metal Canine-Form Art Deco Bookends, second quarter 20th century, Continental, possibly composed of silvered bronze, each depicted seated with one paw raised, on molded green marble plinths, with marble book supports behind, h. 5-1/2”, w. 5-1/2”, d. 3-1/2”. [350/500]

1290Patinated Metal Figure of a Mourning Woman, first quarter 20th century, Continental, g rasping her head in her hands, the mark “cire perdue” refers to “the wax” casting process, on a green marble base, h. 14-1/4”. [400/700]

1291Edwardian-Style Satinwood Pembroke Table, the shaped rectangular top with a foliate and ribbon banding and central cherub-painted panel and two shaped drop leaves, above a frieze fitted with a single end drawer, raised on tapering square legs, h. 29”, d. 29-3/4”, l. 20”, ext. l. 40-1/2”. [500/800] Illustrated

1292Louis XVI-Style Mahogany Center Table, early 20th century, the ovoid top with inlaid foliate banding centering a globe and other implement-inlaid panels, issuing a sunburst pattern of bellflowers, above a conforming frieze, joined to a concave stretcher shelf by tapering square legs ending in spade feet, h. 30”, w. 35-3/4”, d. 26-1/2”. [400/700]

1293Edwardian Satinwood Vitrine, early 20th century, the molded cornice above a floral-painted frieze, above a case fitted with two doors, each with an astragal-glazed upper section and a paneled lower section, centered by a polychrome urn, raised on tapering square legs ending in spade feet, h. 65-1/2”, w. 42”, d. 15-1/4”. [500/800] Illustrated

1287

1291

1293

196

1294One Hundred and Twelve Piece Rosenthal “Eminence” Pattern Dinner Service for Fourteen, Germany, decorated with cobalt borders decorated with raised gilt bellflowers, the set comprised of fourteen dinner plates, dia. 10-1/2”, fourteen salad plates, dia. 7-3/4”, fourteen bread and butter plates, dia. 6-1/4”, fourteen cream soup bowls and underplates, h. 2-1/4”, dia. 6-1/4”, fourteen soup bowls, dia. 8”, and fourteen coffee cups and saucers, h. 1-3/4”, dia. 4-3/4”. [500/800] Illustrated

1295Partial Spode Bone China Dinner Service,1976-1989, English, Lancaster Cobalt pattern, the design incorporates a serpentine, gilded edge on a cobalt border trimmed with contrasting white leaves and enhanced with a raised gilt border of scrolls and medallions, the plain white center reserve panel decorated with a gilt fret, the set comprised of eight dinner plates, dia. 10-3/4”, eight salad/dessert plates, dia. 7-3/4”, eight handled cream soups with six underplates, h. 2-1/2”, dia. 7”, six cups and saucers, h. 2”, dia. 6”, together with six Spode Chancellor cobalt dinner plates, dia. 10-3/4”, and six bread and butter plates in a closely related pattern of the same shape and palette, dia. 6-1/4”. [500/800]

1296Set of Ten Tiffany Retailed Royal Doulton Luncheon Plates, ca. 1902-1922, the scalloped edge and raised gilt border with a royal blue ground, decorated with baskets of flowers suspended from bowknots, connected with swags of beading and festooned with gilt sprigging, marked with the Royal Doulton and Tiffany marks, as well as the decorator and gilder, dia. 9”. [400/700] Illustrated

1297Set of Eleven Aynsley “Aristocrat” Pattern Service Plates, 1939-1959, English, the cobalt borders decorated with reserve panels of hand-painted flowers, matching the floral central panel, all trimmed in gilt scrollwork decoration, marked with the Aynsley bone china signature, and the pattern name: “Aristocrat 7700 cobalt blue”, dia. 10-1/2”. [450/700]

1298Set of Eleven Pickard Decorated Bavarian Service Plates, 1925-1930, the raised gilt outer edge frames a wide cream border decorated with gilt scrollwork and edged with dark green, the inner gilt border depicting scrolled strapwork, made and marked by Heinrich & Co., Selb, Bavaria and the decorator’s mark for 1925-30, Pickard, in a gilt shield with a rampant lion, dia. 11”. [400/700]

1299Edwardian Mahogany Sofa Table, early 20th century, in the George III style, the banded rectangular top centered by an inlaid shell panel and with two rounded drop leaves, above a frieze fitted with two drawers to one side and two faux drawers to the other, all paneled and with inlaid decorative banding, raised on bobbin-turned supports joined by a like stretcher and raised on splayed legs ending in brass caps and casters, h. 28-1/4”, d. 26”,

l. 37”, ext. l. 58”. [600/900] Illustrated

1300Pair of Chinese-Style Painted Figural Lamps, footed ebonized bases support cast-metal male and female Mandarin figures holding buckets, each wearing black robes with yellow coats, trimmed in Chinese red, with a Chinese red hat, the support standards hung with Chinese style bells, mounted with shades, h. 35”, w. 18”, d. 11-1/2”. [400/700]

1296

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1294

197

1301Gilt-Metal, wrought iron and Brass Chandelier of Art Nouveau Inspiration, second quarter 20th century, the lotus-modeled chains supporting a frame with a bejeweled bowl, the rim of which supports six arms with electrified candles, the center sprouting wrought-iron stems and leave with ivory porcelain flowers, h. 36”, w. 28”. [500/800] Illustrated

1302Set of Ten Cut-Glass Goblets, the notched bases and stems support bowls cut with a notched latticework pattern, h. 7”. [200/400]

1303Eighteen Piece Partial Service of Steuben Stemware, mid-20th century, Corning, New York, made in Steuben’s “Georgian bucket shape”, with square bases, baluster stems and unadorned bowls, the set comprised of ten champagne coupes, h. 4-3/4”, two red wine goblets, h. 6”, a white wine goblet, h. 5-3/4”, three sherry glasses, h. 5-3/4”, and a pair of water goblets, h. 7”, one now shortened, each piece engraved “Steuben” on the base. [400/700] Illustrated

1304Set of Gorham-Retailed Crystal Stemware, made in Germany, pressed in latticework and notches, the set comprised of twelve iced tea goblets, h. 7”, and ten water goblets, h. 7-1/4”. [250/400]

1305Edwardian Mahogany DrinksTrolley, early 20th century, the elongated octagonal top with a full pierced brass gallery, a central glazed panel and a push handle at one end, above a conforming glazed case fitted with a single side drop-front door, raised on large wheels and casters, h. 34-1/2”, w. 32”, d. 16-1/2”. [400/700]

