JULY 24-25, 2010

FRONT COVER:

Lot 1027Giovanni di Marco (Giovanni dal Ponte) (Florentine,1385-1437/38) "Madonna with Child Enthroned,Crowned by Two Angels with Saints Anthony Abbotand James Major", tempera and gold leaf on panelwith a gothic-arch carved top, 33” x 22”.

BACK COVER:

Lot 1044Fine, Large American "Roman Centurion" Five-LightGirandole, third quarter 19th century

Schedules Subject to Change

2010 AUCTION SCHEDULE:

July 17-18

September 11-12

November 13-14

2010 AUCTION SCHEDULE:

July 24-25

September 25-26

November 20-21

1330 St. Charles Avenue

New Orleans, Louisiana 70130

(504)-586-8733

FAX (504)-586-8841

e-mail: info@stcharlesgallery.com

www.stcharlesgallery.com

– AUCTION –Saturday, July 24, 2010

Lots 1-850Sunday, July 25, 2010

Lots 851-1585

– Exhibition –Wednesday, July 14

through Friday, July 23

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

Late-Evening PreviewWednesday, July 21

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

1330 St. Charles AvenueNew Orleans, Louisiana 70130

(504) 586-8733Fax (504) 586-8841

Website: www.stcharlesgallery.comE-Mail: info@stcharlesgallery.com

La. Lic. Vidos #1015La. Lic. Steinkamp #1265

Featuring Important Property From:

The Estate ofLifelong Socialite and Philanthropist

Warren Spencer StraussHouston, Texas

Real estate agent, stockbroker, boutique owner, restaurateur, model, collector, connoisseur, philanthropist: such were the many and varied hats of Houston’s premier real estate agent Warren Spencer Strauss. Which is to say nothing of his many actual hats – from an Odd Fellows’ ceremonial turban to an Austrian Officer’s feathered bicorne – that New Orleans Auction Gallery is pleased to offer from the extraordinary collection of this remarkable man.

Warren Strauss, who died last year just two days short of his seventy-ninth birthday, was for three decades one of the top agents at Houston’s John Daugherty Realtors. He was blessed with many gifts; witty, elegant, confident, intelligent and he had the ability to charm anyone whom he met. Yet it was his sincerity, honesty, accessibility and dedication that earned him the trust of three generations of Houstonians, and his generosity of spirit that endeared him to his friends and co-workers. He gave exhaustively of his time, energy and more. He once furnished a vacated house with pieces from his own collection, knowing it would bring the owner a higher price than “an empty shell” (as he put it). He was a member of a number of non-profit organizations in Houston, and pioneered the Agent Assistance Fund, which provides financial relief for John Daugherty real estate agents, their co-workers and families when faced with death or sudden catastrophe.

The passion he had for his job, his friends, his animals and his community was equaled only by his passion for collecting. “I love possessions,” he once said. “Does anyone really need a hundred Imari plates? Or thirty-five gold and white cache-pots?” Strauss caught “buyitis” (as he called it) at an early age in his native Boston. Always ambitious and driven – he got his real estate license at the age of 16 – he learned all he could about antiques from a family friend, a Boston auctioneer, and set out on a life-long course of connoisseurship. “When I started to buy furniture in the early 1950’s, I couldn’t afford the English antiques,” he said. “But you couldn’t give away French and Italian antiques then, so I started buying them.” Although he always had an eye for the value of an item (and its potential for appreciation, a lesson learned during his years as a New York investment banker), his primary criterion was his own taste: above all, he bought what he liked.

As early as 1966, while only in his thirties, he had amassed a collection of contemporary art of sufficient note to be included in a “Collector’s Show” exhibition at the Parry Barn Gallery in New Hope, Pennsylvania. Strauss’ contributions included the New York 10 portfolio, several works by Jack Levine (whom Strauss befriended in their early days in Boston) many of which are included in the present sale.

By the early 1970’s, Strauss’ reputation as a dedicated collector was well known. His Delancy Place home was a star attraction in Philadelphia’s annual Tour of Homes, and a feature in the Philadelphia Inquirer color Sunday supplement noted his eclectic interests: Napoleonica, leather-bound books, bronze hands and a veritable menagerie of birds and monkeys in every possible medium. (He dismissed concerns of theft with characteristic good humor: “How much could anyone carry away? It would never even make a dent.”)

Strauss moved to Houston in 1978, where he began buying, selling and renovating homes. “I usually live in a house no longer than three years,” he admitted. Yet each one was a glittering showcase for his ever-growing collection (by this time requiring seven vans to transport), featured almost annually in the Houston Chronicle as among the city’s most elegant. He entertained in great style – his 650-piece set of “Versailles” sterling silver flatware surely rivaled that of its namesake – and cherished the opportunity to open his home to friends and many charitable organizations.

New Orleans Auction St. Charles Gallery is honored to offer property from two important Houston, Texas, estates:

Warren S. Strauss (Part II)

AndEsteemed Appraiser and Collector

June Adair

Session ISaturday, July 24, 2010

10:00 a.m. (Lots 1-850)

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1Provincial Louis XV-Style Walnut Buffet a Glissant, mid‑20th century, the upper case with a serpentine crest over a conforming body fitted with a central pair of doors inset with musical instrument‑carved panels, both sides flanked by a sliding door with floral‑ and wheat sheaf‑carved panels, above a lower case with parquetry‑inlaid serpentine top above a conforming body fitted with four short drawers over a central pair of doors, flanked by a smaller door on each side, each inset with a serpentine‑carved panel, the whole raised on cabriole legs ending in scroll toes, h. 62‑3/4”, w. 90‑3/4”, d. 24”. [2000/4000] Illustrated

2Unusual Provincial Louis XVI-Style Oak and Marble-Top Table, mid‑19th century, the triangular Calacatta marble top above a conforming paneled frieze, raised on fluted tapering square legs headed by foliate‑carved panels and ending in spade feet, h. 29”, w. 41‑1/2”, d. 25”. [250/400]

3French Provincial Oak Tallcase Clock, early 19th century, the domed and molded hood cornice above a case fitted with a domed and glazed door and a side paneled door, the enameled clock face signed “Cougard aine a Etreville”, the case fitted with a tri‑paneled door raised on a paneled base, h. 85‑1/2”, w. 20”, d. 10‑1/4”. [500/800] Illustrated

4French Provincial Brass-Mounted Tole-Peinte Wall Clock, third quarter 19th century, of small octagonal form, the interior fitted with later German alarm clockworks, dia. 9”. [50/80]

5Suite of Six Provincial Louis XV-Style Fruitwood Chairs, consisting of two armchairs, h. 38”, w. 22”, d. 20”, and four sidechairs, h. 38”, w. 20”, d. 18‑1/2”, all with caned shaped backs surmounted by a floral crest, the padded seats above a floral‑carved apron, raised on molded cabriole legs headed by foliate carving and ending in scrolled toes. [800/1200] Illustrated

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6Provincial Louis XV-Style Mixed Woods and Parquetry Dining Table, first quarter 20th century, the parquetry‑inlaid extending top above a serpentine‑carved apron, raised on cabriole legs ending in tapered feet, h. 31‑3/4”, w. 43‑3/4”, l. 78‑1/2”, extended l. 130‑1/2”. [2000/4000] Illustrated

7Dutch Oak Linen Press, early 19th century, the molded and domed cornice centered by a floral basket carving and above a case fitted with two paneled doors, each with side engaged pilasters with ormolu mounts, opening to a shelved interior and three lower drawers, the lower bombe section fitted with two short drawers over two long drawers, the whole raised on canted foliate‑carved feet, h. 94‑1/2”, w. 69”, d. 20‑1/2”. [1500/2500] Illustrated

8Pair of Flemish Walnut Wing Chairs, late 19th century or later, the tall domed and padded backs joined by shaped sides and outscrolled arms to the cushioned seats, raised on turned ball legs joined by bulbous stretchers and ending in Flemish scrolled toes, upholstered in Brunschwig & Fils linen damask, h. 54”. [1000/1500] Illustrated

9Good Pair of Italian Bianco Majolica Figures of Fierce Cockerels, second quarter 20th century, of large size in the 19th‑century style, each bird standing on a tall integral leafy base, h. 19”, w. 8”, l. 13”. [200/400] Illustrated

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10Good Three-Piece Group of Bordallo Pinheiro, Portugal, Pottery, in the 18th‑century style, consisting of a soup tureen in the form of a boar’s head, h. 8”, w. 8‑1/2”, l. 16‑1/2”, a matching elliptical stand, w. 11‑3/4”, l. 16”, and a ladle, l. 9”, all in a monochrome white glaze, both the tureen and the stand fully backstamped in gray. [150/300] Illustrated

11French Long-Handled Copper Skimmer, first quarter 20th century, the circular pierced bowl fitted with a long wrought‑iron handle, dia. 14”, l. 44”. [50/80]

12Group of Three French Glazed Pottery Game Pie Tureens, in shades of yellow, buff and ochre, consisting of a navette‑form example with a rabbit‑head cover; an identical, smaller tureen; and a similar, larger tureen with a large leaf decorating the cover; the rabbit‑head examples fitted with realistic glass taxidermist’s eyes, the largest h. 4‑1/4”, w. 5”, l. 9‑3/4”. [40/70]

13French Provincial Brass Morbier Wall Clock, third quarter 19th century, the circular dial of white enamel with black Roman chapters and signed “Renen/a Roanne”, the traditional large embossed gilded and polychromed pendulum of attenuated pyriform configuration, clock face h. 19”, w. 14”, d. 7‑1/4”, pendulum h. 40”. [200/400] Illustrated

14Louis XV-Style Walnut Bergere en Encoignure, fourth quarter 19th century, the slightly domed crest centered by a floral‑spray carving, above a conforming padded back joined to the cushioned seat by like arms, above a serpentine floral‑carved apron, raised on cabriole legs ending in scroll feet, h. 35”, w. 26‑1/4”, d. 24”. [150/300] Illustrated

15Louis XV-Style Fruitwood Fauteuil, first quarter 20th century, the shaped crest centered by a cartouche and floral carving, over a conforming padded back, joined to the like seat by open arms, raised on cabriole legs ending in scroll feet, the whole upholstered in floral needlepoint, h. 39‑1/2”, w. 26”, d. 19‑1/2”. [500/800]

16Napoleon III Polychromed Carved Wood Dressing Table Mirror, third quarter 19th century, of oval form in the “cottage” taste, painted in “Pansies” decor and fitted with a conforming mirror plate having a beveled edge, h. 21‑1/2”, w. 14‑1/4”, d. 12‑3/4”. [100/200] Illustrated

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17Louis XV-Style Kingwood and Exotic Woods Games Table, fourth quarter 19th century, the banded and quarter‑veneered rectangular top centered by an inlaid floral spray, with a brass edging and corner cartouche accents, hinged and opening to a baize‑lined interior, the top removing to a baize‑lined backgammon well, above a shaped frieze with scrolling foliate inlays, raised on cabriole legs headed by ormolu mounts and ending in sabots, h. 31”, w. 32”, d. 23”. [250/400]

18Pair of Franco-Belgian Machine-Woven Tapestry Panels, first quarter 20th century, in the 16th‑ and 18th‑century styles, respectively, both panels feature aristocrat figures at play in a chateau park, presented in matching antiqued giltwood frames with linen liners in the neoclassical taste, h. 10‑1/4”, w. 8”. [100/200]

19French Provincial Stained Oak Buffet-Vasselier, 18th century, the molded cornice over a scalloped frieze flanked by hanging finials above three plate shelves and one for hanging utensils, the lower case fitted with two short drawers with turned pulls, above two doors, raised on block feet, h. 77”, w. 53”, d. 25”. [2000/4000] Illustrated

20Imposing Two-Piece Patinated Bronze and Wrought-Iron Hearth Set, first quarter 20th century, in the Baronial taste, comprised of a magnum log tong and a poker of trident form, both with patinated bronze finials of seated lions, tongs l. 38”, poker l. 37”. [30/50]

21Provincial Elmwood Refectory Table, third quarter 19th century, the rectangular top raised on two shaped, bulbous standards joined by an H‑form stretcher and ending in plinth feet, h. 28‑1/2”, w. 64”, d. 29”. [1500/2500] Illustrated

22Large Middle Eastern Attenuated Pyriform Storage Jar, first quarter 20th century, composed of hand beaten copper with wrought‑iron handles, the copper with traces of a silver‑wash finish, h. 27”, dia. 15”. [100/200]

23Good English Arts and Crafts Hand-Wrought Copper Jardiniere, first quarter 20th century, of cylindrical, two‑handled form, the exterior walls with applied riveted equidistant vertical copper struts, h. 10”, dia. 14‑1/2”. [50/80]

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27Provincial Hand-Wrought Tin Oil Storage Jar, first quarter 20th century, of large size, both the cover and side fitted with a handle, h. 21”, dia. 18‑1/2”. [50/80]

28Provincial Regence-Style Mahogany Center Table, ca. 1900, the rectangular top with molded edge, above a recessed apron, raised on fluted tapering circular legs joined by a shaped stretcher and ending in bun feet on casters, h. 29”, w. 57”, d. 40‑1/2”. [800/1200] Illustrated previous page

29Suite of Eight French Provincial Fruitwood Sidechairs, ca. 1900, each with a shaped crest over two rails, above a rush seat, raised on slightly saber legs joined by a box stretcher, h. 33‑1/2”, w. 14‑1/2”, d. 14”. [700/1000] Illustrated

24Good English Arts and Crafts Brass-Mounted Copper Log Bucket, first quarter 20th century, with a swing handle, h. 15”, dia. 18”. [100/200]

25French Provincial Brass Covered Storage Jug, fourth quarter 19th century, of large pyriform, h. 22”, dia. 14”. [50/80]

26Unusual Victorian Galvanized Metal and Glass Conservatory Aquarium, late 19th century, of hexagonal form, the paneled and glazed tapering body surmounted by six wirework floriform planters, raised on a conforming molded base headed by masks and ending in a plinth base, h. 45”, dia. 18‑1/2”. [300/500]

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30Interesting Collection of Eight Tin and Copper Food Molds, comprised of a large petaled dessert mold, first quarter 20th century; a tin mold in the form of a jumping fish; a smaller copper fish‑form mold; a German copper mold of a langouste, also first quarter 20th century; a tin “Coin Top” circular mold of like date; a Harrod’s, London, plain domed copper dessert mold; and a small pair of French brass‑mounted copper tart molds featuring, respectively, a cow and a kerchiefed goose, second quarter 20th century; the largest h. 8‑3/4”, w. 11”, d. 2‑1/2”. [50/80]

31Provincial Louis XV-Style Walnut Armoire, third quarter 19th century, the molded cornice with canted corners above a conforming case fitted with a fluted and foliate‑carved frieze over two long doors, each inset with two shaped panels, the like‑carved, scalloped apron raised on scrolled toes, h. 93‑1/2”, w. 58”, d. 20‑3/4”. [1500/2500] Illustrated

32Provincial Louis XV-Style Fruitwood Buffet, the serpentine parquetry top above a conforming case fitted with a central pair of domed doors flanked by a single door headed by a short drawer, each door inset with a shaped and floral‑carved panel, the whole raised on cabriole legs ending in scroll feet, h. 41‑1/2”, w. 76‑1/2”, d. 20‑1/2”. [1500/2500] Illustrated Color Plate VI

33Suite of Six French Provincial Fruitwood Balloon-Back Sidechairs, fourth quarter 19th century, each with a carved crest above a sloped rail, over a rush seat, raised on cabriole legs, h. 34‑1/2”, w. 16”, d. 15‑1/2”. [500/800]

34Provincial Louis XIV-Style Oak Coffee Table, third quarter 20th century, the planked rectangular top over a recessed apron, raised on serpentine legs joined by an H‑form stretcher and ending in scroll feet, h. 18”, w. 39‑1/4”, d. 19”. [300/500] Illustrated

35Group of Two Dovetailed Wooden Boxes, comprised of a Northern European provincial mixed woods dowry chest, fitted with a small upper interior compartment over the main compartment, second quarter 19th century, h. 12‑1/4”, w. 16‑1/4”, d. 11‑1/4”; and a smaller walnut desk box, fourth quarter 19th century, h. 5‑1/2”, w. 10”, d. 7”; both fitted with locks at the center of the facades. [100/200]

36Provincial Stained Maple Wooden Step Ladder, fourth quarter 19th century, of tapered form and having seven steps, h. 58‑1/2”, w. 19‑1/2”, d. 38”. [250/400] Illustrated

37Large Chinese Provincial Wooden Gathering Basket, fourth quarter 19th century, with a triple bamboo‑slat arched handle caught with a wrought‑iron ring, h. 15”, w. 21‑1/2”, d. 12‑1/4”. [50/80] Illustrated

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38Follower of Isidore Bonheur (French, 1827-1901), a large patinated bronze figure of a horned domestic sheep, h. 21”, w. 26”, d. 9”. [300/500] Illustrated

39English Polychromed Cast-Iron Figure of a Mongrel Dog, first quarter 20th century, of large size, the spavined canine modeled yapping, h. 13‑3/4”, w. 4‑1/2”, l. 15”. [75/125]

40Group of Four Tapestry Chair Panels, consisting of a large pair of French gros‑point tapestry figural chair backs, featuring a cavalier and his lady in the Louis XIV style, h. 31‑1/2”, w. 27‑1/2”, along with the matching gros‑point tapestry chair seats, h. 33”, w. 30”, the backgrounds of stylized foliate scrolls in a rich palette of coral, peach, shaded browns, garnet, yellow and ivory. [40/70]

41Pair of French Provincial Carved Beechwood Footstools, in the Louis XV taste, both examples upholstered in ocelot fur, h. 7‑1/2”, w. 14”, d. 11”. [150/300] Illustrated

42Belle Epoque Cast-Iron Circular Tripodal Stool, first quarter 20th century, the seat upholstered in faux‑leopard fur, h. 17‑1/2”, dia. 14‑1/2”. [75/125] Illustrated

43French Provincial Fruitwood Hanging Corner Cabinet, the molded and overhanging cornice above a case fitted with a single door inset with a shaped panel, to a molded base, h. 46”, w. 32‑1/4”, d. 16”. [300/500] Illustrated

44Continental Provincial Oak Armoire, second quarter 19th century, the scalloped crest above a case fitted with two long doors, each with elaborately carved geometric designs and two arched panels, flanked to either side by fluted uprights, the sides carved en suite, raised on bracket feet, h. 71‑1/4”, w. 57‑1/2”, d. 19”. [300/500]

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45Group of Two Gentleman’s Leather Hatboxes, consisting of a good French leather hatbox emblazoned with a period American Shipping Line: Southampton to New York label, monogrammed “O.L.G.”, fourth quarter 19th century, h. 10”, w. 12‑1/2”, l. 13‑1/2”; and a slightly smaller Anglo‑American gentlemen’s top‑hat case in russet leather with a faded scarlet velvet lining, monogrammed “J.F.M.”, first quarter 20th century, h. 9‑1/2”, w. 12‑1/4”, l. 13”. [100/200] Illustrated

46Pair of Continental Carved Elm Figures of Prancing Equine Figures, early 20th century, each with a raised foreleg and inset glass eyes, h. 39”, w. 16”, l. 38”. [400/700] Illustrated

47French Provincial Carved Oak Cabinet, 20th century, the rounded rectangular top banded and paneled, and above a conforming case fitted with two doors, each inset with a shaped panel and with carved floral accents, raised on molded block feet, h. 32”, w. 42”, d. 15”. [200/400]

48Provincial-Style Oak Triple-Section Breakfront, of large scale, the center section with open shelves at the top and a pull‑out slide above a pair of doors in the base, and flanked by narrow side cabinets on each end, h. 99‑1/2”, w. 93”, d. 21”. [2000/4000] Illustrated

49Provincial Scrubbed Pine and Gray Slate-Top Farmhouse Table, the rectangular framed top with two square slate inserts, raised on straight square legs, h. 31”, w. 41”, l. 73”. [600/900]

50Provincial Louis XV-Style Oak Dining Table, ca. 1900, the rectangular planked top above a serpentine‑carved apron, centered on all sides by acanthine carving, raised on cabriole legs ending in hoof feet, h. 29‑1/2”, w. 50”, l. 107”. [2500/4000] Illustrated

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51Good German Porcelain Figure of a Seated Spaniel, second quarter 20th century, the elegant canine modeled with crisp details, h. 12”, w. 10”, d. 6‑1/4”. [150/300] Illustrated

52German Polychromed Terra Cotta Figure of a Dachshund Dog, second quarter 20th century, the head fitted with realistic glass taxidermist’s eyes, h. 14‑1/4”, w. 9”, l. 26”. [75/125]

53Italian Crackled Bianco Majolica Figure of a Grazing Lamb, second quarter 20th century, of large size, the head fitted with glass taxidermist eyes, h. 11‑3/4”, w. 6‑1/4”, l. 19”. [150/300] Illustrated

54Small Pair of French Gilt-Brass Looking Glasses, third quarter 19th century, of cenotaph form in the “Troubadour” taste, with reticulated crests, the original easel backs removed and replaced with wooden panel backings, the basal edge of each example with two lacquered brass ball feet, h. 11‑1/4”, w. 7‑3/8”. [50/80]

55Rococo-Style Wrought-Iron and Marble-Top Center Table, the serpentine square top raised on cabriole legs joined by an X‑form stretcher, centered by a floral‑bouquet‑shaped finial and ending in scroll toes, h. 35”, w. 28”, d. 28”. [400/700] Illustrated

56French Patinated Cast-Iron Finial, third quarter 19th century, of tall form in the neoclassical taste, h. 33”, dia. 11”. [75/125] Illustrated

57Paul Revere Silver Company, Boston, Silverplated Copper Sconce Backplate, ca. 1900‑1905, in the Art Nouveau style, the bracket candlearm lacking, 8‑1/2”, w. 6‑1/4”. [50/80]

58Three-Piece Victor Silverplate Company Partial Tea Service, first quarter 20th century, in the Art Nouveau taste, comprised of a two‑handled and footed waste bowl, h. 4”, a matching covered two‑handled sugar basin, h. 5‑1/2”, and a matching cream pitcher, h. 4”, the bodies of all three pieces embellished with multiple Art Nouveau “whiplash” curves. [50/80]

59Good Kayserzinn, Germany, Pewter Vase, first quarter 20th century, of tall, two‑handled form in the Louis XVI taste, the interior fitted with a custom‑blown conforming glass flower vase, the base touchmarked with an “eagle/Kayser in an arched tablet/Made in Germany”, h. 14‑3/4”, w. 8‑1/4”, d. 6‑1/4”. [50/80]

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60Good Continental Silverplate and Rock Maple Dressing Table Mirror, third quarter 19th century, in the rococo style, the backplate and adjustable easel of rock maple, the whole supported on short scroll feet, retains the period mirror plate, h. 19”, w. 16‑1/4”. [100/200]

61Good English Sterling Silver Mustard Pot, 1853, London, maker: Charles Fox, in the rococo taste, retains the conforming blown and cut cobalt blue glass liner, h. 3‑1/2”, w. 3”, l. 4”, 6.10 t. oz. [300/500] Illustrated

62Fine and Rare Pair of Paul Storr, London, Sterling Silver “King’s Shell” Tablespoons, 1819, fully hallmarked, not monogrammed, l. 8‑3/4”, 6.15 total t. oz. [450/700] Illustrated

63Pair of Continental Reticulated Silverplate Sweetmeat Bowls, first quarter 20th century, each of two‑handled, footed form and fitted with a conforming cobalt blue glass liner, h. 2‑1/2”, w. 7”, d. 5‑3/4”. [40/70]

64Continental Silverplate Two-Handled Waiter, third quarter 19th century, of large oval form in the neoclassical taste, the center engraved with an elaborate series of addorsed interlaced scroll reserves, w. 20‑7/8”, l. 34‑1/2”. [150/300]

65Circle of Marianne Loir (French, 1715-1769) “Portrait of a Seated Lady With a Fan”, oil on canvas, unsigned, 32‑1/2” x 25‑1/2”. Presented in a giltwood and gesso frame. [500/800] Illustrated Color Plate II

66Continental School (Fourth Quarter 19th Century) “Portrait of a Lady in a Blue Dress and Lace Shawl”, oil on canvas, unsigned, 24‑1/4” x 18‑1/2”. Presented in a period deep giltwood frame. [150/300] Illustrated

67Continental School (First Quarter 20th Century) “Still Life with Flowers in a Vase by a Window”, oil on canvas, unsigned, 37” x 31‑1/4”. Framed. [250/400]

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68Continental School (18th Century) “An Archbishop Healing a Cripple”, oil on four grooved panels, unsigned, 40‑1/2” x 48”. Handsomely matted and framed. [700/1000] Illustrated

69Follower of Jan Van Huysum (Dutch, 1682-1749) “Floral Still Life on a Stone Plinth in a Garden Landscape”, oil on canvas, unsigned, fourth quarter 20th century, 48” x 36”. Presented in a giltwood and gesso frame. [500/800] Illustrated

70Manner of Giovanni Canale Canaletto (Venetian, 1697-1768) “Venetian Canal with Gondoliers in Front of Santa Maria della Salute”, oil on panel, fourth quarter 20th century, unsigned, 11‑1/2” x 16”. Presented in a rococo‑style giltwood and gesso frame. [150/300] Illustrated

71Manner of Giovanni Antonio Canal Canaletto (Venetian, 1697-1768) “Venetian Canal Scene”, oil on panel, unsigned, 20th/21st century, 8” x 16”. Presented in a Baroque‑style giltwood and gesso frame. [200/400]

72Pio Ricci (Italian, 1850-1919) “View of an Elegantly Furnished Interior with a Seated Lady and Her Suitor”, watercolor, signed lower right “Pio Ricci”, 9‑1/4” x 7”. Glazed and presented in an elaborately carved giltwood frame in the Florentine taste. Reference: Benezit. [800/1200] Illustrated

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73German School (First Quarter 20th Century) “Elderly Gentleman Playing a Guitar”, oil on canvas, signed illegibly lower right, 16” x 20”. Presented in a molded giltwood and gesso frame. [1000/1500] Illustrated

74Continental School (First Quarter 20th Century) “Courtship Scene of a Early 19th‑Century Couple”, oil on canvas, signed lower right “Moneacin”, 14” x 11”. Presented in a giltwood and gesso frame in the rococo style. [300/500]

75Manner of Cornelius Dusart (Dutch, 1660-1704) “Hunter and a Priest Leaving a Tavern”, oil on canvas, fourth quarter 19th century, unsigned, 12‑1/2” x 9‑1/2”. Presented in an acanthine‑molded and pierced giltwood and plaster frame. [100/200] Illustrated

76Pair of Tressemann and Vogt, Limoges, Sepia-Painted Porcelain Plaques, fourth quarter 19th century, depicting, respectively, a Dutch burgher after Frans Hals (Dutch, 1580‑1666) and the philosopher Erasmus holding a scroll, each marked on the reverse with a green‑stenciled “T.& V.” mark, presented in matching period dark mahogany frames in the 17th‑century Dutch style, h. 7‑1/2”, w. 5‑3/4”. [300/500] Illustrated

77Continental School (First Quarter 20th Century) “Road to the Farm with View of a Lake”, oil on canvas, signed lower right “M. Boumans”, 35” x 26”. Presented in a period giltwood and plaster frame. [250/400]

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78Three Kuang Hsu Porcelain Figures of Seated Foo Dogs, fourth quarter 19th century, comprised of a strie celadon example with moveable eyes; a provincial gray‑glazed dog, also with moveable eyes; and a pale gray crackle‑glazed example with claret‑glazed detailing, with an impressed calligraphy colophon on the proper right interior wall; the largest h. 6”, w. 5”, l. 7‑1/2”. [100/200] Illustrated

79Two Chinese Porcelain Vases/Lamps, first quarter 20th century, consisting of a Kuang Hsu paneled porcelain vase of tall hexagonal form in alternating “Flowering Tree” and “Lakeshore Pavilion” decor, now mounted as a table lamp with a conforming mahogany cap, h. 16”, dia. 7”; and a smaller Chinese porcelain vase of baluster form in “Celestial Dragon and Clouds” decor, and also mounted as a table lamp on an ebonized hardwood base, h. 12‑1/4”, dia. 5”. [200/400]

80Pair of Kuang Hsu Hexagonal Cachepots and Conforming Drainplates, first quarter 20th century, the pots with pink grounds and polychromed “Mandarin’s Garden” decoration, h. 6‑5/8”, dia. 8‑1/2”. [100/200] 81

Group of Two Kuang Hsu Polychromed White Porcelain Bowls, fourth quarter 19th century, consisting of a fruit bowl in “Mandarins and Child in a Garden” decor, with a calligraphy stanza in overglaze black at the lip, h. 4”, dia. 11”; and a similar, slightly smaller bowl in “Girl in the Window” decor, with auspicious symbols and bats in rouge de fer at the lip, h. 3‑3/4”, dia. 11”. [250/400]

82Large Pair of Kuang Hsu Porcelain Vases, fourth quarter 19th century, of two‑handled baluster form in “Mandarines with a Fawn in a Garden” decor, the reverses with calligraphy stanzas in black overglaze, h. 22‑1/2”, dia. 9”. [350/500] Illustrated

83Graduated Trio of Chinese Black and Gold Lacquer Chairside Tables, in “Mandarins Garden” decor, the tops second quarter 19th century, the black lacquer box‑frame bases of later date, the largest h. 14‑3/4”, w. 16‑7/8”, d. 11‑1/2”. [150/300]

84Chinese Red Lacquered Dome-Lidded Accessories Trunk, third quarter 20th century, in the Ch’ien Lung style, the lid gilded in “Lakeside Pavilions” decor, the facade centered with a traditional Chinese bronze‑patinated brass hasp, the interior lined in rosy beige faux‑pigskin papers, h. 7”, w. 20”, d. 6‑3/4”. [50/80]

85Collection of Three Kuang Hsu Porcelain Vases, fourth quarter 19th century, comprised of a green and mulberry “rouleau” example in “Mountain Lake” decor; a footed example of square section in “Flowering Plants” decor in the Ming style, with a reign mark in rouge de fer on the drilled base; and a turquoise‑ground vase of baluster form with bas‑relief decoration of a crane amidst flowering lotuses, with an impressed reign mark underglaze on the drilled base; the largest h. 11‑5/8”, dia. 4‑1/2”. [150/300]

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86Attractive Pair of Tao Kuang Porcelain Covered Jars, second quarter 19th century, of globular form in “Mandarins Garden” decor, the present covers in turned mahogany, presented on Chinese carved and ebonized wooden display stands, h. 11”, dia. 8‑1/2”. [150/300] Illustrated

87Kuang Hsu Stacking Four-Section Set of Porcelain Covered Food Bowls, in floral decor with calligraphic stanzas in black, h. 5”, dia. 5”. [75/125] Illustrated

88Kuang Hsu Porcelain Covered Food-Warming Tureen, fourth quarter 19th century, of shaped square form, fitted with a conforming food bowl above the warming base, the exterior fitted with a pair of double‑headed mask‑terminal handles, the finial of the gently domed cover modeled as a diminutive gilded Foo dog, h. 5‑3/4”, w. 6”, d. 6”. [150/300] Illustrated

89Pair of Kuang Hsu Patinated Bronze Cachepots, fourth quarter 19th century, each of two‑handled tripodal form and signed with an applied bas‑relief bronze colophon on the base, h. 7‑3/4”, dia. 11”. [100/200]

90Patinated Bronze Figure of a Chinese Goose, in the traditional style, the bronze finish with verdigris patination, h. 15”, w. 6”, d. 16”. [75/125]

91Chinese Cast-Iron Covered Incense Burner, 20th century, copied from an armchair model, the bulbous body on a splayed foot with two handles and cloud‑pierced cover, cast all over with Kang Dynasty designs, h. 8‑1/2”, l. 11”. [75/1250]

92Chinese Bronze Figure of a Horse, in the Tang Dynasty style, the patinated and parcel‑gilded animal modeled galloping on a diminutive crag, presented on an oblong ebonized wooden base, h. 8”, w. 5‑3/4”, d. 3‑3/4”. [50/80]

93Faux-Alligator Cased Mah-Jong Set, second quarter 20th century, the interior retains all of the period game pieces and racks, h. 3‑3/4”, w. 20”, d. 8”. [50/80]

94Kuang Hsu Rondel-Set Plaited Willow and Reed Food Basket, fourth quarter 19th century, of circular form, the inset black lacquer rondel painted with gold “Mandarin” figures and a calligraphic stanza, h. 4”, dia. 12‑3/4”. [300/500]

95Good Pair of Kuang Hsu Fruitwood Charger Stands, first quarter 20th century, elaborately carved in “Resting Immortal and Attendant” decor, h. 9‑1/2”, w. 10”, d. 5”. [30/50]

96Collection of Twenty-Six Kuang Hsu Silver and Silver-Gilt Chopstick Finials, fourth quarter 19th century, featuring, respectively, figures of Ho‑tei, the Immortals and other notables, the largest h. 2”. [50/80]

97Japanese Meiji Carved Ivory Figure of a Cicada, fourth quarter 19th century, the insect delicately detailed in rose wash throughout, l. 2‑1/2”. [200/400] Illustrated

98Japanese Meiji Carved and Tinted Ivory Game Board, fourth quarter 19th century, in “Monkeys” decor, the sides each fitted with four incise‑carved flippable ivory tabs, each with a different animal, insect or bird, w. 1‑3/4”, l. 2‑5/8”. [400/700] Illustrated

99Japanese Meiji Carved Ivory Clamshell, fourth quarter 19th century, with “Busy Villagers” on the interior, signed on the base in incised calligraphy, w. 3”, l. 3‑3/4”. [600/900] Illustrated

100Set of Four Chinese Carved Ivory Figures of the Immortals, third quarter 20th century, each with his own attribute, carved in the traditional manner and presented on waisted oblong ebonized wood stands, the whole in a fitted Tyrrhian purple‑lined card box, the cover marbleized in red and blue, h. 7”. [300/500]

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101Kuang Hsu Elaborately Carved and Pierced Tusk Ivory Group, fourth quarter 19th century, depicting an Immortal standing in a celestial garden accompanied by a large birdcage, attendants in pavilions and cranes in flight overhead, h. 11‑3/4”, w. 6”, d. 3‑1/2”. [1500/2500] Illustrated Color Plate V

102Kuang Hsu Polychromed Porcelain Footed Bulb Bowl, fourth quarter 19th century, of elongated octagonal form in alternating calligraphy panel and figural reserves, h. 3”, w. 7”, l. 8‑3/4”. [75/125]

103Good Kang Hsi Porcelain Bowl in the “Imari” Palette, first quarter 18th century, the base with the printed oval paper label of the prestigious Ralph M. Chait Galleries, New York, decorated on the exterior in “Songbird and Flowering Shrubs” motifs, the interior centered with a parcel‑gilt floral spray, h. 4‑3/4”, dia. 10‑1/2”. [1800/2500] Illustrated

104Pair of Kuang Hsu Celadon Porcelain Brush Pots, first quarter 20th century, in relief “Celestial Dragon” decor in the Ch’ien Lung style, h. 5”, dia. 4”. [50/80]

105Diverse Seven-Piece Collection of Antique Chinese Porcelain, consisting of a scholar’s brush rinser of elliptical form in “Immortals Walking” decor, fourth quarter 19th century; a circular sponge box in “Father and Boys” decor; a smaller pair of circular covered cosmetic boxes in figural decor; a pair of modified crescent‑form small bowls in “Songbird and Peony” decor, with the reverses decorated with a pair of black overglaze calligraphic characters, fourth quarter 19th century; and a circular stacked four‑section sweetmeats box in “Immortal and Attendants Astride a Kylin” decor, with an overglaze rouge de fer colophon on the base of the lowest section, fourth quarter 19th century; the largest h. 2”, w. 7‑1/4”, d. 4‑1/4”. [75/125]

106Group of Two Chinese Animal Objects, first quarter 20th century, consisting of a Kuang Hsu pottery brush rinser in the form of a frog perched on a hollow rock, h. 4‑3/4”, w. 3‑1/2”, d. 2‑3/4”; and a carved and stained soapstone group of a boy crouched on the back of a water buffalo, h. 4‑3/4”, w. 6‑1/4”, d. 3‑1/4”. [60/90]

107Kuang Hsu Hardwood Scholar’s Desk Screen Frame, the elaborately carved and pierced frame first quarter 20th century, now mounted with an oval caramel and white polished geode slice, h. 18”, w. 8‑3/4”, d. 5‑1/2”. [75/125]

108Pair of Oriental Rosewood Stands, early 20th century, each with a rectangular framed and molded top, and raised on square legs, h. 20”, w. 16”, d. 12”. [75/125]

109Tao Kuang Carved Mahogany Chairside Table, second quarter 19th century, of square form in the Ming style, the aprons bas‑relief‑carved with highly stylized clouds and bats, the K’ang‑footed legs joined by a box stretcher, h. 18‑1/2”, w. 17‑1/4”, d. 17‑1/4”. [100/200]

110Pair of Tao Kuang Eglomise Panels, second quarter 19th century, each featuring a gentlewoman and her handmaiden on a garden balcony, presented in matching period Chinese fret‑carved mahogany frames, h. 16‑1/4”, w. 12‑1/4”. [150/300] Illustrated

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111Pair of Chinese Bamboo Armchairs, mid‑20th century, each with a rectangular back and patterned splat, joined to the solid seat by openwork arms, raised on a box‑form base, h. 36‑1/2”, w. 21”, d. 17”. [200/400]