1306Edwardian Suite of Three Mahogany Nesting Tables, early 20th century, all with a rectangular top with decorative inlaid banding and a central oval patera, raised on turned circular legs to runner feet, h. 26”, w. 23-1/2”, d. 15”. [250/400]

1307Three Molded Glass Fly Catches and a Collection of Mounted Beetles in Shadow Boxes, the fly catches, first quarter 20th century, the first example a beehive shape in pale green, resting on three peg feet, h. 8-1/4”, the second example decorated with molded flies, h. 8-1/4”, and the third example in “sun purple”, h. 5-1/2”, together with six shadowboxes holding a variety of beetles, identified and handsomely mounted in hardwood cases, h. 8”, w. 6”, largest. [125/250]

1308Albertosaurus Hip Bone, Cretaceous period, Judith River Formation, Montana, l. 27”. [700/1000]

Albertosaurus (“Alberta lizard”) is a genus of carnivorous theropod in the same family as Tryannosaurus rex, though smaller (about 30 feet in length) and characterized by distinctive bony crests above its eyes. First discovered in 1884 in the Red Deer valley by Joseph B. Tyrell, a geologist searching for coal seams, its range appears to have been limited to the western United States and Canada, centering Montana and southern Alberta. Even so, it is one of the best documented of tyrannosaurids, with fossils of over thirty individuals recovered, including twenty‑six at a single site, providing both evidence of pack behavior and a unique opportunity for the study of dinosaur ontogeny and population biology.

1309Collection of Ratite Eggs in Tall Glass Displays, including nine emu eggs, two cassowary eggs, three rhea eggs and an ostrich egg, with two glass domes on turned exotic wood bases, one oval, overall h. 17”, w., 13”, d. 7”, and one circular, overall h. 30-1/2”, dia. 12-7/8”, and a tall cylindrical glass vase, h. 19-3/4”, dia. 5-1/2”. [200/400]

1310English Oak Desk, early 20th century, in the Elizabethan taste, the rectangular top with an inlaid leather surface above a frieze fitted with a central drawer over kneehole, flanked to either side by a small drawer over a deeper drawer, all with carved scrolling foliate patterns, raised on ribbed cup and cover legs joined by box form stretchers and ending in block feet, h. 29”, w. 57” d. 32”. [500/800]

1303

1301

198

1311Large Elizabethan Revival Oak Tester Bed, early 20th century, with a paneled back and turned posts, supporting a paneled tester, the footboard paneled near its base, crafted to accommodate a contemporary queen size mattress, h. 88”, w. 68”,ext. l. 87-1/2”, inside w. 60-1/2”, inside l. 79”. [1200/1800] Illustrated

1312Painted Stone Figure of a Man in Elizabethan Costume, ca. 1900, dressed in a tunic and ruff, a staff in one hand, h. 16”. [200/400]

1313Carolean Walnut Armchair, 17th century and later, the pierced and scrolling crest above a caned splat within downswept arms to the caned seat, raised on shaped legs joined by a pierced stretcher and ending in scrolled toes, h. 55”. [700/1000] Illustrated

1314Caroleon-Style Mahogany Armchair, late 19th century, the shaped crest centered by a crown carving flanked by scrolls and finials, the bisected caned back flanked by barley-twist uprights and joined to the cushioned and caned seat by downswept arms, raised on saber legs joined by a scroll-and-crown front stretcher, h. 45-3/4”. [100/200]

1315Pair of Carolean-Style Walnut Sidechairs, 19th century, each with a padded seat, raised on bulbous and block legs joined by turned stretchers and ending in bun feet, h. 40”. [700/1000]

1316After Sir Peter Lely (Dutch/British, 1618-1680), “Portrait of Barbara Villiers, Countess of Catlemaine and Duchess of Cleveland”, oil on canvas, unsigned, 50” x 40”. Presented in an attractive giltwood and gesso frame. [1200/1800] Illustrated

1311

1313

1316

199

1317George II-Style Patinated-Brass Twelve-Light Chandelier, the stem with graduated spheres supporting two tiers, each with six scroll arms, fitted with electric candles, h. 36”, dia. 36”. [500/800] Illustrated

1318Dutch Ebonized Cushion-Form Looking Glass, 19th century, the beveled rectangular plate surmounted by a triangular pediment with repousse brass scrolling foliate patterns, surrounded by a frame of canted mirrored panels, all with brass repousse accents, h. 37”, w. 23-1/2”. [1200/1800] Illustrated

1319Pair of Brass Queen Anne-Style Two-Light Table Lamps, raised bases support brass stands mounted with pairs of scrolled candle arms fitted with drip pans, rib-molded candle cups and electrified standards, the conforming black painted shades made of brass, h. 25”, w. 17”, d. 8”. [300/500]

1320Dutch Walnut Display Cabinet, early 19th century, the shaped and arched molded cornice centered by a foliate scroll, above a conforming single paned door, flanked to either side by a canted paned panel, above a kettle-form base fitted with three long drawers, flanked to either side by an arched cupboard door, raised on hairy paw feet, h. 75”, w. 43”, d. 16”. [1000/1500] Illustrated

1318

1317

1320

200

1321Nest of Three Chinese Export Blue Fitzhugh Porcelain Platters, ca. 1800, traces of gilt highlight the blue diapered borders, the central medallion surrounded by loosely defined floral panels, l. 10-1/4” to 13-1/2”, w. 7-1/5” to 10-1/2”. [700/1000] Illustrated

1322Pair of Chinese Export Blue Fitzhugh Porcelain Dinner Plates, ca. 1800, a gilt-edged diapered border with blue fret frames four panels around a medallion center, dia. 9-3/4”. [250/400] Illustrated

1323Chinese Export Blue Fitzhugh Porcelain Sauce Tureen and Stand, first quarter 19th century, an oval undertray holds the tureen, which has twisted handles terminating in molded berries and leaves, the oval cover crowned with an oval knop, h. 6”, w. 8-1/4”, d. 6-1/4”. [400/700] Illustrated

1324Pair of Dutch Queen Anne-Style Marquetry and Mahogany Sidechairs, 19th century, each with a shaped crest above a vasiform splat with floral, foliate and moth inlays, the shaped inset and shaped seat raised on cabriole legs ending in ball-and-claw feet, h. 45-1/2”. [300/500]

1325Pair of Dutch Marquetry and Walnut Queen Anne-Style Sidechairs, 19th century, each with a domed crest above a baluster-form splat with an inlaid bird on branch design, the padded shaped seat inset into a mask design, raised on cabriole legs headed by shell carving and ending in ball-and-claw feet, h. 44-1/2”. [300/500] Illustrated

1326Dutch Queen Anne-Style Walnut Tea Table, 19th century, the quarter-veneered rectangular top with a shaped raised edge, above an ogee-molded frieze fitted with a single drawer, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 28-1/2”, w. 34”, d. 22-1/2”. [2500/4000] Illustrated

1321

1322

1323

1326

201

1327Dutch Oak Corner Secretary, early 19th century, the molded and domed cornice above a single glazed door opening to a shelved interior, the lower section fitted with a slant front secretary opening to six small drawers over two banded and paneled cupboard doors, raised on bun feet, h. 79”, q. 37”, d. 24”. [800/1200] Illustrated

1328Two Chinese Export Graduated Reticulated Porcelain Trays, ca. 1800, traces of gilt edge on the reticulation of the blue diapered borders, the central panels decorated with a medallion and four loosely defined panels of flowers, l. 8-1/4” to 9-1/2”, w. 7-1/4” to 8-1/2”. [800/1200] Illustrated

1329Mottahedeh Blue-and-White Porcelain Oblong Dish with Domed Cover, in the Chinese export taste, the base with a leaf-molded edge and diapered borders punctuated with rondels of floral decoration, with a central reserve panel of flowers framed with a blue fret, the conforming cover decorated to match, marked “Mottahedeh”, h. 8-3/4”, w. 11”, l. 16”. [250/400]

1330Dutch Delft Ginger Jar, fourth quarter 18th century, now mounted as a lamp, the lobed body decorated in the chinoiserie taste, with figures strolling in a garden, and birds in the trees, mounted with a contemporary wooden base and cover, and fitted with a shade, h. 21”, dia. 10”. [250/400]

1331British School (First Quarter 18th Century), “Half Length Portrait of a Lady”, oil on canvas, unsigned, 30” x 25”. Framed. [300/500] Illustrated

1327

1328

1331

202

1332English Pottery Vase, early 20th century, underglaze blue transfer decoration with flowers, h. 19”. [100/200] Illustrated

1333Dutch School (Fourth Quarter 19th Century), “Courtship in a Tavern” and “Man With a Broken Pitcher”, pair of enhanced prints laid on board, each sight 5-1/2” x 4”. Each presented in matching period veneered, molded frames with giltwood liners. [400/700]

1334Continental School (Fourth Quarter 19th Century), “Nature Morte”, pair of oils on board, unsigned, 12” x 10”. Both presented in ebonized and parcel-gilt frames. [450/700]

1335Follower of Godfried van Schalcken (Dutch, 1643-1706), “Lace Making By Candlelight”, oil on panel, probably 19th century, inscribed lower left “G. Schalcken Pinxt”, 14” x 11-1/2”. Presented in a later exhibition frame. [500/800]

1336Follower of David Teniers II (Flemish/Belgium, 1610-1690), “Tavern Scene With a Woman Reading a Letter”, oil on panel, unsigned, 9” x 13-1/2”. Presented in a parcel-gilt frame. [300/500]

1337Jeremias Wolff (German, 1663-1724), “Mars”, black and white engraving, sight 14” x 8-1/2”. Glazed, double-matted and attractively framed. [100/200]

1338Pair of Chromed Steel and Black Leather “LC3 Grand Comfort” Armchairs, after Le Corbusier (Charles Edouard Jenneret, 1867-1965), the loose cushions supported by double-web strapwork, the underside of each with a sticker “Made in Italy”, h. 26”, w. 41”, d. 28”. [700/1000] Illustrated

1339Baccarat “Orion” Pattern Decanter and Double Old Fashioned Set, the signed cylindrical decanter decorated with cut bulls’ eye’s and a matching disc-form stopper, h. 13”, dia. 3-1/2”, together with six signed, matching double old fashioned, h. 4-1/4”, dia. 3-1/4”. [250/400] Illustrated

1340Set of Baccarat Harcourt Pattern Finger Bowls and Underplates, cut in a wide notched pattern, the set comprised of twenty finger bowls, dia. 4-3/4”, and eighteen matching underplates, dia. 6-1/4”. [300/500] Illustrated

1332

1338

1339

1340

203

1341Crystal Wine Bucket, probably French, the tapered bucket molded with thumb prints and pointed lozenges, faceted handles mounted on the sides and an impressed star decorates the base, h. 8-3/4”, dia. 7-1/2”. [200/400]

1342Contemporary Steel and Glass Cocktail Table, the square glass top with canted corners and stepped edge, raised on double scroll legs joined by a pierced X-form stretcher with brass ball and bow accents, h. 18”, w. 40”, d. 40”. [500/800] Illustrated

1343Contemporary Glass and Gilt-Metal Cocktail Table, the broadly beveled square glass top above a concave frieze, raised on crescent-form legs joined by a scrolling X-form stretcher, h. 16-1/2”, w. 36”, d. 36”. [400/700]

1344Fifty-Six Piece Partial Service of Baccarat Massena Pattern Stemware, the set comprised of twelve water goblets, h. 7-1/2”, four bordeaux goblets, h. 7-1/4”, five white wine goblets, h. 6-1/2”, twelve claret glasses, h. 6”, eight aperitif glasses, h. 5-1/2”, six sherbert glasses/champagne coupes, h. 5-1/2”, eight champagne flutes, h. 8-1/2”, and a decanter with a matching stopper, h. 9-1/4”. [700/1000] Illustrated

1345Three French Lead Crystal Decanters, the tall f aceted example with a tapered body and matching stopper, signed “Baccarat”, h. 17”, dia. 4”, the shorter paneled decanter, also signed “Baccarat”, h. 9”, dia. 4-3/4”, and the globe-shaped decanter cut with notches and bulls’ eye’s, with a notch-cut matching stopper, unsigned, h. 8-3/4”, dia. 4-1/2”. [200/400]

1346Pair of Contemporary Chrome and Black Lamps, the black lacquered bases decorated with a single chrome inverted bull’s eye, matching chrome base molding and a chrome cap, fitted with conforming black shades, h. 22-1/4”, w. 18”, d. 10-1/2”. [200/400]

1347Victor Vasarely (Hungarian/French, 1906-1997), “Untitled”, color screenprint, signed in pencil lower right “Vasarely”, numbered lower left “47/250”, sight 17-1/4” x 13-1/4”. Glazed and framed. [200/400]

1348Alexander Calder (American, 1898-1976), “Card Players” and “Three Card Players”, two color lithographs, 1975, published in Derriere Le Miroir, Paris, unsigned, sheet 14-3/4” x 21-3/4”. Both glazed and framed. [200/400]

1349Marc Chagall (Russian/French, 1887-1985), “Self Portrait”, frontspiece from The Lithographs of Marc Chagall, Vol. I (M. 282), color lithograph, unsigned, sheet 12-3/8” x 9-3/8”. Glazed and framed. [300/500]