112Chinese Bamboo Side Table, mid‑20th century, the square top joined to a like‑shaped gallery shelf by cluster supports, raised on a box‑form base, h. 31”, w. 16”, d. 16‑1/2”. [100/200]

113Kuang Hsu Elaborately Carved Celadon Jade Ceremonial Vessel, fourth quarter 19th century, of covered tripodal form with dragon ring handles, the cover with a recumbent Foo‑dog finial, presented on a custom brass wire‑inlaid rosewood two‑tier stand, h. 9‑1/2”, w. 8‑1/4”, d. 5‑1/2”. [3000/5000] Illustrated

114Kuang Hsu Elaborately Carved Dove-Gray Agate Cup, fourth quarter 19th century, of covered, five‑handled and footed form, the rings of the cover finial and the handles articulated, presented on an oriental carved wooden stand, overall h. 10‑1/4”. [900/1200] Illustrated

115Kuang Hsu Carved Jade Group of Two Kittens, first quarter 20th century, the felines carved from shaded green to gray to celadon jade and modeled inspecting a group of birds in a flowering tree, presented on a period highly carved lacquered hardwood base, h. 8”, w. 8‑1/2”, d. 3‑1/4”. [700/1000] Illustrated

116Three Chinese Carved Jade Figures, 19th century, comprised of a pale green figure of a child, a white jade figure of a horse and a brown jade figure of a lion; the largest h. 3”, l. 2‑1/2” to 2‑3/4”. [100/200]

117Kuang Hsu Carved Pea-Green Jade Figure of a Horse, first quarter 20th century, in the Ming Dynasty style, presented on a custom carved and ebonized hardwood stand of serpentine outline, h. 4‑1/4”, w. 1‑1/2”, l. 4‑3/4”. [25/40]

118Chinese Carved White Jade Pendant Plaque, ca. 1920, in the shape of a rectangular lock, with a central landscape scene surrounded by a pierced floral border, now suspended on a chain, h. 2”, w. 3”. [200/400]

119Pair of Chinese Provincial Stoneware Children’s Pillows, second quarter 19th century, in the form of recumbent cats, the ivory‑glazed porcelain figures with brown details, h. 4‑3/4”, w. 2‑1/2”, l. 8”. [150/300] Illustrated

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120Near Pair of Chinese Provincial Glazed Pottery Pillows, fourth quarter 19th century, modeled in the form of crawling infants and glazed in black‑detailed ivory, h. 9‑1/2”, w. 6”, l. 14”. [150/300] Illustrated

121Chinese Provincial Glazed Pottery Pillow, modeled in the form of a crawling baby‑child and glazed in monochrome gloss cobalt blue, h. 10”, w. 6‑1/2”, l. 15”. [75/125] Illustrated

122Chinese Blown and Cased Pale Green Glass Vase, with an abstracted calligraphic pattern in chocolate brown and scattered burnt orange canes, h. 10‑1/2”, dia. 6”. [40/70]

123Shadowboxed Set of Five Padded Silk and Satin Figures of “The Immortals”, each Immortal bearing his traditional attribute, those with beards having them in applied horsehair, 16‑3/4” x 10‑3/4”. All presented in matching giltwood shadowboxes. [60/90]

124Asian Cast Brass Ringed Mask Doorknocker, second quarter 20th century, of large size in the traditional house‑guardian style, the knocker proper of annular configuration, h. 10‑1/4”, w. 7‑1/2”. [50/80]

125Large Chinese Reverse-Painted Crystal Snuff Bottle, of flat‑sided ovoid form in “1000 Figures” decor in the Ch’ien Lung style, the hardstone cap of green aventurine, h. 4‑7/8”, w. 5‑1/4”, d. 2‑7/8”. [60/90]

126Chinese Celadon and Matte Brown Porcelain Vase, first quarter 20th century, in “Celestial Dragon” decor, signed and numbered in underglaze script on the base, h. 5”, dia. 4‑1/2”. [100/200] Illustrated

127Kuang Hsu White Crackle and Parcel-Bronzed Porcelain Rouleau Vase, fourth quarter 19th century, of small size in “Celestial Dragon and Pearl” decor, the base with a calligraphic colophon in brown overglaze, h. 6”, dia. 2‑3/4”. [100/200]

128Unusual Chinese Reverse-Painted Glass Flask, first quarter 20th century, of “moon” form in “Mandarine and Attendants” decor, the facade vignette signed upper right center in black calligraphy, now mounted as an accent lamp on a bronzed rusticated wooden stand, h. 11”, w. 6‑1/2”, d. 3‑1/2”. [100/200]

129Kuang Hsu Porcelain Vase, fourth quarter 19th century, of tall baluster form and having a white crackle glaze with dark bronze detailing, the waisted neck with a bronzed ringed Foo‑dog masque at either side, the base with an impressed and bronzed colophon, h. 17‑3/4”, dia. 8”. [100/200] Illustrated

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130Kuang Hsu Crackle-Glazed and Parcel-Bronzed Porcelain Vase, fourth quarter 19th century, of baluster form in “Celestial Dragons and the Flaming Pearl” decor, the base signed with a bronzed calligraphic colophon, h. 13‑3/4”, dia. 6‑1/2”. [100/200] Illustrated

131Kuang Hsu Blue and White Crackle-Glazed Porcelain Vase, fourth quarter 19th century, of two‑handled form with bronzed detailing, the facade decorated with a pair of songbirds, oriental rocks, peonies and pines in underglaze blue, the base centered with an impressed bronzed colophon, h. 16”, dia. 9”. [100/200] Illustrated

132Kuang Hsu Blue and White Porcelain Tree Tub, first quarter 20th century, of large size in “Lakeside Village and Island” decor, h. 12‑1/2”, dia. 15‑3/4”. [100/200]

133Elegant Kuang Hsu Mulberry-Glazed Porcelain Tall-Neck Vase, fourth quarter 19th century, of baluster form with underglaze white “Celestial Dragon” decoration, the base signed in underglaze blue calligraphy, h. 11‑1/4”, dia. 4‑1/4”. [150/300]

134Tao Kuang Rouge de Fer-Decorated White Porcelain Vase, second quarter 19th century, of baluster form in “Celestial Dragons and The Flaming Pearl in Clouds” decor, the base signed in overglaze rouge de fer calligraphy, h. 8‑3/4”, dia. 4”. [150/300]

135Tao Kuang Carved Mahogany Chairside Table, second quarter 19th century, of square form in the Ming style, the bas‑relief‑carved aprons with highly stylized clouds and bats, the K’ang‑footed legs joined by a box stretcher, h. 18”, w. 17‑1/4”, l. 17‑1/4”. [100/200]

136Japanese Meiji Gray Crackle-Porcelain Covered Storage Jar, first quarter 20th century, in polychromed floral decor, the base in rouge de fer calligraphy, h. 7‑1/4”, dia. 6‑1/2”. [100/200] Illustrated

137Japanese Meiji Porcelain Vase, fourth quarter 19th century, of tapered cylindrical section in “Scholars” decor, the ground of mole brown, the figures polychromed, the interior in monochrome pale sky blue, h. 10‑1/4”, dia. 4”. [150/300] Illustrated

138Kuang Hsu Elaborately Carved and Russet-Stained Soapstone Scholar’s Desk Rinser, in the form of a pair of marauding monkeys and a dog gambling around an oval fountain bowl, h. 3‑1/2”, w. 7”, d. 1‑1/2”. [50/80]

139Unusual Five-Piece Collection of Chinese Calligraphy and Printing Accessories, comprised of an elaborately carved wooden printing block featuring a robed woman, first quarter 20th century; an incise‑carved black stone ink box of oblong form in “Bamboo and Calligraphy” decor and of like date; a brass ink stone box of square form, its cover with an engraved calligraphy stanza, fourth quarter 19th century; a similar, smaller brown stoneware ink box of oblong form with a calligraphic cover; and a brass ink stone box of oblong form, also with a calligraphy‑decorated cover, fourth quarter 19th century; the largest h. 5‑5/8”, w. 4”. [50/80]

140Three-Piece Group of Blue and White Porcelain, consisting of an unusual Tao Kuang circular sponge box with a “doughnut” cover, second quarter 19th century; another circular soap box emblazoned with a “Good Fortune” calligraphic character; and a small oblong sweetmeats box, also second quarter 19th century; the largest h. 2‑1/4”, dia. 4”. [100/200]

141Graduated Pair of Anglo-Chinese Black Lacquer Glove Boxes, fourth quarter 19th century, with silver stenciling in “Celestial Dragon” decor, the facades centered with small locks having engraved silver escutcheons, the smaller h. 2‑1/2”, w. 11”, d. 3‑1/4”, the larger h. 3”, w. 12”, d. 4”. [40/70]

142Kuang Hsu Red Lacquer Oblong Box, fourth quarter 19th century, the lid centered with a carved giltwood panel featuring two mandarins in a garden, the red lacquer sides of the cover decorated with celestial dragons and phoenixes, the lower exterior body with stylized vine decor, the interior in satin black lacquer throughout, h. 5”, w. 9”, l. 11”. [75/125]

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143Varied Collection of Five Oriental Boxes, comprised of a Japanese Meiji Export lacquer glove box in “Travelers in a Mountain Landscape” decor, first quarter 20th century; a similar, smaller Japanese Meiji Export lacquer table box in “Trellis, Grape Cluster, and Songbird” decor; a diminutive Japanese octagonal double‑stacked basketry food box, fourth quarter 19th century; a Chinese printed paper box with bone hasps containing a fitted interior with a small carved and polished bone figure of a seated Ho‑Tei on an ebonized wooden base; and a Kuang Hsu carved cinnabar and brass circular sweetmeat box in “Celestial Dragon” decor, having a royal blue enameled interior, first quarter 20th century; the largest h. 3”, w. 12”, d. 4”. [100/200]

144Near Pair of Chinese “Porcelain Shard” Table Boxes, the shards fourth quarter 19th century, with silver alloy mounts, each convex cover fabricated of an antique polychromed porcelain vase fragment, one in “Mandarine and Children” decor, the other in “Jardiniere with Flowering Shrub” decor, the smallest w. 5‑1/2”, l. 6‑1/2”, the largest w. 6”, l. 8‑1/2”. [100/200]

145Pair of Japanese Meiji Provincial Storage Jars, fourth quarter 19th century, composed of glazed stoneware, the shoulders with rows of stamped barred decoration, h. 19‑1/2”, dia. 13‑1/2”. [300/500]

146Two Japanese Imari Porcelain Bowls, first half 20th century, each decorated in underglaze blue and polychrome enamels, the smaller with a divided design of a horse in a landscape and a crane by a stream, the larger with a crane in a garden and two carp stranded in a garden, dia. 9‑1/2” and 10”. [200/400] Illustrated

147Large Kuang Hsu Porcelain Umbrella Stand, first quarter 20th century, of cylindrical form and richly polychromed in “Mille Papillons” decor, h. 18‑1/8”, dia. 9”. [100/200] Illustrated

148Good Kuang Hsu Crackle-Glazed Porcelain Covered Vase, fourth quarter 19th century, in the Ming Dynasty style, the glaze in a gray‑green color, now mounted as a table lamp on a Chinese engraved brass six‑footed base, h. 11”, dia. 8”. [150/300]

149Ambercrombie and Fitch Brass-Inlaid Hardwood Mahjong Chest, second quarter 20th century, with all of the period game pieces, the sliding facade cover with an applied patinated brass Ambercrombie and Fitch label, the top of the chest fitted with a pair of brass carrying handles and a patent‑action spring closure, h. 7”, w. 9‑1/2”, d. 6‑3/4”. [100/200]

150Follower of James Seymour (British, 1702-1752) “A Nobleman, His Groom with Horses”, oil on canvas, unsigned, stretcher, verso titled “Lord Scarborough by James Seymour”, 23” x 37”. Presented in a giltwood and gesso frame. [3000/5000] Illustrated Color Plate V

151British School (Mid-19th Century) “The Hunt”, watercolor on paper, sight 12” x 17”. Matted and framed. [75/125]

152Scottish School (20th Century) “The Bridge at Bannockburn”, oil on academy board, 1920‑1925, 22‑1/2” x 13”. Presented in a finely carved and reeded giltwood frame. [150/300]

153Six-Piece Group of Art, consisting of British School (20th century) “Fox Hound & Whelps”, chromolithograph, after a painting by R. B. Davis, published by R. Ackermann, London 1831; “Singer”, etching, illegibly signed and dated “40” lower right; photo print of two dogs in field, signed and dated lower left, in print “Arthur Wandle 1897”; “Duffy and Ingy”, 1966 pastel on paper, signed lower right “Mayne Cox”; an offset chromolithograph of “Dogs taking a Swim”, signed and dated in print “Maud Earl 1902”; and British School (third quarter 20th century) “Portrait of a Springer Spaniel”, oil on canvas, signed and dated lower left “Willet 1966”; the largest h. 20”, w. 28”. [200/400]

154British School (20th Century) “Famous Men of Science”, suite of nine chromolithographs, after the Vanity Fair 19th‑century illustrations, each identifying the subject and providing a short biography, sight 7‑3/4” x 4‑3/4”. All glazed, attractively matted and presented in silvered frames. [125/250]

155Provincial British School (First Quarter 18th Century) “Portrait of a Gentleman in a Red Jacket”, oil on canvas with a curved top, unsigned, 25” x 20”. Presented in a Louis XV‑style giltwood and gesso frame. [2000/4000] Illustrated

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156British School (20th Century) “Armorial Illustrations”, pair of offset lithographs, sight 12‑1/2” x 10”. Both glazed, handsomely matted and presented in rope‑molded giltwood and gesso frames. [75/125]

157Norman M. Macdougall (British, 1852-1939) “Country Landscape with Figures on a Bridge”, oil on canvas, signed lower left, 20” x 30”. Presented in a molded giltwood frame. [2000/4000] Illustrated

158Richard Scott (English, fl. ca. 1946) “The Alpine Cabin at the Bridge”, oil on canvas, signed lower right “R. Scott”, 31” x 43”. Presented in a fruitwood frame. [20/40]

159British School (Second Quarter 20th Century) “Village Scene”, offset lithograph, signed in print “Frederick”, sight 20” x 27‑1/2”. Glazed and framed. [100/200]

160John Jackson, R. A. (British, 1778-1831) “Mrs. Jackson Looking Towards Italy”, pencil on paper, verso inscribed illegibly and affixed with a label inscribed in ink with title and artist’s name, sight 7‑1/4” x 5‑3/4”. Glazed, matted and presented in a polychromed frame. [100/200]

161British School (First Quarter 20th Century) “Portrait of a Child with an Amber Necklace”, oil on panel, unsigned, 14” x 12”. Presented in a giltwood and gesso frame. [40/70]

162Leggatt Brothers Publishing (British, Fourth Quarter 19th Century) “Mischief”, offset lithograph, painted by J. B. Hennington, published in 1894, sight 20” x 31”. Glazed, attractively matted and presented in a giltwood frame. [300/500]

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163English Three-Piece Silverplate Partial Tea Service, third quarter 19th century, in the rococo taste, comprised of a broadly fluted and footed teapot, a large two‑handled waste bowl, and a covered and footed hot water ewer en suite, the covers with parrot finials, the tallest h. 10‑1/2”, dia. 6”. [100/200] Illustrated

164James Dixon and Sons, Sheffield, Silverplated Teapot, third quarter 19th century, the finial modeled as a cabbage resting on a spray of leaves and removable, h. 6‑3/4”, w. 6‑1/2”, l. 10‑3/4”. [50/80]

165Five-Piece Associated Coffee Service, comprised of an Edwardian silverplate three‑piece “Solitaire” coffee service in the Early Georgian taste, consisting of a coffeepot with ebonized fruitwood handle and finial, h. 8”, w. 3‑1/2”, l. 7”, a covered two‑handled sugar basin and a covered cream pitcher en suite, first quarter 20th century; a Georgian‑style silverplate oval bun‑footed tray, w. 7‑1/2”, l. 10‑1/4”; and a Webster sterling silver open two‑handled sugar basin in the Art Nouveau taste, ca. 1900‑1905, 35.80 total t. oz. [100/200]

166Three-Piece English Victorian Sterling Silver Spice-and-Condiment Set, 1885, London, makers: E.F. & H.T., comprised of a ball‑footed, handled and covered mustard pot and a pair of ball‑footed salt‑and‑pepper casters of cylindrical section, the mustard pot retains the conforming blown and cut cobalt blue glass liner, along with a ball‑finial sterling mustard spoon, mustard pot h. 2‑3/8”, dia. 1‑3/4”, caster h. 2”, dia. 1‑1/4”, 3.30 total t. oz. [200/400]

167Twenty-Four-Piece Group of English Sterling Silver Flatware, 1902, London, maker: H.A./E/S, all with “vintage”‑carved bone handles, consisting of a cased set of twelve dessert forks and twelve matching knives, l. 8”, the mahogany case with a fitted lift‑out tray and lined in rich Tyrrhian purple velvet. [2500/4000] Illustrated

168Four-Piece Group of Silverplate Serving Pieces, consisting of a pair of Edwardian silverplate salad servers in “King’s Shell” decor, first quarter 20th century; a matching vegetable‑serving spoon of like date; and a matching Sheffield gilded teaspoon; all with fruit repousse bowls, the largest l. 9‑1/4”. [50/80]

169Set of Six Edwardian Silver Craft Silverplate Dessert Plates, first quarter 20th century, in the “Adam” taste, dia. 7‑1/2”. [40/70]

170Trio of Sterling and Silverplate “Vintage” Grape Shears, comprised of a good, weighty pair of Sheffield shears, third quarter 19th century; an American sterling pair of shears, first quarter 20th century; and a Klingler, Germany, pair of .800‑standard shears of like date; the largest l. 7”. [75/125]

171Goldfeder Silverware Company Two-Handled and Footed Waiter, third quarter 20th century, of large oval form in “Shell and Scroll” decor in the “Old Sheffield” style, w. 19‑3/4”, l. 29”. [150/300] Illustrated

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172Cased Two-Piece English Silverplate Fish-Serving Set, third quarter 19th century, comprised of a hollow‑handled slice in a “Gadroon Cartouche” pattern and having a pierced blade centered with the figure of a fish, l. 12‑1/2”, and a matching broad four‑tine serving fork, l. 9”, the period morocco case fitted and lined in gray‑white silk and blue velvet. [50/80]

173Silver Punchbowl and Ladle, second quarter 20th century, the large Rogers Brother “Heritage” silverplate footed punchbowl in the “Old Sheffield” style, h. 9‑1/2”, dia. 17”; the matching silverplate angle‑handled punch ladle double‑lipped. [40/70]

174Pair of English Sterling Silver and Fruitwood Wine Coasters, 1954, Birmingham, maker: B. & Co., in the Early Georgian style, each center fitted with a flat sterling boss, dia. 5‑3/4”. [300/500]

175Handsome Reed and Barton Sterling Silver Gravy Boat, second quarter 20th century, with an integral oval stand in the Art Deco style, h. 5‑1/4”, w. 4‑3/4”, l. 9‑1/4”, 16 t. oz. [250/400]

176Set of Six Lunt Sterling Silver Iced Water Goblets, second quarter 20th century, in the early Georgian style, h. 6‑1/2”, dia. 3‑1/2”. [100/200]

177Suite of Ten Henri II-Style Mahogany Sidechairs, early 20th century, each with a padded rounded rectangular back with a pierced patera galley, the padded seat raised on turned and fluted tapering circular legs joined by an H‑form stretcher and ending in block‑and‑ball feet, h. 38”, w. 18”, d. 17”. [800/1200] Illustrated

178English Mirrored Glass-Veneered Oval Looking Glass, second quarter 20th century, of small size in the Georgian style, the beveled mirrored glass veneer of truncated wedge‑form sections each centered with an engraved polka dot, h. 15”, w. 12”. [40/70]

179Country Stained Oak Hanging Shelf, second quarter 20th century, the dentillated cornice over a case fitted with two shelves, flanked by reeded sides, mounted for hanging, h. 44‑1/2”, w. 42‑1/4”, d. 6‑3/4”. [800/1200] Illustrated

180Georgian-Style Upholstered Mahogany Wing Chair, early 20th century, in the Queen Anne taste, the padded shaped sides joined to scrolling arms, above a down‑filled cushioned seat, raised on shell‑carved cabriole legs ending in pad feet, h. 40”, w. 33”, d. 27”. [125/250]

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181English Mahogany Kneehole Desk, early 20th century, the “kidney”‑form dished top with a molded edge and above a conforming case fitted with a central drawer flanked to either side by a bank of three drawers, all paneled, raised on a plinth base, h. 30‑1/2”, w. 45”, d. 22”. Provenance: By tradition, this desk was owned by Gisella Elias Weiss, the mother of Seymour Weiss (1896‑1969), the principal owner and manager of the New Orleans Roosevelt Hotel from 1931 to 1965. It came from his mother’s apartment at the Roosevelt and was rumored to have a secret compartment where Huey P. Long supposedly hid large sums of money. Seymour Weiss and Huey Long were very close confidants. [800/1200] Illustrated previous page

182Group of Two Boxes, consisting of an Anglo‑Indian pieced bone‑veneered octagonal desk box with antiqued brass mounts, first quarter 20th century, h. 6”, w. 9‑1/2”, d. 6‑1/2”; and an attractive English brass‑ and mother‑of‑pearl‑mounted rosewood gentleman’s stud box, lined in period Tyrrhian purple silk velvet (losses), third quarter 19th century, h. 3”, w. 8‑1/4”, d. 5‑3/4”. [100/200] Illustrated

183Georgian Rosewood-Grained Mahogany Double-Compartment Tea Box, second quarter 19th century, of oblong sarcophagus form, the facade centered with a small brass lock, raised on bun feet, h. 6”, w. 9‑3/4”, d. 5”. [75/125] Illustrated

184Edwardian Pear-Form Fruitwood Tea Caddy, first quarter 20th century, in the George III style, the facade centered with a steel‑escutheoned lock, the interior lined in renewed paktong, h. 7”, l. 4‑1/4”. [100/200]

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185Fine R. Ramah, London, Brass-Inlaid Macassar Ebony Jewel Casket, third quarter 19th century, the interior of the lid set with a mirrored glass plate, the upper interior with a parcel‑gilt card and deep fuchsia silk velvet compartmental tray, the proper left side fitted with a patent‑action compartmented drawer, the lock plate touchmarked “R. Ramah, London”, h. 4‑1/4”, w. 12”, d. 9”. [125/250]

186Eleven-Piece Group of Chinoiserie Items, second quarter 19th century, consisting of an unusual English black and gold letter rack; a similar English cylindrical box in “Mandarins” decor; a pair of cachepots of small size; a set of six English chinoiserie lacquer teaplates; and a Chinese export parcel‑gilt russet lacquer plate in “Chinese Pavilions” decor; the largest h. 6‑1/2”, w. 8‑1/2”, d. 2‑3/8”. [75/125]

187Good George III-Style Carved and Parcel-Gilt Walnut Looking Glass, fourth quarter 19th century, the broken‑scroll pediment centered with a stylized ribbed vase of flowers caught with a bowknot, retains the tastefully disintegrating period plate, h. 44”, w. 24”. [500/800] Illustrated

188Edwardian-Style Brass Collector’s Desk Magnifier, the adjustable arm above a circular rosewood‑stained wooden base, extended h. 22”. [30/50]

189George III-Style Chinoiserie-Lacquered Secretary Bookcase, second quarter 20th century, the broken‑pediment cornice over a case fitted with two astragal‑glazed doors, above a lower case fitted with a drop‑front door, revealing a variety of cubbyholes and drawers over four serpentine‑front drawers, raised on ball‑and‑claw feet, h. 84‑1/4”, w. 36‑1/2”, d. 19”. [1500/2500] Illustrated Color Plate IV

190Pair of George VI Cut Glass Two-Light Sideboard Candelabra, second quarter 20th century, in the George III taste, each modeled as a central shaft with a cut steeple finial flanked by a pair of scrolled candlearms centering a pair of spiral‑ribbed glass “paper curls”, the central shaft and the candlearms dressed with bobeches of stylized flowerhead form and panel‑cut glass spears with faceted tips, not electrified, h. 23”, w. 15”, d. 7‑3/4”. [400/700] Illustrated

191Good Edwardian Oak Footman’s Tray, first quarter 20th century, the shaped tray with two ebonized wood and brass handles and a raised black lacquer edge, w. 19”, l. 24‑3/4”. [75/125]

192Early Queen Anne Mahogany Drop-Leaf Table, mid‑18th century, the rectangular top with molded edge and a single drop‑leaf,fitted with a writing drawer on one side and faux‑drawer‑carved apron on the other side, raised on cabriole legs ending in pad feet, h. 26‑3/4”, w. 30”, d. 19‑1/4”. [1000/1500] Illustrated

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193Unusual Collection of Fifteen Antique Hand Seals, comprised of a sterling silver example; a silverplated brass example, fourth quarter 19th century; four wooden examples with cross‑hatched brass seals; a pair of knob‑form mahogany seals with the initial “H”, fourth quarter 19th century; a turned black lacquer and pewter example, third quarter 19th century; a black lacquered wood and bronze example with an oblong brass seal; a large turned mahogany example with a polygonal brass seal; a tall turned ebonized wood example with a pewter seal; a turned fruitwood example with a circular silvered metal seal; a Belle Epoque polished black marble tapered example with a brass seal; and an Art Deco green Bakelite example with a hexagonal silvered blank seal, ca. 1920; the largest l. 3‑1/4”. [75/125]

194George III-Style Mahogany Desk, early 20th century, the rectangular top with an inset gilt‑tooled leather surface and a molded edge, above a case fitted with a central drawer flanked to each side by a deep drawer faced as two short drawers, raised on cabriole legs headed by acanthine carving and ending in ball‑and‑claw feet, the interior of one drawer bearing the label “Henry Savitt, 87 Kings Rd, Chelsea”, h. 30‑1/2”, w. 54”, d. 29‑1/4”. [1000/1500] Illustrated previous page

195Two-Piece Anglo-Indian Patinated Brass and Carved Bone Desk Set, first quarter 20th century, comprised of a long‑handled magnifier, dia. 4”, l. 9‑1/2”, and a matching letter knife, l. 9”. [40/70]

196Eleven-Piece Group of White and Gold Porcelain, consisting of a trio of antique English waste bowls, comprised of a Worcester “Flight Period” spiral‑ribbed bowl, fourth quarter 19th century, a similar Worcester example of like date and a paneled bowl attributed to the Spode manufactory, first quarter 19th century; together with a trio of Worcester spiral‑ribbed tea bowls, fourth quarter 18th century; a trio of similar Worcester spiral‑ribbed coffee cups of like date; a Staffordshire richly gilded porcelain teacup in the rococo taste, second quarter 19th century; and a matching porcelain cup of like date; the largest h. 3”, dia. 6‑1/4”. [50/80]

197Chinese Export Blue and White Porcelain Sauce Tureen and Stand, first quarter 19th century, of oval, covered and two‑handled form in floral decor, the cover finial floriform and gilded, the rims of the cover, tureen and stand gold‑banded, tureen h. 6‑1/4”, w. 5‑1/4”, l. 7‑3/4”, stand w. 6”, l. 8”. [700/1000] Illustrated

198Pair of Chinese Export Blue and White Porcelain Sauceboats, ca. 1800, with double reeded handles, the exterior walls decorated with four equidistant underglaze blue floral reserves, h. 3‑1/2”, w. 3‑1/2”, l. 7‑1/4”. [900/1200] Illustrated

199Two Chinese Export Rose Medallion Porcelain Plates, late 19th century, one plate of circular form with a central scene of warriors next to the Great Wall, dia. 9‑1/2”, and the other of hexagonal shape with birds, butterflies and a dog in a garden, dia. 8”. [75/125]

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200George III-Style Mahogany Dining Table, the rounded rectangular top with inlaid ebonized banding, raised on two pedestals, each with a vasiform standard to three splayed and reeded legs ending in brass caps, h. 29”, w. 42”, l. 66”. [300/500]

201George III-Style Mahogany Dining Table, mid‑20th century, the rectangular parquetry string‑inlaid top with canted corners and rope‑carved edge above two vasiform standards, each raised on three cabriole legs ending in ball‑and‑claw feet, with one leaf, h. 29‑1/2”, w. 50”, l. 75”, extended l. 92‑1/2”. [800/1200] Illustrated

202Queen Anne-Style Mahogany Dining Table, mid‑20th century, the oval top above a carved apron, raised on cabriole legs ending in pad feet, h. 29‑1/2”, w. 42”, l. 64‑1/2”, extended l. 101”. [500/800]

203Chinese Export Blue and White Porcelain Fruit Bowl, first quarter 19th century, of large square form in “Lakeside Pavilions” decor, the lip in‑cut at the corners, h. 5‑1/4”, w. 10‑1/4”, l. 10”. [1800/2500] Illustrated

204Chinese Export Blue and White Porcelain Punchbowl, first quarter 19th century, with three famille rose medallions in “Mandarins” decor, the interior centered with a polychromed floral spray, h. 4‑5/8”, dia. 11‑1/8”. [2000/4000] Illustrated

205Set of Ten Annamese Blue and White Porcelain Tea Plates, fourth quarter 18th century, in “Lakeside Pavilion” decor, each plate fitted with a wire suspension frame on the reverse, dia. 6”. [100/200]

206English Parcel-Gilt Blue and White Porcelain Cream Pitcher, fourth quarter 18th century, probably the Caughley Porcelain Works, in “Chinese Lakeside Pavilions” decor, h. 3‑3/4”, w. 3‑1/8”, l. 4‑1/2”. [250/400]

207Suite of Six Queen Anne-Style Mahogany Dining Chairs, consisting of two armchairs and four sidechairs, each with a carved crest above a vasiform splat, above a padded seat raised on cabriole legs ending in pad feet, sidechair h. 38‑1/2”, w. 19”, d. 19‑1/2”, armchair h. 39”, w. 23‑1/2”, d. 24”. [400/700] Illustrated

208Suite of Four George III-Style Mahogany Sidechairs, third quarter 20th century, each with a carved crest over a fretwork‑carved and pierced splat, above a padded seat, raised on tapering square legs joined by an H‑form stretcher, h. 42‑1/2”, w. 20‑1/2”, d. 18”. [200/400]

209Kuang Hsu Blue and White Porcelain Jardiniere, fourth quarter 19th century, in floral decor, signed on the base in underglaze blue calligraphy, h. 9”, dia. 10”. [500/800] Illustrated

210Pair of Tao Kuang Blue and White Porcelain Vases, second quarter 19th century, of double‑gourd form in “Celestial Dragons and The Flaming Pearl” decor, each with an underglaze blue reign mark on the base, h. 9‑1/2”, dia. 6”. [1800/2500] Illustrated

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211Tao Kuang Covered Blue and White Porcelain Jar, second quarter 19th century, in “Precious Objects” decor, fitted with a plaited wire handle, h. 5‑1/4”, dia. 5‑1/2”. [250/400] Illustrated previous page

212Four-Piece Collection of Chinese Blue and White Porcelain, comprised of a Tao Kuang orchid jardiniere of circular bowl form, second quarter 19th century; a pair of tea bowls in “Fisherman” decor, each with a kiln mark in underglaze blue on the base, also second quarter 19th century; and a Kuang Hsu shallow fruit bowl in “Flowering Tree” decor, fourth quarter 19th century; the largest dia. 9‑1/2”. [100/200]

213Good Pair of Chinese Export Blue and White Porcelain Armorial Tea Bowls, ca. 1775, the full coats‑of‑arms polychromed, h. 2”, dia. 3‑1/2”. Ex‑collection: Neill Phillips, Toronto; Elinor Gordon, Delaware. [700/1000] Illustrated

214Group of Five Chinese Porcelain Orchid Pots, comprising a rare quartet of Tao Kuang matching blue and white examples, second quarter 19th century, in a stylized floral pattern, one with an official Chinese government red wax seal of antiquity on the base; and a slightly earlier, slightly larger blue and white porcelain footed orchid pot, first quarter 19th century; the largest h. 3”, dia. 3‑1/2”. A matched set of such orchid pots is virtually impossible to find today. [100/200]

215George III-Style Inlaid and Banded Mahogany Breakfront, by Baker Furniture Co., the upper cabinet with a pair of protruding glazed doors and flanked by a slightly recessed glazed cabinet to each side, the base with four cabinets, the central section fitted with a flatware drawer, h. 83‑1/4”, w. 69”, d. 15‑1/4”. [1500/2500] Illustrated

216Attractive Kuang Hsu Blue and White Porcelain Stag Mask-Handled Vase, fourth quarter 19th century, of inverted pyriform and decorated with multiple stags on a rocky outcropping, the base with an underglaze blue reign mark, h. 13‑1/4”, dia. 10”. [200/400] Illustrated

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217Suite of Six Hepplewhite-Style Mahogany Dining Chairs, early 20th century, comprised of two armchairs and four sidechairs, each with a shield‑form back and feather‑carved splats, raised on tapering legs, h. 38‑1/2”, w. 20”, d. 19”. [600/900] Illustrated

218Attractive Edwardian Carved Oak Garniture Vase, first quarter 20th century, of large size in the style of Robert Adam (English, 1728‑1792), the vase carved with leonine masks joined by “Vintage” garlands held in their mouths (the finial lacking), the stepped circular base composed of copper and brass, h. 22”, dia. 10”. [50/80]

219George III-Style Mahogany Dining Table, the rectangular molded top lifting to accommodate three leaves, over a fretwork‑carved frieze, raised on cabriole legs headed by acanthine carving and ending in ball‑and‑claw feet, h. 31”, w. 42”, l. 76”. [150/300]

220George III-Style Mahogany Secretary, second quarter 20th century, the broken‑pediment cornice over two astragal‑glazed doors, above a case fitted with a slant‑front door, opening to reveal a variety of cubbyholes and drawers, over four serpentine‑front long drawers, raised on ball‑and‑claw feet, h. 81‑3/4”, w. 38‑1/2”, d. 21‑1/2”. [400/700] Illustrated

221After Guillaume Coustou the Younger (French, 1716-1777), a large deux‑couleur bronze‑patinated spelter figure of “The Horse of Marly”, fourth quarter 19th century, h. 21”, w. 19”, d. 8”. [200/400] Illustrated

222Good Large Edwardian Brass Scale and Accessories, first quarter 20th century, comprising a large double‑pan brass scale, a footed brass bowl of modified navette form, a set of five graduated stacking brass‑clad lead circular weights and a brass‑clad lead cylindrical pendant weight, h. 29‑1/2”, w. 31”. [200/400]

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223Pair of Queen Anne-Style Wing Chairs, second quarter 20th century, each with a padded back, joined to the cushioned seat by like arms, raised on cabriole legs ending in pad feet, h. 43‑1/2”, w. 29‑1/2”, d. 26”. [300/500] Illustrated

224Specimen Tortoise Carapace, h. 4”, w. 13”, l. 15”. [50/80]

225George III-Style Mahogany Sofa, early 20th century, the domed and padded back joined to the cushioned seat by outscrolled arms, the Greek‑key‑carved frame raised on reeded square legs joined by U‑form stretchers, h. 35”, w. 76‑1/2”, d. 26”. [300/500] Illustrated

226George III-Style Mahogany Camel-Back Sofa, third quarter 20th century, the serpentine padded back joined to the like seat by outscrolled arms, raised on square legs, h. 36”, w. 82”, d. 25”. [300/500]

227Contemporary Mahogany Side Table, in the Chinese Chippendale taste, the rectangular top with molded edge above a fret‑pierced frieze, raised on square legs headed by ogee‑molded carvings and ending in molded feet, h. 33”, w. 70”, d. 20”. [400/700] Illustrated

228George III-Style Mahogany Drop-Leaf Pembroke Table, second quarter 20th century, the oval drop‑leaf top over an apron fitted with a drawer, raised on tapering square legs in brass‑capped feet, h. 27‑1/2”, w. 24”, d. 16”. [200/400]

229George III-Style Mahogany Console Table, the serpentine top with molded edge over a conforming pierced and shaped frieze, raised on cabriole legs headed by acanthine carving, h. 37”, w. 71‑1/2”, d. 16”. [200/400]

230English Carved Mahogany Tripodal Piano Stool, third quarter 19th century, in the George III style, the circular revolving seat upholstered in floral gros‑point on a black ground, h. 19”, dia. 12‑3/4”. [100/200]

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231Chinese Export “Rose Medallion” Porcelain Punchbowl, second quarter 19th century, of large size in alternating floral/avian and “Mandarin” reserves on both the exterior and interior walls, h. 6”, dia. 15”. [1800/2500] Illustrated Color Plate III

232Thirty-One Pieces of Chinese Export “Rose Medallion” Porcelain, second quarter 19th century, comprising a partial tea, coffee and dessert service for six persons, consisting of a coffeepot, a teapot, six tea cups, six saucers, five coffee cups, six coffee saucers and six dessert plates, all of the pieces monogrammed in gold “MS”, the largest h. 7‑1/2”, w. 8‑1/4”, d. 5‑1/2”. [700/1000] Illustrated

233Three-Piece Group of Chinese “Rose Medallion” Porcelain, second quarter 19th century, consisting of a rare pair of covered toilette jars of barrel form, the bodies decorated with alternating “Mandarin” and floral/avian reserves on a gold ground, the covers with bas‑relief “Mandarin” decoration, h. 3‑1/4”, dia. 3”; and an oval sponge/soap box, the cover and the interior mazarine lacking, w. 4‑1/2”, l. 5‑3/8”. [50/80]