1350Joan Miro (Spanish/French, 1893-1983), “Composition V” from the Je Travaille Comme un Jardinier series (M. 354), color lithograph, 1963, signed in pencil lower right “Miro”, numbered lower left “31/40”, sight 15” x 12-1/4”. Glazed, matted and framed. [1200/1800] Illustrated

1342

1344

1350

204

1351Georges Braque (French, 1882-1963), “Les Couples” from Lettera Amorosa (V. 187, p. 53), color lithograph, 1963, unsigned, sight 12-1/4” x 9-3/8”. Glazed, matted and framed. [200/400]

1352After Georges Dola (French, 1872-1950), “Theatres Des Varietes, La Chauve-Souris”, color lithograph, printed by Ch. Wall, sight 29-1/2” x 22”. Glazed, matted and framed. [300/500]

1353Fritz Rehm (German, 1871-1928), “Cigaretten Laferme Dresden” chromolithograph, a “Martin Lawrence Gallery” label en verso , sight 12-1/2” x 8-1/2”. Glazed, attractively matted and framed. [400/700] Illustrated

1354Balthus (French, 1908-2001), “Jeune Fille Endormie”, lithograph, signed in pencil lower right, pencil numbered lower left “50/50”, sight 30” x 22”. Glazed, handsomely matted and framed. [600/900]

1355Pair of Molded Plaster Sconce Covers After Serge Roche (French, 1898-1988), cast to resemble palm fronds, the flaring wall-hung covers open at the top to emit light, h. 31”, w. 17-1/2”, d. 10”. [1000/1500] Illustrated

1356Monumental Burnished Steel and Cast-Iron Lantern of Art Deco Inspiration, the harp centered by a stepped bright metal center with flame finial, with a cast ring depicting anthemion scrolls, lotus leaves and pineapple, the lower section with a ribbed glass shade framed by a yoke with foliate accents and a pineapple finial, h. 89”, dia. 33”. [500/800] Illustrated

1357Art Deco Burl Walnut Secretaire Abbatant, first quarter 20th century, the rectangular top with projecting canted corners, above a conforming case fitted with a single drawer over a panel-inlaid drop-front opening to a mirrored interior, over three graduated drawers, raised on tapering square legs, h. 56”, w. 23-1/2”, d. 17-1/4”. [900/1200]

1358Italian Art Deco Circassian Walnut and Calamander Sideboard, second quarter 20th century, the back retaining a fragmentary paper label of “Fratelli Mariani, Sorrngo, the case of tripartite form, each section with a drawer over a door, the center section flanked by an arched niche mounted with a sphere on boldly reeded legs, the cylindrical pulls of aluminum with bone ends, h. 39”, w. 70-1/2”, d. 21-1/2. [500/800]

1353

1355

1356

205

1359Polished Quartz Geode on Stand, the turned mahogany stand supports a grey and white polished geode which is opened to reveal a mauve crystaline interior, h. 7-3/4”. [500/800] Illustrated

1360Red Onyx Box, composed of squares of red onyx with white veins, with a hinged lid and an interior lined with black felt, h. 1-1/2”, w. 6”, d. 4-1/2”. [450/700]

1361Waylande Gregory (American, 1905-1971), “Holly Zausner”, glazed pottery bust, signed and titled at back of neck, set upon a natural stone base, height 18 1/2”, length 14 1/4”, width 11”. [500/800] Illustrated

1362Lalique “Female Bathers” Vase, the flared, cylindrical vase molded with impressed female nude bathers and clear “waves”, signed “Lalique, France”, h. 9-1/2”, dia. 7-1/2”. [800/1200] Illustrated

1363Set of Six Lalique Angel Goblets, frosted, molded angel heads at the tops of the stems leading to engraved wings on the bowls, signed “Lalique, France”, h. 8”, dia. 2-3/4”. [250/400]

1364Lalique Nemours Pattern Frosted Crystal Bowl, designed with a grid of impressed molded flowers with black enamel centers, unsigned, h. 4”, dia. 10”. [1000/1500] Illustrated

1359

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1364

206

1365Collection of Five Lalique Crystal Articles, the collection includes a matching lion’s head molded ashtray, h. 2”, dia. 5-1/2”, a lighter urn, h. 3-3/4”, dia. 3-3/4”, a swan ring tray, with a pair of frosted swan’s over a “pool”-form holder, h. 3-1/4”, dia. 3-3/4”, a stemmed and frosted anemore, h. 4”, w. 4”, d. 4”, and a small flower-form frosted bowl, h. 1-1/4”, dia. 3-1/2”, each signed “Lalique, France” except the flower and flower bowl. [700/1000]

1366Pair of Lalique Crystal “Mesanges” Candle sticks on Hexagonal Feet, the circular frosted stems molded as two birds in a wreath of flowers, with a frosted hexagonal candle cup, signed “Lalique, France”, h. 6-3/4”, dia. 5”. [400/700]

1367Lalique Apple-Form Crystal Bottle, made for Nina Ricci, the apple-form bottle with a stem-form stopper, signed “Lalique, France”, h. 5-3/4”, dia. 4-1/4”. [500/800]

1368Pair of Art Deco-Style Chrome-Plate and Faux Rock Crystal Table Lamps, chrome-plated ball feet support the hexagonal base, the standard made of faceted “crystals” alternating with cabochon-form “crystals”, separated with silver gilt medallions, h. 30-1/2”, dia. 7-3/4”. [1800/2500] Illustrated

1369Continental Silver Overlay Art Glass Vase, first quarter 20th century, the smoky goblet-form vase decorated with silver overlay patterns of blossoms and leaves, with incised details, h. 14”, dia. 8”. [400/700] Illustrated

1370Jim Dine (American, b. 1935), “Ravenna”, hand colored etching, 1988, edition AP, numbered, signed and dated lower left, 78-1/2” x 51-1/4”. Glazed and framed. [8000/12000] Illustrated

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1368

207

1371Philippe Francois Nault (French/New Orleans, b. 1948), “Abstract With Yellow”, 1988, acrylic on brown paper grocery bag, unsigned, 37 1/2” x 47 1/2”. Framed. Provenance: X-Art Gallery, New Orleans, Louisiana; Private Collection. [1200/1800] Illustrated

This work was a part of a series of assemblages created from brown paper bags obtained from local French Quarter businesses and was completed in conjunction with a large‑scale street art project at Lafayette Square in 1988 entitled “E Pluribus Unum, Black and White Street Melody.”

1372Alfredo (Alfred) de Georgio Crimi (Italian/New York, 1900-1994), “Portrait of the Artist Chen Chi”, oil on canvas, signed lower right, a “St. Lawrence University/New York” accession label en verso, 66” x 30”. Framed. Provenance: Gift of artist to St. Lawrence University, Canton, New York; Private Collection. Exhibition History: Richard F. Brush Art Gallery, St. Lawrence University, Canton, New York. [2000/4000] Illustrated

The Sicilian‑born Crimi studied at the National Academy of Design and the Institute des Beaux‑Arts before becoming a muralist for the WPA. This portrait of Chen Chi, his fellow National Academician, was likely completed in the mid‑50s. A native of China, Chi was an instructor at the University in Shanghai. In 1947 he moved to New York as a part of a cultural exchange program between China and the United States; he stayed in the city for the remainder of his life, eventually becoming a United States citizen. Chi traveled throughout the country, working at various times in Chicago, New Orleans and San Francisco. In 1999, the Chen Chi Art Museum was opened in Shanghai; the president of China, a collector of the artistís work, officiated. Chi was invited to create a work in honor of the 50th anniversary of the People's Republic of China.

1373Theodor Klotz-Durrenbach (Austrian, 1890-1959), “Floating Figures”, oil on canvas, signed lower right “Klotz”, verso stretcher with a partial label, inscribed “Klotz-Durrenbach”, 43-1/2” x 19-3/4”. [1800/2500] Illustrated

1371

1372

1373

208

1374Mary Finley L. Fry (American/California, 1908-1964), “Industrial Landscape” and “Abstract Still Life With an African Mask”, double-sided oil on panel, both sides signed “Mary L. Finley Fry”, 24” x 20”. Unframed. [1200/1800] Illustrated

1375Leonardo Neirman (Mexican, b. 1932), “Untitled”, seriograph, signed in pencil lower right “Neirman”, pencil numbered lower left “116/300”, sight 22” x 28-1/2”. Glazed, double-matted and presented in a contemporary frame. [300/500]

1376American School (Contemporary), “Abstract Composition in Red”, oil on canvas, signed lower right “M. Moss”, 20” x 16”. Presented in a crimson-polychrome frame. [100/200]

1377American School (Contemporary), “Winter Port Scene”, oil on canvas, unsigned, 20” x 24”. Presented in a handsome giltwood frame. [200/400]

1378Milton H. Greene (American, 1922-1985), “Marilyn Monroe in The Seven Year Itch”, black and white photograph, unsigned, sight 15-1/2” x 11-1/2”. Glazed, matted and framed. [300/500]

1379Eva Stettner (American, Contemporary), “Torso Fragment” and “Fragment of a Woman’s Back”, two Raku-fired clay wall sculptures, former mounted inside an artist-made shadowbox frame, signed and dated “1984” verso, latter signed and dated “1986” verso, former 23” x 21”, latter 26” x 17”. [400/700] Illustrated

1380Collection of Five Continental Art Glass Paperweights, comprised of a cobalt and gilt-swirled egg-shaped weight signed by Archimede Seguso, Murano, Italy, h. 4-1/2”, an egg-shaped green weight with bubble-form decoration, h. 4-3/4”, a millefiori weight on a stand with blue and yellow rods and bearing the numbers “1832”, h. 5-1/2”, a weight on a stand with a clear pedestal decorated with a chain-cut border, supporting a navy ball with a blue and white glass snake, h. 4-3/4”, and a millefiori weight decorated with red, yellow and blue, h. 1-1/4”. [800/1200] Illustrated

1381Cluthra Art Glass Vase, Attributed to Steuben, second quarter 20th century, shaded from cloudy-clear to pink, with distinctive Cluthra bubbles in patterns, pontil marked, unsigned, h. 8”, dia. 4-3/4”. [400/700]

1382Akop Gurdjan (Armenian/French, 1881-1948), “Tauromache a Cheval”, terracotta sculpture, signed at edge of base, height 11-1/4”, length 10-1/2”, width 3-1/4”. Gurdjan studied in Paris at the Academie Julian and at Auguste Rodin’s workshop. [1000/1500] Illustrated next page

1383Pair of Continental Copper Art Deco Architectural Panels, second quarter 20th century, one bas relief plaque depicts several antelope on a hammered ground, while the other depicts two bulls on a hammered ground, h. 11-3/4”, w/ 11-3/4”. [600/900]

1384Terracotta Nude Male Torso, the surface in an antique bronze patina, h. 34”. [300/500]

1380

1379

1374

209

1385Two Wood Artist’s Mannequins first half 20th century, each fully articulated, the larger h. 26”, the smaller h. 12”. [200/400]

1386Harry Callahan (American, 1912-1999), “Untitled”, dye transfer print, signed in pencil lower right “Harry Callahan”, image 9-1/2” x 14”. Glazed, matted and framed. [1500/2500] Illustrated

1387Harry Callahan (American, 1912-1999), “Untitled”, gelatin silver print, signed in pencil lower right, image 6” x 6”. Glazed, matted and framed. [1500/2500] Illustrated

1388Harry Callahan (American, 1912-1999), “Untitled”, dye transfer print, signed in pencil lower right “Harry Callahan”, image 9-1/2” x 14”. Glazed, matted and framed. [1500/2500] Illustrated

1389Grotto-Style Polychrome Looking Glass, the beveled plate surmounted by an elaborate fan-form crest composed of various shells, surrounded by a frame of patterned shells, with a lower coral and shell design, h. 56”, w. 31-1/2”. [1000/1500]

1390Cast-Stone, Copper, Glass, and Gnarled Wood Hibachi on Stand, late 20th century, the circular glass top over a section of gnarled stump, the interior fitted with a conforming copper-clad liner, on a columnar cast-stone base, h. 31”, dia. 31” [600/900]

1391Two Similar African Masks, possibly Baule tribe, Ivory Coast, elongated faces depict men with beards and distinctive animal ears, ebonized surface, h. 16-3/4”, w. 9-1/4”, and h. 16”, w. 7-3/4”. [200/400]

1392Two African Tribal Masks, possibly Balue tribe, Ivory Coast, one appears to be a cross between a man and an animal, with human eyes and nose, h. 15”, w. 8-1/4”, the other depicting an elongated human face with a tall hairpiece, h. 15-3/4”, w. 6-1/2”. [200/400]