234Pair of Chinese Export “Famille Rose” Porcelain Grilled Meats Platters, fourth quarter 18th century, of oval form and richly polychromed in floral decor, the deep sides decorated with alternating floral/avian and gold‑ground reserves, each platter centered with a polychromed floral spray, w. 9‑1/8”, l. 11”. [900/1200] Illustrated231

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235Three Portraits of Napoleon I, including an “Equestrian Portrait of Napoleon I” by Eugene Pechaubes (French, 1890‑1967), ink and watercolor on paper, signed lower right “Eug. Pechaubes”, titled lower left “Napoleon 1810”, a satirical etching of Napoleon as a “Governor of the Island of Elba”, by John Kay (Scottish, 1742‑1826), and an oil on board after Paul Hippolyte Delaroche (French, 1797‑1856) of “Napoleon at Fountainbleau”, signed in Russian lower right “M. Romanov”, the largest sight 10” x 7‑1/2”. All glazed and framed. [100/200] Illustrated

236Aristide Maillol (French, 1861-1944) “Reclining Nude”, color lithograph on “Pur fil Marais” watermarked paper, initialed in plate, 14” x 18”. Accompanied with two mats. [40/70]

237Five-Piece Group of Artwork, consisting of Henry Singleton (British, 1766‑1839) “Cupids”, pencil and watercolor on paper, initialed lower left “H. S.”, a print of the sketch and a vintage printed sales label, 5‑3/4” x 9‑1/2”; together with a pair of conte crayon sketches of Biblical themes; a “Two Alert Terriers”, etching, signed lower right “George Sapey”; and a “Down the Rabbit Hole” etching, signed illegibly lower right and titled lower left. All unmatted and unframed. [200/400]

238French School (First Quarter 20th Century) “Profile of Gustave Courbet”, black and white lithograph, sight 9‑1/2” x 7”. Glazed, matted and presented in an ebonized and parcel‑silvered frame. [50/80]

239French School (First Quarter 19th Century) “Various Stages of Motherhood”, suite of four color engravings, all with legends lower , the largest 13” x 14”. Unframed. [75/125]

240After Jacques Eustache de Seve (French, fl. 1742-1788) “Monkeys”, suite of four color engravings, sight 8‑1/2” x 7”. All glazed, handsomely French‑matted and presented in parcel‑gilt ebonized frames. [100/200]

241After Elisabeth Louise Vigee Le Brun (French, 1755-1842) and After Jacques-Louis David (French, 1748-1825) “Grand Duchess Elisabeth Alexievna” and “Madame‑Seriziat”, two offset lithographs on silk, 20th century, sight 11‑1/2” x 9‑1/2”. Glazed and presented in giltwood frames. [100/200]

242Brooke’s “Monkey Brand” Soap, advertising engraving from The Illustrated News, July 31, 1897, sight 14‑1/2” x 9”. Glazed, matted and framed [30/50]

243After Jacques Eustache de Seve (French, 1790-1830) “Monkeys”, suite of twelve black and white engravings, each with legend lower margin, sight 9” x 7”. All glazed, attractively matted and presented in polychromed and parcel‑gilt frames. [300/500] Illustrated

244French School (19th Century) “Portrait of Cardinal Jules de Medicis”, engraving, image 9‑1/4” x 7”, titled and inscribed lower margin. Glazed, matted and presented in an ebonized and parcel‑gilt frame. [75/125]

245Louis Icart (French, 1890-1950) “Meadow Maiden”, copperplate etching on Johannot Paper from La Nuit et le Moment, written by Claude Prosper Jolyot de Crebillon, published in 1946, sight 9‑1/2” x 7‑1/2”. Signature added later. Glazed, matted and presented in a molded giltwood frame, the verso affixed with a Certificate of Authenticity. [20/40]

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243suite of twelve

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246Group of Thirteen Lithographs, consisting of an After Louis Icart (French, 1890‑1950) “La Lettre”, offset chromolithograph, unmatted and unframed; a Kermit Oliver (American, Contemporary) “Houston Festival 1980”, offset lithograph, accompanied by a Certificate of Authenticity, unmatted and unframed; and a suite of eleven “Gibson Girl Profile Portraits”, postcard‑size offset lithographs, signed in print lower center “C. Gibson”, also unmatted and unframed. [100/200]

247Four Framed Pieces of Art, the first two examples after Paul De Longpre (French/American, 1855‑1911) “Still Life with Roses”, two offset chromolithographs, signed lower left in print, 7‑1/2” x 15”; the second two T. Curtis (British, 19th Century) “Dandelions”, two color engravings, sight 5” x 8”. All four examples glazed, matted and framed. [100/200]

248After Edouard Manet (French, 1832-1883) “Baudelaire de Profil en Chapeau”, black and white etching, and After John Opie (English, 1761-1807), “Portrait of James Alderson”, engraved by Mrs. Dawson Turner, from One Hundred Etchings (Yarmouth, 1825), the largest 12” x 8”. Both unmatted and unframed. [100/200]

249German 18th-Century Map of the Atlantic Ocean, by Herausgegeben von Herrn and F. A. Schraembl, dated 1788, sight 20‑3/4” x 25‑3/4”. Glazed, French‑matted and presented in a parcel‑gilt hardwood frame. [1000/1500] Illustrated

250Pair of French Rose-Gilded Brass Two-Light Appliques, second quarter 20th century, in the Regence style, each touchmarked on the reverse “G.R.” not electrified, h. 13‑1/2”, w. 9‑1/4”, d. 4”. [100/200]

251Louis XV-Inspired Crescent-Form Sofa, early 20th century, the serpentine, carved and pierced crest over a conforming tufted back, joined to the curved cushioned seat by outscrolled padded arms, over a pierced and carved skirt, raised on cabriole legs ending in scroll toes, upholstered in taupe satin, h. 36‑1/4”, w. 81”, d. 27‑1/2”. [500/800] Illustrated

252Interesting Group of Five Sofa Pillows, comprised of a French gros‑ and petit‑point tapestry‑faced oblong example centered with a chimerical armorial beast and richly edged in bobble fringe; a good English gros‑point tapestry‑faced elliptical example featuring a recumbent spaniel with glass eyes, third quarter 19th century; a French gros ‑and petit‑point‑faced square pillow in the 18th‑century style and featuring a gardening couple, edged in tassellated cotton fringe; and an antique pair of circular gros‑point tapestry‑faced accent pillows in “Les Roses” decor, having shirred brown silk velvet sides and matching velvet backs; the largest w. 14‑1/2”, l. 19‑1/2”. [50/80]

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253Group of Four Accent Pillows, consisting of a pair of French center‑buttoned and floral‑banded damask sofa pillows of square form in the Louis XVI taste; a large pale taupe silk oblong pillow with an overall pattern of antique‑gold passementerie and rosettes; and a Chinese red floral damask‑faced square accent pillow; the largest w. 15”, l. 20”. [20/40]

254Two Pairs of Tapestry-Faced Accent Pillows, consisting of a large pair of English gros‑point tapestry‑faced sofa pillows, in a geometric floral pattern, with deep amethyst spiral‑turned cord edges, w. 19”, l. 20”; and a smaller pair of English petit‑point tapestry‑faced sofa pillows in “Vase of Fruit and Flowers” decor, with rich ecru tassellated fringing throughout, w. 14”, l. 14”; both sets with taupe velvet back panels. [30/50]

255Group of Eight Needlework Panels, consisting of a set of five French needlework panels featuring King Louis IX of France and his Queen, fourth quarter 19th century; and, respectively, a center panel in a pattern of interlaced foliate scrolls and a matching pair of outer panels, all on shaded lavender grounds; the figural panels with needleworked coats‑of‑arms at the lower right corners, h. 47‑1/4”, w. 19”. [100/200]

256Stately Pair of Paillard, Paris, Gilt-Bronze Four-Light Appliques, first quarter 20th century, in the Louis XIV taste, each with a gathered trio of foliate candlearms fronted by a feather‑diademed female masque, the uppermost candlesocket fitted for electricity and a glass shade, one of the pair touchmarked on the reverse, and the other on the proper right upper side, h. 29”, w. 13‑1/2”, d. 18”. [250/400] Illustrated

257Belle Epoque Carved Walnut, Burl and Brass Benitier, first quarter 20th century, in the Mannerist style, the walnut backplate with fluted Ionic pilasters flanking a burlwood panel centered with a cast‑brass figure group of the Virgin and Child attended by putti and surmounting a holy water bowl of scallop‑shell form, h. 21”, w. 17‑1/2”, d. 4‑1/2”. [150/300]

258Louis XV-Style Kingwood and Marble-Top Occasional Table, the inset rectangular verdigris marble top over a serpentine‑carved frieze, raised on cabriole legs ending in pad feet, the whole with gilt‑brass appliques, h. 23”, w. 38”, d. 21”. [200/400]

259Continental Polychromed and Marquetry-Top Side Table, second quarter 20th century, in the rococo taste, the shaped circular, floral marquetry‑inlaid top above an acanthine‑carved and pierced apron, raised on cabriole legs, joined by an X‑form stretcher centered by a pierced medallion carving and ending in scrolled toes, h. 30‑1/2”, dia. 26”. [150/300]

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260Provincial Louis XV-Style Fruitwood and Cane Porter’s Chair, first quarter 20th century, the hooded and domed back surmounted by a floral‑carved crest and joined by scrolling downswept arms to the cushioned seat, over the serpentine‑carved apron, raised on cabriole legs ending in scroll feet, upholstered in floral crewelwork, h. 57‑1/4”, w. 29”, d. 29”. [1000/1500] Illustrated

261Group of Four Gros- and-Petit-Point Accent Pillows, two featuring playing cards with foliate corners and two with bird motifs, the largest h. 23”, w. 20”. [40/70]

262Louis XV-Style Polychromed Sidechair, mid‑19th century, the shaped and padded curved back surmounted by a foliate‑carved crest, the padded seat raised above a like‑carved apron on molded cabriole legs ending in scrolled toes, h. 36”. [75/125]

263Louis XV-Style Kingwood Bureau, late 19th century, of diminutive proportions, the banded and matchbook‑veneered slant front opening to an inlaid leather writing surface and two drawers, above a shaped frieze fitted with one end drawer, raised on cabriole legs headed by ormolu mounts and ending in sabots, h. 30”, w. 16‑1/4”, d. 10‑1/2”. [400/700] Illustrated

264Striking Three-Piece Assembled Garniture, composed of a German gilt‑brass‑mounted brilliant‑pressed and partially frosted glass covered and footed bowl in the Baroque taste, the stem dressed with faceted glass tear‑form drops, the cover with a paneled spike finial, h. 14”, and a flanking pair of similarly mounted cherry lucite‑accented candlesticks on veined Carrara marble bases, second quarter 20th century, h. 8”. [150/300]

265Diminutive French Gilt-Brass Wall Clock, fourth quarter 19th century, in the Louis XV style, the white enamel dial with blue Roman chapters and having a convex glass cover, h. 12‑1/2”, w. 6‑1/2”. [100/200]

266French Bronze-Mounted Siena Marble Mantel Clock, fourth quarter 19th century, of cenotaph form in the neoclassical taste, the circular dial with a beveled glass cover, the reverse of white enamel with black Roman chapters and with a convex‑glazed works aperture, h. 15‑5/8”, w. 9‑1/4”, d. 4‑3/4”. [200/400]

267Pair of Louis XVI-Style Marquetry and Marble-Top Bedside Commodes, second quarter 20th century, each with a serpentine onyx top above a conforming case fitted with a drawer over a door, both outlined with acanthine‑like inlays and fitted with decorative brass mounts, raised on cabriole legs ending in gilt‑brass‑mounted tapering feet, h. 27”, w. 22‑1/4”, d. 11‑5/8”. [300/500] Illustrated

268Pair of Louis XV-Style Walnut Sidechairs, ca. 1900, each with a serpentine, scroll‑carved crest above a conforming padded back, over a like seat, raised on cabriole legs headed by acanthine carvings and ending in scroll feet, upholstered in chocolate brown leather trimmed with metal nailheads, h. 41”, w. 21”, d. 18”. [200/400]

269Pair of Stained Mahogany Louis XV-Style Bergeres, second quarter 20th century, each with a curved, padded back and arms, above a cushioned seat over a serpentine carved skirt, raised on cabriole legs ending in scroll toes, h. 37‑1/2”, w. 29”, d. 24”. [400/700]

270Pair of Provincial Louis XV-Style Fruitwood Fauteuils, second quarter 20th century, each with a curved crest above a conforming padded back joined to the arms, raised on cabriole legs ending in pad feet, h. 36”, w. 25”, d. 17”. [300/500] Illustrated

267

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271Large Pair of French Circular Sofa Pillows, faced in antique gros‑point tapestry in “Foliage” decor, the pillow sides and reverses in sueded pale gray velvet, dia. 18”. [20/40]

272Large Pair of French Gros-Point Tapestry-Faced Sofa Pillows, in ocelot decor in ochre, black and mocha, the backs in black velvet, w. 19”, l. 19”. [20/40]

273Signed Pair of Louis XV Carved Fruitwood Fauteuils, mid‑18th century, each with a padded medallion back surmounted by a floral crest and joined by padded scrolling arms to the like seat above a shaped, floral‑carved apron, raised on cabriole legs ending in scrolled toes, each example stamped “J. Raboudin”, h. 34”. [500/800]

274Small Pair of French Gilt-Brass Two-Light Appliques, fourth quarter 19th century, in the Louis XV style, now electrified and fitted with bone‑white faux candles, h. 15‑1/4”, w. 10‑1/4”. [100/200]

275Pair of Napoleon III Gilt-Bronze Candlesticks, third quarter 19th century, of small size in the Louis XV style, h. 7”, dia. 4‑1/8”. [100/200]

276Pair of French Gilt-Brass Three-Light Flat-Back Candelabra, fourth quarter 19th century, in the Louis XV taste, detach at the centers to form a pair of candlesticks, h. 14‑1/2”, dia. 9”. [200/400] Illustrated

277French Gilt-Lacquered Brass Chamberstick, first quarter 20th century, in the Louis XV style, now mounted as an accent lamp and fitted with a tall “old ivory” faux candle, with a custom leather cord‑wrapped parchment shade, overall h. 11”, l. 8‑1/2”. [50/80]

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278Louis XV-Style Giltwood and Marble-Top Console Table and Pier Mirror, the variegated serpentine marble top above an acanthine‑pierced and carved apron, raised on cabriole legs headed by floral molding, joined by an X‑form stretcher and ending in scroll feet, the mirror with a serpentine carved and pierced crest, above a conforming mirror plate, with scroll‑molded sides and bottom, mirror h. 61‑1/2”, w. 37”, console table h. 36”, w. 52”, d. 16”. [1400/1800] Illustrated

279Louis XV-Style Giltwood Settee, early 20th century, the padded and slightly domed back surmounted by a shell‑ and foliate‑carved crest, joined by outscrolled padded arms to the like seat, raised above a shell‑ and foliate‑carved apron on cabriole legs headed by fruit carving and ending in scrolled toes, h. 44‑1/2”, w. 58‑1/2”, d. 26”. [400/700]

280Group of Four Accent Pillows, consisting of a large pair of French antique Aubusson tapestry‑faced examples featuring “St. Nicholas”; a smaller gros‑point‑ faced pillow with a leopard’s head; and an Aubusson tapestry‑faced oblong pillow in polychromed foliate‑scroll decor; all three examples appropriately edged in tassellated fringes of the proper hues and backed in velvet of the appropriate color, the largest h. 17”, w. 19”. [50/80]

281Handsome Pair of Louis XV-Style Carved Fruitwood Bergeres, each with a shaped and cushioned back joined by shaped sides and outscrolled arms to the cushioned seat, raised on cabriole legs ending in scrolled toes, upholstered in Schumacher Converse ivory silk‑blend fabric, h. 38”. [1200/1800] Illustrated

282Pair of Louis XV-Style Giltwood Fauteuils, early 20th century, each with a padded oval back surmounted by a floral‑bouquet crest, joined by padded foliate‑carved arms to the padded seat, raised on cabriole legs headed by floral carving and ending in scrolled toes on casters, h. 40”. [500/800]

283French Carved Giltwood and Plaster Bipartite Looking Glass, first quarter 20th century, of waisted cartouche form in the Louis XV style, the upper section a sepia lithographed “Galants” scene of two figures in a park in the manner of Francois Boucher (French, 1703‑1770), fitted with a period “old ivory” wrapped hanging cord and tassel, h. 37‑1/2”, w. 26‑1/4”. [100/200]

284Louis XV-Style Mahogany Vitrine, early 20th century, the top with a shaped front above a conforming case fitted with a floral‑inlaid frieze over a central glazed door, the sides glazed en suite, raised on shaped legs headed by an ormolu mount and ending in sabots, h. 60”, w. 30”, d. 17”. [200/400]

285Pair of Louis XV-Style Carved Giltwood and Plaster Overmantel Mirrors, fourth quarter 19th century, the cresting modeled as tall foliate scrolls mantled with flowers and foliage, the plates broadly beveled throughout, h. 53”, w. 37‑1/2”. [400/700] Illustrated

286Unusual Pair of Giltwood Looking Glasses, the mirrored glass plates centered with cut‑out antique oriental blue and white porcelain figural appliques, fourth quarter 19th century, and presented in contemporary gilded wooden frames, overall h. 12‑1/2”, w. 12‑1/2”. [50/80]

287Group of Four Antique Frames/Looking Glasses, comprised of an American reticulated cast‑iron upright oblong example in the rococo taste, in the original dark green‑painted finish, fourth quarter 19th century; a Continental antique‑gilded cast‑iron dressing table glass of cartouche form in the rococo taste, fitted with a beveled glass plate and an easel strut, fourth quarter 19th century; a Belle Epoque gilt‑brass oval example in the Louis XV taste; and a Continental antique‑gilded spelter photograph frame of cartouche form in the rococo taste, also fourth quarter 19th century; the largest h. 20”, w. 13”. [125/250]

285pair

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288After Jane DeDecker (American, Contemporary), a faux‑patinated bronze garden sculpture of children sitting on a tree trunk and catching butterflies, h. 44”, w. 65”, d. 22”. [1000/1500] Illustrated

289Pair of American Painted Cast-Iron Lyre-Back Garden Chairs, first quarter 20th century, each with a floral crest above a “lyre and rose swag”‑modeled back to a trellis‑like seat by scroll‑formed arms, raised on slightly cabriole legs ending in pad feet, h. 33”, w. 21”, d. 19”. [50/80]

290Manner of Jane DeDecker (American, Contemporary), a patinated bronze garden sculpture of a boy and girl reading on a bench, signed at the back of bench “A. MOREAU”, h. 39”, w. 46‑1/4”, d. 21‑1/2”. [2000/4000] Illustrated

291Group of Four Painted Cast-Iron Garden Seats, consisting of two benches and two armchairs, each with a domed grapevine‑formed back above a small “vintage”‑formed seat, raised on like legs ending in leaf‑molded feet, h. 28‑1/2”, w. 38”, d. 19”. [100/200]

292Contemporary Life-Size Cast-Bronze Garden Sculpture, depicting a boy pushing a girl on a swing, h. 84”, w. 20”, d. 38”. [1500/2500] Illustrated

293Cast-Cement Garden Figure, in form of a reclining Poseidon, h. 37”, w. 45”, d. 22”. [300/500] Illustrated

294Good Seven-Piece Collection of Circular Drapery Tiebacks, comprised of a magnum pair of English brass examples, second quarter 19th century; a smaller pair of George IV carved and turned giltwood examples of flowerhead form, also second quarter 19th century; a large floral‑embossed gilt‑lacquered brass example, third quarter 19th century; a similar, smaller embossed brass tie‑back of like date; and another similar but different example, also third quarter 19th century; the largest h. 8”, d. 7‑1/4”. [100/200]

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295Regency-Style Mahogany Cheval Mirror, second quarter 20th century, the rectangular framed mirror plate flanked by columnar supports headed by gilt‑brass urn‑shaped mounts, raised on reeded splayed legs joined by a turned stretcher and ending in casters, h. 59‑1/2”, w. 32”, d. 21‑3/4”. [100/200]

296Regency-Style Mahogany Cheval Mirror, ca. 1900, the large rectangular molded frame mounted to turned posts and ending in down‑curved legs with brass casters, h. 73‑1/2”, w. 38”, d. 21‑3/4”. [200/400]

297Regency-Style Mahogany Dining Table, the rectangular top with rounded corners and three leaves, raised on two pedestals, each with a vasiform standard to three splayed reeded legs ending in brass paw feet, h. 29‑1/2”, w. 42”, l. 62”, extended l. 98”. [300/500]

298Wedgwood Royal Blue Jasperware Covered Crocus Vase, 1881, in “Classical Offerings” decor, with impressed mark “Wedgwood”, date letter “J” and the numeral “9”, h. 6”, dia. 5‑1/2”. [150/300] Illustrated

299Diminutive Wedgwood Crimson Jasperware Vase, first quarter 20th century, with “The Chariot of Aurora”, “Pegasus and Attendants” and “Apollo and Pegasus” reserves, marked on the base “Wedgwood/Made In England”, h. 5”, dia. 3”. [200/400] Illustrated

300Wedgwood Crimson Jasperware Milk Pitcher, fourth quarter 19th century, in “Classical Offerings” decor, with impressed mark “Wedgwood England”, h. 6‑1/4”, w. 4”, d. 5‑1/4”. [200/400] Illustrated

301Group of Five Wedgwood Jasperware Dressing Table Articles, second quarter 20th century, all in blue and white jasperware, comprised of a circular scalloped‑edge powder box, a dome‑covered swabs jar of cylindrical section, a heart‑form rings tray, a circular rings tray and a drum‑form small rouge pot, all of the pieces with the impressed Wedgwood marks on their bases, the largest dia. 5”. [75/125]

302Set of Eight Wedgwood Matte White Seafood Plates, second quarter 20th century, in the form of scallop shells, each example fully backstamped in lavender transfer‑print, dia. 9”. [75/125]

303Regency Banded Mahogany Tilt-Top Breakfast Table, second quarter 19th century, the rectangular top with reeded edge mounted to a turned pedestal with four out‑curved legs ending in brass feet, h. 39”, w. 39‑1/2”, l. 60”. [300/500]

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304Rare English Gilt-Brass “Swan and Ewer” Doorstop, second quarter 19th century, in the neoclassical style, the base weighted with a lead tablet, h. 10‑1/4”, w. 7‑3/4”, d. 1‑3/4”. [50/80]

305Large English Gilt-Brass Doorstop, second quarter 19th century, in the neoclassical style, h. 13‑1/2”, w. 9‑1/2”, d. 4‑3/4”. [50/80]

306Chinese Export Blue and White Porcelain Platter, fourth quarter 18th century, of oblong octagonal form in “Lakeside Pavilions” decor, w. 12”, l. 14‑3/4”. [700/1000] Illustrated previous page

307Chinese Export Blue and White Porcelain Grilled Meats Platter, first quarter 19th century, of oval form in “Brazier and Flowering Tree” decor, w. 8‑1/4”, l. 10‑3/8”. [600/900] Illustrated previous page

308Good Staffordshire Pottery Cheese Cover and Matching Underplate, fourth quarter 19th century, of wedge form, the brown transfer‑printed decoration in the Japonesque taste, h. 7‑3/4”, w. 10‑1/2”, d. 10‑1/4”. [50/80]

309Set of Twelve Royal Doulton Porcelain Dessert Plates, second quarter 20th century, with thick green borders in “Prunus” decor, produced for Tice and Gates of Rochester, New York, and so backstamped, dia. 9‑1/8”. [100/200]

310Good Regency Mahogany Double-Pedestal-Form Sideboard, second quarter 19th century, the large, complex molded backsplash above a thick deck fitted with three ogee‑form side‑by‑side drawers, the pedestals each fitted with a framed cabinet door, flanked by large scrolled pilasters, h. 49‑1/2”, w. 79‑3/4”, d. 26‑1/2”. [1500/2500] Illustrated

311Good Galway Blown and Cut Glass Fruit Bowl, in the traditional Anglo‑Irish style, retains a printed Galway Crystal label and acid‑stamped on the base “Galway”, h. 5‑1/8”, dia. 11‑1/8”. [50/80]

312Rare English Cut Glass Footed Punchbowl, first quarter 20th century, probably the Richardson Glass Works, of large cushion form with a cut crenellated rim in the early 19th‑century Anglo‑Irish taste, h. 9‑1/2”, dia. 14”. [200/400] Illustrated

313Group of Two American Glass Compotes, third quarter 19th century, consisting of a fine Bakewell, Pears and Company, Pittsburgh, pressed flint glass “Thumbprint” covered compote; and a good New England Glass Company pressed “Sawtooth” compote; the largest h. 14”, dia. 8‑3/4”. [50/80]

314Small Crystal Sweetmeats Bowl, third 20th century, of broad‑ribbed stylized flowerhead form, h. 3‑3/8”, dia. 5‑1/2”. [30/50]

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315Three-Piece Group of Waterford Crystal, consisting of a large Waterford cut glass footed vase of chalice form in “Trellis” decor, third quarter 20th century, retains the green and gold printed foil label of scrolled form; a Waterford cut glass vase of baluster form; and a Waterford diamond‑cut glass fruit bowl, also third quarter 20th century; the latter two examples acid‑stamped “Waterford”, the largest h. 10”, dia. 6‑1/2”. [100/200]

316Three-Piece Group of Cut Glass, consisting of an Edwardian brilliant‑cut glass footed vase, perhaps the Richardson Glass Works, of campana form in “Triple Hobstar Bands” decor, the bowl supported on a square base reverse cut with a sunburst, first quarter 20th century, h. 12”, dia. 7‑1/4”; a Bohemian blown and lattice‑cut glass decanter of “Ships” form in the early 19th‑century style, retains the original magnum stopper of modified mushroom form, h. 10‑3/4”, dia. 7‑1/2”; and a large Continental silverplate‑mounted pressed‑cut and engraved glass bottle cooler in “1000 Windows” decor, third quarter 20th century, h. 8‑3/4”, dia. 7‑1/2”. [100/200]

317Interesting Regency-Style Polychromed and Pickled Pine Tripodal Table, the base comprised of three carved opposing lions, and supporting a thick circular beveled glass top, h. 29”, dia. 51”. [200/400] Illustrated

318English Cut Glass Handled Basket, second quarter 20th century, of oval form in “Lattice Band” decor, the base reverse‑cut with an ovoid starburst, modeled with an arched and cut stationary handle, h. 7‑1/2”, w. 8”, d. 4‑3/4”. [30/50]

319Good Three-Piece English Patinated Brass Hearth Set, fourth quarter 19th century, in the neoclassical taste, comprised of a hearth shovel, log tong and poker, the finials all modeled as petal‑ribbed orbs, the largest l. 30”. [75/125]

320Good English Gold-Lacquered Brass Relief Silhouette Portrait of Arthur Wellesley, first Duke of Wellington, in military uniform, first quarter 19th century, presented in a good, deep bird’s‑eye maple shadowbox with a giltwood fillet, the portrait underlain by a gilt‑lacquered brass banner reading “Wellington”, the shadowbox lined in crimson antique velvet, h. 18”, w. 16‑1/4”. [200/400] Illustrated

321Forty-Nine Assorted Decorative Bindings, 19th/20th century, including works by Galsworthy, Tennyson, Thackeray, Boswell and Eliot among others, most in quarter or half leather, with gilt tooling and lettering, h. 6‑1/4” to 9‑1/4”. [150/300]

322Elisha Kent Kane (1820-1857), Arctic Explorations, the Second Grinnell Expedition in Search of Sir John Franklin, 1853‑54‑55, Philadelphia, Childs & Peterson, 1856, first edition, in two volumes, octavo, full tan calf with gilt threading, with marbled endpapers and edges, the spine with raised bands and gilt lettering, 9‑3/8” x 6‑3/4”. [40/70]

323Three-Volume Leatherbound Set of Dr. John Brown’s Horae Subsecivae, 1867, published by Adam and Charles Black, London, the covers and endpapers in marbled Florentine papers, h. 7‑1/4”, w. 5‑1/4”, d. 1‑3/4”. [30/50]

324Seven Volumes of Gibbons’ Decline and Fall of The Roman Empire, 1817, consisting of volumes I, II, IV, VI, VII, X and XI, printed by Thomas Davison, London, all seven volumes bound in leather and having marbled Florentine endpapers, h. 6‑1/2”, w. 4‑1/4”, d. 1”. [20/40]

325Forty-Three-Volume Leatherbound Set of The Works of the British Poets, 1822, James Eastburn, publisher, the volumes with full leather bindings, gray, rose and ivory marbled Florentine endpapers, marbleized fore‑edges and an engraved frontispiece in each volume, the set presently comprised of volumes 2, 4, 6‑12, 16‑22 and 24‑50, h. 6”, w. 3‑3/4”. [75/125]

326Eleven-Volume Leather-Bound Set of Sir Walter Scott’s Political Works, 1834, printed by Cadell and Whitaker, London, the volumes with marbled Florentine endpapers, h. 6‑3/4”, w. 4‑1/2”, d. 1‑1/4”. [50/80]

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327Pair of Japanese Meiji Imari Porcelain Plates, fourth quarter 19th century, the centers decorated with a rondel of bamboo, oriental pine and flowers in cobalt blue, dia. 8‑1/2”. [50/80] Illustrated

328Unusual Japanese Meiji Imari Porcelain Plate, fourth quarter 19th century, of stylized flowerhead form, the decoration modeled as two stylized pinwheels of plant foliage in the Imari palette, the outer border modeled as alternating floral sprays and cobalt blue leaf tips on an “Imari Red” ground, dia. 8‑1/2”. [50/80] Illustrated

329Pair of Japanese Meiji Imari Porcelain Plates, fourth quarter 19th century, the centers decorated with a stylized wreath of bamboo, oriental pine and flowers in cobalt blue, h. 1‑1/2”, dia. 8‑1/4”. [50/80] Illustrated

330Nine-Piece Collection of Royal Crown Derby “Imari” Porcelain, comprised of a creamed soup underplate produced for Tiffany and Company, a trio of after‑dinner coffee saucers, also for Tiffany and Company, a bread‑and‑butter plate, a pair of coffee saucers and another a pair of coffee saucers, all nine pieces fully backstamped in iron red, the largest dia. 5‑3/4”. [200/400]

331Monumental Japanese Meiji Imari Porcelain Punchbowl, first quarter 20th century, in richly enameled and parcel‑gilt floral decor, the scalloped lip gilded, h. 7”, dia. 18‑3/4”. [400/700] Illustrated Color Plate III

332Pair of Japanese Meiji Imari Porcelain Plates, fourth quarter 19th century, of stylized flowerhead form, each example centered with a painted vase of flowers in the Imari palette, dia. 8‑1/4”. [50/80] Illustrated

333Japanese Meiji Imari Porcelain Sweetmeats Dish, fourth quarter 19th century, of stylized flowerhead form, the center decorated with a jardiniere of flowering plants in the Imari palette, the exterior walls decorated with alternating birds and floral sprigs in cobalt blue on a white ground, h. 1‑1/2”, dia. 7‑1/4”. [50/80] Illustrated

334Pair of Japanese Meiji Imari Porcelain Plates, fourth quarter 19th century, of stylized flowerhead form, each plate centered with a painted vase of flowers in the Imari palette, dia. 8‑1/4”. [50/80] Illustrated

335Anglo-Indian Bamboo Occasional Table, ca. 1900 and later, the rectangular top with a decoupage fish design, joined by bamboo legs to a smaller like shelf, raised on splayed legs, h. 28”, w. 22‑1/2”, d. 16‑1/2”. [150/300]

329327 328

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336Anglo-Indian Bamboo and Seagrass Side Table, first quarter 20th century, the square top raised on circular pinned legs joined by a shelf stretcher, h. 27”, w. 18”, d. 18”. [50/80]

337Dutch School (19th Century) “A Family Gathering for Dinner”, oil on canvas, unsigned, 12” x 16”. Framed. [250/400] Illustrated

338British School (19th Century) “Portrait of a Girl in a Pink Dress, Her Hair in Ringlets”, oil on canvas, unsigned, 14” x 11”. Handsomely framed. [125/250]

339Continental School (Fourth Quarter 19th Century) “Young Girl Feeding Her Cat”, oil on canvas, unsigned, 12” x 8”. Presented in a giltwood and gesso frame. [100/200] Illustrated

340Manner of William Raymond Dommersen (Dutch, 1850-1927) “Seascape with View of a Castle” oil on panel, 20th/21st century, unsigned, 16” x 11‑1/2”. Presented in a Baroque‑style giltwood and gesso frame. [100/200]

341After Rosa Jameson (British, fl. 1885-1895) “Pussy Come Up” and “Pussy Come Down”, pair of color engravings, published by George Rees, Savoy House, London, 1888, sight 23” x 10”. Both glazed, elaborately matted and presented in gilt and polychromed frames. [450/700]

342Eight-Piece Group of Animal Art, consisting of American School (First Half 20th Century) “Five Various Illustrations of Playful Cats”, by various publishers; a watercolor on paper of “Cats Outside a Window”, signed lower right “A. Rivers”; and a pair of color engravings after H. H. Couldery, R.A., “An Interesting Tail” and “Impudent Puppy”, both glazed, matted and presented in faux‑burlwood frames, the largest sight 11‑3/4” x 17‑1/2”. [50/80]

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343Three-Piece Group of Animal Art, consisting of William Home Lizars (Scottish, 1788‑1859) “The Harvest Mouse”, hand‑colored engraving from Sir William Jardin’s Naturalist’s Library, French‑matted; Connie Foreman (American, 20th/21st Century) “Three Little Possums”, watercolor on paper, signed lower right “Connie”, glazed, matted and framed; and an unsigned watercolor on paper of “Two Black Birds”, 20th century, matted and framed; the largest sight 5‑3/4” x 12”. [100/200]

344After Mark Catesby (British, 1679-1749) “Insects”, pair of offset chromolithographs depicting Cancer arenarius and Cancellus maximus, respectively, sight 15‑1/4” x 10‑1/2”; together with another offset chromolithograph depicting the exotic bird Phaenicopterus, sight 15‑1/4” x 10‑1/2”. Glazed, handsomely matted and presented in matching frames (three total pieces). [75/125]

345Suite of Five Various Dog Illustrations, including a framed oil on canvas over cardboard, unsigned; a chromolithograph titled “The Aristocrat”, framed; a glazed, matted and framed offset chromolithograph; a like black and white lithograph, titled lower left “Sandy and Jock”, signed lower right “Mela Pluckebaum”; and a black and white etching, illegibly pencil signed lower right, also glazed and framed; the largest print sight 14‑1/4” x 16‑1/4”; together with Scottish School (First Quarter 20th Century) “Boy Eating His Supper”, oil on canvas, signed lower right “W. Hunt”, 14” x 10”, framed (six total pieces). [100/200]

346Ruggero Focardi (Italian, 1864-1934) “Bust Portrait of an Elderly Woman Dressed in Black Seated Near Palm Trees”, oil on canvas, signed lower left “R. Focardi”, 25‑1/2” x 19‑1/2”. Presented in a period carved giltwood exhibition frame. [700/1000] Illustrated previous page

347Suite of Five Framed Compartmentalized Seed Packets, of various vegetables and herbs, all identified as Hutch Seed Co., San Antonio, Texas. All glazed, matted and framed; the largest framed size 23” x 8‑1/2”. [100/200]

348After Samuel Edmond Waller (British, 1850-1903) “Home from the Honeymoon”, color engraving, engraved by Edward Gilbert Hester, legend lower margin, sight 24” x 33‑1/2”. Glazed, matted and presented in a giltwood and gesso frame. [300/500]

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349T. Curtis (British, 19th Century), suite of five hand‑colored engravings depicting various plants, all identified in Latin in pen and ink, sight 8” x 4‑1/2”. All glazed, French‑matted and presented in giltwood and gesso frames. [100/200]

350Italian Carved Giltwood and Mirrored Glass Looking Glass, first quarter 20th century, of “sunburst” form in the Directoire style, the circular plate enframed with fourteen mirrored glass “petals”, the gilded finish tastefully antiqued throughout, dia. 24”. [400/700] Illustrated

351Napoleon III Bead-Carved Grained Wood and Plaster Overmantel Mirror, third quarter 19th century, with rounded upper corners in the neoclassical taste, the grained finish tastefully distressed throughout and accented with a stylish narrow claret stripe, h. 69”, w. 52‑1/2”. [1200/1800]

352Italian Carved Beechwood Parade Master’s Baton, fourth quarter 19th century, of large “flambeau” form in the neoclassical taste, with the shaft carved in openwork spirals, the upright finial a stylized floriform, l. 31”. [75/125]

353Pair of Neoclassical-Style Oak Columns, each with gadroon‑ and anthemion‑carved capitals, raised on the columnar standards to a molded base on a square plinth, h. 64”. [400/700]

354Neoclassical-Style Jaune Safra Marble Mantel, the rectangular top above a frieze with an inset Carrara panel of an urn issuing floral garlands, flanked to each end by a fleurette‑modeled like panel, raised on uprights with inset panels headed by floral sprays, h. 43”, w. 49‑1/2”, d. 9”. [300/500] Illustrated

355Suite of Four Directoire-Style Fauteuils, fourth quarter 19th century, each with a slightly curved crest with brass mounts in the form of putti playing instruments on scrolling foliage, above a caned back, joined to the like seat by open downswept arms, raised on sabre legs headed by patera and palmetto brass mounts, h. 36‑1/2”, w. 22‑3/4”, d. 18‑1/2”. [400/700]