��

1382

1386

1387

1388

A

Ahl, Henry Hammond 1084

American School 1168, 1185, 1282, 1376, 1377

Anderson, James McConnell 1041, 1042

Australian School 1285

B

Balthus 1354

Basset, Louis 1284

Belgian School 650

Benton, Thomas Hart 1170, 1171

Bercier, Mark 1043, 1044, 1045, 1046

Betts, Judi 932

Boucher, Francois (follower) 109

Boycott-Brown, Hugh 237

Braque, Georges 1351

British School 196, 197, 239, 1331

C

Calder, Alexander 1348

Callahan, Harry 1386, 1387, 1388

Carabain, Jacques Francois 1219

Cassatt, Mary (after) 671

Chagall, Marc 1349

Churchill, Wiley 931

Continental School 225, 336, 484, 993, 1222, 1224, 1255, 1334

Continetal School 64

Cornoyer, Paul 1183

Coutts, Gordon 1085

Crimi, Alfred de Georgio 1372

Cundin, Jose Maria 955, 956

Cusner, Robert 666

Cuzco School 333, 334

D

Daffinger, Moritz-Michael (after) 486

Dake, Carel Lodewiijk, the Younger 942

Davenport, Edith Fairfax 923

De Jaham, Marie Therese Bernard (circle) 1281

De Joncieres, Leonce 1221

De Neufforge, Jean-Francois (after) 224

Demuth, Charles 1165

Dine, Jim 1370

Dola, Georges (after) 1352

Drysdale, Alexander John 927, 928, 929

Dudley, Arthur 1166

Dukes, J. Hamilton 238

Dunbar, George Bauer 969, 970, 971

Duque, Gustavo 967

Dutch School 1333

E

Embrey, Carl Rice 968

Ericson, David (attributed) 241

Evangeline, Margaret Wirstrom 961

F

Fei, Wong Wang 1, 2

French School 65, 615, 616, 646, 665

Freudenberg, Jacobus 652

Index of ArtIsts And PrIntmAkers februAry 23 & 24, 2013

Fry, Mary Finley L. 1374

Fuller, Jane Sage 1097

G

Gayrard, Joseph Raymond Paul 1214

German School 110

Girault, Louis C. 1091

Gould and Hart 455

Gould and Richter 454

Greene, Milton H. 1378

Gregory, Waylande 1361

Guidry, Louise 1036, 1037, 1039

Gurdjan, Akop 1382

H

Hammond, Natalie Hays 957, 958, 959

Hardy, James 938, 939

Hasbrouck, Maggie 966

Hedderel, Rivet 954

Heldner, Colette Pope 934, 935

Heldner, Knute 925, 926, 1169

Hemmerling, William 1032, 1033

Hobbs, Morris Henry 960

Hovener, Johannes Josephus 529

I

Italian School 1220

J

Jensen, Arup 242

K

Karssen, Anton 1279, 1280

Kinsey, Alberta 924

Klein, A. 66

Klotz-Durrenbach. Theodor 1373

Knoop, August Hermann (attr) 1254

Kohlmeyer, Ida 962

L

Laughlin, Clarence John 945, 948

Laughlin, John Clarence 946, 947

Laurencin, Marie 669

Lawrence, Thomas (after) 442

Leader, Benjamin Williams 48

Lely, Peter (after) 1316

Levy, Byron 1034

Long, Mitchell 964

M

Mauve, Anton 670

Milling, Colo 1053, 1054, 1055, 1056, 1057, 1058, 1059, 1060, 1061, 1062, 1063, 1064, 1065, 1066

Miro, Joan 1350

Moilinary, Marie Madeleine Seebold 922

Mourlot, P. 389

Munninghoff, Xeno 651

N

Nault, Philippe Francois 1371

Navez, Francois Joseph (attributed) 502

Neirman, Leonardo 1375

O

Ogden, Henry Alexander 1167

Index of ArtIsts And PrIntmAkers februAry 23 & 24, 2013

P

Parrish, Stephen 1108

Pearce, S. 1283

Pettitt, J.A.C. 240

Pigott, Carole Hardy 930

R

Rehm, Fritz 1353

Renard, P. 530

Renard, Paul 527, 528

Reynolds, Joushua (after) 335

Richards, Charles Whitfield 941

Richardson, Jonathan (circle) 202

Ritschard, Louis 389, 485

Robie, Jean Baptiste 63

Rochard, Pierre 390

Rodrigue, George 949, 950, 951, 952, 1067, 1068

Rossini, Luigi (after) 307

Rucker, Robert 936

Ruellan, Andree 965

S

Sachse, Janice R. 1038

Sani, Alessandro 1223

Schiller, Julius (after) 326

Schoffmann, Maria 337

Schouten, Henry 645

Scott, John Tarrell 1035

Secrest, Tom 1047, 1048, 1049, 1050, 1051, 1052

Seidenberg, Jean 972

Shaw, J. H. 1287

Smith, James Calvert 1113

Southern School 933, 1184

Stanislawski, Jan 668

Stettner, Eva 1379

Stevens, Alfred 653

Stewart, Allsion 963

Stewart, Robert 243

Stubbs, William Pierce 992

Sudduth, Jimmy Lee 1029, 1030

Sun, F. 667

T

Teniers, David II (follower) 1336

Thurlby, Fred 1286

Thysell, Charles 1040

Tolliver, Mose Ernest 1031

Tolliver, William 943, 944

V

Van Schalcken, Godfried (follower) 1335

Vasarely, Victor 1347

W

Wardle, Arthur 1278

Whiting, Russell 940

Wilkinson, Jack 953

Wolff, Jeremias 1337

Wood, Ella Miriam 937

Woolf, Samuel Johnson 1110

Index of ArtIsts And PrIntmAkers februAry 23 & 24, 2013

Index of ArtIsts And PrIntmAkers februAry 23 & 24, 2013

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

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added to the hammer price on all lots sold.

Items in the catalogue are sold as is, where is. On the fall ofthe auctioneer’s hammer, the highest bidder shall be deemed

to have purchased the lot in accordance with the Conditionsof Sale. All sales are final.

Where possible, significant damage is mentioned but does notinclude all faults and imperfections. Unless stated in the

catalogue description, lampshades and keys are not included.

CONDITIONS OF SALEALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER.PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. INTRODUCTION(a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows:

• An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG.

• The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG.• A “Bid” is a bid made by a party at the Auction to purchase a Lot.• A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid,

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• A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction.• “Buyer’s Premium” is defined in Section 4 below.• “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction.• The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue

presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction.

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• A “Lot” is specific item of property offered for sale at Auction.• The “Reserve” is defined in Section 3 below.• The “Purchase Price” is defined in Section 4 below.• A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot.• The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or

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best Bid for that Lot.

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(i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.”

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(i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others.

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of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any

oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere;

(iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot;

(iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and(v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the

catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.3. AT THE AUCTION(a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements:

(i) A Bidder must complete and sign the attached registration form and provide identification to NOAG;(ii) NOAG may require the production of bank or other financial references or any other additional

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event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment

(iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set

by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below).(b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids.

(i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”).

(ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid.

(iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. (d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction

in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above.(e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller.(f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot.(g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion.(h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction.(i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG.(j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.4. AFTER THE AUCTION(a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG:

(i) the Hammer Price; and(ii) the “Buyer’s Premium” consisting of a premium of 23% of the Hammer Price (discounted to 20% if

the method of payment is by check, cash, or wire transfer) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and

(iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form.(b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 801 Magazine Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer.(c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the

full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card.(d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction.(e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction.

(g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for

such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved.

(i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5. COPYRIGHTThe copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.6. SEVERABILITYIf any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.7. DATA COLLECTIONIn connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.8. LAW AND JURISDICTIONThe rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

This Form Must Be Submitted by 5 p.m., Thursday, February 21, 2013

Paddle #_______________

801 Magazine Street, New Orleans, LA 70130

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 catalog. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale. See previous pages for the complete Conditions of Sale.

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 orE-mail to info@neworleansauction.com

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NEW ORLEANS AUCTIONGALLERIES

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 Thursday at 5:00 p.m.

Page No. 1

Prices Realized forSale 1205 Nov 30 - Dec 2, 2012 Grand Opening Sale

02/05/2013 13:54:56

Lot# Realized

1 2,4605 6766 8618 1,2309 67610 39911 11,07012 1,47613 30714 55315 43017 21518 3,44419 61520 92221 15323 58425 1,72228 52229 15330 1,84531 92234 7335 33836 4,92037 2,33740 86141 86142 1,47645 18446 10,14747 27649 27650 46151 5,16652 1,84554 61555 1,35356 5,90458 36960 49261 1,59962 49264 676

Lot# Realized

65 27666 9867 11069 1,10771 33873 30774 3675 15376 1,47677 9878 1,96879 4,42880 5,16681 1,96882 2,09183 21585 17,22086 2,70689 2,21491 1,84592 2,46093 15395 27696 46197 73898 2,09199 799100 369101 215102 276103 25,830106 7,380107 7,072109 984110 3,690111 276112 615115 615116 553117 615118 615119 522121 246124 2,952

Lot# Realized

125 276127 184131 4,182132 1,107134 861135 430137 922138 1,107139 861143 553149 676150 246153 430154 1,353155 553158 98159 276160 799163 2,337164 1,722166 1,476167 584169 584172 399173 492174 215176 1,722179 1,107181 153183 922185 123186 492188 338189 2,952190 184192 18,450193 2,706194 1,968195 615197 153201 553204 1,107208 676214 307

Lot# Realized

215 922216 1,107217 123218 522219 338220 73221 215223 2,460226 2,214228 215230 184233 492234 461236 6,150237 522240 1,230241 461242 123246 1,722247 615248 123249 123251 307256 49257 153259 676261 861262 369263 98265 922266 5,412267 153268 492269 246270 307271 1,230272 492273 221277 738278 215279 2,706280 1,107283 2,214284 676

Lot# Realized

285 676286 584287 430289 1,353290 9,840291 153292 98293 522294 276295 338298 307299 184300 430301 184302 338303 215304 430305 492306 369310 276311 553315 861317 615320 492321 399322 430325 1,168333 246334 1,168340 2,091342 2,460343 338347 184349 799351 553354 2,029358 3,198360 1,845366 2,091367 2,706368 1,845387 3,444389 1,722391 1,599

Lot# Realized

393 1,168395 1,353396 307398 215400 1,045403 553404 3,198408 215409 922410 522411 215417 430418 1,045419 184420 338422 4,182423 461424 1,845426 215427 338430 1,722431 1,476432 369433 1,476434 1,599435 1,230437 584438 307439 246439A 246439B 92439G 246440 615441 584443 2,152444 922445 369447 676448 1,168452 1,230453 615454 1,476455 615456 2,214

Lot# Realized

457 307458 215459 246460 553461 984462 1,230464 307465 861466 430467 430468 6,765469 1,722471 1,230472 1,107473 153474 369475 246476 799477 307478 153479 98480 615481 215483 461486 338487 738488 307490 738493 338494 522495 1,845496 861497 522498 522500 184501 553502 922503 246504 307505 430507 338509 8,610510 98511 1,968

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Page No. 2

Prices Realized forSale 1205 Nov 30 - Dec 2, 2012 Grand Opening Sale

02/05/2013 13:54:57

Lot# Realized

513 338514 738515 1,722517 276520 1,722521 246522 215523 369524 1,353525 4,674526 153527 676528 17,220529 399530 55531 369532 215534 4,182536 922539 799540 1,168541 799544 1,476548 738549 492551 922552 676553 492557 1,230558 922560 369561 1,045562 1,353563 584564 676566 98567 3,198569 11,070570 922571 676572 984573 1,107575 1,722577 738

Lot# Realized

579 553580 399581 1,476583 984584 492585 276586 492587 615589 338592 615593 1,353596 246599 338601 1,599602 676603 307604 246605 799606 153607 861611 399612 1,845613 1,722614 584619 215621 215622 615623 615624 676625 246627 98628 123632 184635 922639 1,230641 16,605642 3,444643 3,198644 922645 1,230646 461647 6,150648 1,107650 1,845

Lot# Realized

651 584653 984654 922657 492658 3,444659 922660 1,353671 461672 1,230673 1,722675 215676 307677 1,722679 4,182683 2,091684 984686 2,460687 1,230688 799689 369690 399691 1,845692 553694 338696 7,072697 799699 1,599700 615701 584702 984703 1,107704 98705 492706 215707 922708 369710 215711 98712 369713 215714 522715 153717 369720 615

Lot# Realized

721 307722 246723 584724 246725 553725A 184726 1,107727 184729 615730 98731 492732 799734 615737 430738 307739 246742 1,230743 922744 2,706745 73747 184748 246750 522752 461753 153755 184758 676759 215760 153762 738765 123766 430767 153770 184771 369773 73774 799775 1,045776 492777 184778 98779 2,214780 492781 399

Lot# Realized

782 738783 307784 73785 153786 73790 2,952793 922797 922798 399799 153801 369804 153805 1,845807 3,444809 98810 492812 215813 1,230814 338815 1,168818 399819 338823 1,845825 2,152826 584827 369830 861831 492832 738834 2,706838 738842 1,722843 110844 1,599846 1,353849 3,198851 738853 4,674855 14,760856 3,198860 4,059861 922863 307864 1,230