356Provincial Directoire Four-Piece Polychromed and Caned Dining Suite, first quarter 19th century, consisting of a bench, two sidechairs and an armchair, each with a padded crest above a caned back flanked by spindled supports, above a caned seat raised on turned legs joined by a box‑stretcher and ending in bun feet, the crest upholstered in a roosters‑embroidered rouge‑colored fabric, bench h. 37”, w. 45”, d. 18”, armchair h. 37”, w. 21‑1/2”, d. 18”, sidechair h. 37”, w. 17”, d. 16”. [1500/2500] Illustrated Color Plate VI

357Unusual Italian Gilded Cut- and Wrought-Iron Table Plateau, second quarter 20th century, of small size in the Directoire style, the gilded cut‑iron supports modeled as stylized acanthus leaves, the reverse fitted with a wrought‑iron‑strut for suspension on a wall, h. 3‑1/4”, w. 12”, l. 14‑1/4”. [50/80]

358Two Pairs of Silk Curtains and Rods, consisting of a large pair and a matching smaller pair, having swag valances with gilt ornamental finials and each accompanied by a metal pull‑cord curtain rod, large pair l. 108”, w. 133”, small pair l. 108”, w. 60”. [500/800] Illustrated

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359Pair of Directoire-Style Mahogany Sidechairs, early 20th century, each with a rectangular back with a double X‑form stretcher, the padded seat raised on tapering square legs ending in spade feet, h. 35”. [100/200]

360Neoclassical-Style Sarrancolin Ilhet Marble Mantel, early 20th century, the shaped rectangular top with a molded edge, held by paneled supports on plinth bases, h. 40”, w. 44‑1/2”, d. 14”. [400/700] Illustrated previous page

361Good Twenty-Piece Collection of Paris White and Gold Porcelain, comprised of a three‑piece coffee service in the neoclassical style, consisting of a tall coffeepot of baluster form having an anthropomorphic spout, a mask‑handled covered sugar basin and a large cream pitcher of helmet form, first quarter 19th century; a pair of “Flowering Vine” cylindrical cups and saucers of like date; a large oval teapot, second quarter 19th century; a similar ovoid teapot with anthropomorphic spout; a small “solitaire” teapot, second quarter 19th century; a paneled bread‑and‑milk cup and saucer; a set of five individual vegetable bowls, second quarter 19th century; an oblong octagonal covered sauce stand with integral stand; a fluted sauce pitcher and a reticulated circular corbeille, also second quarter 19th century; the largest h. 6‑3/4”, dia. 9”. [150/300] Illustrated

362French Polished Rouge Royale Marble Garniture, of conical form in the neoclassical style, h. 12”, dia. 5”. [50/80]

361

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363Victorian Cast-Iron Stool, mid‑19th century, the circular top with pierced geometric designs, raised on three scrolling annulated supports to a tripartite base to ribbed feet, h. 16”, dia. 12‑3/4”. [75/125]

364Pair of Northern European Two-Light Sconces, first quarter 20th century, composed of cut mirrored glass, wrought‑iron and wood in the 18th‑century style, the mirrored glass backplates cut with a coronet surmounting a stylized plant stalk, the candlearms and sockets of wrought‑iron, electrified and fitted with “old ivory” faux candles, h. 16‑1/4”, w. 9‑3/4”, d. 5”. [600/900] Illustrated

365Northern European Provincial Walnut Looking Glass, fourth quarter 19th century, of circular form in the neoclassical taste, fitted with the period plate, dia. 23‑1/4”. [50/80]

366Biedermeier-Style Fruitwood and Burlwood Sofa Table, early 20th century, the rectangular top with two rounded drop leaves and an ebonized edge, raised on square banded end supports joined by an ebonized X‑form stretcher, to runner feet, h. 32”, w. 19‑1/4”, l. 37‑1/2”, extended l. 59‑1/2”. Provenance: Eureka Galleries Ltd., Houston, Texas. [400/700]

367Elegant French Gilt-Brass Three-Light Bouillotte Lamp, second quarter 20th century, in the First Empire style, the candlesticks modeled as classical caryatids, the adjustable tole‑peinte shade in parcel‑gilded antique white, h. 22”, dia. 13‑1/2”. [100/200] Illustrated

368Elegant French Gilt-Brass and Morocco Leather Twine Holder, first quarter 20th century, in the First Empire style, the cover fitted with a twine aperture, one side with a scissors sheath containing a pair of parcel‑gilt bright‑cut steel scissors, h. 4‑1/2”, dia. 3‑1/2”. [50/80]

369Empire-Style Mahogany Cabinet, 20th century, the molded cornice above a case fitted with two doors, each with an upper glazed section and a lower paneled section, flanked to either side by engaged ormolu‑mounted pilasters, raised on a plinth base, the whole with ormolu mounts in the Empire taste, h. 78”, w. 52‑1/2”, d. 14‑1/2”. [1500/2500] Illustrated Color Plate III

370Egyptian “Grand Tour” Copper Tray, first quarter 20th century, of large circular form, silver set and black patinated in the Pharaonic style, the reverse of the tray fitted with a copper suspension ring, dia. 25”. [75/125]

371Trio of Georges Carini, Rouen, Silvered Copper Decorative Plaques, fourth quarter 19th century, each of circular form and featuring a bas‑relief image of “The Chariot of Aurora”, each hallmarked on the reverse “Geo. Carini”, the silvered finish largely worn away to the underlying copper, dia. 7‑1/2”. [40/70]

372French Brass and Tole-Peinte Two-Light Bouillotte Lamp, first quarter 20th century, in the Louis XVI taste, the base modeled as a stylized shell‑form tray, the elliptical tole shade painted in monochrome antique green, h. 21‑3/4”, w. 14”, d. 7”. [100/200] Illustrated

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373French Brass and Tole-Peinte Two-Light Bouillotte Lamp, first quarter 20th century, in the Restauration style, the adjustable tole shade painted in monochrome black, the gilded finish visible only in traces, h. 25‑1/2”, w. 14”, d. 9‑1/2”. [75/125] Illustrated previous page

374French Brass and Tole-Peinte Two-Light Bouillotte Lamp, first quarter 20th century, in the Louis XVI style, the base modeled as a stylized shell‑form tray centered with a portrait head of Louis XVI, the adjustable tole shade painted in monochrome black, h. 22”, w. 15‑1/2”, d. 8”. [100/200] Illustrated previous page

375Circle of Isidore-Jules Bonheur (French, 1826-1901), a large pair of patinated bronze horned sheep heads in the animalier style, h. 7‑1/2”, w. 8”, d. 5‑3/4”. [150/300] Illustrated

376Circle of Isidore Jules Bonheur (French, 1826-1901), a large pair of patinated bronze horned sheep’s heads in the “Animalier” style, h. 7‑1/2”, w. 8”, d. 5‑3/4”. [150/300] Illustrated

377Attractive “Grand Tour” Plaster Relief Plaque, fourth quarter 19th century, depicting a horned goats head in the ancient Roman style, presented in a period carved giltwood and plaster frame in the “Barbizon” style, h. 6‑3/4”, w. 9‑1/2”. [75/125]

378Monumentally Scaled Pair of Italian Carved Giltwood Leonine Paws, in the neoclassical taste, h. 5”, w. 5‑1/4”, l. 9”. [50/80]

379Follower of Marius Jean Antonin Mercie (French, 1845-1916) “Ceres, Goddess of Harvest”, a patinated bronze sculpture, 21st century, signed “Leonard” at base, raised on a black marble pedestal, h. 12‑3/4”, w. 7‑1/2”, d. 5‑1/2”. [400/700]

380“Grand Tour” Figure of Theagenes of Thasos, an Olympian athlete, fourth quarter 19th century, after the original by the 5th‑century B.C. Greek sculptor Glaucias of Aegina, raised on a stepped plinth base, h. 9”, w. 5‑1/4”, l. 23‑3/4”. [75/125]

381Unusual Four-Piece “Grand Tour” Patinated Bronze Garniture, fourth quarter 19th century, comprised of busts of four ancient Roman emperors on matching tall pedestal bases, the busts removing to form a suite of four pricket candlesticks, h. 12‑1/2”. [100/200] Illustrated

382Italian “Grand Tour” Patinated Bronze Figure of Apollo, fourth quarter 19th century, after the Antique model and probably of Neapolitan origin, h. 14”, base dia. 6”. [150/300]

383Pair of “Grand Tour” Brass Paneled Cabinet Vases, first quarter 20th century, of diminutive size, the black and gold damascened decor in the Egyptian taste, with gilded pharaonic figures and symbols, h. 3‑3/4”, w. 1‑1/2”, d. 1‑1/2”. [50/80]

384Pair of Continental Copper-Gilt Relief Plaques, fourth quarter 19th century, of circular form in the Louis XVI style and depicting, respectively, a classical family presenting an offering before a Bacchic terme, and Pan, a companion and putti frolicking before a hymeneal terme, dia. 6”. [30/50]

385Large Composition “Carrara” Bust of Caesar Augustus, after the Antique model, weighted, h. 10”, w. 11”, d. 9”. [100/200]

386Dutch-Style Marquetry-Inlaid Center Table, of circular drum form, the top with urn‑ and floral‑inlaid panels above a frieze of alternating drawers and faux drawers, and mounted to a large central pedestal with four outstretched floral‑inlaid legs ending in paw feet, h. 31”, dia. 47‑1/2”. [600/900] Illustrated Color Plate II

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387Provincial Restauration Fruitwood Armchair, second quarter 19th century, the slightly outscrolled, reeded crest above a padded back, joined to the like seat by downswept arms, raised on turned and tapering legs ending in toupie feet, h. 35”, w. 21”, d. 20”. [600/900]

388Louis-Philippe Faded Mahogany Bibliotheque, second quarter 19th century, the molded cornice above a case fitted with two glazed doors, raised on molded block feet, h. 82”, w. 58‑1/2”, d. 17‑1/4”. [1800/2500] Illustrated

389Pair of French Stained Beechwood Vasiform Table Lamps, in the Restauration style, the brass handles modeled as swan’s breasts, the fluted square pedestal bases with beaded brass mounts, accompanied by a pair of custom oblong paneled silk shades in antique white, h. 34”. [300/500]

390Large Italian Majolica Garden Seat, second quarter 20th century, of fluted and waisted stylized bell form in the neoclassical taste, presented in a gloss white glaze, h. 17‑3/4”, dia. 13”. [150/300]

391Pair of Neoclassical-Style Cast-Iron Garden Urns, each of campana form, with egg‑and‑dart‑modeled lip and reeded body, on a square base, h. 30”, dia. 22‑1/2”. [250/400]

392Amusing French Tole-Peinte Hatter’s Sign, fourth quarter 19th century, in the form of a Napoleonic hat, the interior fitted for mounting on a slender pole, retains the period parcel‑gilt red and black polychromy, h. 7”, w. 26”, d. 10‑1/4”. [150/300] Illustrated

393French Cast Plaster Figure of Emperor Napoleon I, first quarter 20th century, the stern emperor modeled in field dress and carrying a telescope, the plaster finish in antiqued gray, h. 20‑1/2”, w. 5‑3/8”, d. 6‑1/2”. [75/125]

394Good Pair of Spanish Colonial Brass Shoe Stirrups, third quarter 19th century, in the neoclassical taste, the stirrup‑leather bars flanked by pairs of anthemia, h. 5”, w. 4‑1/2”, l. 9‑1/2”. [100/200]

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395Diverse Seventeen-Piece Collection of Napoleonica, comprised of a copper pillbox of circular form with a relief bust of Napoleon I on the cover; a gilt‑brass‑mounted circular pincushion centered with an enamel portrait miniature of Napoleon; a silverplate table easel with a small copper silhouette portrait medallion; two silverplate figural hand seals; four slightly larger patinated bronze hand seals, also of Napoleon I; a magnum silverplate hand seal of the Emperor in military garb; a French silverplated bronze figure of the Emperor astride his famed steed “Marengo” (the figure detachable from the horse); three patinated bronze cabinet figures of the standing Emperor in military dress; a similar antique‑gilded bronze cabinet figure on a rouge marble base; and a German polychromed porcelain cabinet figure of Napoleon I in military dress, first quarter 20th century; the largest h. 4‑3/4”. [150/300]

396Interesting Ten-Piece Collection of Napoleonica, comprised of a bronze pedestaled bust of the Emperor in his famed military hat, fourth quarter 19th century; a larger Belle Epoque pewter bust dated 1903; a small bronze‑patinated spelter bust on a rouge royale marble base; a gilt‑bronze figure of the standing Emperor in military dress on a nickel pedestal base with a gilt‑brass applique of a crowned Napoleonic eagle, first quarter 20th century; a diminutive French sterling silver hand seal of the Emperor, fourth quarter 19th century; a bas‑relief‑decorated bronze table bell with a handle in the form of a Napoleonic bust, fourth quarter 19th century; a small French silverplate letter knife with a Napoleon finial and a bee applique of like date; and a diminutive pair of Limoges richly gilded and polychromed porcelain cabinet plates depicting two scenes from the life of Napoleon I, second quarter 20th century; and a patinated bronze portrait medallion of the young Napoleon Bonaparte commemorating the Battle of Montenotte in 1796 by Joseph Raymond Paul Gayrard (French, 1807‑1855), signed “Gayrard F.”, presented in a custom red morocco case lined in forest‑green velvet; the largest 7‑1/2”. [200/400] Illustrated

396

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397Three-Piece Group of Napoleonic Items, comprised of two brass Napoleon Bonaparte commemorative plaques after the 1869 original, rendered to commemorate a 100‑year birth of Napoleon I, Emperor of France, dia. 7”; and a pewter medallion of “Wreathed Napoleon in Profile” after Jean‑Bertrand Andrieu (French, 1761‑1822), dia. 5‑1/2”. [60/90]

398Diverse Five-Piece Collection of Napoleonica, comprised of a Belle Epoque cut brass and mother‑of‑pearl hexagonal jewel casket, the lid centered with a circular portrait miniature of the young Emperor Napoleon I, signed “Holbein”, first quarter 20th century; an oval portrait miniature of the King of Rome in a tortoiseshell‑banded pieced bone frame, fourth quarter 19th century; a Czechoslovakian porcelain oblong box, the lid painted with a portrait of Napoleon I in court military dress, first quarter 20th century; a chrome‑lithograph oval portrait miniature of Napoleon I in court military dress presented in a brown tortoiseshell frame, first quarter 20th century; and a French bronze dished oval portrait plaque of a Napoleonic marechal, first quarter 19th century; the largest h. 5”, w. 4‑1/4”. [100/200] Illustrated

399Graduated Pair of Boch Freres, Belgium, Cachepots, first quarter 20th century, composed of black transfer‑printed pottery in the Napoleonic style, each with alternating vignettes of a crowned Napoleonic “N” medal and battle scenes, the bases marked in underglaze black transfer‑print, the smaller h. 5‑7/8”, dia. 7”, the larger h. 6‑3/4”, dia. 8‑1/8”. [50/80]

400Napoleon III Plaster Relief Silhouette Portrait Plaque, depicting Emperor Napoleon I and the Empress Marie‑Louise, third quarter 19th century, of circular form, presented in a period turned and dark brown‑lacquered wooden frame and glazed, dia. 6‑1/4”. [50/80]

401Agra Carpet, 9’ x 12’. [2500/4000] Illustrated

402Bhadohi Jaipur Runner, 2’ 7” x 12’ 3”. [250/400]

403Louis-Philippe-Style Aubusson Carpet, 9’ x 12’. [2500/4000]

404Peshawar Carpet, 8’ 2” x 10’ 1”. [2000/4000] Illustrated

405Persian Kerman Carpet, 7’ 3” x 9’ 10”. [300/500]

406Persian Shiraz Carpet, 4’ 8” x 8’ 9”. [150/300]

407Persian Isfahan Carpet, 9’ 10” x 12’ 11”. [500/800] Illustrated

408Persian Beloushistan Carpet, 3’ 6” x 5’ 4”. [200/400]

404

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409Peshawar Sultanabad Carpet, 10’ x 13’ 7”. [2500/4000] Illustrated

410Agra Serapi Carpet, 8’ 1” x 16’. [1500/2500] Illustrated

411Karaja Runner, 17’ 11” x 3’ 3”. [200/400]

412Chinese Hooked Carpet, 9’ 3” x 12’ 6”. [300/500]

413Semi-Antique Chinese Carpet, 6’ 8” x 3’ 11”. [75/125]

414Peshawar Zeiglar Mahal Carpet, 8’ x 9’ 9”. [1500/2500] Illustrated

415Persian Bakhtiari Carpet, 9’ 10” x 12’ 10”. [700/1000]

416Tabriz Carpet, 6’ 6” x 9’ 10”. [200/400]

417Semi-Antique Persian Carpet, 6’ 4” x 3’ 4”. [200/400]

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418Hand-Woven Wool and Silk Tapestry, 6’ x 8’ 2”. [3000/5000] Illustrated

419Pakistan Lahore Runner, 2’ 8” x 8’ 4”. [300/500]

420Aubusson-Style Needlepoint Carpet, 2’ 5” x 3’ 11”. [0]

421Shiraz Carpet, 6’ 7” x 10’ 8”. [100/200]

422Two American Hooked Carpets, 5’ 5” x 8’ 5” and 5’ 4” x 8’ 7”. [20/40]

423Agra Serapi Runner, 2’ 7” x 12’ 2”. [350/500] Illustrated

424Peshawar Vegetable-Dyed Carpet, 8’ 1” x 10’ 3”. [2500/4000] Illustrated Color Plate III

425Gabbeh Modern Carpet, 4’ x 5’ 11”. [200/400]

426Needlepoint Carpet, 20’ 10” x 13’ 8”. [1000/1500] Illustrated

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427Four-Piece Samuel Kirk and Son Sterling Silver “Repousse” After-Dinner Coffee Set, first quarter 20th century, the pattern introduced in 1828, comprised of a tall‑neck coffeepot, a covered two‑handled sugar basin, a cream pitcher and a petite claw‑terminal sugar tong en suite, the largest h. 8‑1/2”, w. 4‑1/2”, l. 7‑3/4”, 38.75 total t.oz. [2500/4000] Illustrated

428Group of Three S. Kirk and Son Sterling Silver Serving Implements, first quarter 20th century, all in the “Repousse” pattern, introduced in 1828, comprised of a hollow‑handle carver’s fork with rest, a rare sardine serving fork of seven tines and a pie server, the largest l. 10‑1/2”, 5.00 total t. oz. [50/80]

429Set of Six Theodore Marthinsen, Norway, Sterling Silver After-Dinner Coffee Spoons, first quarter 20th century, with floral anthemion tips in the neoclassical taste, l. 4‑1/2”, 2.20 total t. oz. [100/200]

430Approximately Forty-Eight Assorted Pieces of Sterling and Silverplated Utensils, including a long‑handled toddy ladle with strainer, three miscellaneous knives, three forks, four demitasse spoons, five Coleman E. Adler & Sons demitasse spoons, a shallow ladle, a teaspoon, a salt spoon, two floral souvenir spoons, a floral souvenir olive fork, twelve olive spears with agates, twelve shorter decorative olive spears, and two cafe brulee spoons, the largest l. 14‑1/2”. [150/300]

431Langford Sterling Silver-Clad Figure of an Owl, dated 1995, the bird modeled perched on a woodland stump, the eyes formed of cabochon onyx stones, h. 8‑1/4”. [350/500] Illustrated

432Pair of American Silverplate Garniture Figures of Crested Birds, first quarter 20th century, in the German style, h. 6‑1/2”, w. 10”, d. 3”. [40/70]

433Dutch Silver Berry-Serving Spoon, first quarter 20th century, with a repousse “windmill” bowl and a “windmill” finial with revolving sails, l. 8‑1/4”, 2.30 t. oz. [60/90]

434Attractive French Sterling and Silver Gilt Sifter Spoon, ca. 1880‑1885, with a bowl of stylized flowerhead form, l. 8‑1/4”, 1.20 t. oz. [200/400]

435Pair of Continental Silverplate “Sparrow” Table Garnitures, second quarter 20th century, probably German, h. 4”, w. 2”, l. 4‑1/4”. [100/200]

427

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436Collection of Eight Sterling and Silverplate Pastry and Sandwich Servers, comprised of a Bloom and Son, Ltd., London, “Gadroon” example with reticulated blades; a Mappin and Webb “Onslow” example with a spring action; a G. Pugini, Italy, scissor‑action example in “Vintage” decor; a Florentine silver “Renaissance Masque” example; a Rogers Brothers and Sons scissor‑action example with gilded bowls in the Georgian taste, second quarter 20th century; a diminutive German sterling‑handled scissor‑action example in the Louis XVI taste; a Sheffield silverplate claw‑terminal scissor‑action example of small size in the Georgian style, also second quarter 20th century; and an English silverplate spade‑terminal scissor‑action server; the largest l. 10‑1/4”, 25.05 total t. oz. [100/200] Illustrated

437Four-Piece Group of Silver Items, consisting of a good Continental spiral‑ribbed sterling‑handled cheese parer with an adjustable steel blade, first quarter 20th century; an American silverplate pie server in the Louis XV style; an attractive Rogers Brothers silverplate “Assyrian Head” cheese scoop, the pattern introduced in 1886; and a Wallace sterling‑handled “Grand Venetian” stainless steel bar knife, the pattern introduced in 1979; the largest l. 9‑1/8”, 6.85 total t. oz. [50/80]

438Collection of Approximately Twenty-One Silverplate Serving Utensils, including three pastry servers, two large serving spoons, three small serving spoons, three large serving forks, two small serving forks, a tomato skimmer, three nut picks, a butter spreader, two sugar tongs and a ladle, the largest l. 9‑3/4”. [75/125]

439Unusual Collection of Four Alpaca Salt-and-Pepper Casters, second quarter 20th century, in the form of owls, the collection comprised of a backpacking owl with green cabochon beryl eyes, a similar owl perched on a twig bar and also having cabochon eyes, a smaller squat flat‑base owl with amber glass eyes, and a similar squat flat‑base owl having pale green glass eyes, the largest h. 3‑1/4”. [40/70]

440Unusual Pair of English Sterling Silver “Peacock” Serving Spoons, 1877, Birmingham, maker: F.E., the bowls elaborately chased in the “Islamic” style, l. 8‑3/4”, 6.20 total t. oz. [500/800]

441Japanese Silver Wire and Filigree Miniature Oxen-Drawn Curtained Carriage, first quarter 20th century, of the traditional type, presented in a fabric‑based miniature glass vitrine with a fabric‑covered card lid, the diminutive carriage fitted with a seated driver in a large traditional “coolie” hat, h. 2”, w. 2”, l. 3‑1/2”. [200/400]

442Six-Piece Group of Silverplate, consisting of a set of five Continental silverplate dessert plates, fourth quarter 19th century, dia. 8‑1/4”; and a Barbour silverplate tray with a reticulated border in “Vintage” decor, first quarter 20th century, dia. 10‑3/4”. [50/80]

443International Silverplate Circular Tray, fourth quarter 19th century, with an acanthus‑leaf reeded border and an armorial center, the plating renewed, dia. 11‑3/4”. [20/40]

444Interesting Four-Piece Collection of European Silver, comprised of a large Bruno sterling silver vegetable serving spoon with pierced bowl, first quarter 20th century; a Continental reticulated sterling silver berry serving spoon with a gilded repousse bowl, fourth quarter 19th century; and a pair of Austro‑German .800‑standard silver teaspoons in “Songbird on a Branch” decor, also fourth quarter 19th century; the largest l. 9‑1/2”. [50/80]

445Cased Set of Eight German Porcelain-Handled Silverplate Nut Picks, fourth quarter 19th century, by the Sun Cutlery Company, in the “Blue Onion” pattern, the period case fitted and lined in Tyrrhian purple velvet and silk, pick l. 5‑1/4”. [40/70]

446Collection of Approximately Fifty Assorted Silverplated Utensils, including twenty‑two various butter spreaders, nine bread knives, seven long olive forks, five ornate teaspoons, four assorted demitasse spoons, an olive spear, a teaspoon, and a long‑handled master salt ladle, the largest l. 8”. [100/200]

447Seven-Piece Group of Sterling and Plated Silver, comprised of a sterling‑handled paperknife, first quarter 20th century; a good German .800‑standard silver wine bottle cork in the Louis XV taste and of like date; a silverplate wine bottle pourer, third quarter 20th century; a pair of sterling‑handled embroidery scissors, first quarter 20th century; an American silverplate X‑terminal knife rest, fourth quarter 19th century; a silver‑gilt “Cherub” nail file handle, ca. 1900; and an Italian “Small Gadroon Edge” silverplate sauce ladle; the largest l. 7‑1/2”. [50/80]

448Collection of Three Sterling Silver Hand Mirrors, first quarter 20th century, comprised of an Art Nouveau example in embossed “Entwined Scroll” decor; an R. Wallace and Sons long‑handled example in “Ribbon‑Bound Laurel Springs” decor; and a smaller silver‑gilt example in “Roses” decor; the largest h. 11‑3/4”, w. 5‑1/4”. [100/200]

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449Pair of Italian Patinated Bronze Figures of Monkeys, the capped seated primates modeled wearing vests and carrying fans in the 18th‑century Venetian style, h. 16”, w. 10‑1/2”, d. 10”. [150/300] Illustrated

450Amusing Italian Bronze-Patinated and Polychromed Brass Two-Light Candelabrum, modeled as a tailcoated monkey footman bearing a pair of flambeaux, presented on an oblong bronze‑patinated brass base, h. 16‑3/4”, w. 3‑3/4”, d. 6‑1/4”. [100/200] Illustrated

451Large and Amusing Patinated Bronze Centerpiece Bowl, modeled as two monkeys in human costume bearing a flared glass vase of square section in a palanquin, the whole on a parcel‑gilt black‑painted metal plinth of oblong form, h. 10‑1/2”, w. 21‑1/4”, d. 5‑1/2”. [100/200] Illustrated

452Bronze Tabletop Sculpture of a Pair of Frolicking Monkeys, modeled on a small perch, their tails entwined, presented on a dark‑patinated bronze base of oblong form, h. 16‑1/2”, w. 10”, d. 5‑3/4”. [150/300] Illustrated

453Victor Donelli (American, Contemporary), an oblong hammered bas‑relief panel of a chimpanzee confronting a leopard in a forest, signed lower right “V. Donelli”, presented on a matte brown‑painted backplate within a strie giltwood frame, h. 7‑5/8”, w. 14‑1/4”. [50/80]

454Amusing Bronze-Argente Figure of a Monkey, first quarter 20th century, probably of Japanese origin, the seated clothed primate inspecting a miniature human figure through a magnifying glass, presented on a block pedestal base of Grand Antique marble, h. 8‑3/4”, w. 4”, d. 2‑1/2”. [150/300] Illustrated

455Collection of Six “Vanitas” Skulls, composed of a Continental ecru‑glazed pottery example of a skull resting on a book, fourth quarter 19th century; a large carved carnelian example; a Japanese Meiji carved ivory “ojime” bead of skull form; a pair of carved rock crystal skulls; and a similar, slightly larger carved rock crystal skull; the largest h. 4‑1/4”, w. 2‑1/2”, l. 4‑1/2”. [75/125] Illustrated

456Amusing Two-Piece Collection of Monkey Ware, comprised of a Continental bronze‑patinated brass vide‑poche of a spectacled monkey’s face, w. 4‑1/2”, l. 4‑7/8”; and an antiqued brass business card holder in the form of a clothed monkey holding a placard aloft, h. 6‑1/2”. [75/125]

457Four Japanese Meiji Patinated Brass Figures of Monkeys, first quarter 20th century, the inquisitive primates modeled seated, h. 6”, w. 5‑1/4”, d. 6”. [150/300]

458French Patinated Brass Figure of a Seated Whippet, of diminutive size in the Art Deco taste, h. 5‑1/2”, w. 2‑1/2”, d. 3‑3/4”. [75/125] Illustrated

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459Japanese Meiji Cast-Iron Figure of a Long-Tailed Monkey, first quarter 20th century, the iron finish gilded and verdigris patinated, presented on a custom satin black‑painted wooden stand of oblong block form, h. 10”, w. 5‑3/4”, d. 3”. [75/125] Illustrated

460M. E. Ryan (American, Contemporary), a patinated bronze figure of a bulldog wearing a studded collar, second quarter 20th century, signed indistinctly along the proper right lower ribcage “M. E. Ryan”, h. 3”, w. 5‑3/4”, d. 2‑1/2”. [50/80] Illustrated

461Russian Carved Amethyst Figure of a Sparrow, first quarter 20th century, depicted seated on a rock in the manner of the Woerffel workshops, St. Petersburg, h. 2‑1/2”, w. 4”. [100/200]

462Patinated Bronze Hanging Figure of a Climbing Panther, dated 1991, in the Neo Art Deco style, the interior of the proper right rear leg with a pseudo‑Japanese colophon reading “Ros/etia “c”91FM”, designed to be suspended from the lip of a vessel or stand, h. 3”, w. 7‑1/4”, d. 2”. [50/80] Illustrated 463

Continental Bronze Figure of a Noble Standing Lion, first quarter 20th century, the bronze finish antiqued and parcel‑gilded, h. 5”, w. 7‑1/4”, d. 2”. [50/80] Illustrated

464Continental Gold-Patinated Bronze Figure of a Roaring Lion, first quarter 20th century, h. 4”, w. 6‑1/2”, d. 2”. [50/80] Illustrated

465Two Japanese Ivory Articles, 20th century, comprised of a brass‑bound magnifying glass with an ivory handle with etched decoration of cranes, and a Japanese ivory shaft made into a scepter with the addition of a brass ruyi head, l. 14” and 16‑1/2”. [50/80]

466Diverse Six-Piece Collection of Japanese Meiji Carved Ivory and Bone, comprised of a circular sweetmeats box, the cover centered with a monkey mask enframed by a pair of stalking lions, first quarter 20th century; an ivory netsuke of a mother monkey carrying her baby on her back, fourth quarter 19th century; an elaborately carved bone export walking stick handle of a monkey head, first quarter 20th century; and a set of three “Hear No Evil, See No Evil, Speak No Evil” seated carved ivory monkeys; the largest dia. 2‑5/8”. [150/300] Illustrated

455

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459

458

464

463

462

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58

467Diminutive Pair of Japanese Carved Ivory Masks, each depicting a different subject, presented on custom red mahogany stands of truncated pyramidal form, overall h. 4‑1/2”. [75/125]

468Group of Two Japanese Meiji Letter Knives, first quarter 20th century, consisting of a repousse brass‑handled ivory example in “Celestial Dragon” decor, presented in a fitted faux‑alligator case signed “Evkob”, l. 4‑3/4”; and a carved and polished “Six Elephants” bone letter knife, l. 4‑3/8”. [30/50]

469Five-Piece Group of Oriental Metalware, consisting of a Japanese Meiji patinated bronze tall‑neck vase of small size in relief “Songbirds and Flowering Branch” decor, the base lacking, fourth quarter 19th century; an attractive Meiji tri‑metal‑inlaid bronze cabinet vase of small baluster form in “Songbird and Asters” decor, signed in a calligraphy lozenge on the base, fourth quarter 19th century; a Chinese cloisonne napkin ring in “Celestial Dragon” decor; and a boxed pair of Chinese cloisonne sweetmeat boxes in the form of fledglings in the Chien Lung style; the largest h. 6‑1/2”, dia. 4”. [75/125]

470Good Four-Piece Japanese Meiji Traveling Dining Set, fourth quarter 19th century, comprised of a brass‑mounted elaborately incise‑carved ivory pendant sheath fitted with a pair of ivory chopsticks and a jade‑handled steel knife, l. 13‑3/8”. [50/80]

471Japanese Meiji Carved, Patinated and Polished Ivory Cabinet Figure, of a robed “No” actor carrying a large fan, fourth quarter 19th century, the face fitted to revolve, showing a smiling visage and a grimacing one, presented on an oriental carved and pierced hardwood tripodal base, h. 4‑1/4”. [50/80]

472Group of Two Japanese Meiji Bronze Tigers, fourth quarter 19th century, consisting of a large and attractive patinated bronze figure of a striding snarling tiger; and a similar, smaller russet‑patinated bronze figure of a stretching snarling tiger; both examples fitted with glass taxidermist’s eyes, the larger h. 9‑1/2”, w. 18”, d. 4‑3/4”, the smaller h. 7‑1/2”, w. 15”, d. 4‑1/4”. [200/400] Illustrated

473Japanese Meiji Relief-Ornamented Bronze Bell, fourth quarter 19th century, with an addorsed dragon handle, the body in a stylized floral band surmounting a Celestial Dragons and calligraphy band, the basal edges scalloped, the clapper lacking, h. 8‑3/4”, dia. 5‑3/4”. [75/125]

474Set of Twelve Japanese “Shunga” Hand-Painted Book Plates, second quarter 19th century, from a marriage manual demonstrating various positions for fornication, retaining wide watercolor borders, all unframed, h. 12‑1/2”, w. 7‑1/4”. [400/700]

475Set of Ten Japanese Ivory Shunga Plaques, first quarter 20th century, each of convex form and showing a couple engaged in an act of love, h. 5‑1/8”, w. 1‑7/8”. [100/200]

476Japanese Carved and Polychromed Ivory Shunga Netsuke, fourth quarter 19th century, of small size, the domed lid signed in incised scarlet calligraphy, h. 3/4”, w. 1‑1/8”, d. 1‑5/8”. [50/80]

477Japanese Meiji Provincial Glazed Stoneware Storage Jars, fourth quarter 19th century, the shoulders with rows of stamped barred decoration, h. 19‑1/2”, dia. 13‑1/2”. [300/500]

478Pair of Japanese Meiji Arita Porcelain Covered Rice Bowls, third quarter 19th century, in “Flowering Shrub” decor, the covers reversing to form footed shallow sauce stands, h. 3”, dia. 4‑1/2”. [75/125] Illustrated

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479Japanese Meiji Arita Porcelain Shallow Bowl, fourth quarter 19th century, richly enameled in stylized flowering plant decor on an “Oriental Red” ground, the base with an underglaze blue calligraphic signature, h. 1‑1/2”, dia. 8‑1/4”. [75/125] Illustrated

480Japanese Meiji Arita Porcelain Vase, of tall bottle form with alternating polychromed figural and floral/avian reserves having Mount Fujiyama in the background, signed on the base in overglaze rouge de fer calligraphy, h. 13‑1/4”, dia. 8”. [100/200]

481Unusual Japanese Meiji Arita Porcelain Sweetmeats Dish, fourth quarter 19th century, in the form of a peacock with a displayed tail, the “tail feathers” with alternating scrolled and polychromed floral reserve tips, the base with a kiln mark in underglaze blue, h. 6”, w. 6‑1/2”. [50/80]

482Pair of Japanese Meiji Porcelain Tall-Neck Cabinet Vases, fourth quarter 19th century, the burnt orange grounds with alternating parcel‑gilt floral and “children” reserves, h. 6‑3/4”, dia. 3”. [50/80]

483Japanese Edo Arita Porcelain Bowl, second quarter 19th century, in stylized Phoenix and Rising Sun” decor, the center decorated with a stylized wreath of bamboo, oriental pine and prunus in blue, h. 1‑3/4”, dia. 6”. [50/80] Illustrated

484Striking Japanese Meiji Imari Porcelain Plate, fourth quarter 19th century, the unusual decoration modeled as a stepped series of rondels enframing three figures within a stylized temple, dia. 8‑3/4”. [75/125] Illustrated

485Japanese Meiji Imari Porcelain Ribbed Covered Box, fourth quarter 19th century, of oval form, the finial of the domed cover modeled as a layered flowerhead, h. 4‑1/2”, w. 7‑1/4”, d. 5‑1/2”. [75/125] Illustrated

486Japanese Meiji Gilt-Bronze Shallow Bowl, fourth quarter 19th century, of lily pad form, with a frog, lotus bloom and lotus pod ornamenting the undulating rim, of good weight, h. 2‑3/4”, w. 8”, d. 7”. [75/125]

487Japanese Meiji Basket-Woven Triple-Tier Food Basket, fourth quarter 19th century, of large, rounded oblong form, the stationary handle of wrought‑brass and iron bent bamboo strips, ornamented with a pair of green marbled glass‑embellished brown tassels and a smaller pair of deep raspberry silk corded tassels, h. 22”, w. 14‑1/2”, d. 11”. [50/80]

488Large Japanese Colored Wood Block, first quarter 20th century, depicting a traditionally robed geisha holding a parasol beside a weeping willow tree, signed in calligraphy lower left, 17‑3/4” x 11‑3/4”. Presented in an interesting gold leaf‑spangled taupe mat within a narrow black‑painted half‑round molding frame and

glazed. [75/125]

489Japanese Meiji Embossed Foil-Ground Enamel Vase, first quarter 20th century, of slender baluster form in “Iris” decor, the silvered copper base centered with a signature, h. 6”, dia. 2‑1/2”. [350/500]

490Japanese Meiji Cloisonne Covered Sweetmeats Box, fourth quarter 19th century, of small circular form, the mirror‑black ground with floral decor, the interior fitted with a detachable conforming silvered brass liner, h. 3‑1/2”, dia. 3‑3/4”. [450/700]

491Japanese Taisho Cobalt Blue and Celadon Porcelain Vase, first quarter 20th century, of cylindrical form in “Flowering Prunus” decor, h. 11‑1/4”, dia. 5”. [125/250]

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492Four Pieces of Oriental Porcelain, consisting of a Japanese Meiji porcelain tea caddy, of covered pyriform with a parcel‑gilt burnt‑orange ground and floral decor, first quarter 20th century; a diminutive Tao Kuang porcelain octagonal footed sauce stand, in piscine ying‑yang decor, the interior of the foot with an overglaze rouge de fer reign mark, second quarter 19th century; a diminutive near‑pair of Japanese Meiji Arita porcelain tea bowls in, respectively, floral and “Precious Objects” decor, fourth quarter 19th century; the former signed on the base with an underglaze blue colophon, tea caddy h. 5”, dia. 4‑1/2”, sauce stand dia. 4‑1/4”, tea bowl h. 1‑3/4”, dia. 2‑1/4”. [50/80]

493Pair of Japanese Meiji Imari Porcelain Shallow Serving Bowls, of large stylized owl form, the birds’ breasts white with asymmetrical polychromed decoration of tubbed flowering plants, w. 12”, l. 13”. [200/400] Illustrated previous page

494Japanese Meiji Imari Porcelain Hexagonal Shallow Bowl, in floral decor, the cavetto of a dark brown ground set with two asymmetrically placed white reserves of, respectively, flowering peonies and a flowering prunus branch, w. 12‑1/4”, l. 16‑1/2”. [150/300] Illustrated

495Japanese Meiji Plique-a-Jour Enamel Cabinet Bowl, first quarter 20th century, of circular form in floral decor, the rim silver mounted, h. 2”, dia. 4‑3/8”. [600/900]

496Group of Two Japanese Taisho Polychromed Porcelain Novelty Teapots, first quarter 20th century, one a “Laughing Boy” example and the other a “Fish and Lobster” teapot, each pot retains the period wrapped bent twig handle, the largest h. 5”, w. 7‑1/2”, d. 5‑1/2”. [75/125]

497Japanese Meiji Porcelain Inverted Pyriform Vase, first quarter 20th century, the scarlet ground with white “Flowering Prunus” decor, the base signed in underglaze blue calligraphy, h. 12‑1/2”, dia. 8”. [100/200]

498Japanese Meiji Export Satsuma Porcelain Covered Chamber Pot, fourth quarter 19th century, richly decorated in “Samurai Warrior and Lady” decor, the base of the pot signed in overglaze rouge de fer calligraphy, h. 8”, dia. 9‑1/4”. [100/200] Illustrated

499Unusual Japanese Meiji Arita Export Porcelain Ewer, third quarter 19th century, in “Samurai and Geishas” decor, the base signed in overglaze rouge de fer calligraphy, h. 12”, dia. 7”. [100/200] Illustrated

500Japanese Edo Arita Porcelain Fruit Bowl, second quarter 19th century, in “Celestial Dragons and Flaming Pearl” decor, h. 3‑3/4”, dia. 9‑3/4”. [100/200] Illustrated

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501Trio of Japanese Meiji Satsuma Pottery Objects, fourth quarter 19th century, comprised of a sweetmeats bowl with a reticulated rim in “100 Geishas” decor; a smaller bowl of modified flowerhead form, also in multiple figures decor; and a brocade‑ground cylindrical cabinet vase with stepped paired figural reserves; all richly gilded and polychromed, all three pieces signed on the base in calligraphy, the largest dia. 6”. [50/80]

502Cased Set of Seven Japanese Satsuma Porcelain Liqueur Goblets, each featuring a different one of “The Seven Happy Gods”, with a polychromed and parcel‑gilt portrait of the particular god, each goblet interior with a stanza in black calligraphy and signed on the foot in scarlet calligraphy, the oblong wooden case also marked in black calligraphy, goblet h. 2‑1/4”, dia. 1‑1/4”. [50/80]

503Japanese Meiji Satsuma Porcelain Vase, fourth quarter 19th century, of baluster form in “1000 Faces” decor, the ground in rouge de fer, the base signed in rouge de fer calligraphy, h. 12‑3/4”, dia. 5”. [100/200]

504Japanese Edo Gold-Ground Four-Panel Screen, first quarter 19th century, in “Lotus” decor, retains the proper woven damask borders and a narrow black lacquer frame holding the once‑folding screen stationary, accompanied by a 1965 “Antique Certification” from the antiques retailer Yokohama Inc. of Kyoto, h. 36”, w. 70”. [125/250]

505Dramatic Pair of Japanese Meiji Black Lacquer Panels, fourth quarter 19th century, mounted with carved and tinted bone and mother‑of‑pearl vignettes of fierce eagles perched on flowering branches and about to attack fleeing songbirds, h. 36”, w. 19”. [100/200]

506Pair of Japanese Taisho Polychromed Lacquer Panels, 20th century, featuring elegantly robed Geishas in the Ukiyo‑e style, each panel fitted with a cut brass suspension fret, 21” x 15‑1/2”. [100/200]

507Japanese Meiji Carved White Marble Figure of a Tiger, first quarter 20th century, the snarling cat modeled on an integral crag‑form base, the marble surface highly polished, h. 7‑3/4”, w. 3‑1/2”, l. 12‑3/4”. [150/300] Illustrated

508Japanese Meiji Carved White Marble Figure of an Albino Tiger, fourth quarter 19th century, fitted with yellow glass taxidermy eyes, h. 4‑7/8”, w. 2‑1/2”, l. 13”. [75/125]

509Japanese Meiji Scroll Painting, first quarter 20th century, depicting a songbird perched on a flowering cherry tree branch, the scroll faced properly with floral‑figured gold silk damask and gold‑figured papers, the basal edge retains the polished bone finials, h. 36”, w. 27‑1/8”. [50/80]

510Good Sheffield Plate Bacon Server, first quarter 19th century, in “Gadroon” decor, the turned wooden handle removing to permit the filling of the hollow base with hot water, the whole resting on four acanthus‑topped paw feet, h. 4”, w. 9”, d. 13”. [50/80] Illustrated

511Attractive English Silverplate Oval Grilled Meats Bowl, third quarter 19th century, with a conforming pierced mazarine, w. 6‑7/8”, l. 9‑1/2”. [50/80]

512Handsome Edwardian Silverplate Paw-Footed Soup Tureen, first quarter 20th century, of small oval form in the George III style, the everted bar handles of fruitwood in a natural finish, the lower body vertically ribbed throughout, h. 9‑1/2”, w. 7‑1/2”, l. 13”. [75/125]

513Richly Varied Four-Piece Collection of Silverplate, comprised of a Leonard oval footed tray in the “Chippendale” style, w. 11‑1/4”, l. 14‑1/2”; a Wilkinson & Sons, Sheffield, bowl in the form of a scallop shell, second quarter 20th century, w. 10‑1/4”, l. 9‑1/2”; a W. D. Smith circular tripodal bonbon bowl in the “Old Sheffield” style, dia. 7”; and a Rogers Brothers double‑lipped punch ladle, first quarter 20th century, l. 14‑1/2”. [50/80]

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514Georgian Sterling Silver “Gadroon” Roasted Meats Platter, 1769, London, maker: Sebastian and James Crespi, of ovoid form, the border with an engraved coat‑of‑arms, the opposing border engraved with the crest of that coat‑of‑arms, w. 12‑1/2”, l. 17‑3/4”, 46.85 t. oz. [2500/4000] Illustrated previous page

515Georgian Sterling Silver “Gadroon” Roasted Meats Platter, 1800, London, maker: John Edwards, of ovoid form, the border with an engraved armorial of an upraised armored arm and hand clutching a dagger, w. 12‑3/4”, l. 18‑5/8”, 62.00 t. oz. [3500/5000] Illustrated previous page

516Three-Piece Group of Silverplate Trays, consisting of an attractive antique Sheffield Plate tripodal tray in “Leaf and Foliate Scroll” decor, second quarter 19th century; a large American silverplate two‑handled and footed waiter in the “Old Sheffield” style; and an English silverplate two‑handled tray in the Georgian taste, first quarter 20th century; the largest h. 2”, w. 25‑1/2”, d. 14‑1/4”. [100/200]

517Attractive Three-Piece Collection of Silverplate Trays, in the “Old Sheffield” style, comprised of a circular quadrupedal example in “Flower and Foliate Scroll” decor, first quarter 20th century; a smaller Sheffield Silver Company circular tripodal example in “Gadroon and Shell” decor; and an Edwardian oval quadrupedal example, first quarter 20th century; the largest h. 1‑1/2”, w. 14”, d. 11‑1/2”. [75/125]

518Handsome Pair of Antique Sheffield Plate Bottle Coolers, 1825, in “Shell and Scroll” decor, fitted with detachable collars and interior silverplate bottle sleeves, h. 10”, w. 11”, dia. 9”. [2500/4000] Illustrated

519George III Chased Sterling Silver Papboat, 1793, London, maker: Thomas W. Haupt, with reeded edge, w. 3‑1/8”, l. 5‑1/8”, 2.10 t. oz. [400/700]

520Edwardian Silverplate Sweetmeat Stand, first quarter 20th century, of circular, footed form in “Ivy Wreath” decor, the stand fitted for a porcelain plate above the circular flat silverplate stretcher, h. 10‑1/2”, w. 7”, d. 6‑1/2”. [20/40]

521Attractive English Silverplate Footed Sauceboat, third quarter 19th century, of large size and “Shell and Scroll” decor in the George III style, h. 6”, w. 4‑1/4”, l. 8‑1/4”. [50/80]

522Fine and Rare Thomas Pitts, London, Reticulated Sterling Silver Oval Paw-Footed Epergne, 1787, of oval, paw‑footed form with four branches, with an oval center bowl in the neoclassical style, the central bowl engraved with a handsome armorial, h. 14‑1/4”, w. 20‑1/4”, d. 19”, 69.55 t. oz. [20000/40000] Illustrated Color Plate II

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523Large English Silverplate Circular Tray, second quarter 20th century, with a pierced gallery rim in the Georgian taste, the center with an engraved foliate‑scroll wreath circumscribed by a broad engine‑turned band, dia. 20‑1/4”. [75/125]

524Stylish Pair of Tonks Antique Sheffield Plate Serving Bowls, second quarter 19th century, of footed shell form, each with an engraved armorial, the feet modeled as seashells, h. 1‑3/4”, w. 9‑1/4”, d. 14‑1/4”. [75/125]

525Group of Two Antique Sheffield Plate Trays, the first example of circular tripodal form in “Gadroon” decor, second quarter 19th century; and the other of reticulated scroll‑footed form in “Cartouche and Scroll” decor, third quarter 19th century; the silvering of the former renewed; the smaller dia. 10”, the larger dia. 10‑1/2”. [75/125]

526George V Silverplate Egg Cooker, first quarter 20th century, by Walker & Hall, Sheffield, of ovoid form, the lid decorated with repousse foliate rococo scrolls, surmounted by a figural finial of a nesting bird, and opening to reveal the removable four‑egg frame, the whole raised on three scrolling legs joined by a circular plinth centering a removable burner, h. 9‑3/4”, dia. 4‑1/4”, w. (at base) 5”. [50/80]

527Handsome Irish Sterling Silver “Fiddle Thread” Soup Ladle, 1843, Dublin, maker: James Le Bass, of generous proportions, l. 13‑1/2”, 9.10 total t. oz. [300/500] Illustrated

528Good Sanborn’s, Mexico, Art Deco Sterling “Masque” Punch Ladle, second quarter 20th century, hand‑wrought and double‑lipped, l. 12‑1/2”, 7.30 total t. oz. [150/300] Illustrated

529Continental Sterling Silver “Rat Tail” Stuffing Spoon, third quarter 19th century, in the early 18th‑century style, l. 13”, 5.45 total t. oz. [200/400] Illustrated

530Good English Sterling Silver “Fiddle Thread” Stuffing Spoon, 1864, London, maker: Hyam Hyams, in the George III style, the facade engraved with a handsome canine armorial, l. 12”, 5.30 total t. oz. [200/400] Illustrated

531Antique Sheffield Plate Circular Footed Fruit Bowl, second quarter 19th century, the everted rim with five equidistant gently crimped reserves, the whole supported on four ball feet, h. 2‑1/2”, dia. 12‑1/4”. [75/125]

532After Pablo Picasso (Spanish, 1881-1973) “1961 Bonne Fete Monsieur Picasso”, suite of twenty‑three color lithographs, printed by Mourlot in France for the UCLA’s Art Council at the UCLA Art Galleries in 1961 to celebrate Picasso’s Birthday, 38‑1/2” x 25”; together with a Pair of Leonard Baskin (American, 1922-2000), Black and White Lithographs, “Portrait of a Man in Three‑Quarter View”, artist’s proof, signed in pencil lower right “Baskin”. All unmatted and unframed. [1000/2000] Illustrated

533After Ben Shahn (American, 1898-1969) “Warning! Inflation Means Depression” poster, signed in print lower left, sight 41” x 27‑1/4”. Glazed and framed. [100/200]

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534Salvador Dali (Spanish, 1904-1989) “The Rabbit Sends in a Little Bill”, from Alice in Wonderland, photo engraving, stamped in print, signed in pencil lower right and pencil numbered lower left “23/300”, sight 25” x 16‑1/4”. Glazed, matted and framed. Literature: R. Michler, L. Lopsinger Salvador Dali ‑ Catalogue Raisonne of Etchings and Mixed‑Media Prints, 1924‑1980, Perstel‑Verlag, Munich, 1994, pg. 171/172, ill. no. 325. [400/700] Illustrated previous page

535Nicola Simbari (Italian, b. 1927) “Singing Pierrot”, color silkscreen, signed in pencil lower right, numbered in pencil lower left “164/300”, sight 32” x 33‑1/2”. Glazed, matted and framed. [400/700]

536Nicola Simbari (Italian, b. 1927) “Boy on the Beach”, color silkscreen, signed in pencil lower right, numbered in pencil lower left “225/300”, sight 26” x 33‑1/2”. Glazed, double‑matted and presented in a giltwood frame. [400/700]

537Nicola Simbari (Italian, b. 1927) “La Foret”, color serigraph, signed in pencil lower right, titled in pencil lower left, sight 27” x 21”. Glazed, matted and framed. [300/500]

538Nicola Simbari (Italian, b. 1927) “Les Parapluis”, color serigraph, signed in pencil lower right, titled in pencil lower left, sight 23‑1/2” x 31”. Glazed, matted and framed. [300/500]

539After Andy Warhol (American, 1928-1987) “Albright‑Knox Art Gallery, Buffalo Poster‑100 Cans”, sight 37‑1/2” x 24‑1/2”. Glazed and framed. [40/70]

540Pair of Continental Bronzed Spelter “Swimming Swan” Candlesticks, first quarter 20th century, h. 3‑3/4”, w. 5”, d. 3‑1/4”. [50/80]

541Group of Two Continental Ebonized and Mixed Woods Occasional Tables, mid‑20th century, one of shaped rectangular form, the other of shaped circular form, each fitted with two like tiers with intricate scrolling foliate inlays, raised on ebonized legs, h. 23”, w. 13‑3/4”, d. 14‑1/2” and h. 22”, w. 15‑1/2”, d. 11‑1/4”. [75/125] Illustrated

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542Group of Two Art Glass Vases, consisting of an Art Nouveau brass‑mounted glass cabinet vase by Pallme‑Koenig and Habel, Austria (active 1889‑1930), the green and brown glass with reticulated antique‑gilded brass mounts, first quarter 20th century h. 9‑1/2”; and an American green and white marbled glass vase in the Art Nouveau taste, h. 8‑1/2”. [50/80]

543Pair of Northern European Burlwood Bedside Tables, second quarter 20th century, each fitted with a drawer, raised on slightly cabriole legs with painted details and ending in scroll feet, h. 24”, w. 17”, d. 15”. [200/400] Illustrated

544Continental Flaring Glass Vase, of tall petaled form in the Art Nouveau taste, the glass in shaded emerald green and white, h. 25‑1/4”, dia. 10‑1/2”. [75/125]

545Pair of Continental Matte White Porcelain Garniture Vases, in the form of large coral branch sections, the lips of freeform configuration, h. 8‑1/2”, dia. 6‑1/2”. [75/125]

546Good French Art Nouveau “Ecole De Nancy” Footed Glass Vase, first quarter 20th century, the cameo‑cut orange‑over‑amber glass in “Foliage” decor, now drilled and brass mounted as a table lamp, h. 18‑1/4”, dia. 8”. [100/200]

547Painted Cast-Iron Garden Bench, 20th century, the carved crest over a “swags and urns”‑formed back, joined to the openwork seat by acorn foliage‑molded arms, raised on cabriole legs joined by stretchers (one front leg broken just below the stretcher), h. 29”, w. 37‑1/4”, d. 13”. [20/40]

548Continental Patinated Bronze Group of a Mermaid with Dolphins, in the Art Deco style, presented on a circular polished verde antico marble base of disc form, the bronze finish triple patinated, h. 30”, w. 16”, d. 8”, dia. 10”. [300/500] Illustrated

549Belle Epoque Gilt-Brass and Beveled Mirrored Glass Paperweight, first quarter 20th century, centered with a portrait miniature of the celebrated actress Sarah Siddons in an extravagant chapeau, presented on a later brass display easel, h. 8‑1/2”, w. 5‑1/2”, dia. 6”. [75/125]

550Fanny Rozet (French, fl. 1881), a gilt‑bronze figure of a dancer, signed at the base “Fanny Rozet”, raised on a round variegated marble base, h. 6‑1/2”, dia. 4‑3/4”. [100/200]

551Good French Leather Gentlemen’s Cologne Case, second quarter 20th century, of circular form and fitted with four shaped cologne bottles enframing a central glass talc jar, all of the glass vessels with gilded brass caps, h. 3‑3/4”, dia. 4‑3/4”. [75/125]

552Art Deco-Era French Men’s Mannequin, second quarter 20th century, by Buste Girard, Paris, European size 46, the torso and and arms in unbleached muslin, the head, hands and legs all of gessoed papier mache the head and hands realistically painted, the legs painted white, the feet shod in leather wing‑tip shoes, h. 5’ 8”. [100/200]

553Good Franco-Belgian Crackle-Glazed Pottery Vase, second quarter 20th century, of paneled hexagonal form in the Art Deco taste, the body stylishly decorated in black‑outlined floral and avian motifs, h. 10‑1/4”, dia. 8‑1/2”. [50/80]

554Large Balos Art Deco Amethyst-Tinted and Frosted Glass Vase, second quarter 20th century, of elliptical section in “Trellis Rose” decor, the base embossed “BALOS” (the S reversed), h. 20‑1/2”, w. 10‑1/2”, d. 7”. [200/400] Illustrated

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555Continental Art Deco Polychromed Porcelain Vase, first quarter 20th century, in the Chinese taste, with figures in “Ballet Russe”‑style Chinese costumes, now mounted as a table lamp on a custom turned and painted wooden base and having a matching custom cap, h. 12”, dia. 7”. [200/400]

556Pair of Art Deco-Style Cast Bronze Sculptures of Leopards, h. 30”, l. 59”. [800/1200] Illustrated previous page

557Italian Art Deco Pietra Dura Table Box, second quarter 20th century, of small size and hexagonal navette form, the interior lined in polished travertine throughout, w. 2”, l. 3‑1/4”. [250/400]

558Art Deco-Style Circular Side Table, mid‑20th century, the figured birch top mounted to four reeded and polychromed legs, h. 27”, dia. 28‑1/2”. [100/200]

559English Art Deco Frosted Glass “Ruffle” Vase, second quarter 20th century, in white and orange spangled glass, h. 11‑1/2”, w. 8‑1/2”, d. 8‑1/2”. [50/80]

560Stylish Eight-Piece Soho Pottery, Staffordshire, “Solian Ware” Dressing Table Set, first quarter 20th century, in the Art Deco style, the set in lavender with black and white marbling and black and white checkered bands, comprised of an oval perfume bottle tray, a pair of candlesticks of inverted trumpet form, a circular covered soap/sponge box with pierced drainplate, a ring stand, two small covered circular jewel boxes and a toothbrush vase, the largest w. 13‑3/4”, d. 9‑1/2”. [100/200]

561Art Deco-Style Ebonized Chest, 20th century, the rectangular ivory‑painted top above a case fitted with four drawers faced as nine narrow drawers, all with ivorine ball pulls, raised on tapering circular legs, h. 41‑3/4”, w. 36”, d. 19‑1/2”. [300/500] Illustrated

562Collection of Nine Fine Art Glass Items, consisting of a rare French Art Deco satin‑finished olive glass vase in stylized “Leaves” decor, attributed to Pierre d’Auesn, unsigned, second quarter 20th century; a good French Art Deco cased custard‑over‑white mold‑blown spherical glass vase in the manner of Edward Cazaux (French, 1887‑1974), second quarter 20th century; a good J. Kralik und Sohne, Bohemia, Art Nouveau iridized colorless and green glass vase, first quarter 20th century; a stylish trio of Joma, France, pressed and satine glass vases in the Daum, Nancy, style, ca. 1925; a subtle French Art Deco satine pale gray‑green spherical glass vase in “Interlaced Ribs” decor of like date; and a pair of French white‑spangled mulberry‑to‑clear satin‑finished glass floriform shades; the Joma vases with embossed marks JOMA “Fabrication Francaise” on the bases, the gray‑green glass vase with the embossed mark “Chaussures Dressoir” on the base, the largest h. 7‑3/4”, dia. 7‑1/2”. Reference: Victor Arwas, The Art of Glass: Art Nouveau to Art Deco, Harry N. Abrams, New York, 1987, pgs. 36‑37, 59. [100/200]

563Magnum Amethyst Glass Perfume Flacon, modeled after Elizabeth Taylor’s “Passion” in the Neo‑Art Deco style, the neck wrapped in metallic silver cord, the amethyst glass stopper of stylized fan form, h. 12‑1/2”, w. 8‑5/8”. [100/200]

564Magnum Amethyst Glass Perfume Flacon, modeled after Elizabeth Taylor’s “Passion” in the Neo‑Art Deco style, the neck wrapped in metallic silver cord, the amethyst glass stopper of stylized fan form, h. 12‑1/2”, w. 8‑5/8”. [100/200]

565French Art Deco Wrought-Iron and Plaster Swivel Shaving Mirror, in the manner of Armand Rateau (French, 1882‑1938), the annular mirror backed with a gilt‑edged patinated plaster masque of a young Greek boy, the circular base stepped and supported on four ball feet, h. 36”, w. 10”, d. 7‑1/2”. [200/400] Illustrated

566Nine Continental Brass and Silvered Brass Lampshades, third quarter 20th century, in two sizes, three large h. 2‑3/4”, dia. 5‑1/2” (two silvered), and six small, h. 3‑1/4”, dia. 7‑1/2” (four silvered), each stamped and pierced with elaborate rococo scrolls. [30/50]

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567Group of Two Glass Paperweights, one an American studio glass paperweight with a swirled freeform iridescent center with air traps, 1999, and the other a similar studio glass weight with a freeform swirled iridescent center with an upright air trap, 1999, both weights signed with a monogram and dated, h. 3”. [20/40]

568Pair of Lalique Crystal Nasturtium Blossoms, the petals in satin‑finished glass with black enamel details, the stems signed in diamond stylus script “Lalique France”, dia. 4”. [50/80]

569Two-Piece Collection of Lalique Crystal, comprised of a gilt‑brass‑mounted “Reclining Female Nude” powder box in a frosted finish, h. 2”, dia. 3”, and a “satine” figure of a kneeling nude girl with a kid, h. 4‑1/2”, both examples signed on the base in diamond stylus script “Lalique R France”. [50/80]

570Pair of Lalique Crystal Figures of Seated Long-Haired Cats, in satin‑finished glass, the bases signed in diamond stylus script “Lalique France”, h. 3‑3/4”, w. 2‑3/4”, d. 2‑1/2”. [50/80] Illustrated

571Lalique Crystal Group of Two Cuddling Recumbent Cats, in satin‑finished glass, signed on the base in diamond stylus script “Lalique France”, h. 2‑1/4”, w. 6”, d. 3‑1/2”. [50/80] Illustrated

572Trio of Baccarat Crystal Rabbits, comprised of two in colorless crystal and one in mirror‑black, one colorless crystal and the black rabbit signed “Baccarat” in script, the other figure with the Baccarat acid‑stamped “decanter” mark, h. 3”, w. 2‑1/2”, d. 2”. [50/80] Illustrated

573Lalique Crystal “Thistle” Paperweight, fourth quarter 20th century, in reverse‑pressed and satin‑finished glass, signed at one edge in diamond stylus script “Lalique France”, h. 3‑3/8”, w. 2‑1/8”. [50/80]

574Trio of Lalique “Lion Masque” Crystal Ashtrays, third quarter 20th century, designed by Marie‑Claude Lalique, each signed on the base in diamond stylus script “Lalique ‘c’ France”, dia. 6”. [75/125]

575Lalique Crystal “Pinsons” (or “Finches”) Bowl, in satin‑finished glass, designed by Rene Lalique (French, 1860‑1945) on January 24, 1933, unsigned, h. 3‑3/4”, dia. 9‑1/4”. [50/80]

576Baccarat Crystal Figure of a Hawk, the bird modeled perched on a crag, the base with the acid‑stamped Baccarat “decanter” mark, h. 9‑3/4”, w. 3‑1/4”, d. 4”. [75/125] Illustrated

577Two Lalique Crystal Figures, the first a diminutive satin‑finished figure of a quail, h. 2”, and the second a larger figure of an owl, h. 3‑1/2”, both figures signed in diamond stylus script “Lalique France”. [50/80] Illustrated

578Lalique Crystal Figure of a Quail, in satin‑finished glass, the base signed in diamond stylus script “Lalique France”, h. 6‑3/4”, w. 6”, d. 3‑1/4”. [50/80] Illustrated

579Lalique “Satine” Crystal Figure of a Bantam Rooster, the base signed in diamond stylus “Lalique France”, h. 8”, w. 5”, d. 2‑1/2”. [50/80] Illustrated

580Set of Eight Baccarat Crystal Place Posy Vases/Cigarette Urns, third quarter 20th century, each example with the Baccarat acid‑stamped “decanter” mark on the base, h. 2‑1/4”, dia. 2‑1/4”. [50/80]

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581Pair of Baccarat Crystal Figures of Seated Frogs, each with the acid‑stamped Baccarat “decanter” mark on the base, h. 3”, w. 4”, d. 3”. [50/80] Illustrated

582Baccarat Crystal Falcon’s Head, the proper right basal edge signed in script “Baccarat”, h. 4”. [50/80] Illustrated

583Waterford Crystal Figure of a Recumbent Seal, the base with the acid‑stamped Waterford signature, l. 8”. [50/80] Illustrated

584Trio of Cristallerie Daum Seated Monkeys, representing, respectively, “Hear No Evil”, “Speak No Evil” and “See No Evil”, each signed on the basal edge in diamond stylus script “Daum France”, h. 3‑1/4”, w. 2‑1/2”, d. 2”. [50/80] Illustrated

585Stylish Pair of French Frosted Glass Bottle Coolers, third quarter 20th century, with leaf handles, h. 9”, dia. 7‑3/4”. [100/200]

586Sabino, Paris, Opalescent Glass Figure of a Plump Sparrow, second quarter 20th century, of diminutive size, with an embossed mark at the basal edge “Sabino, France”, l. 2”. [20/40]

587French Blown Glass Garden Cloche, first quarter 20th century, of large bell form, h. 14‑1/2”, dia. 11‑3/4”. [50/80]

588Italian School (Contemporary) “Venetian Canal with a View of Santa Maria della Salute Church”, oil on canvas, unsigned, 36” x 24”. Presented in a handsome stained and parcel‑gilt frame. [400/700] Illustrated

589Manner of Edouard-Leon Cortes (French, 1882-1969) “Evening Parisian Street Scene, With View of a Flower Stall”, oil on panel, unsigned, 20th/21st century, 12” x 15‑1/2”. Presented in a Beaux Arts‑style giltwood and gesso frame. [200/400]

590Ronald H. Fryling (Dutch, 1917-1941) “Amsterdam Street Scene”, oil on canvas, signed and dated lower left “Ronald Fryling Amsterdam/35”, 25” x 19”, verso affixed with a typed label identifying the painting. Presented in a parcel‑gilt hardwood frame. [300/500] Illustrated

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591Hans Gott (German, 1883-1962) “A Village in the Dordogne”, oil on canvas, ca. 1950, signed lower right, sight 7‑1/2” x 9‑1/2”. Presented in a giltwood Arts and Crafts‑style frame. [300/500] Illustrated

592Continental School (Third Quarter 20th Century) “Untitled Abstract”, color etching, signed illegibly lower right, numbered lower left “60/95”, sight 23‑1/2” x 17”. Glazed, attractively matted and presented in a silvered frame. [60/90]

593Continental School (Third Quarter 20th Century) “Untitled Abstract”, color etching, signed illegibly lower right, numbered lower left “17/95”, sight 23‑1/2” x 17”. Glazed, attractively matted and presented in a silvered frame. [60/90]

594Continental School (Third Quarter 20th Century) “Untitled Abstract”, color etching, pencil signed illegibly lower right, numbered in pencil lower left “XLIX/LX”, 19” x 13”. Matted and unframed. [30/50]

595Danish School (20th/21st Century) “Green Landscape”, oil on canvas, initialed lower right, signed and dated on stretcher verso “Anders Koustrup 1985”, 24” x 27‑1/2”. Presented in a giltwood and gesso frame. [300/500]

596Danish School (20th/21st Century) “Landscape with a Gray Sky”, oil on canvas, signed illegibly lower right, 24” x 27‑1/2”. Presented in a giltwood and gesso frame. [300/500]

597Emil Poulsen (Danish, 20th Century) “View of a Beach at Sunset”, oil on canvas, unsigned, bearing a vintage gallery label verso and an ink‑inscribed label in Danish, 19‑5/8” x 30‑1/2”. Framed. [300/500]

598Michel Delacroix (French, b. 1945) “Parisian Scene Along the Seine”, chromolithograph, signed in pencil lower right, numbered in pencil lower left “XXXVII/CL”, sight 20” x 22‑1/2”. Glazed, linen‑matted and presented in a silvered frame. [200/400]

599Michel Delacroix (French, b. 1945) “Parisian Street Scene”, chromolithograph, signed in pencil lower right, numbered in pencil lower left “54/150”, sight 25” x 20‑3/4”. Glazed, linen‑matted and presented in a parcel‑gilt burlwood frame. [200/400]

600Italian School (20th Century) “The Red, Red Sea”, oil on academy board, 20” x 9‑1/2”. Presented in an antiqued carved giltwood frame in the Baroque style. [75/125]

601Italian School (Contemporary) “Spring Landscape with a Chapel”, oil on canvas, signed “L. Capitani” lower right, 26‑1/2” x 22‑1/2”. Presented in a Rococo‑style giltwood and gesso frame. [40/70]

602Interesting and Varied Four-Piece Collection of Art, comprised of “Summer Pleasures: The Amalfi Coast”, by Katherine E. Wallis (American, 1861‑1957), oil on canvas, 1953; “Springs Bounty”, a floral still life by Lee Havesty (American, contemporary), watercolor, 1974; “Spray of Strawberries”, a pen and ink drawing by William Hobson (American, 20th century), ca. 1965; and “The Villa on St. Martin”, a watercolor by Carol Hine, 1991; all of the works signed and dated but for the Wallis and the Hobson, and all presented in attractive different frames. [100/200]

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603Good Set of Six Bartolini, Venice, Champagne Flutes, second quarter 20th century, the acid‑etched pale rose and clear glass flutes in “Rose Garland” decor, each flute signed on the base with a diamond stylus‑engraved script “B”, the basal edges and the lips gilded, h. 10‑1/8”, dia. 2‑1/2”. [75/125]

604Italian Carved Giltwood and Mirrored Glass “Sunburst” Looking Glass, of large size in the Directoire style, the oval plate enframed with a band of narrow oblong mirrored glass panels surmounting a stepped double band of mirrored glass petals, every other sunray centered with a narrow mirrored glass panel, h. 32”, w. 27”. [400/500] Illustrated

605Christopher Ross Blue Leather Lady’s Belt, 1976, with a large gilt‑bronze buckle in the form of a kitten’s head set with dark amber taxidermist’s glass eyes, the buckle hallmarked on the interior with an embossed Christopher Ross mark, l. 36”. [100/200]

606Group of Two Brahmin Alligator Handbags, consisting of a matte gilded brass‑mounted three‑tone alligator leather lady’s handbag in ecru, shaded gold and black, along with its original Brahmin storage bag, h. 9‑1/4”, w. 7”, l. 13”; and a larger burgundy alligator leather handbag, h. 11”, w. 5‑1/2”, l. 16”; both handbags fully lined in beige suede and retaining the pendant matte gilded brass Brahmin seals. [100/200] Illustrated

607Group of Two Lady’s Dressing Accessories, consisting of a Chanel, Paris, gold‑plate and leather “Cambon” belt of five plaques, together with its original Chanel white fabric storage bag, l. 48”; and a Gucci mocha leather‑trimmed black wool felt tote bag, h. 18‑3/4”, w. 16”. [40/70] Illustrated

608Collection of Four Bead or Mesh Lady’s Evening Bags, first quarter 20th century, comprised of a silverplate‑framed beaded bag in “Scroll and Bar” decor; a smaller reticulated silverplate‑framed beaded bag in stylized floral decor; an antique‑gilded brass‑framed polychromed gold mesh lady’s bag with a kiss clasp; and a smaller Continental silverplate‑framed black steel mesh lady’s bag with an unusual sliding clasp, retaining its annular silverplate purse mirror; the largest h. 9”, w. 7‑1/2”. [50/80]

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609Mahogany and Leather-Upholstered Sofa, 20th century, the padded and tufted back joined by outscrolled arms to the tri‑cushioned seat, raised on bulbous toupie feet, h. 32”, w. 78‑1/2”, d. 38”. [500/800] Illustrated

610Contemporary Upholstered Sofa, the padded and domed tufted back joined by downswept arms to the cushioned seat, the base skirted and raised on tapering square legs, h. 31‑1/2”, w. 75”, d. 28”. [150/300]

611Large Contemporary Overstuffed Sofa, having turned and reeded legs, and accompanied by seven pillows and a slip cover, h. 38‑1/2”, w. 91”, d. 38”. [500/800]

612Contemporary Pecan-Finished China Cabinet, of traditional form, the projecting molded cornice over a paneled frieze, the glazed doors flanked by open serpentine shelves, the lower portion with a central fold‑down display nook over a pair of drawers, flanked by a serpentine drawer over a like door, h. 82”, w. 62‑1/4”, d. 15‑1/2”. [800/1200] Illustrated

613Group of Two Metal “Frog” Items, consisting of a contemporary patinated brass candlestick whimsically modeled in the form of a frog bearing a candlestick holder, h. 4”, w. 7”, d. 4‑1/2”; and a patinated bronze desk figure of a frog, the body partially inlaid with marble pieces to resemble tortoiseshell, h. 3”, w. 5‑1/2”, d. 4”. [50/80]

614Unusual Pair of Italian Carved Wooden Columnar Pedestals, in the form of upright bound asparagus spears, presented in a natural lightly waxed finish, h. 35‑1/2”, w. 12‑1/2”, d. 12‑1/2”. [150/300] Illustrated

615Art Deco Bronze Figure of a Seal, second quarter 20th century, the elongated mammal depicted standing on a square pylon, signed on the proper right edge “Bronze/M.O.”, in a horizontal octagonal frame, h. 16”, w. 6‑1/4”, d. 6‑1/2”. [100/200] Illustrated

616Clark Bronson (American, b. 1939), a small patinated bronze figure of “National Eagle”, raised on an onyx base, signed, titled and dated “1976” at neck, h. 4”, dia. 3”. [50/80]

617Contemporary Patinated Bronze and Glass Center Table, the circular glass top raised on three supports in the form of winged swans, on a concave tripartite base, h. 30”, dia. 48”. [400/700] Illustrated following page

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618Good Lachenal, France, Pottery Pyriform Vase, second quarter 20th century, in a gloss turquoise crackle glaze, the base signed in underglaze black “Lachenal”, h. 6‑1/4”, dia. 5‑1/2”. [300/500]

619Pair of French Terra Cotta Architectural Plaques, first quarter 20th century, each featuring a central bas‑relief foliate ornament, now mounted as table lamps on custom wrought‑iron bases, the bases in an overall lightly rusted finish, h. 12”, w. 5‑1/2”. [200/400] Illustrated

620French Reticulated Wrought- and Sheet-Iron Looking Glass, second quarter 20th century, in the Art‑Moderne style, presented in a matte rubbed natural rust finish, h. 35‑1/2”, w. 19‑3/4”. [250/400]

621American Carved Marble Abstracted Tabletop Sculpture, third quarter 20th century, depicting two dancers within an oval, the marble of gray‑green coloration, h. 10‑1/2”, w. 8‑1/4”, d. 3”. [150/300]

622John Allan Dawson (American/Arizona, b. 1946) “The Phantom”, a bronze sculpture, signed “Dawson” at back of the sculpture, raised on an oval hardwood plinth base, h. 12”, w. 7‑1/2”, d. 6”. [75/125]

623Contemporary Patinated Bronze Figure of a Japanese Dancer, fourth quarter 20th century, raised on a circular marble plinth base, h. 8‑3/4”, dia. 6”. [75/125]

624Alexandre Kelety (Hungarian, 1918-1940), a patinated bronze sculpture of a child with a goose, signed at the base “A. Kelety”, h. 10”, dia. 3‑1/4”. [75/125]

625Dan Heching (American, Contemporary), a natural and patinated bronze bust of an elegant young woman wearing a stylized hat and exaggerated lapels, dated 1992, signed at the proper right rear basal edge “Heching ‘92”, presented on an integral patinated bronze open pedestal, overall h. 66”, w. 12”, d. 10”. [400/700] Illustrated Color Plate VII