Lot# Realized

873 98879 615881 5,658884 1,045889 738891 2,337892 1,722893 1,722894 1,722895 922897 922898 369899 492900 98902 2,091903 215904 3,690906 246907 1,107909 522913 3,690916 3,690918 615919 553920 1,353921 2,706925 799927 2,952928 3,444930 799931 7,072933 215934 1,599935 369936 2,091938 1,168941 861942 1,045943 1,353946 2,337947 799948 1,107949 184950 246

Lot# Realized

951 184952 676955 399957 799958 98959 153960 246963 1,353964 2,091966 492968 430970 2,460971 492973 98975 1,230977 461981 2,091982 2,706983 153984 123986 73987 307988 246992 2,091993 738994 369995 369996 2461001 1231002 8611004 7381006 2,7061007 1,8451011 3991016 3071018 1,4761023 4,6741025 1531027 5531028 981029 551035 2,2141036 1531038 922

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Page No. 3

Prices Realized forSale 1205 Nov 30 - Dec 2, 2012 Grand Opening Sale

02/05/2013 13:54:57

Lot# Realized

1040 3,1981041 1,8451043 3071044 2461045 6761046 6151047 7381048 3071049 9841050 1,9681051 2211052 6761053 6151055 2,4601056 2151057 3381058 1,5991059 9221060 1,2301061 8611062 4301063 2461064 6761065 1,1681066 1,8451067 3691069 7,9951070 2,2141071 7381072 1,2301073 7991074 1,7221075 2151077 6761078 2151079 1101080 3691081 7991082 4611084 4921085 2,7671086 731087 3071088 615

Lot# Realized

1089 4921092 6761093 2,2141094 1,3531095 7381096 1,7221100 2,9521103 5221104 3991106 3991109 1,0451110 8611112 5841113 1,1681115 7991116 7991117 8611118 6151119 3691120 9221124 7991125 2,2141126 1,1071127 1,8451129 3691130 1841131 731132 981133 1101134 7381135 1,8451138 4611140 2151141 3691144 5531146 1,1681147 1,5991148 4921150 1231156 3691157 2,9521158 3381159 3691160 1,045

Lot# Realized

1161 11,6851162 3,4441163 2,4601164 2,2141166 2,7061168 7991170 1,4761177 9841178 1,1071183 6761186 7,0721187 2,7061188 2,9521189 5,6581191 15,3751197 3,5671198 5,9041199 4,1821200 4301205 1,3531207 7381211 4,9201212 3,0751221 3,3211225 5841228 9841232 3,9361234 5,1661246 12,3001248 11,0701253 1,4761254 2,0601255 2,4601257 5531259 6761259A 6761260 1,5991261 2461263 1231264 1531265 1841267 1531268 2151269 73

Lot# Realized

1270 861271 1,9681272 3071273 1,1681274 6761276 2,7061277 4921278 4921280 1,7221281 5531282 7381285 4611286 1,2301288 29,5201289 1,4761290 3,6901291 3,4441293 1,8451294 5841295 2,9521296 1,5991298 2,3371299 6,4571302 2,0911303 1,0451304 6,1501305 1,4761306 4,1821307 1,3531312 3,1981313 2,9521314 1,1071315 3,4441316 3,9361317 2,3371319 1,2301321 7991323 1,3531324 2761326 4301329 9221330 2,2141331 1101332 1,045

Lot# Realized

1333 3,4441334 2,4601336 1,8451337 1,3531338 3381339 4,6741343 9221344 1531346 2,2141350 2,9521351 2,0911352 3991355 3991356 2461357 5221359 7381360 8611361 1,3531362 5531363 5221364 7991366 6761370 5531371 1,0451374 7,9951379 7381381 4611382 92,2501383 8,6101384 27,0601385 1,8451388 6151389 4,4281390 6761391 3691394 1,0451395 3991396 3071397 1841398 6151399 9221401 4301402 4301405 338

Lot# Realized

1408 2461410 2151411 2461412 1531413 3071414 1231415 3991416 2,9521417 731418 731419 2151420 4301421 6761422 731423 1,4761424 1,0451425 1,4761427 2151428 6151429 2761430 1,9681431 2,9521432 2761434 2,2141436 4,9201438 3,4441439 5221440 9,5321441 5841444 2,9521445 3,6901446 6151447 3071448 2761456 4,6741457 3,6901458 3,6901459 6151461 1,8451462 1,8451464 4921465 9841466 8611470 738

Lot# Realized

1473 1,0451475 1,4761476 9221479 2461480 6151484 1841485 5531489 2461490 6151491 2461493 1841494 2151495 3691497 3071498 7991499 4,9201500 6151501 1,3531502 3991504 6,1501506 731507 2151511 1,4761512 3071513 3991515 9221516 2,2141525 981527 1,1681528 1,4761529 2,9521531 2,4351532 1,7221535 6761536 2,3371537 1,4761538 1,1071540 981541 7381543 6151545 6761549 4611551 1,3531552A 861

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Page No. 4

Prices Realized forSale 1205 Nov 30 - Dec 2, 2012 Grand Opening Sale

02/05/2013 13:54:58

Lot# Realized

1554 3991555 9841556 2,9521557 2,9521558 4921559 1,1071560 2,0911561 2,2141561A 2,4601562 5,1661563 3,9361564 9841566 8611568 9221569 2,9521570 5221572 1,3531575 3991576 1,2301577 1,4761578 1,1681579 3,6901580 3,4441581 4921582 8611583 9221585 4,4281588 1,7221589 2461591 3071592 6761595 9841597 981598 3071602 3071604 1,2301605 4921606 3381607 3691608 3,6901609 3,4441610 3,9361611 3071612 1,845

Lot# Realized

1613 7381614 4301616 4301617 1,9681623 3,1981624 1,9681625 1,1071626 1,9681627 1,5991628 9841629 1,7221630 2,4601633 7381637 2,2141640 2151641 1,3531643 3,4441645 3381647 1,5991648 6761649 3381651 9221652 9221653 6151654 731655 731656 7991657 7381658 7381659 981660 2,2141665 3381666 4921667 3381668 2761670 3,9361671 3,4441672 9841673 3,6901674 4301675 5531676 6761677 12,3001682 184

Lot# Realized

1683 1841684 3991689 1231692 1,2301693 1,2301698 1841699 2461700 9,2251701 5,9041702 4301706 7381707 9841708 3071711 1,1071713 34,4401714 86,1001715 13,5301719 6761723 4921726 3,1981727 6761729 5531731 9221732 9221736 1,8451738 1531740 4611741 1,8451742 1,5991743 1,4761744 1,1071746 6761747 1231748 2,091

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