626Group of Three Lucite Stands, consisting of a three‑tier chairside table of oblong octagonal form, the shelf edges narrowly beveled, h. 19‑1/2”, w. 13‑1/2”, d. 8‑1/2”, fourth quarter 20th century; an Art Deco Revival rack, the single Lucite standard fitted with three graduated hanging rods, raised on rectangular base, third quarter 20th century, h. 37‑1/2”, w. 16”, d. 12‑1/4”; and an American oblong tiered telephone stand, the shelf dished, the whole supported on stylized bracket feet, h. 24”, w. 11”, d. 11”. [50/80]

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627Large Lucite Figure of a Seated Frog, in shades of emerald and hunter green, h. 6”, w. 7‑3/4”, d. 8”. [40/70]

628American Plexiglass and Lucite Rolling Magazine Rack, third quarter 20th century, the rim fitted with an encompassing tubular Lucite rail, the whole supported on four rolling ball feet in silvered plastic, h. 10‑1/2”, w. 18‑1/2”, d. 14‑3/4”. [50/80]

629Two Similar Lucite Floor Lamps, one having six vertical chrome mounted Lucite rods on a circular chrome base, the other comprised of a single large Lucite column mounted to a square brass base, h. 57”, w. 10”, d. 10”. [100/200]

630Unusual Set of Six Lucite Salad Bowls, third quarter 20th century, of rounded near‑square form, each embedded with wheat and field grasses in their natural colors, w. 7‑1/8”, l. 7‑1/4”. [75/125]

631Lucite “Doric Column” Table Lamp, in the neoclassical taste, the whole supported on a large square block base of Lucite, h. 21”. [100/200]

632Contemporary Blonde Mahogany Side Table, the rectangular top raised on square legs, the whole outlined with molded bandings, h. 27”, w. 36”, d. 17‑3/4”. [50/80]

633Italian Burlwood and Linen Looking Glass, third quarter 20th century, the interior edge of the broad natural linen mat fitted with a matching half‑round burlwood fillet, h. 18‑3/4”, w. 15‑3/4”. [50/80]

634Anglo-Indian Pieced Bone-Veneered Columnar Pedestal, third quarter 20th century, h. 36‑3/8”, dia. 14‑1/4”. [100/200]

635Gilt-Brass and Glass Vitrine Cabinet, 20th century, of rectangular form, the glazed top opening to a fabric‑lined interior, the sides also glazed, raised on a conforming ebonized four‑legged stand, h. 18‑1/4”, w. 32”, d. 20”. [75/125]

636French Brass and Glass Serving Trolley, early 20th century, the removable rectangular glass top opening to a single shelf, the glass case fitted with two sliding doors, each end fitted with a push handle, raised on brass legs joined by a box stretcher on casters, h. 36”, w. 24‑1/2”, d. 14”. [100/200]

637Follower of Alberto Giacometti (Italian, 1901-1966), a pair of bronze‑patinated plaster figures of a tall, attenuated male and female nude, fourth quarter 20th century, h. 36‑3/4”, w. 8‑1/2”, d. 8‑1/2”. [150/300] Illustrated

638Austin Rand (American, Contemporary), a terra cotta figure of an attenuated dapper gentleman carrying a hat, dated 1974, signed and dated at the rear edge of the rectangular base, h. 25‑1/2”. [100/200]

639Unusual Silver-Painted Driftwood and Plate Glass Console Table, the base constructed of naturally formed driftwood and supporting the serpentine plate glass top, h. 34”, w. 42”, d. 19‑3/4”. [400/700] Illustrated

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640Small Pair of Murano Glass Posy Vases, second quarter 20th century, of truncated oviform in transparent amber cased lattimo with goldstone inclusions, h. 3”, dia. 2‑3/4”. [40/70]

641Three-Piece Collection of Murano Art Glass, comprised of a good lattimo and air‑trap “Lace” cabinet dish with a crimped border, ca. 1900, h. 1”, dia. 5‑1/2”; a good opalescent white‑striped colorless glass bud vase of bottle form, third quarter 20th century, h. 6‑1/4”; and a fine aventurine spiral‑striped cased amethyst‑over‑lattimo petal‑form bonbon bowl, ca. 1950‑1955, h. 2”, dia. 7‑1/2”. [50/80]

642American Contemporary Chromium-Mounted Lucite Tea Cart, having two tiers, each with a deep galleried edge, h. 27”, w. 17”, l. 25”. [50/80]

643Handsome Pair of Italian Blown Ruby Glass Garniture Vases, third quarter 20th century, cased in stylized “tortoiseshell” glass with gold leaf inclusions, h. 9‑3/4”, dia. 9”. [50/80]

644Michael Wilkinson (American, Contemporary) “Lodestone”, an acrylic sculpture, signed, numbered and dated “Wilkinson, copyrighted 2000, 113/300”, raised on a custom black‑lacquered pedestal, sculpture h. 22”, overall h. 66”, w. 16”, d. 10”. [700/1000] Illustrated previous page and Color Plate VII

645Large and Elegant Leaded Glass Rondel of an Orchid Bloom, composed of colorless pebbled, pale caramel slag and transparent emerald green glass, dia. 26‑1/2”. [40/70]

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646Dramatic Italian Seafoam Green and Colorless “Strie” Glass Bowl, third quarter 20th century, of stylized shell form, h. 7”, dia. 20‑1/2”. [100/200]

647Swedish Blown Cobalt Blue Glass Salad Bowl, third quarter 20th century, of deep cylindrical form, h. 10”, dia. 5”. [50/80]

648Rosenthal Studio-Line Crystal Vase, of oblong section in fully stylized tangent‑leaf decor, the base acid‑stamped, h. 8‑1/2”, w. 6”, d. 3‑1/2”. [30/50]

649Continental Wrought-Iron Garden Table, fourth quarter 20th century, the circular trellis‑form top over a polychromed grapevine‑form apron, applied with glass grapes clusters, raised on scrolled legs joined by an X‑form stretcher surmounted by an acorn finial, h. 27‑1/2”, dia. 29”. [100/200]

650Contemporary Stained Mahogany Three-Tiered Hanging Plate Shelf, each shelf with a plate groove near the back edge and supported by turned posts, h. 31”, w. 30‑3/4”, d. 8”. [100/200]

651Attributed to Howard Logan Hildebrandt (American/Pennsylvania, 1872-1958) “Figures in a Lush Garden”, oil on canvas wrapped over board, unsigned, 16” x 12”. Framed. [200/400] Illustrated

652Garcia Cahero (Mexican, fl. First Quarter 20th Century) “View of a House with Courtyard”, oil on canvas, signed and dated lower left “Garcia‑Cahero 1920”, 30” x 25‑1/2”. Presented in an unfinished hardwood frame. [300/500] Illustrated Color Plate VII

653Attributed to Howard Logan Hildebrandt (American/Pennsylvania, 1872-1958) “Children Playing in the Stream”, oil on board, unsigned, 12‑1/2” x 16”. Presented in a giltwood and linen frame. [200/400] Illustrated

654American School (Second Quarter 20th Century) “Abstract Portrait of a Mother and Child”, oil on board, unsigned, sight dia. 7”. Presented in an ornately incised and acanthine‑molded giltwood and gesso frame with a circular aperture. [100/200] Illustrated

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655American School (Fourth Quarter 20th Century) “Study of Walking Figures in Blue”, oil on canvas, signed verso “T. Harris”, 38” x 38”. Presented in a molded giltwood and gesso frame. [300/500] Illustrated

656Naomi Duckman (Furth) Lorne (American/ New York, 1902-1964) “Abstract”, oil on masonite, signed lower right “Lorne”, 10‑1/2” x 8”. Presented in a giltwood and linen frame. [200/400] Illustrated

657Jose Luis Campuzano (American/Spanish, 1918-1979) “European Street Scene at Dusk”, oil on canvas, signed lower right “Campuzano”, 30” x 24”. Presented in a polychromed frame. [250/400] Illustrated

658Morando Lugue (Argentina; Active Second Quarter 20th Century) “View of a Village with a Gaucho”, oil on canvas, signed lower right, 31‑1/2” x 24”. Presented in a giltwood frame with linen liner. [400/700] Illustrated

659Morando Lugue (Argentina; Active Second Quarter 20th Century) “Shepherd with His Flock”, oil on canvas, signed lower right, 24” x 32”. Presented in a molded giltwood frame. [200/400]

660Large Pair of Italian Bronze-Patinated Brass Figures of Eros, the winged infants modeled standing on starred spheres resting on stylized clouds in the Baroque style, one figure bearing a bow, the other a flambeau, both figures tastefully antiqued and accented with verdigris detailing, h. 34”, w. 11”, d. 13”. [300/500] Illustrated

661Italian Baroque-Style Carved and Ebonized Beechwood Stand, fourth quarter 19th century, the serpentine‑shaped top with carved edge over a like apron, raised on a Dionysian putto‑carved standard having three cabriole legs ending in scroll feet, h. 36”, dia. 14”. [900/1200] Illustrated Color Plate V

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662Handsome Italian Cast-Brass Paw-Footed Candelabrum Base, first quarter 20th century, in the Baroque style, the facade centered with a snarling leonine masque, the sides each centered with an upright scallop shell, the surfaces tastefully antiqued throughout, h. 8‑1/4”, w. 12‑1/4”, d. 10‑1/4”. [150/300] Illustrated

663Handsome Italian Cast-Brass Paw-Footed Candelabrum Base, first quarter 20th century, in the Baroque style, the facade centered with a snarling leonine masque, the sides each centered with an upright scallop shell, the surface tastefully antiqued throughout, h. 8‑1/4”, w. 12‑1/4”, d. 10‑1/4”. [150/300] Illustrated

664Cased Italian Tiger Maple Violin and Bow, early 20th century, fictitiously dated 1708 and bearing the printed paper label of Joseph Guarneri filius Andreae (1666‑1739/40), the conforming hard case lined in furred fabric and fitted with a leather carrying strap, w. 8”, l. 23‑1/2”. [300/500]

665Italian Patinated Spelter Bust of “The Gypsy Fortune-Teller”, fourth quarter 19th century, the smiling soothsayer’s proper right hand fitted with a coin, the dark gray‑patinated surface lightly weathered throughout, h. 18‑1/2”, w. 15‑1/2”, d. 11‑1/2”. [500/800] Illustrated

666Diminutive Italian Carved Carrara and Gray Marble Bust, depicting a soulful young girl of the campagna, fourth quarter 19th century, probably Florentine, h. 6‑1/2”, w. 6‑1/2”, d. 2‑3/4”. [75/125]

667Italian Polychromed, Parcel-Gilt and Marble-Top Credenza, in the rococo style, the serpentine marble top over a conforming case fitted with three doors, the central door with a putto‑painted scene within a beribboned oval, the side doors each with a floral‑bouquet painting, the whole flanked by scroll‑ and acanthine‑carved sides, raised on like feet, h. 38‑1/4”, w. 74”, d. 22‑3/4”. [800/1200] Illustrated Color Plate V

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668Pair of Italian Provincial Glazed Terra Cotta Tiles Featuring Rabbits, first quarter 19th century, the grounds of brilliant sapphire blue with bas‑relief foliate scrolls in white at the corners, h. 16”, w. 11‑1/2”. [200/400] Illustrated

669Large Italian Blanc de Chine Pottery Figure of a Swan, by Onato and Masio Pottery, Este, Italy, the figure depicted standing in foliage in the 18th‑century style, marked in underglaze transfer‑printed green on the interior of the base, produced for Gump’s, San Francisco, and so paper labeled on the same interior, h. 21‑1/2”, w. 24”, d. 16”. [125/250]

670Striking Small Pair of Italian Carved Wood Looking Glasses, composed of antique architectural elements, the elements ca. 1825‑1840, the resulting mirror form a pointed cartouche, presented in a softly waxed old walnut finish, h. 20”, w. 14‑3/4”, d. 1‑1/2”. [100/200]

671Dramatic Italian Gilded Papier-Mache Torchere, in the form of a nubile beauty holding a candelabrum‑flambeau aloft, the candlearms fitted with four small electric lamps having tulip‑form frosted glass shades, the whole supported on a gilded stepped and waisted base of square section, h. 75‑1/4”, w. 15”, d. 15”. [300/500] Illustrated

672Trio of Eglomise “Richard Hudnut Perfumes” Lampshade Panels, first quarter 20th century, each panel of ribbed convex form and depicting a flower‑gathering nymph accompanied by a pair of putti, h. 10”, w. 7‑1/2”. [600/900]

673Giovanni Battista, Florence, Carved Giltwood Looking Glass, of bipartite form in the Palladian style, the upper panel containing a colored lithograph of a 15th‑century Italian painting of a noble equestrian procession, the reverse with the Battista printed paper label, h. 31‑1/2”, w. 13‑1/8”. [75/125]

674Large Italian Brass-Mounted Marquetry Jewel Box, first quarter 20th century, the interior of the lid fitted with a looking glass with a beveled edge, the lower interior fitted with a trio of compartments, the whole supported on four engine‑turned gilt‑brass feet, retains the period steel key, h. 4‑3/4”, w. 24”, d. 14‑1/2”. [150/300] Illustrated

675Italian Brass-Mounted Fruitwood and Marquetry Beaker Case, first quarter 20th century, probably of Sorrento origin, of stepped form in the neoclassical style, the interior lined in white‑glazed ceramic of beaker form for the containment of a separate glass or metal beaker, now lacking, h. 11‑1/2”, w. 8”, d. 6‑3/4”. [75/125]

676Italian Carved Giltwood and Mirrored Glass “Sunburst” Looking Glass, in the Directoire style, the circular plate enframed with fourteen mirrored glass “petals”, the gilded finish tastefully antiqued throughout, dia. 23”. [300/500] Illustrated

677Italian Cast, Gilded and Reticulated Supra-Porta Plaque, first quarter 20th century, in the form of an anthemion, h. 20‑1/2”, w. 14‑3/4”. [75/125]

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678Pair of Italian Provincial Painted Iron Sconces, second quarter 20th century, in “Ivy” decor, the ivy leaves in green, the scalloped‑edge bobeches in matte white, the painted surfaces attractively worn throughout, h. 21”, w. 12”, d. 7”. [100/200]

679Large Pair of Italian Carved Giltwood Sconces, in the form of hands clutching flambeaux in the neoclassical manner, the backplates modeled as fluted drapery panels, fitted for electrical wiring, h. 32”, w. 6”, d. 13”. [200/400] Illustrated

680Continental Rococo-Style Polychromedffee Table, third quarter 20th century, the circular glass‑inset top with polychromed floral urns and scrolling foliage, raised on cabriole legs headed by acanthine and block patera carving, and ending in scroll feet, h. 16‑1/4”, dia. 38”. [200/400] Illustrated

681Attractive Italian Seashell-Enframed Looking Glass, in the “Grotto” style, the plate narrowly beveled throughout, h. 27”, w. 23”. [200/400]

682Pair of Italian Carved Fruitwood Flambeaux, third quarter 19th century, of tall form in the neoclassical taste, each fitted with a bracket aperture at the rear center, presented in a softly waxed natural wood finish, l. 27”. [75/125]

683Italian Iron and Brass “Savonarola” Armchair, 20th century, the fabric back surmounted by corner brass finials, joined by sling fabric arms to the like seat, raised on a cross‑over base ending in peg feet, h. 33”, w. 21‑1/2”, d. 16‑1/2”. [300/500] Illustrated

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684Italian Carved and Gilded Wooden Bracket Shelf, first quarter 20th century, of large size in the Napoleon III taste, the giltwood support modeled as a ribbon‑bound bouquet of foliage, a pair of calla lilies and a poppy, the finish a combination of matte and bright gilding, h. 14”, w. 20‑1/4”, d. 11‑1/4”. [150/300] Illustrated

685Italian Polychromed and Lustered Majolica Bracket Shelf, second quarter 20th century, in the Hispano‑Moresque style, the facade centered with a helmeted silhouette head in the Renaissance manner, h. 8”, w. 6”, d. 5‑1/2”. [75/125]

686Pair of Italian Reticulated Brass Chairside Tables, first quarter 20th century, of circular, tripodal form in the Neo‑Renaissance style, each with an upper terminus of a stylized dolphin, the feet of paw form, h. 23‑5/8”, dia. 13”. [100/200] Illustrated

687Pair of Italian White Crackle-Glazed Terra Cotta Figures of Foo Dogs, second quarter 20th century, of whimsical stylized form in the Chinese taste, h. 9‑5/8”, w. 7‑1/8”, d. 3‑5/8”. [100/200]

688Pair of Italian Glazed Terra Cotta Butcher’s Shop Emblems, in the form of horned ram‑sheep heads in the 19th‑century style, each head presented in a white crackled glaze and fitted with russet and black glass taxidermy eyes, h. 13”, w. 16‑1/2”, d. 9”. [200/400] Illustrated

689Italian Polychromed Cut- and and Wrought-Iron Leafed Branch Spray, second quarter 20th century, of large size and modeled as two conjoined arched leafed branches, the leaves painted green, h. 44”, w. 56”. [50/80]

690Large Ceccarelli, Italy, Polychromed Majolica Garden Seat, third quarter 20th century, in the form of four stacked cushions, the upper cushion with tasseled corners, the lowest cushion signed at the basal edge in black script “Ceccarelli”, h. 18”, w. 17”, d. 17”. [100/200]

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691“Vienna Bronze” Figure of a Spotted Whippet, first quarter 20th century, of large size and polychromed in black and white, h. 20‑3/4”, w. 8”, l. 26”. [250/400] Illustrated

692Italian Carrara Marble Birdbath Basin, first quarter 20th century, in the form of a South Pacific clam shell, the surface lightly weathered throughout, h. 6‑1/2”, w. 12”, l. 16‑3/4”. [50/80]

693Sterling Silver Relief Photograph Frame, in “Torii Gate with Entwined Dragons” decor in the Japonesque taste, the backplate and easel of midnight‑blue velvet, h. 9‑1/2”, w. 7‑1/4”, d. 6”. [200/400] Illustrated

694Sterling Silver Relief Photograph Frame, of large rectangular form in “Flying Geese and Japanese Landscape” decor in the Japonesque taste, the backplate and easel of midnight‑blue velvet, h. 12‑1/2”, w. 10‑3/8”, d. 8”. [400/700] Illustrated

695English Victorian Sterling Silver Photograph Frame, 1897, London, maker: L. C., of rectangular form with a cardioform aperture, the backplate and easel of period black velvet, h. 7‑3/8”, w. 5‑3/8”, d. 4‑3/4”. [600/900] Illustrated

696Good Two-Piece Antique Sheffield Plate Candle Snuffer Set, second quarter 19th century, in “Cartouche and Scroll” decor, the set comprised of a scissor‑form snuffer‑wick trimmer, l. 7‑1/2”, and a matching oblong tray, w. 4”, l. 10‑3/8”. [75/125]

697Good Antique Sheffield Plate “Gadroon” Chamberstick, second quarter 19th century, fitted with the period “dunce’s cap” snuffer and a detachable bobeche, h. 4”, dia. 5‑7/8”. [50/80]

698Jones, Ball and Company, Boston, Coin Silver Child’s Presentation Cup, dated 1852, the rim in “Antique Bead” decor, the handle scrolled, the facade with a delicately engraved inscription to Charlotte E. Wise from Edward Everett, h. 3‑3/4”, w. 3”, l. 4‑1/4”, 3.95 t. oz. [250/400]

699Unusual English “Boston Terrier Head” Biscuit Jar, first quarter 20th century, the silverplate dog’s head fitted with russet‑enameled glass taxidermist’s eyes and topping a blown glass base of cushion form, h. 9”, dia. 7‑1/2”. [100/200] Illustrated

700Kuang Hsu Bronze-Argente “Three Faces of Buddha” Head, fourth quarter 19th century, signed on the base with a calligraphy rondel, presented on a square Lucite display block, head h. 5”, dia. 4‑3/4”, overall h. 9”. [100/200] Illustrated

701Attractive Pair of Antique Sheffield Plate Magnum Bottle Stands, third quarter 19th century, maker: L.S., in the rococo style, the interiors richly chased with foliate scrolls, dia. 7‑1/4”. [75/125]

702Frank M. Whiting Sterling Silver Sugar Sifter, first quarter 20th century, in the George II style, the conforming cover elaborately pierced, h. 5”, dia. 2‑1/8”, 2.90 total t. oz. [75/125]

703Seven-Piece Collection of Silverplate Photograph Frames, comprised of an 8” x 10” silverplate example in “Ripple” decor; another 8” x 10” frame in “Scrolling Vine” pattern; a graduated pair of silverplate‑faced frames in the Edwardian rococo taste; a 5” x 8” silverplate‑faced frame of waisted cartouche form; a 5” x 7” hammered silverplate‑faced frame; and a 3” x 5” oblong silverplate‑faced frame in “Gadroon” decor; all seven examples with velvet backplates and easels, the largest h. 12”, w. 10”. [200/400]

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704Seven-Piece Collection of Silverplate Photograph Frames, comprised of a trio of silverplate‑faced frames (one center frame and two matching flanking frames) in the Edwardian style; an 8” x 10” silverplate‑faced frame in “Bound Reeds” decor; another 8” x 10” silverplate‑faced frame in “Shell and Scroll” decor; a 5” x 7” silverplate “Gadroon” frame; and a 3” x 5” oblong silverplate‑faced frame in the Edwardian taste; all seven examples with velvet backplates and easels, the largest h. 12”, w. 10”. [200/400] Illustrated

705Elegant State Express Silverplate Cigarette Box, second quarter 20th century, of oblong form in the Art Moderne taste, the silverplate case with an inset alligator leather top, the triple‑compartment interior lined in sandalwood, h. 2”, w. 9‑3/4”, d. 5‑1/4”. [50/80]

706Group of Two English Photograph Frames, consisting of a sterling silver‑faced example in the Edwardian style, with a blue velvet back and easel, h. 8‑3/4”, w. 10‑3/8”; and a smaller sterling silver‑faced frame in “Ribbon‑Bound Reeds” decor, with the backplate and easel in mahogany, h. 4‑3/4”, w. 3‑3/4”. [100/200]

707Gorham Sterling Silver Presentation Playing Card Box, dated 1991, the lid centered with a Wilmington Country Club medallion and engraved “1991/1st Big Boom”, the interior lined in sandalwood, h. 1‑3/4”, w. 7‑3/4”, d. 3‑1/4”. [125/250]

708Fine and Rare Pair of English Reticulated Sterling Silver Master Salts, 1791, by Hester Bateman, London, each of oval, footed form and retaining the conforming blown and cut cobalt blue glass liner, h. 2”, w. 2‑1/2”, l. 3‑1/4”, 2.85 total t. oz. [900/1200] Illustrated

709Fine and Rare Set of Six English Bright-Cut Sterling Silver Place Spoons, 1781, by Hester Bateman, London, in the neoclassical taste, l. 6‑3/4”, 5.80 total t. oz. [1800/2500] Illustrated

710George V Sterling Silver Covered Presentation Cup, 1920, London, maker: Walker and Tellhurst, of two‑handled and footed form in the 18th‑century style, the facade with an engraved presentation inscription dated August 1927, h. 8”, w. 3‑5/8”, l. 5‑1/2”, 12.55 t. oz. [400/700]

711Set of Six Edward VII Sterling Silver After-Dinner Coffee Spoons, 1901, Birmingham, maker: H. & T., in the Aesthetic taste, l. 4‑1/8”, 2.25 total t. oz. [100/200]

712Attractive Pair of English Sterling Silver Spice Casters, 1880, Birmingham, of cylindrical, spiral‑ribbed form in the Early Georgian style, h. 4‑1/2”, dia. 2‑3/8”, 7.35 total t. oz. [350/500]

713Twelve Pieces of Sterling Silver Stemware, second quarter 20th century, consisting of a set of ten liqueur goblets in the Georgian taste, h. 2‑7/8”, dia. 1‑1/4”; and a pair of similar, larger port goblets, h. 2‑1/4”, dia. 3‑1/4”, 8.55 total t. oz. [100/200]

714Pair of Edwardian Carved and Jigsawn Mahogany Looking Glasses, first quarter 20th century, of scalloped‑top cartouche form in the rococo taste, the cresting modeled as a tangent trio of addorsed foliate scrolls, h. 44”, w. 31”. [300/500]

715Large Pair of George V Brass “Chief Light” Kerosene Lanterns, dated 1935, of square section, not electrified and retaining the period blown glass chimneys, the glazing overlain with copper mullions, each lantern with an affixed plaque reading “Chief Light/ No. 3509/ Great Britain/ 1935”, h. 15‑1/2”, w. 7‑1/4”, d. 7‑1/4”. [200/400] Illustrated

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716Edwardian Mahogany Bench, first quarter 20th century, having a curved crest centered by a stylized floral carving, joined to the cushioned seat by open, scroll‑end arms, raised on slightly cabriole legs ending in block feet, h. 36”, w. 41‑1/2”, d. 22”. [200/400]

717Large French Carved Oak Seven-Hook Coat Rack, first quarter 20th century, the brass hooks modeled as putto masques within rococo backplates, each of the three panels of the backplate centered with a carved paper curl‑edged shield, h. 19”, w. 43‑1/2”, d. 7‑1/2”. [400/700] Illustrated

718Pair of Welsh Brass Miner’s Lanterns and a Garniture, first quarter 20th century, each lantern fitted with a brass suspension hook of C‑form, emblazoned with oval embossed brass plaques bearing the Welsh dragon surmounting the word “Cymru”, h. 9”; the tall ribbed and ringed cylindrical brass bottle fabricated from a World War I artillery shell casing, h. 13”. [50/80]

719Good Belle Epoque Brass Domed Hexagonal Birdcage, fourth quarter 19th century, of “tempieto” form, the facade fitted with an arched wire door, the floor of the cage lacking, h. 25‑1/2”, w. 13”, d. 11‑1/4”. [1200/1800] Illustrated

720Pair of English Glass Vasiform Table Lamps, the parcel‑gilt reverse‑painted pink grounds with decoupage decor in the neoclassical taste, presented on brass‑mounted black‑painted wooden bases of disc form and fitted with custom satin‑black card shades of drum form with gilded linings, h. 28‑3/4” to top of finial. [300/500]

721Two Large Cast-Brass Components to a Balance Scale, early 20th century, lacking the central standard and one hanging pan, arm l. 40”, pan, h. 34”, dia. 12”. [30/50]

722Continental Cast-Brass and Etched Glass Three-Tier Etagere, early 20th century, having three support posts with lion’s heads at the top and ending in paw feet, each shelf of circular form with glass inserts etched with floral motifs, h. 36‑3/4”, dia. 23”. [100/200]

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723Suite of Four Continental Cast-Iron Bistro Folding Chairs, first quarter 20th century, each with a caned back above a like seat, raised on serpentine legs joined by an H‑form stretcher, h. 32‑1/4”, w. 15‑1/4”, d. 21”. [200/400] Illustrated previous page

724Thonet-Style Bentwood Ash Circular Side Table, early 20th century, the underside bearing numerous metal and paper labels, the metal tags read “American Furniture Exchange” and a paper label reads “Vienna Austria”, h. 30‑1/4”, dia. 24”. [100/200]

725Thonet-Style Bentwood and Caned Rocking Chair, early 20th century, having a pressed caned seat and back, the under‑seat stamped “80”, h. 40‑1/2”, w. 20”, d. 29‑1/2”. [150/300]

726Seven-Piece Collection of Belleek Porcelain, comprised of a “Shamrock Tea Ware” milk jug (4th Mark), 1946‑1955, a matching “Shamrock” cream pitcher (5th Mark), 1955‑1965, a “Shamrock” large mug (also 5th Mark), a matching cylindrical tankard (5th Mark), a “shell” bowl in “Shamrock” decor (5th Mark), and a matching “shell” teacup and saucer (4th Mark), 1946‑1955, all of the pieces fully backstamped in green, the largest h. 6‑1/4”, w. 4‑1/2”, l. 6”. [40/70]

727Interesting Six-Piece Collection of Belleek Porcelain, comprised of a “Toy Shell” sugar basin and creamer with yellow interiors (4th Mark), 1946‑1955, a “Lotus” open sugar basin and cream pitcher with yellow interiors (4th Mark) and of like date, and a “New Shell” tea cup and saucer (5th Mark), 1955‑1965, each piece fully backstamped, pitcher h. 3‑1/2”, w. 2‑1/2”, l. 3‑1/8”, bowl h. 2‑1/8”, dia. 3‑5/8”. [50/80]

728Seven-Piece Collection of Belleek Porcelain, comprised of an “Octagon Flower Pot Middle Size” with a yellow interior (5th Mark), 1955‑1965, a “Limpet” coffeepot (also 5th Mark), and a set of five “Limpet” tea/dessert plates (5th Mark), all of the pieces fully backstamped in green, the largest h. 7”, dia. 4‑1/2”, w. 8‑1/2”. [75/125]

729Tall Polished Onyx Floor Vase, of attenuated baluster form in the Edwardian taste, h. 29‑3/4”, dia. 8‑1/2”. [200/400] Illustrated

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730Attractive Pair of Royal Copenhagen Celadon Porcelain Garniture Vases, second quarter 20th century, parcel‑gilt crackled in the chinoiserie taste, each example fully marked on the base, h. 11‑1/2”, w. 9”, d. 7‑1/2”. [150/300]

731Good Trio of Derby Porcelain Dessert Plates, first quarter 19th century, centered with Antique vases en grisaille, the outer narrow borders in parcel‑gilt royal blue, each marked with the crowned Derby script “D” in underglaze teal, dia. 8‑1/2”. [400/700]

732Edwardian Walnut and Burl Walnut Armoire, ca. 1900, the top with a molded and dentillated cornice above a central beveled mirror flanked by raised panel doors to each side and a pair of drawers below, h. 78‑1/4”, w. 57”, d. 21‑1/2”. [500/800] Illustrated

733Good Near Pair of Edwardian Blown Glass Decanters, first quarter 20th century, petal and oculus cut, each retaining the period spherical cut glass stopper, h. 12”. [100/200]

734Group of Two Edwardian Glass Inkstands, first quarter 20th century, one a large brass‑mounted cobalt blue glass example of cushion form, retains the original cobalt blue glass well liner, h. 3‑3/4”, dia. 3‑3/4”; and the other a gilt‑brass‑mounted air‑trap ruby glass inkstand of cushion form, the matching ruby glass cover of modified sphere form, h. 4”, dia. 4”. [50/80]

735Shadowboxed Lady’s Evening Fan, first quarter 20th century, the black crocheted lace fan presented against an antique white‑painted ground within a glazed giltwood and ebonized shadowbox frame, h. 17”, w. 19”. [75/125]

736Pair of Ebonized and Upholstered Sidechairs, 20th century, each with a padded and back‑scrolled back above the padded seat, raised on fluted tapering circular legs ending in toupie feet, the whole with brass tack accents, h. 36”, w. 18‑1/4”, d. 23‑1/2”. [150/300] Illustrated

737Edwardian Faux-Bamboo Stained Fruitwood Towel Rack, first quarter 20th century, the armed uprights joined by four racks, raised on plinth feet, h. 33”, w. 24”, d. 6‑1/2”. [40/70]

738Edwardian Inlaid Mahogany Wardrobe, early 20th century, one side fitted with a molded and dentillated cornice above a single mirrored door, opening to a fitted hanging space, the other lower side fitted with a single paneled cupboard door centered by an inlaid shell over four graduated and banded drawers, the whole raised on a plinth base, h. 79”, w. 48”, d. 18”. [500/800] Illustrated

739Painted Cast-Iron and Marble-Top Bistro Table, the circular carrara marble top with molded edge, raised on cabriole legs headed by masque medallions, joined by a circular shelf‑stretcher and endings in pad feet, h. 29”, dia. 27”. [75/125]

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740Mark King (American/Bombay, b. 1931) “Morning Hunt”, serigraph, signed in pencil lower right, numbered in pencil lower left “XV/C”, verso signed and affixed with a “Martin Lawrence Gallery” label, sight 32‑1/2” x 40”. Glazed, matted and framed. [500/800] Illustrated previous page

741Mon Levinson (American/New York, b. 1926) “Untitled #1”, 1964, serigraph, from New York Ten, published by Tanglewood Press Inc., New York, 1965, verso with framer’s label “Kulicke Frames Inc., NY”, sight 12” x 14‑3/4”. Glazed and presented within an ebony mat and a silver frame. [125/250]

742The Making of the Representative for Planet 8, suite of four posters by Philip Glass and Doris Lessing, Houston Grand Opera, 30” x 21”. Unframed. [50/80]

743Mark King (American, b. Bombay, 1931) “Bengal Family”, limited edition serigraph, numbered “306/325” lower left, signed lower right, sight 25‑3/4” x 35”. Glazed, matted and presented in a contemporary metal frame. [700/1000] Illustrated

744American School (Third Quarter 20th Century) “Conquered People”, graphite on paper, signed and dated lower left “Moore ‘63”, sight 10” x 15”. Glazed, matted and presented in a carved and polychromed frame. [150/300]

745Hopalong Cassidy in Range War, a vintage movie poster, 37‑1/2” x 35”. Matted, glazed and presented in an ebonized frame. [300/500]

746American School (Contemporary) “Nautilus”, mixed media on paper, titled lower left, signed lower right “Andres”, sight 13” x 10”. Double‑matted and framed. [50/80]

747Meredith Dean (American, Contemporary) “R‑Evolution 2/35/50”, intaglio print, pencil titled, signed and dated “’78”, sight 20” x 20”. Glazed, matted and framed. [60/90]

748Jack Levine (American/New York, b. 1915) “Victoria’s Jubilee”, 1967, soft ground etching, signed in pencil lower right “J. Levine”, pencil numbered lower left “XXVI/XLV”, sight 10‑1/4” x 13‑1/4”. Glazed, matted and mounted for hanging. [100/200]

749Jack Levine (American/New York, b. 1915) “Peachum Tries to Stop the March to St. Paul’s”, 1967, soft ground etching, signed in pencil lower right “J. Levine”, pencil numbered lower left “XXVI/XLV”, titled in print, sight 10‑1/4” x 13”. Glazed, matted and mounted for hanging. [100/200]

750Jack Levine American/New York, b. 1915) “Polly Founds a Bank”, soft ground etching, signed in pencil lower right “J. Levine”, pencil numbered lower left “XXVI/XLV”, sight 10‑1/4” x 13”. Glazed, matted and mounted for hanging. [100/200]

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751Jack Levine (American/New York, b. 1915) “Mack Sees Polly Peachum”, 1967, etching, signed in pencil lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 13‑1/4” x 10‑1/4”. Glazed, matted and mounted for hanging. [200/400]

752Jack Levine (American/New York, b. 1915) “Look! There Goes Mack the Knife”, 1967, copper etching, signed in pencil lower right “J. Levine”, numbered in pencil lower left “XXVI/XLV”, sight 13” x 10”. Glazed, matted and mounted for hanging. [100/200]

753Glazed White Porcelain “Baxter” Elbow-Length Glove Mold, dated August 4, 1992, by General Porcelain Works, Trenton, New Jersey, fully marked in underglaze blue stencil on the wrist, h. 15‑1/4”. [20/40]

754Pair of Glazed White Porcelain “Large” Glove Molds, one example dated November 21, 1895, the other October 19 (?), by General Porcelain Works, Trenton, New Jersey, both marked in underglaze blue stencil on the wrist, h. 11‑3/4”. [20/40]

755English Cast-Iron “Punch” Doorstop, fourth quarter 19th century, presented in the period, untouched weathered crimson‑painted finish, h. 12”, w. 9”, d. 4”. [100/200]

756Glazed White Porcelain “Large” Glove Mold, dated May 8, 1999, by General Porcelain Works, Trenton, New Jersey, fully marked in underglaze blue stencil on the wrist, h. 12”. [20/40]

757Three-Piece Group of French and English Pottery, consisting of a good Sarreguemines glazed pottery “Laughing Man” novelty pitcher, fourth quarter 19th century; a good Beswick Ware, Staffordshire, “Widow Greene” teapot, first quarter 20th century; and a Beswick “Mr. Varden” cream pitcher of Toby form, also first quarter 20th century; all three examples fully marked, the largest h. 7”. [100/200] Illustrated

758Group of Three Pottery Tankards, consisting of a large Royal Doulton “Long John Silver” Toby tankard, the model introduced in 1951; a studio pottery “Long John Silver” Toby tankard of smaller size in the Royal Doulton style, third quarter 20th century; and an Inarco, Japan, polychromed pottery “Robin Crusoe” Toby tankard; all of the examples marked on the base, the largest h. 7”, w. 7‑3/4”, d. 5‑1/2”. [100/200] Illustrated

759Group of Three Pottery Tankards, consisting of a good Royal Doulton “The Lawyer” Toby tankard, the model introduced in 1958; a Royal Doulton “The Jester” Toby tankard, third quarter 20th century; and a German polychromed pottery “Gentle Peasant” pitcher in the Toby style, fourth quarter 19th century; the Doulton examples fully marked in underglaze transfer print on the bases, the base of the German example stenciled “Saxony”, the largest h. 6‑1/2”, w. 5”, l. 9‑1/4”. [100/200] Illustrated

760English Majolica Relief “Game” Pitcher, fourth quarter 19th century, with a greyhound handle, the interior glazed in gloss monochrome turquoise, h. 10‑1/4”, w. 6”, l. 8”. [75/125] Illustrated

761Continental Polychromed Pottery “Standing Pig” Pitcher, fourth quarter 19th century, the pig wearing a laurel‑leaf wreath and a blue cordon from which is suspended a ham, h. 8”, w. 5”, l. 7‑3/4”. [75/125] Illustrated

762Group of Three Humidors, fourth quarter 19th century, consisting of a French polychromed pottery “Cynical Jockey” example, probably Sarreguemines; a Continental pottery humidor in the form of a pipe‑smoker’s head; and another porcelain example depicting a laughing gypsy’s head; the largest h. 5”. [100/200] Illustrated

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763Group of Two Humidors, consisting of a good German polychromed porcelain example in the form of a gray terrier’s head with a golden collar, fourth quarter 19th century; and a black and white glazed pottery humidor in the form of a spaniel’s head in the mid‑19th‑century Staffordshire style; the largest h. 6”. [75/125] Illustrated

764English Oak Child’s Cradle, 19th century, the stepped arched hood above a slightly graduated body, featuring exterior molded panels, the whole raised on rockers, h. 31”, w. 18”, l. 35”. [250/400]

765Large Pair of English Cast Brass “Punch and Judy” Doorstops, third quarter 19th century, the narrow oblong bases weighted with lead tablets, h. 18‑1/2”, w. 8‑1/2”, d. 2”. [150/300] Illustrated

766Monumental Continental Brass Birdcage, first quarter 20th century, of cylindrical, arched‑top form, the finial a large barred brass inverted acorn, the convex feeder pans honeycomb‑cut, the base fitted with a conforming sliding tray, h. 39”, dia. 21”. [150/300] Illustrated

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767Opulent French Brass and Cut Glass Eight-Light Chandelier, first quarter 20th century, of “cage” form in the Louis XVI style, sumptuously dressed with facet‑cut glass pendalogues in three sizes, back‑cut glass spears in three sizes, cut fleurettes and lapidary‑cut glass spheres, the center fitted with a concealed up‑light, the candlesockets fitted with petal‑ribbed glass bobeches supporting short antique‑white painted faux‑wax candles, electrified, h. 38”, dia. 23”. [300/500] Illustrated

768Pair of English Gilt-Brass Five-Light Pendant Candelabra, third quarter 19th century, in “Vintage” decor, retaining the period brackets also in “Vintage” decor, the gilt‑lacquered finish now only visible in traces, h. 16”, w. 13”, d. 16”. [200/400] Illustrated

769Suite of Three English Exuberantly Carved Mahogany Armchairs, each with a pierced and carved crest above a padded back, joined to the like seat by open arms ending in dolphin carvings, with an acanthine‑carved apron, raised on cabriole legs ending in sea serpent‑carved feet, h. 42”. [400/700]

770Continental Petit-Point Armorial Bell Pull, third quarter 19th century, the face mounted with a broad printed velvet ribbon featuring armorial crests of alternating leopard heads and ostriches, headed by a gilt‑brass loop handle and terminating in a ribbed porcelain oviform pull, l. 100”. [75/125]

771Attractive Twenty-Seven-Piece English Porcelain Dessert Service, for eighteen, third quarter 19th century, comprised of eighteen dessert plates, a tall two‑handled and footed compote, a pair of oblong footed pastry/fruit stands and four side‑handled circular pastry bowls, all with richly gilt cobalt blue lappets in the rococo taste and centers featuring hand‑painted English landscapes, the largest h. 10”, w. 16”, dia. 11”. [2000/4000] Illustrated

772Carved Giltwood and Plaster Looking Glass Veneered in Seashells, the frame fourth quarter 19th century, in the “Sailor’s Valentine” style, the shell appliques later, h. 25‑1/2”, w. 21‑1/2”. [50/80]

773Chinese Export Porcelain Two-Handled Foot Bath, polychromed and richly gilded in the mid‑19th‑century style, presented on a conforming lacquered mahogany display stand and fitted with white faux orchids and grasses, h. 6‑1/2”, w. 12”, l. 18‑1/2”. [40/70]

774Collection of Four Portrait Miniatures, fourth quarter 19th century, comprised of a pair of English oval examples of, respectively, Queen Elizabeth I in court dress and her famed pearls and the young Charles II, presented in brass‑set black papier‑mache frames; and a pair of German oval examples of, respectively, King Ludwig I of Bavaria and a Titian‑haired beauty, presented in faux‑tortoiseshell frames; all with convex glazing, the Charles II and beauty miniatures signed at the left and right center edges, respectively, “Haniveirt”, the Ludwig I example signed illegibly at the lower right edge “K___?”, h. 3‑1/4”, w. 2‑3/4”. [75/125]

775Good Carved White Alabaster Profile Portrait of Albert, the Prince Consort, third quarter 19th century, now mounted on an oval black‑painted wooden plaque, h. 11”, w. 8‑1/2”, d. 2”. [75/1250]

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771

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776Interesting Six-Piece Collection of Metalwork, fourth quarter 19th century, comprised of an Austro‑German brass bed‑warmer of small size in the neoclassical taste; an unusual Continental brass cruciform bed‑warmer of small size; an English brass bed‑warmer of small size; a large brass pierced strainer spoon of “ginko leaf” form; an Italian copper and steel long‑handled two‑tine cook’s fork; and a Moland brass and copper cobbler’s rack; the largest l. 25”. [75/125]

777Elizabethan-Style Stained Maple Wash Stand, ca. 1900, with turned and barley‑twist supports, the back with a tilting mirror mounted above a circular basin holder, now fitted with a blue and white porcelain bowl and raised on spiral legs, h. 51”, w. 24”, d. 22‑1/2”. [150/300]

778English Mahogany Folding Rack/Screen, in three sections, each section fitted with three faux‑bamboo rings, joined by turned and block supports and ending in bulb feet, h. 36”, w. 25‑1/4”, extended l. 75‑3/4”. [50/80]

779Continental Mahogany Towel Rack, late 19th century, the turned posts at each end joining the cross bars and ending in a trestle‑form base, h. 43‑1/4”, w. 35‑3/4”, d. 6‑1/2”. [40/70]

780Intriguing Collection of Three English Boxes, comprised of a good Tunbridge marquetry oblong jewel casket of modified sarcophagus form, third quarter 19th century; a simpler Tunbridge marquetry oblong jewel box of like date; and a smaller shallow incise‑carved two‑tone walnut desk box, fourth quarter 19th century; both of the Tunbridge examples with conforming lift‑out‑trays, the sarcophagus‑form box with a mirrored glass plate on the interior of the lid, the largest, h. 7‑1/4”, w. 14‑1/4”, d. 8‑3/4”. [100/200]

781Collection of Seven Decorative Items, including two carved wooden dresser boxes, early 20th century; a Rococo Revival carved and foliate‑pierced walnut and needlework wall pocket, third quarter 19th century; an silverplate oval, two‑handled waiter with scenic porcelain insert, mid‑20th century; a contemporary needlepoint floral picture; a small contemporary oval tray with dried weeds under glass; and a small beveled mirror with branch‑carved frame, early 20th century; the largest h. 21”, w. 14”. [100/200]

782Good, Large French Faience Jardiniere, fourth quarter 19th century, of oval, two‑handled form in the 18th‑century Rouen style, the handles modeled as yellow horned goat masques, the base signed in brown “J.G. (?) / 134/2”, h. 7‑1/2”, w. 20‑1/2”, d. 11‑1/2”. [150/300] Illustrated

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783Two-Piece Group of Brownfield and Son, Staffordshire Ware, comprising an attractive brown transfer‑printed two‑handled and footed fruit bowl in “Cyprus” pattern, fourth quarter 19th century; and a matching oval, footed and covered vegetable dish; the former marked in brown transfer‑print underglaze, the latter with an impressed mark underglaze, the largest h. 12”, w. 8‑3/4”, d. 6”. [75/125] Illustrated

784Pair of English Stained and Enameled Leaded Glass Windows, fourth quarter 19th century, of arched form in the “Modern Gothic” style, each centered with a ruby glass‑circumscribed floral‑enameled lozenge, each presented in a later natural wood frame, h. 27‑1/8”, w. 16‑3/8”. [75/125]

785Good Pair of Doulton, Lambeth, Polychromed Stoneware Cachepots, fourth quarter 19th century, in the Aesthetic taste, each featuring a bas‑relief frieze of frolicking children in gray‑blue in the Wedgwood style, each example with full impressed mark on the base, h. 7‑1/4”, dia. 6‑1/2”. [150/300] Illustrated

786Unusual English Silverplate-Mounted Horn Humidor, third quarter 19th century, of oval section, h. 4‑1/2”, w. 4”, d. 3‑1/2”; along with a three-piece composition deer antler garniture, of small size, h. 6‑3/4”, w. 5‑1/2”, d. 3‑3/4” (four total pieces). [100/200]

787Rare English “Rockingham-Glazed” Pottery Bottle Cooler, third quarter 19th century, of large size and cylindrical, two‑handled form with bas‑relief decoration of frolicking putti, h. 10‑1/4”, dia. 11”. [150/300] Illustrated

788Contemporary Painted Iron Day Bed, in the Late Victorian style, the back and sides with a combination of scrolled bars and cast‑iron decorative elements, h. 50”, inside w. 39”, l. 76”, outside w. 40”, l. 79”. [400/700]

789Regency-Style Plank and Cast-Iron Bench, the plank backrest and seat joined to a trio of cast‑iron supports, each with open arms terminating in griffin supports, raised on a curule‑form base, h. 28‑1/4”, w. 105”, d. 20”. [500/800]

790Pair of French Bronze Furniture Mounts, fourth quarter 19th century, each in the form of a horned ram’s head in the Louis XVI style, h. 2‑1/2”, w. 5”. [75/125]

791French Gilt-Bronze Acanthine Furniture Mount, first quarter 20th century, in the Louis XVI style, of console bracket form and good weight, h. 7‑1/8”, w. 2‑3/4”. [20/40]

792Louis XVI-Style Brass-Mounted and Marble-Topped Cartonnier, first quarter 20th century, the shaped case composed of kingwood, tulipwood and marquetry, the breche d’Aleps marble top fitted with a reticulated brass gallery rim, the facade fitted with a pair of concave‑faced tooled leather drawers over a similar pair of convex‑faced leather drawers, the whole supported on diminutive brass feet modeled as winged lion masques, h. 13”, w. 20‑5/8”, d. 14”. [200/400] Illustrated

793Three-Piece French Green Vernis Martin Mantel Garniture, first quarter 20th century, with gilt‑brass mounts in the Louis XV style, the clockworks with a circular Medaille d’Or 1855 touchmark, the set comprised of a footed mantel clock, h. 17”, w. 9‑3/4”, d. 5”, and a flanking pair of three‑light candelabra, h. 13‑1/2”, w. 8‑1/4”. [75/125]

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796

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794Group of Three Porcelain Lamps, consisting of a good Kuang Hsu blue and white porcelain two‑handled baluster‑form vase, now mounted as a table lamp, first quarter 20th century; a Chinese porcelain ginger jar in “Trumpet Flower Vine” decor, also now mounted as a table lamp; and a tall French monochrome gray‑blue porcelain table lamp of Chinese vase form, first quarter 20th century; all three lamps mounted on Oriental hardwood bases, the first two fitted with cut brass calligraphic finials, the French lamp fitted with a carved cinnabar finial, all of the lamps fitted with appropriate pleated fabric shades of truncated conical form, the tallest h. 16‑1/4”, widest dia. 6”. [150/300]

795French Rose Marble and Gilt-Bronze Double Encrier, first quarter 20th century, in the Louis XVI taste, the covered gilt‑bronze inkpots retain the period gilt‑brass inkwells, the polished marble base fitted with a concave pens well and supported on four diminutive toupie feet in gilt‑bronze, h. 5‑1/4”, w. 16”, d. 9‑1/2”. [150/300] Illustrated previous page

796French Bronze-Mounted Rouge Royale Marble Encrier, first quarter 20th century, the base centered with the patinated bronze bust of an Art Nouveau beauty, the covered inkpots retain their period white porcelain inkwells, the whole supported on four gilt‑bronze bun feet, h. 8”, w. 12‑1/8”, d. 6”. [150/300] Illustrated previous page

797Pair of French Gilt-Brass Two-Light Appliques, second quarter 20th century, in “Bowknot and Ribbon” decor in the Louis XVI style, electrified and fitted with faux candles, h. 16‑1/4”, w. 9‑1/4”, d. 5‑1/4”. [100/200]

798Pair of French Gilt-Brass Two-Light Appliques, second quarter 20th century, in “Bowknot and Ribbon” decor in the Louis XVI style, electrified and fitted with faux candles, h. 16‑1/4”, w. 9‑1/4”, d. 5‑1/4”. [100/200]

799Attractive French Gilt-Brass Two-Light Applique, first quarter 20th century, in the late Louis XVI style, now electrified and fitted with a custom pair of small gilt lace‑edged white satin shades, h. 14”, w. 8‑3/4”, d. 5‑1/4”. [75/125]

800Louis XVI-Style Burlwood, Mahogany and Marble-Top Commode, second quarter 20th century, the bowfront Carrara marble top above a conforming case fitted with two short drawers over two doors, flanking a floral urn‑inlaid panel, the whole flanked by columnar supports headed by gilt‑brass paterae, raised on a plinth base, h. 33‑1/2”, w. 47‑1/2”, d. 18”. [800/1200] Illustrated

801Pair of French Cast-Iron Beribboned Laurel-Leaf Wreaths, first quarter 20th century, in the Louis XVI style, now in a lightly rusted finish throughout, h. 12‑1/4”, w. 18‑1/4”. [50/80]

802French Bronze-Patinated Brass and Cut Glass Chandelier, first quarter 20th century, of stylized bell form in the Louis XVI taste, the entire frame wrapped in silver glass micro beads and dressed with parallel registers of graduated cut glass jewels, the interior fitted with a trio of downlights, h. 31”, dia. 16”. [300/500]

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803Pair of Napoleon III Gilt-Bronze Five-Light “Bouquet” Candelabrum Tops, third quarter 19th century, in the Louis XVI style, the vasiform bases lacking, the bouquets modeled as lily, carnation and rose blooms, with numerous buds, h. 16”, w. 13”. [150/300]

804Napoleon III Brass-Framed Glass Tabletop Vitrine, third quarter 19th century, of box form in the Louis XVI taste, the case with a lift‑up/fold‑in glass top and facade, the floor of mirrored glass, the whole supported on leafed ball feet, h. 10‑3/4”, w. 13‑1/4”, d. 11”. [75/125] Illustrated

805Belle Epoque Brass-Mounted Porcelain Jewel Casket, first quarter 20th century, probably of Limoges origin, in the Louis XVI Sevres style, the domed lip painted with a bouquet of spring flowers, each corner with a rose bloom, the interior with sprays of spring flowers on the lid and the floor, the base with a pseudo‑Sevres interlaced L’s mark in overglaze rouge de fer, accompanied by a 1991 Florida appraisal stating the casket to be genuine Sevres porcelain, h. 5‑1/2”, w. 11‑1/2”, d. 7‑1/2”. [300/500]

806Belle Epoque Gilt-Brass Jewel Box, first quarter 20th century, in the Louis XVI style, the lid centered with a circular porcelain portrait miniature of an 18th‑century lady‑of‑fashion, the interior lined in padded sky‑blue silk, h. 2‑1/4”, w. 6”, d. 4‑5/8”. [100/200]

807Pair of French Carved Giltwood and Silk-Embroidered Panel Fans, fourth quarter 19th century, in the Louis XVI style, the facade panels with silk floral embroidery on ivory satin, the reverses in vieux rose silk, the serpentine‑edge giltwood frames surmounted by furling giltwood bowknots, h. 14‑5/8”, w. 7‑1/2”. [75/125]

808French Marble Bust of a Louis XVI Lady-of-Fashion, carved from rose and white marble, the figure’s elaborately coiffed hair caught with a marble ribbon, the spool‑form base of satin‑polished charcoal gray marble, h. 27”, w. 15‑1/2”, d. 9‑1/2”. [500/800] Illustrated

809Continental Bronze Tabletop Figure of LaSource, second quarter 20th century, with gold/brown patination, illegibly signed at the center of the rear basal edge, with a calligraphy mark at the rear basal edge, h. 12‑1/2”. [50/80]

810After Jean-Antoine Houdon (French, 1741-1828), a patinated bronze bust of Voltaire, presented on a parcel‑gilt porcelain socle base, h. 8”, w. 3‑3/4”, d. 3‑3/4”. [100/200]

811Persian Heriz Carpet, 9’ 2” x 11’ 9”. [1500/2500] Illustrated811

813

94

812Persian Azerbaijan Runner, 9’ 9” x 12’ 11”. [200/400]

813Peshawar Zeigler Mahal Carpet, 10’ x 16’ 6”. [2500/4000] Illustrated d previous page

814Persian Heriz Carpet, 9’ 5” x 12’ 9”. [2000/4000] Illustrated

815Turkish Sultan Carpet, 7’ 2” x 10’ 6”. [500/800]

816Agra Sultanabad Carpet, 9’ x 11’ 10”. [1500/2500] Illustrated

817Persian Karaja Carpet, 2’ 2” x 6’ 5”. [200/400]

818Persian Beloushistan Carpet, 3’ 2” x 6’ 1”. [200/400]

819Empire-Style Aubusson Carpet, 10’ x 14’. [3500/5000]

820Persian Mashad Carpet, 9’ 8” x 12’ 11”. [500/800] Illustrated

821Persian Mir Runner, 3’ 7” x 10’ 5”. [200/400]

814

816

820

95

822Peshawar Vegetable-Dyed Carpet, 8’ x 10’ 3”. [2500/4000] Illustrated

823Peshawar Vegetable-Dyed Carpet, 10’ x 14’ 3”. [4000/7000] Illustrated

824Afghan Beloushistan Carpet, 3’ 7” x 6’ 4”. [200/400]

825Turkish Angora Oushak Carpet, 8’ 5” x 10’ 6”. [1500/2500] Illustrated

826Indo-Jaipur Carpet, 9’ 9” x 14’ 3”. [1000/1500]

827Agra Sultanabad Carpet, 8’ 1” x 10’ 2”. [900/1200]

822

823

825

96

828Antique Kurd Bijar Carpet, 3’ 10” x 7’ 2”. [700/1000] Illustrated

829Turkoman Carpet, 5’ x 6’ 4”. [300/500]

830Antique Mahal Carpet, 6’ 5” x 15’ 8”. [1200/1800]

831Peshawar Zeigler Mahal Carpet, 7’ 10” x 9’ 7”. [1400/1800] Illustrated

832Group of Two Carpets, consisting of a Kilim table runner, 5’ 7” x 1’, and a Soumak carpet, 2’ 6” x 3’ 4”. [75/125]

833Oushak Carpet, 4’ 4” x 6’ 6”. [300/500]

834Three American Hooked Carpets, 3’ 4” x 5’ 5”, 3’ 5” x 5’ 6”, and 3’ 11” x 5’ 11”. [20/40]

835Sarouk Carpet, 4’ 6” x 7’ 7”. [300/500]

836Angora Oushak Carpet, 9’ 10” x 14’. [1000/1500]

837Jack Levine (American/New York, b. 1915) “Prussian General (State One)”, 1966 etching, pencil signed lower right “J. Levine”, numbered in pencil lower left “27/100”, sight 23” x 15”. Glazed and presented in a molded giltwood frame. [100/200] Illustrated

838Jack Levine (American/New York, b. 1915) “Untitled”, metal ink plate, sight 12” x 8‑1/2”. Attractively linen‑matted, mounted onto a black fabric background and presented in a silvered frame. [200/400]

839Jack Levine (American/New York, b. 1915) “Der Kanonen Song”, 1967, soft ground etching, signed in pencil lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 10” x 13”. Glazed, matted and mounted for hanging. [100/200]

840Jack Levine (American/New York, b. 1915) “Warsaw Ghetto”, lithograph, signed pencil lower right “J. Levine”, numbered lower left “53/120”, sight 22” x 28”. Matted and mounted with a hanging string. [200/400]

841Jack Levine (American/New York, b. 1915) “End of the Weimar Republic”, black and white etching, signed in pencil lower right “J. Levine”, numbered in pencil lower left “85/100”, sight 19” x 16”. Matted and mounted for hanging. [300/500] Illustrated

842Jack Levine (American/New York, b. 1915) “Judas Maccabeus”, 1963‑1964, etching, signed pencil lower right “J. Levine”, numbered lower left “21/100”, sight 11” x 9‑1/4”. Matted and mounted for hanging. [200/400]

843Jack Levine (American/New York, b. 1915) “The Prisoner”, 1963, black and white lithograph, artist’s proof, signed in pencil lower right “J. Levine”, 21” x 29”. Glazed and presented in a silvered frame. [100/200]

844Jack Levine (American/New York, b. 1915) “Gangster’s Funeral”, 1965, black and white engraving, signed in pencil lower right “J. Levine”, pencil numbered lower left “71/120”, sight 21” x 26‑1/2”. Glazed and mounted for hanging. [600/900] Illustrated Color Plate VII

845Jack Levine (American/New York, b. 1915) “Atelier Mourlot Poster‑Marianne and the Goddess of Liberty”, suite of 133 lithographs in black and white, with orange and blue, unsigned, 28” x 21”. Unmatted and unframed. [400/700]

828

831

97

846Jack Levine (American/New York, b. 1915) “Atelier Mourlot Poster ‑ Marianne and the Goddess of Liberty”, pair of lithographs in black and white, with orange and blue, unsigned, 28” x 21”. Unmatted and unframed. [200/400]

847Jack Levine (American/New York, b. 1915) “Cain and Abel I”, 1964, etching, pencil signed lower right “J. Levine”, numbered lower left “22/80”, sight 11‑3/4” x 9‑1/2”. Glazed, handsomely matted and presented in a silvered frame. [100/200]

848Jack Levine (American/New York, b. 1915) “Atelier Mourlot ‑ Marianne and the Goddess of Liberty Poster”, 1967, lithograph in black, red and blue, printed by Atelier Mourlot, New York, unsigned, 28” x 20‑1/2”. Glazed and mounted for hanging. [100/200]

849Jack Levine (American/New York, b. 1915) “Apollo and Daphne”, 1963‑1964, lithograph, signed in pencil lower right “J. Levine”, numbered lower left “45/100”, sight 9‑1/2” x 11”. Glazed, matted and mounted for hanging. [100/200]

850Jack Levine (American/New York, b. 1915) “Portrait of a Napoleonic General”, etching, pencil signed lower right “J. Levine”, numbered in pencil lower left “67/120”, sight 10‑1/2” x 7‑1/2”. Glazed, handsomely matted and framed. [100/200]

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844

Color Plate I

View Our Online Catalogue:

www.stcharlesgallery.com

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Color Plate II

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Color Plate VII

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Color Plate XII

Fine Collection of

Estate Jewelry

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Session IISunday, July 25, 2010

11:00 a.m. (Lots 851-1585)

100

851Attractive Shadowboxed Italian Fresco Fragment, fourth quarter 18th century, depicting a mitred bishop carrying a crook and an opened book, the later conforming shadowbox of mahogany-stained pine and glazed, h. 21-1/2”, w. 16”. [400/700]

852Interesting Four-Piece Group of Continental Items, including a Greek polychromed wooden ikon of “St. George Slaying the Dragon”, in the traditional style, with a conforming silverplate repousse riza; a two-piece Russian brass smoker’s set comprised of a small circular domed tobacco box, touchmarked in Cyrillic on the base “HK”, conjoined, and a matching circular cendrier; and an Indian silvered metal rectangular box set with multiple tiger’s-eye cabochons in the traditional style; the largest h. 7”, w. 5-3/8”. [100/200]

853Large Composition Plaster Figure of a Robed Angel, first quarter 20th century, Daprato Statuary Co., Chicago, Illinois, the polychromed and parcel-gilded figure depicted carrying a flambeau in the Renaissance style, the flambeau fitted for electrical wiring, the figure presented on a gilded stepped octagonal base, h. 53-1/2”. [600/900] Illustrated

854Continental Cast-Iron Figure of the “Sacred Heart of Christ”, first quarter 20th century, raised on a molded stained wood circular base, h. 15”, dia. 7”. [100/200]

855French Provincial Fruitwood Prie-Dieu, first quarter 20th century, the top inlaid with an oval punched out pierced medallion over three rails, above a rush seat, raised on sabre legs joined by a stretcher, h. 39”, w. 17”, d. 15”. [100/200]

856Follower of Duccio di Buoninsegna (Italian, ca. 1255-ca. 1318) “Virgin and Child”, probably 19th century, oil on panel, 15” x 11”. Presented in a stained hardwood frame. [100/200]

857Manner of Michelangelo Buonaroti (Italian, 1475-1564) “Study of a Male Partial Nude with a Red Scarf”, 20th century, oil on canvas over cardboard, unsigned, 9-1/2” x 6”. Presented in a giltwood and gesso frame. [40/70]

858Spanish Colonial School (Second Half 19th Century) “Retablo of Saint Benedict”, oil on tin, 11” x 8”. Unframed. [75/125]

859Monumental Fourteen-Karat White Gold, Tanzanite and Diamond Dinner Ring, composed of a central oval mixed-cut natural tanzanite, set within elaborate bombe-style mixed-cut diamond-set shoulders, featuring yellow gold accent detailing throughout, total tanzanite weight 4.91 carats, total diamond weight 2.66 carats, size 7.5. [7000/10000] Illustrated Color Plate VIII

860Fine Fourteen-Karat White Gold, Tanzanite and Diamond Lady’s Dinner Ring, composed of a central oval mixed-cut natural tanzanite, set within an intricate three-tiered mixed-cut white diamond lattice gallery, supported by mixed-cut diamond-set shoulders, total tanzanite weight 3.62 carats, total diamond weight 1.10 carats, size 7.5. [3500/5000] Illustrated Color Plate VIII

861Traditional Fourteen-Karat Yellow Gold and Diamond Tennis Necklace, a flexible ribbon composed of one hundred nine martini-style prong-set round brilliant-cut graduated in-line white diamonds, terminating in a hidden clasp, with safety, total diamond weight 17.18 carats, l. 17”. [12000/18000] Illustrated Color Plate VIII

862Beautiful Fourteen-Karat Yellow Gold, Ruby and Diamond Lady’s Dinner Ring, featuring a central natural ruby, surround by fourteen prong-set round brilliant-cut white diamonds, total ruby weight 11.58 carats, total diamond weight 2.44 carats, size 7.5. [2500/4000] Illustrated

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860

859

861

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863Fine Fourteen-Karat Yellow Gold, Ruby and Diamond Lady’s Ring, composed of a central oval faceted-cut ruby, surrounded by a round brilliant-cut two-tiered white diamond bezel, supported by a yellow gold lattice undercarriage, total ruby weight 13.96 carats, total diamond weight 1.52 carats, size 7.5. [2500/4000] Illustrated

864Lady’s Fourteen-Karat White and Yellow Gold, Emerald and Diamond Dinner Ring, composed of a central prong-set rectangular-cut natural emerald, set within a two-tiered and two-toned prong-set round brilliant-cut white diamond lattice gallery supported by a white gold lattice undercarriage and held by diamond-set three-way two-toned split shoulders, total emerald weight 4.85 carats, total diamond weight 1.00 carats, size 7.5 [3500/5000] Illustrated

865Floral-Inspired Eighteen-Karat White Gold, Emerald and Diamond Lady’s Dinner Ring, featuring a prong-set emerald within thirty-one channel-set baguette-cut white diamonds, surrounded by prong-set round brilliant-cut white diamonds in a floral design, supported by diamond-set shoulders and completed with yellow gold accents throughout, total emerald weight 5.74 carats, total diamond weight 3.19 carats, size 8. [8000/12000] Illustrated

866Lady’s Fourteen-Karat White Gold, Diamond and Synthetic Emerald Triplet Dinner Ring, composed of a central rectangular step-cut synthetic green triplet surrounded by marquise- and round-cut white diamonds, estimated total weight 2.19 carats. [500/800]

867Pair of Eighteen-Karat White Gold, Diamond and Synthetic Emerald Triplet Drop Earrings, the white gold foliate mountings and surrounds set with approximately eighty-six round brilliant-, marquise- and baguette-cut white diamonds, estimated total weight 6.20 carats, centrally set with two rectangular step-cut green triplets. [1200/1800]

868Fourteen-Karat White Gold, Emerald and Diamond Lady’s Ring, featuring a central prong-set rectangular mixed-cut natural emerald, surrounded by a bezel of twenty-two round brilliant-cut white diamonds, supported by a white gold lattice undercarriage and channel-set tapered baguette-cut white diamond-set shoulders, total emerald weight 3.79 carats, total diamond weight .66 carats, size 7.5. [2500/4000]

869Eighteen-Karat White Gold, Pearl and Diamond Pendant Necklace, composed of a central 12.0 mm black Tahitian pearl suspended on an eighteen-karat white gold foliate-style wreath, set with round brilliant-cut white diamonds, estimated total weight .90 carats, hung on a fourteen-karat white gold chain. [1500/2500] Illustrated

870Stunning Tahitian Cultured Black Pearl Necklace, containing thirty-seven Tahitian cultured pearls, 13.00 mm to 10.00 mm in size, black in color, with high luster and thick nacre, mostly round, with good uniformity, l. 17”. [1800/2500] Illustrated

871Dramatic Fourteen Karat White Gold and Black and White Diamond Ring, featuring a prong-set round fancy brilliant-cut black diamond, set within a bouquet of cascading white diamond-set leaves, total weight of black diamonds 9.43 carats, total weight of white diamonds 1.11 carats, size 10. [4500/7000] Illustrated Color Plate VIII

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872Monumental Fourteen-Karat White Gold and Black and White Diamond Dinner Ring, featuring a central round brilliant-cut fancy black diamond, total weight 15.68 carats, set within an elaborate floral-style mixed-cut white diamond lattice gallery, supported by matching mixed-cut white diamond-set shoulders, features yellow gold accents throughout, total white diamond weight 4.63 carats, size 8. [9000/12000] Illustrated Color Plate VIII

873Beautiful Graduated Single-Strand South Seas Cultured Pearl Necklace, containing twenty-nine South Seas cultured pearls, 13.00 mm to 15.50 mm in size, all white in color with medium luster and thick nacre, mostly round to slightly off-round, knotted with a fourteen-karat white gold scalloped plunger clasp, l. 17”. [2500/4000] Illustrated

874Pair of Fourteen-Karat White Gold and Diamond Solitaire Earrings, with prong-set round brilliant-cut white diamonds, with screw backs, total diamond weight 2.06 carats. [4000/7000]

875Eighteen-Karat White Gold and Diamond Lady’s Unity Ring, composed of a central round brilliant-cut white diamond, flanked by two smaller round brilliant-cut white diamonds, all surrounded by a forty-six white diamond bezel and white diamond-set shoulders, total weight of center diamond 2.17 carats, total weight of two flanking diamonds .88 carats, total weight of bezel and shoulder diamonds .61 carats, size 7.5. [9000/12000] Illustrated

876Portuguese Gold, Silver, Diamond and Pearl Demi-Parure, composed of a necklace and earrings, each with gold back and silver top, mounted with tablet-cut diamonds, estimated total weight 12.37 carats, the earrings each with three freshwater pearl drops and post backs. [10000/15000] Illustrated

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877Good Fourteen-Karat White Gold and Diamond Lady’s Ring, composed of a central round brilliant-cut diamond, total weight 1.58 carats, supported by one hundred ten mixed-cut diamond-set shoulders, total smaller diamond weight 1.27 carats, size 7.5. [5000/8000] Illustrated Color Plate VIII

878Eighteen-Karat White Gold and Diamond Unity Ring, featuring a central round brilliant-cut white diamond, flanked by fourteen channel-set baguette-cut white diamonds, framed by ribbons of twenty-two round brilliant-cut white diamonds, total weight of center diamond 2.14 carat, total weight of all other diamonds 1.38 carats, size 7. [10000/15000] Illustrated Color Plate VIII

879Fine Fourteen-Karat White Gold, Sapphire and Diamond Lady’s Floret Bracelet, having a flexible strap of thirteen prong-set oval mixed-cut sapphires, surrounded by white diamond florets, terminating in a concealed clasp, with safety, total sapphire weight 13.02 carats, total diamond weight 3.95 carats, l. 7”. [2500/4000] Illustrated Color Plate VIII

880Lovely Eighteen-Karat White Gold and Diamond Lady’s Unity Ring, featuring a central round brilliant-cut white diamond, supported by twelve round brilliant-cut white diamonds flanking ten channel-set baguette-cut diamond-set shoulders, total weight of center diamond 2.13 carats, total weight of shoulder diamonds 2.22 carats, size 7. [15000/25000] Illustrated Color Plate VIII

881Stunning Eighteen-Karat Yellow Gold and Diamond Lady’s Ring, composed of a central round brilliant-cut white diamond, surrounded by a row of round brilliant-cut white diamonds, supported by stem-and-leaf design round brilliant-cut white diamond-set shoulders, total weight of center stone 1.21 carats, total weight of all other diamonds .62 carats, size 6.5. [4500/7000] Illustrated

882Dramatic Eighteen-Karat Yellow Gold, Kunzite and Diamond Enhancer featuring a substantial sized oval mixed-cut natural kunzite, set within a multi-tiered elaborate white diamond lattice gallery, completed by a white diamond-set snap locking bail with safety clasp, total kunzite weight 23.77 carats, total diamond weight 3.77 carats, chain l. 18”. [5000/8000] Illustrated Color Plate VIII

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887Pair of Vogue Bijoux Costume Clip Earrings, each in the form of confronting and pendant hearts, each gold-tone metal body with black enamel and rhinestone decoration. [50/80]

888Fourteen-Karat Yellow Gold and Citrine Pendant Drop, composed of an oval-cut citrine of intense color, weighing 18.36 carats, in a yellow gold basket setting with a double loop bail. [300/500]

889Elegant Eighteen-Karat White Gold, Tanzanite and Diamond Lady’s Ring, composed of a featured prong-set, mixed cushion-cut tanzanite, set within elaborate pave-set white diamonds, supported by pave-set white diamond shoulders, total tanzanite weight 3.89 carats, total diamond weight .72 carats, size 7. [3500/5000] Illustrated Color Plate VIII

890Fourteen-Karat White Gold and Diamond Lady’s Tennis Bracelet, composed of fourteen in-line prong-set round brilliant-cut white diamonds, terminating in a concealed clasp with safety, total diamond weight 9.42 carats, l. 7”. [6000/9000] Illustrated Color Plate VIII

891Fourteen-Karat White Gold and Diamond Lady’s Tennis Bracelet, composed of thirty-four prong-set round brilliant-cut white diamonds, terminating in a concealed clasp, with safety, total diamond weight 8.07 carats, l. 7”. [6000/9000] Illustrated Color Plate VIII

892Fine Fourteen-Karat White Gold, Tanzanite and Diamond Ring, composed of a central prong-set oval mixed-cut natural tanzanite, set within a beautiful brilliant-cut white diamond bezel and baquette-cut white diamond-set shoulders, totaling one hundred six diamonds, total weight of tanzanite 3.12 carats, total weight of diamonds .82 carats, size 7.5. [4500/7000] Illustrated Color Plate VIII

893United States $5.00 Gold American Eagle Coin, dated 1999, minted by the United States Mint, in brilliant uncirculated condition and containing 1/10 ounce fine gold, dia. 3/4”. [300/500]

894After Frederick S. Remington (American, 1861-1909) “The Bronco Buster”, a brown-patinated bronze group of a mustached cowboy on a wildly rearing mustang stallion, signed at the right facade edge of the plinth “Frederic Remington”, presented on a conforming mirror-polished black slate base having an engraved brass title plaque at the center of its facade, h. 22-1/2”, w. 16”, d. 8-1/2”. [500/800] Illustrated

883Brilliant Eighteen-Karat White Gold and Yellow and White Diamond Ring, composed of a central princess-cut fancy yellow diamond, surrounded by round brilliant-cut yellow diamonds, set within a round brilliant-cut white diamond bezel, supported by round brilliant-cut white diamond-set shoulders, total weight of center fancy yellow diamond 1.88 carats, total weight of round brilliant-cut yellow and white diamonds 1.12 carats, size 7. [6000/9000] Illustrated Color Plate VIII

884Fourteen-Karat White Gold and Fancy Light Brown and White Diamond Lady’s Ring, composed of a central prong-set pear-shaped-cut fancy light brown diamond, surrounded by twenty-eight prong-set round brilliant-cut white diamonds, total weight of brown diamonds 2.0 carat, total weight of white diamonds 0.64 carat, size 7. [5000/8000] Illustrated Color Plate VIII

885Interesting Fourteen-Karat White Gold and Yellow and White Diamond Art Deco Earrings, featuring fifty princess-cut fancy yellow and white diamonds arranged in a checkerboard pattern, with screw backs, total diamond weight 1.00 carats, l. 1/2”. [1500/2500] Illustrated Color Plate VIII

886Fine Fourteen-Karat Yellow Gold, Emerald and Diamond Lady’s Ring, featuring a prong-set step-cut emerald, set within a bezel of twenty-four prong-set round brilliant-cut white diamonds, total emerald weight 12.60 carats, total diamond weight 1.40 carats, size 8. [5000/8000]

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895After Frederic S. Remington (American, 1861-1909) “Cheyenne”, a limited edition black/brown patinated bronze group of a shrieking Indian warrior on a galloping mustang stallion, signed at the center of the ovoid plinth “Frederic Remington/ 15/100”, the Grand Antique marble base fitted with an engraved brass title plaque, h. 21”, w. 21-1/2”, d. 10”. [400/700] Illustrated

896After Frederic S. Remington (American, 1861-1909) “Comin’ Through the Rye”, a large and elaborate patinated bronze group of a quartet of mounted galloping gunslinging cowboys, signed at the right front edge of the plinth and presented on a verde antico marble base with an engraved brass title plaque at the center of the facade edge, h. 31”, w. 22”, d. 30”. “Comin’ Through the Rye” was Remington’s most celebrated bronze depicting what was then the disappearing Old West. [1500/2500] Illustrated Color Plate I

897American Chippendale Maple Slant-Lid Desk, mid-18th century, the slant front opening to a variety of drawers and cubbyholes, above four graduated long drawers, raised on splayed bracket feet, h. 42”, w. 36”, d. 17-3/4”. [1200/1800] Illustrated

898Good American Late Federal Walnut and Tiger Maple Drop-Leaf Dining Table, second quarter 19th century, the top with two long drop leaves supported by turned swing-out legs, h. 29-3/4”, w. 49-1/2”, l. 21-1/4”, extended l. 74-1/2”. [500/800] Illustrated

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899Good Bell Metal Model of an 18th-Century Naval Cannon, on its wooden carriage, the cannon barrel mounted to tilt upon the carriage, h. 6”, w. 15-1/2”, d. 7”. [400/700] Illustrated

900Good English Bronze Model of a Georgian Naval Cannon, on its wheeled mahogany carriage, the bronze barrel authentically mounted to tilt down, h. 6”, w. 13-1/4”, d. 7”. [300/500] Illustrated

901Good Pair of American Brass and Wrought-Iron “Cannonball” Andirons, second quarter 19th century, Boston, the facade elements of cabriole-legged ringed brass, with “cannonball” finials, the billets of wrought-iron, h. 14”, w. 10-1/2”, d. 19”. [100/200]

902Rare American Provincial Strap-Iron-Mounted Shaped Wooden Saddle, third quarter 19th century, of “McClellan” form, the stirrup and girth rings of wrought-iron intact, h. 10”, w. 15”, l. 18-1/2”. [50/80]

903American Wrought-Iron Tripodal Floor Candlestick, first quarter 20th century, in the 18th-century Spanish style, the candle support of saucer form, the standard spiral-wrapped in tubular wrought-iron, presented in an old white-pickled and naturally rusted finish, h. 57-1/2”. [50/80]

904Pair of Anglo-American Tole-Peinte and Brass Carriage Lanterns, third quarter 19th century, now electrified and fitted with custom wrought-iron brackets to form entrance lights, the glazing beveled, h. 22”, w. 8”, d. 11”. [200/400]

905Rare American “Charleston Dancers” Polychromed Cast-Iron Doorstop, second quarter 20th century, by Hubley, #270, after the design by Gertrude E. Fish (American, 1908- ca. 1983), the bowfront base signed “’c’ Fish”, the polychromy in the original “as found” condition and not retouched, h. 8-5/8”, w. 5-1/4”, d. 1-5/8”. [200/400]

906American Cast-Iron “Standing Horse” Doorstop, third quarter 19th century, realistically polychromed in black and tan, h. 10”, w. 12”, d. 3-3/4”. [75/125]

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907American Polychromed Cast-Iron Figure of a Black and White Setter, first quarter 20th century, the finish in the original untouched state, h. 8”, w. 4-1/2”, l. 13-1/2”. [75/125]

908Louisiana Cajun Adzed Wood and Plaited Rush Child’s Stool, third quarter 19th century, the wood legs and box stretcher stained a dark brown, the plaited rush seat in good condition throughout, h. 7”, w. 9”, d. 8”. [30/50]

909American Painted Comb-Back Windsor Rocking Chair, ca. 1800, the back, legs and spindles faux-bamboo turned and the single plank saddle seat revealing the through-mortised legs, h. 41-1/4”, w. 20”, d. 23”. [200/400]

910Harlequin Suite of Eight Ash and Elmwood Windsor Chairs, late 19th century, consisting of two tall-back chairs and six short-back chairs, each with a central pierced splat flanked by turned spindles, the thick plank seats of saddle form, small chair h. 36-1/4”, w. 21-3/4”, d. 14-1/4”, large chair h. 42-1/2”, w. 22-1/2”, d. 15-1/4”. [1000/1500] Illustrated

911Charming American Hand-Made “Geographical” Folk Art Cotton Quilt, ca. 1930-1940, the United States depicted by appliqued and embroidered state flowers, and a Mississippi River steamboat named “Edison”; various boats, planes, cars, buses and trucks are appliqued in the Canada area, while the Gulf of Mexico and Atlantic Ocean are depicted with a blue background, the whole quilted and lined, and fitted with a hanging sleeve, w. 7’, l. 6’. [350/500] Illustrated

912American Crazy Quilt, dated “1895, you are mine”, composed of velvet, satin and wool squares with appliqued flower and birds designs, signed “Stella Sjuague”, 82” x 60”. [100/200]

913American Antiqued Brass Spiral-Standard Floor Lamp, second quarter 20th century, modeled as an 18th-century Spanish floor candlestick, the candlesocket element fitted with a tall tole faux candle and electrified, h. 64”, dia. 8-1/2”. [50/80]

914Fine and Rare Bennington Speckled Brown-Glazed Pottery Male Urinal, ca. 1853-1855, h. 5”, w. 1”, l. 16-1/2”; together with a Brass-Mounted Card Medical Doctor’s Prescription File Box, with ten small drawers, each containing a period sheaf of handwritten prescriptions, first quarter 20th century, h. 5”, w. 9”, d. 7-3/4” (two total pieces). [50/80]

915American Black-Ground Polychromed Tole Hat Box, second quarter 19th century and later, probably of Pennsylvania origin, of large oval form in stylized floral decor, the lid fitted with a wrought-wire carrying handle and pendant wrought-iron hasp at the facade edge, h. 11”, w. 15”, d. 12-1/2”. [300/500] Illustrated

916American Black-Ground Polychromed Tole Hat Box, second quarter 19th century and later, probably of Pennsylvania origin, of large oval form in stylized floral decor, the lid painted in a stylized floral spray and fitted with a wrought-wire carrying handle and a pendant wrought-iron hasp, h. 10”, w. 14-1/2”, d. 12”. [300/500] Illustrated

917Group of Two Trunks, consisting of a good Frank Niles Company leather-covered wooden uniform trunk with a paper interior label dated July 8, 1891, h. 12”, w. 19-1/2”, d. 13”; and a slightly larger strap-iron-mounted deep russet-painted metal-veneered trunk, lined in a figured red, white and blue calico, fourth quarter 19th century, h. 13-1/4”, w. 19”, d. 12”. [100/200]

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918Set of Ten “Seal of The United States” Porcelain Dinner Plates, in the 18th-century Chinese Export style, with coral-colored borders, dia. 10-1/8”. [75/125]

919Ridgeway’s Blue and White “Verona” Ironstone Slop Jar, fourth quarter 19th century, of covered, two-handled form, h. 11”, dia. 10-3/4”. [100/200]

920American Burlap and Painted Wood Rolling Hobby Horse, in the provincial mid-19th-century style, the painted platform base fitted with jig-sawn wooden wheels and a drawstring, h. 27”, w. 10”, l. 28-1/2”. [100/200]

921After Charles Marion Russell (American, 1864-1926) “Stagecoach”, a large and elaborate patinated bronze of a careening western coach drawn by six horses down an incline, presented on an elliptical verde antico marble base with an engraved brass title plaque at the center of the facade edge, h. 15”, w. 46”, d. 17-1/2”. [1000/1500] Illustrated previous page

922Frederic Sackrider Remington (American, 1861-1909) “Stampede”, a large and elaborate patinated bronze group of a mounted cowboy crowded by stampeding steers, signed at the front right edge of the plinth and presented on a conforming slab base of verde antico marble, the facade edge centered with an engraved brass title plaque, h. 22”, w. 21”, l. 44-1/2”. [1800/2500] Illustrated Color Plate III

923Manner of Alexander Weinman (American, 1870-1952) “Native American Chief in Headdress”, a patinated bronze bust, signed illegibly at the proper right edge, h. 7-1/2”, w. 6-3/4”, d. 3-1/2”. [75/125]

924Dramatic Faux-Antler Three-Light Candelabrum, modeled as a trio of addorsed and entwined racks, the candlesockets fitted with prickets, h. 19”, w. 18-1/2”, d. 17”. [75/125] Illustrated

925Continental Blond Horn-Mounted Brass Five-Light Chandelier, second quarter 20th century, in the “Jager” taste, the candlearms formed of brass-tipped blond horns fitted with brass bobeches of saucer form and tall “antique ivory” faux candles, electrified, h. 30”, dia. 24”. [100/200]

926American Parcel-Gilt Wood and Polychromed Wallpaper-Lined Looking Glass, second quarter 20th century, in the Native American taste, the inset framing strips taken from polychromed wallpaper samples in Southwestern Indian motifs on a black ground, h. 48”, w. 36”. [300/500]

927Pre-Columbian Maize-Grinding Bowl and Pestle, fourth quarter 14th century, each crafted of carved volcanic stone, the bowl raised on three tapering feet, the pestle of modified bullet form, bowl h. 4”, dia. 8”. [50/80]

928Three-Piece Group of Cooking Utensils, first quarter 20th century, consisting of a good Belle Epoque cast-iron-handled copper elliptical poaching pan; a copper-handled and -footed brass seven-egg poacher; and a large American copper swing-handled tea kettle, the handle fitted with a turned black-painted wooden grip, the domed copper cover with a black-painted turned wooden finial of mushroom form; the largest h. 2-3/4”, w. 11-3/4”, l. 16”. [50/80]

929American Late Federal Mahogany Work Table, second quarter 19th century, the top with two drop leaves over a large ogee-molded drawer, raised on turned legs, h. 28-1/2”, w. 15-1/2”, d. 17”, extended l. 31-1/2”. [200/400]

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930American Vernacular Maple and Poplar Sewing Rocker, second quarter 19th century, the spindled back mounted to a scrolled seat and having turned legs and “carpet cutter” runners, h. 31”, w. 16-1/4”, d. 27”. [50/80]

931Assembled Suite of Five Vernacular American Ladder-Back Chairs, mid-19th century, composed of oak and ash and of Southern origin, h. 34”, w. 15”, d. 15”. [250/500]

932Four-Piece American Faux-Painted Cottage Bed Set, fourth quarter 19th century, consisting of a high-back bedstead, drop center dressing bureau with a mirror, washstand and lamp table, each with floral-painted motifs, bed h. 77”, inside w. 53-1/2”, l. 76”, outside w. 58”, l. 80-1/2”, dresser h. 80”, w. 44-1/2”, d. 17-1/2”, washstand h. 38-1/2”, w. 31”, d. 14-1/2”, table h. 27”, w. 23”, d. 14”. [500/800]

933American Polychromed “Cottage” Dresser, fourth quarter 19th century, the top having a tilting mirror fitted inside an arched frame with candle shelves and hankie boxes, the base with four long drawers and carved pulls, the surface polychromed in faux-grained oak and having stenciled decor, h. 77”, w. 38”, d. 17”. [300/500] Illustrated

934Polychromed and Line-Stenciled Wood Small Casket, late 19th century, h. 11”, w. 18-1/4”, l. 61”. [50/80]

935Polychromed and Faux-Grained Wood Small Casket, late 19th century, h. 10”, w. 17-1/4”, l. 55”. [50/80]

936U.S. Coast Survey of the Gulf of Mexico, hand-colored lithograph by Browne & Hasbrouck, New York, 1855, sight 15” x 33-3/4”. Glazed, matted and presented in a parcel-gilt stained wood frame. [700/1000] Illustrated

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937American School (Fourth Quarter 19th Century) “Bird’s-Eye View of Andersonville Prison From the South East”, chromolithograph, published by Keystone Publishing Company, Philadelphia, 1890, 14” x 19”. Unframed. [75/125]

938Albert Rosenthal (American, 1863-1939) “Gilbert Stewart”, lithograph, signed in pencil lower right, pencil titled lower center, sight 23-1/2” x 18-1/2”. Glazed and presented in a parcel-gilt and ebonized frame. [150/300] Illustrated previous page

939Adolf Arthur Dehn (American/New York, 1895-1968) “The Piece of String”, lithograph, from Selected Tales of Guy de Maupassant series, pencil signed lower right “Adolf Dehn”, titled lower center, numbered lower left “27/230”, sight 15” x 12-1/2”. Glazed, matted and presented in a giltwood and plaster frame. [200/400] Illustrated

940Sandy Scott (Canadian, b. 1943) “Merry Christmas! 1985”, etching, signed in pencil lower right, titled and signed in the print, sight 6-3/4” x 6”. Glazed, matted and framed. [100/200]

941Lionel Barrymore (American, 20th Century) “Shadeside Farm”, “Rocky Point” and “San Pedro”, suite of three black and white etchings, titled lower left, signed lower right, all glazed and presented in ebonized frames; together with a Pair of Louisiana School Black and Gold Lithographs of Musicians, late 20th century, unsigned, both glazed, double-matted and framed, the largest sight 9” x 12” (five total pieces). [75/125]

942Leonard Baskin (American, 1922-2000) “Seghers”, artist’s proof, signed in pencil lower right “Baskin”, titled in pencil lower left, sight 19” x 15-1/2”. Glazed, matted and framed. [125/250]

943Leonard Baskin (American, 1922-2000) “Dead Blackbird”, black and white etching, pencil signed lower right “Baskin”, numbered in pencil lower right “215/350”, sight 15” x 22”. Glazed and framed. [100/200]

944Of Man’s Inhumanity to Man, A Collection of Drawings by Richard Kozlow, (American, b. 1926), a limited edition, 18/250, signed bound volume, includes twenty plates with protective tissue sheets, forward by Richard Kozlow within a hard cover, 15” x 13”. [40/70]

945Richard Kozlow (American, b. 1926) “Hitler”, black and white lithograph, signed lower right “Kozlow”, 13” x 9-1/2”. Matted and unframed. [30/50]

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946Gerson August Leiber (American/New York, b. 1921) “Stockholder Mutiny”, black and white etching, signed and dated in pencil lower right ‘Leiber ‘59”, numbered in pencil lower left “68-220”, 21-1/2” x 19”. Unmatted and unframed. [30/50]

947Leonard Baskin (American, 1922-2000) “Dead Blackbird”, two black and white etchings, one signed and numbered in pencil lower right “348/350 Baskin”, the other “207/350 Baskin”, 15” x 21-1/2”. Unmatted and unframed. [75/125]

948Chaim Koppelman (American/New York, b. 1920) “Tired Napoleons”, black and white etchings with aquatint, signed in pencil lower right, titled and numbered “6/30” lower left, 6-1/2” x 9-1/2”. Unmatted and unframed. [40/70]

949Varied Six-Piece Group of Photography and Art, including a suite of five American black and white photographs, ca. 1900, including “Greater Galveston Causeway”, an oval “Portrait of a Gentleman”, signed lower right “H. Higgins Chorley and Adingien”, “Two Young Girls with Music Sheet”, and a pair of photographs of a “Small Child as Cupid”, matted and framed as one; all glazed and framed; and a hand-colored photograph entitled “Sherman’s Cove”, signed “Will L. Hail”, glazed, matted and framed; the largest sight 14” x 10-3/4”. [75/125]

950Suite of Twelve Various Chromolithographs, works on paper and one oil on canvas, depicting various animals, including an unframed pen and ink with watercolor on paper by Sue Jennings of a “Crab”; a framed oil on canvas of a “Sleeping Dog on a Green Sofa”, signed “Allison”; a ca. 1930 chromolithograph by Lucy Dawson of a “Jack Russell Terrier”; a suite of four dog illustrations from The Dog Book by Albert Payson Terhune and Diana Thorne, published 1932, all initialed in print “TD”, all unframed; a suite of three 19th-century chromolithographs after Sir Edwin Landseer, from the Landseer Dogs and Their Stories, published London, 1877, unframed; and two loose pages of dog illustrations, taken from an unidentified sketchbook-like volume; the largest 13-1/2” x 10-1/4”. [125/250]

951Gebbie & Co., Philadelphia, Pennsylvania (Fourth Quarter 19th Century) “After-Dinner Gossip”, black and white etching on silk, etched by J. S. King, copyrighted “1885”, 11” x 12-1/2”. Unmatted and unframed. [40/70]

952Group of Two “Sea” Items, consisting of British School (Fourth Quarter 18th Century) “Crabs”, hand-colored engraving, sight 5-3/4” x 7-1/2”, glazed, matted and framed; and “The Crab Hut”, a polychromed wooden sign, fitted with hanging wire, 10-1/2” x 10-1/2”. [75/125]

953After Basilius Besler (German, 1561-1629) “Tulips”, suite of four facsimile bookplate prints, from Hortus Eystettenis, sight 20-1/2” x 17”. All glazed and presented in ebonized and parcel-gilt frames. [75/125]

954Scale Model of a Narrow Gauge Baldwin Train Engine, the 3-1/2” gauge steam-powered scale model of a Baldwin locomotive rail yard engine and tender, crafted of steel, brass and wood, the engine exhibiting evidence of previously being in working order, the interior including an assortment of functional levers and boiler door, a water gauge glass, a diminutive dial gauge, the boiler with a plate inscribed “The Baldwin Locomotive Works 40684 November 1913”, the headlight powered by an on-board steam generator, h. 17-1/4”, w. 13-3/8”, l.60”. In 1831, the Philadelphia Museum requested that silversmith Matthias Baldwin build a miniature steam locomotive for exhibition. From that beginning, Baldwin Locomotive Works grew to become the largest and most prolific maker of railroad steam engines in the United states. The firm continued to produce steam locomotives until demand for its product waned with the emergence of diesel engines. [12000/18000] Illustrated

955American Late Classical Mahogany Banquet Table, second quarter 19th century, the circular top bisected and opening to accommodate four leaves, above a plain frieze, raised on a quatrefoil columnar standard to four shaped and turreted supports on bun feet, h. 30”, w. 54”, d. 46”, extended l. 114”. [1500/2500] Illustrated

956American Late Classical Mahogany Sofa, second quarter 19th century, the scrolling back with conforming padded cushion and joined by out-scrolled arms, h. 30”, w. 73”, d. 25-1/2”. [300/500]

957Unusual American Late Classical Mahogany Work Table, second quarter 19th century, the rectangular hinged top opening to a void cavity, possibly as a dry sink, and raised on scroll-cut legs, h. 29”, w. 28”, d. 17-5/8”. [200/400]

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958Isabel E. Smith (American, 1843-1938), a pair of oval portrait miniatures of, respectively, “George Washington”, after the portrait by Gilbert Stuart (1755-1828) and “Martha Washington”, both signed lower right “Smith”, in script, presented in matching dished engraved pieced bone frames with convex-glazed oval apertures, h. 5-1/2”, w. 4-1/4”. [125/250] Illustrated

959Group of Two Portrait Miniatures, consisting of an English oval portrait miniature of “Lady Smith”, in the manner of Sir Thomas Lawrence (English, 1769-1830), fourth quarter 19th century; and an English oval portrait miniature of a lady-of-fashion in a tall black silk hat and a crimson jacket in the early 19th-century style, also fourth quarter 19th century; presented in matching upright oblong dished frames of engraved pieced bone and having gilded brass fillets for the glazed oval apertures, h. 5-1/2”, w. 4-1/2”. [125/250] Illustrated

960Collection of Six Tintype and Daguerreotype Cases, comprised of a magnum example containing a fine tintype of an elderly woman in a white lawn cap, third quarter 19th century; an embossed gutta-percha case containing an oval tinted daguerreotype of a seated young woman, also third quarter 19th century; a similar, smaller gutta-percha case containing an unusual tinted daguerreotype of two young brothers, third quarter 19th century; a similar, yet smaller case containing a tinted daguerreotype of a young woman, also third quarter 19th century; a slightly larger gutta-percha daguerreotype case containing a later photograph of a young woman standing at a ship’s rail; and an empty S. Peck and Company gutta-percha “Union Case” for an oval daguerreotype; the gilt-metal interior enframements and embossed velvet pads in generally good condition, the largest h. 6”, w. 4-3/4”. [75/125]

961Good, Large Bronze “Plantation” Bell and Bracket, first quarter 20th century, the iron clapper fitted with the proper “Mariner’s Braid” rope pull of later date, h. 14”, dia. 14-1/4”. [200/400]

962American Late Classical Mahogany and Marble-Top Wig Dresser, second quarter 19th century, the upper section with an ogee framed and tilting mirror mounted between long cabinets on each side, the base with a central marble deck and glove drawers to each side and four long drawers below, h. 75”, w. 48”, d. 20”. [600/900] Illustrated

963American Late Classical Mahogany Pier Table, second quarter 19th century, the serpentine wooden top with molded edge over a like-shaped base and having large scrolling supports with a lower shelf and back mirror, h. 35-3/4”, w. 40-1/4”, d. 18-1/2”. [500/800]

964American Late Classical Mahogany Settee, second quarter 19th century, the shaped back frame with flame veneers and having outscrolled arms, upholstered in green faux leather, h. 34”, w. 76-1/2”, d. 23-1/2”. [100/200]959

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965American Late Classical Mahogany Games Table, second quarter 19th century, the rectilinear fold-over top with canted corners, over a cyma-molded apron, raised on a vasiform pedestal joined with a concave base with scroll feet, h. 29”, w. 41”, d. 21”. [300/500] Illustrated

966Framed 1866 Citizen’s Mutual Insurance Company of New Orleans Policy, dated December 1, 1866, presented in a wide taupe mat within a narrow antique-gilded wood and plaster frame in the neoclassical taste and glazed, h. 6-1/2”, w. 9”. [200/400]

967Pair of Frederick Cooper, Chicago, Gilt-Brass-Mounted Eglomise Table Lamps, of Napoleon III carcel form, the tall ivory eglomise standard with black and gold banding, each lamp fitted with a brass finial of stylized anthemion form and bearing the printed gold foil Cooper label, overall h. 41-3/4”. [150/200]

968American Mahogany Floor Lamp Modeled as a Colonial Candle Stand, second quarter 20th century, of tiered circular form, fitted with a knife-pleated antique-white fabric shade of drum form, h. 59”, dia. 14-3/4”. [30/50]

969American Classical-Style Mahogany Sidechair, early 20th century, in the manner of Duncan Phyfe, New York, the back with a central carved splat in the form of a lyre, the back posts and legs reeded, fitted with an upholstered slip seat, h. 34”, w. 16”, d. 19”. [50/80]

970American Late Classical Flame Mahogany Secretary, second quarter 19th century, the upper case with an ogee cornice above a pair of glazed doors, each with six panes and two drawers below, the base with a fold-open writing surface above three long drawers flanked by scrolled pilasters, raised on turned legs, h. 78”, w. 47-1/2”, d. 19”. [800/1200] Illustrated

971American Late Classical Mahogany Sofa, second quarter 19th century, the back with scrolling crest rail and floral-carved crest above the tripartite padded back, the outscrolled arms with carved fronts and the seat frame serpentine, h. 33-3/4”, w. 80”, d. 26”. [300/500]

972Fine and Rare Trio of American Pressed Glass Covered Compotes, third quarter 19th century, in “Lion” decor, comprising one small compote and two larger examples, the domed covers gadroon-pressed and fitted with frosted glass “Lion” finials, the stems each with three frosted glass lion masks continuing to gadroon-pressed circular bases, h. 13-1/2”, dia. 9-1/4”. [150/300] Illustrated

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973Fine Set of Eight Simon Pearce, Quechee, Vermont, Tankards, composed of hand-blown and tooled colorless glass, and of the “Windsor” type in the George III style, each example signed on the base in diamond stylus script “Simon Pearce”, h. 5”, dia. 4”. [500/800]

974Two American Late Victorian Kerosene Organ Lamps, fourth quarter 19th century, one a reticulated and gilded cast-iron, brass and caramel onyx tiered lamp, the square table with an onyx top and shelf stretcher joining the attenuated cabriole legs with paw feet, the bronze-patinated and parcel-gilt lamp font with alternating heart-form reserves and “putto” masks, not electrified; and the other having scroll and foliate reticulated legs of tripodal form and a spiral standard with telescoping adjustable shaft, the font labeled “Stern Bros., New York”, not electrified, adjustable h. 57”. [150/300]

975American Wrought-Iron Floor Lantern Lamp, second quarter 20th century, of tripodal coin-footed form in the Colonial style, the lamp proper modeled as a pendant lantern of cylindrical roofed form, the interior fitted with a single light, h. 75”. [40/70]

976American Late Classical Mahogany Sideboard, second quarter 19th century, the front with a pair of drawers above three raised paneled cabinet doors flanked by full columns with carved capitals, raised on large paw feet, h. 45-3/4”, w. 70”, d. 25-3/4”. [500/800] Illustrated

977Federal-Style Inlaid Mahogany Dining Table, early 20th century, the circular top with string-inlaid aprons mounted to a square pedestal with inlaid details and further mounted to an outstretched platform base with four feet, accompanied by three leaves, h. 30”, dia. 60”. [700/1000] Illustrated

978Leather-Bound Volumes I, II, V and IX of Nathaniel Hawthorne’s Little Classics, published by Haughton, Mifflin and Company, Cambridge, 1881, the covers and endpapers in scarlet and claret marbled Florentine papers, h. 6-3/4”, w. 5-1/4”, d. 1-1/4”. [30/50]

979Eight-Volume Set of the New York Historical Genealogical Register, 1935-1938, in quarter-bound blue gilt-tooled leather, h. 8”, w. 6-1/2”, d. 1-3/4”. [50/80]

980Henry Watterson, History of the Manhattan Club, New York, privately printed, 1915, number 156 of 650, by subscription for Frederick H. Ecker, and so printed on the colophon, quarto, in gilt-threaded red half morocco marbled boards, with raised bands and gilt lettering on the spine, 11-5/8” x 7-3/4”. [30/50]

981Group of Three Silver and Turquoise Southwestern Cuff Bracelets, two with four mounted stones each and raised ball design, and one with three stones surrounded by s circular Aztec design, h. 1” to 1-1/2”, w. 2-3/4”. [200/400] Illustrated

982Group of Two Silver Cuff Bracelets, consisting of a large example with an Egyptian mark, having a mirrored design of a sunset and two fish, separated by a raised etched band, h. 3”, w. 3”; and another bracelet with a raised center band having an oxidized design flanked by two rows forming a weaving effect, h. 2-1/2”, w. 3”. [200/400] Illustrated

983Unusual Silver and Amber Lady’s Ring, composed of a tapered amber cabochon bezel set in a silver mount and secured on top by a four-digit appendage. [40/70]

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984Group of Two Gentleman’s Bracelets, consisting of a heavy signed “Versani” sterling silver curb-link bracelet, having a safety attachment at the clasp; and a sterling silver figaro-link bracelet with four longer links interspaced along the flexible portion of the bracelet, marked “Mexico 925”; curb link, l. 8-1/2”, figaro link l. 9-3/4”. [150/300]

985Two Sterling Silver Bracelets, consisting of a sterling curb link bracelet marked “Mexico 925”, h. 1/2”, l. 8-1/4”; and a sterling and gold-tone flexible bracelet, having geometric design links with seven round inlaid gold-tone “bolt heads”, marked “925”, l. 8-1/2”. [150/300]

986Group of Four Sterling Silver Rings, one vermeil with a mounted lapis lazuli, one in silver with a mounted lapis lazuli, and two in silver with mounted malachites, two of modern inspiration, and two of traditional form, vermeil with lapis lazuli size 8, silver with lapis lazuli size 11-1/2, silver with malachites sizes 9 and 11-1/2. [150/300]

987Group of Two Italian Sterling Silver Chains, consisting of a box link chain, marked “Italy 925”, l. 24”; and a chain with rectangular box links, also marked “Italy 925”, l. 26-1/2”. [150/300]

988Group of Four Sterling Silver Rings With Semi-Precious Stones, one with onyx, one with tiger’s eye, one with opaque ruby, and the last with six various colored hard stones, with onyx size 8, with tiger’s eye size 10-1/2, with opaque ruby size 12, with various stones size 11. [150/300]

989Gentlemen’s Sterling Silver Identification Bracelet, having a solid plaque for engraving and three bands circling the back of the bracelet, h. 2-1/2”, w. 3-1/4”. [100/200]

990Group of Four Silver Belt Buckles, consisting of three oval examples with turquoise set in a floral design, and one rectangular buckle in alpaca and silver tone with a gilded eagle in flight; h. 2-1/2” to 4”, w. 3-3/4” to 5-1/4”. [150/300]

991Sterling Silver Bracelet, with pounded cable links, marked “950”, l. 8”. [50/80]

992Silverplate, Turquoise and Leather Conch Belt, having a large rectangular buckle with shaped edges and four mounted stones in natural form, the belt having alternate scalloped edge oval and shaped rectangular conches, each with a center-mounted stone, l. 46”. [150/300]

993Mexican Sterling Silver Double Curb Link Gentlemen’s Bracelet, marked “Mex 925”, l. 9-1/2”. [100/200]

994Heavy Mexican Sterling Silver Gentleman’s Buckle Bracelet, with flexible links having a geometrical design, marked “Mexico 925”, h. 1”, l. 10”. [100/200]

995Mexican Sterling Silver Spiral Cuff Bracelet, the bands grouped and interwoven forming a fluid design, marked “Mexico 925”, h. 1-1/2”, w. 3”. [75/125]

996Two Gold-Filled Rounded Cable Link Chains, with toggle clasp, each having two cabochon ruby-colored glass ends, l. 17-1/2”. [75/125]

997Group of Three Gold Rings, one vermeil with an enameled front and a synthetic diamond, one in fourteen-karat gold with an inlaid onyx, and the other fourteen-karat gold with a mounted red jade tablet, synthetic diamond size 10, onyx size 9-3/4, jade size 8. [150/300]

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998Unusual Specimen Turquoise and Silvered Metal Serpentine Desk Ornament, composed of a bright turquoise natural specimen topped by a silvered metal figure of a serpent with forked tongue, h. 2-1/2”, w. 3”, d. 2-3/4”. [100/200]

999Rare Pair of Meriden Silverplate Bi-Fold Wine Bottle Sleeves, fourth quarter 19th century, each handled and hinged, and in “Foliate Scroll” decor, h. 11-1/2”, dia. 4-1/4”. [100/200] Illustrated previous page

1000Set of Seven Mexican Sterling Silver Cocktail Glasses, second quarter 20th century, with dolphin stems, h. 4-1/8”, dia. 3-1/2”, 36.10 total t. oz. [200/400]

1001Set of Eight Mexican Hand-Wrought Sterling Liqueur Goblets, second quarter 20th century, in the Spanish Colonial style, h. 3”, dia. 1-1/2”, 6.80 total t. oz. [50/80]

1002Thirty-Two-Piece Collection of Sterling and Plated Silver, comprised of a set of six Mexican sterling hors d’oeuvres picks with “Indian Chief” finials, second quarter 20th century; another Mexican set of six sterling picks with rabbit finials, also second quarter 20th century; a Rogers silverplate “Owl” seafood fork, fourth quarter 19th century; a set of six English silverplate “Fiddle” salt spoons in the Georgian style by Dixon and Adams, first quarter 20th century; an Italian “Small Gadroon Edge” silverplate sauce ladle, third quarter 20th century; and a set of twelve Watson sterling corncob holders in the form of corn ears, second quarter 20th century; the largest l. 6”. [50/80]

1003Mexican Hand-Wrought Sterling Silver Covered Serving Bowl, second quarter 20th century, with a petaled everted lip in the Art Deco style, the domed cover reversing to form a separate open bowl, the detachable cover finial lacking, h. 4”, dia. 8-1/4”, 28.15 t. oz. [50/80]

1004Group of Two Photograph Frames, consisting of an Italian sterling silver arched frame with a lacquered rosewood-grained backplate and easel; and an English ribbon-bound reeded sterling silver frame, 1977, London, with a midnight-blue velvet backplate and easel; both examples glazed, the smaller h. 6-1/4”, w. 4-3/4”, the larger h. 7-1/4”, w. 4-3/4”. [100/200]

1005After John James Audubon (American, 1785-1851) “Three-Toed Woodpecker”, hand-colored engraving with aquatint on J. Whatman paper, by R. Havell, Plate CXXII, from the Birds of America, London 1827-1838, sheet size 33-3/4” x 25-3/4”. Unmatted and unframed. [2500/4000] Illustrated Color Plate VI

1006After John James Audubon (American, 1785-1851) “Louisiana Heron”, limited edition print, published by the Old Mission Gallery, Shawnee Mission, Kansas, numbered lower left “887/2000”, with “Old Mission Gallery” label on reverse, sight 16-1/2” x 20”. Glazed, handsomely double-matted and framed. [300/500]

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1007After John James Audubon (American, 1785-1851) “Collard Peccary”, offset chromolithograph from the Southart-Parkway Edition of the Viviparous Quadrupeds of North America, ca. 1980, pencil numbered lower right “266/750”, sight 19-3/4” x 25-1/2”. Glazed, attractively double-matted and presented in a parcel-silvered and polychromed frame. [500/800]

1008After John James Audubon (American, 1785-1851) “Barred Owl” and “Great Cinereous Owl”, two hand-colored lithographs from the Royal Octavo edition of Birds of America, sight 9-1/4” x 6”. Both glazed, attractively matted and presented in giltwood and gesso frames. [400/700]

1009After John James Audubon (American, 1785-1851) “Solitary Flycatcher”, hand-colored engraving with aquatint, by R. Havell, Plate XXVIII, from the Birds of America, London, 1827-1838, legend lower margin, plate size 19-1/4” x 12”. Glazed, matted and framed. [2500/4000] Illustrated Color Plate VI

1010William H. Turner (American/Onley, Virginia, Contemporary) “Mallard Drake”, a large triple-patinated bronze figure, number 65 from a limited edition of 150 examples, 1998, signed at the proper right base “H. Turner/1998/65/150”, h. 14-3/4”, w. 7”, l. 12”. [300/500]

1011After John James Audubon (American, 1785-1851) “Great White Heron”, offset chromolithograph from the Amsterdam edition of Birds of America, 1971, sight 24-1/2” x 37-1/2”. Glazed, attractively matted and presented in a burlwood frame. [1000/1500] Illustrated

1012After John James Audubon (American, 1785-1851) “American Woodcock”, Plate 352, hand-colored lithograph from the royal octavo, first edition of the Birds of America, sight 6” x 8”. Glazed, matted and framed. [300/500]

1013Dell Weller (American/New Orleans, b. 1927) “Turkeys”, limited edition etching, signed in pencil lower right, numbered in pencil lower left “19/150” and titled lower center, sight 10-1/2” x 13”. Glazed, matted and framed. [250/400]

1014Jack Cooley (American/New Orleans, 20th Century) “Two Ducks”, oil on canvas board, signed lower right, 15” x 30”. Presented in a molded stained hardwood frame with linen liner. [200/400]

1015J. Gould and H. C. Richter and J. Gould and W. Hart (British, 19th Century) “Cephalepis Lalandi”, “Threnetes Antonlae” and “Lophornis Adorabilis”, suite of three hand-colored lithographs, depicting various hummingbirds, sight 18-3/4” x 13”. Each glazed, attractively French double-matted and presented in giltwood and gesso frames. [1800/2500] Illustrated

1016J. Gould and W. Hart (British, 19th Century) “Phasianus Colchicus” (“Ring-necked Pheasant”), hand-colored lithograph, sight 14” x 20-5/8”. Glazed, attractively French-matted and presented in a molded giltwood and gesso frame. [500/800]

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1017J. Wolf and H. Richter (British, 19th Century) “Bubo Maximus” (“Eagle Owl”), hand-colored lithograph, sight 20” x 13-1/2”. Glazed, attractively French-matted and presented in a molded giltwood and gesso frame. [500/800]

1018J. B. Gould (British, 19th Century) “Red Grouse”, hand-colored lithograph, sight 20” x 13-1/2”. Glazed, attractively French-matted and presented in a molded giltwood and gesso frame. [500/800]

1019Basil Ede (British, b. 1931) “Belted Kingfisher”, offset chromolithograph, signed in pencil lower right, numbered in pencil lower left “248/350”, sight 39-3/4” x 30-1/2”. Glazed and presented in an antiqued giltwood frame. [500/800]

1020J. Gould and H. C. Richter (British, 19th Century) “Turtur Auritus” (“Turtle Dove”), hand-colored lithograph, sight 19-1/4” x 12-3/4”. Glazed, French matted and presented in a giltwood and gesso frame. [500/800]

1021American School (20th/21st Century) “White Herons”, pair of oils on panel, unsigned, 7” x 5”. Presented in molded giltwood frames. [300/500]

1022Lance Cameron (American, b. 1953, Works in Alaska) “American Majesty: Bald Eagle in Flight”, oil on canvas, 12” x 16”, signed and dated lower right. Presented in a black-lacquered wooden frame with silvered detail. [100/200]

1023After John James Audubon (American, 1785-1851) “Canadian Goose”, offset lithograph, 20th century, sight 19” x 13-1/2”. Glazed, double-matted and presented in a giltwood and gesso frame. [100/200]

1024Peggy Woods (American/Texas, Contemporary) “Birds of a Feather...”, “Seaside Serenity” and “Peaceful Valley”, suite of three linocut prints, all numbered, titled and signed in pencil lower margins, each verso affixed with printed documentation, sight 8” x 6”. All matted and unframed. [50/80]

1025After John James Audubon (American, 1785-1851) “Hemlock Warbler”, Plate CXXXIV, No. 27, “Green Black-Capt Flycatcher”, Plate CXXIV, No. 25 and “Bachman Warbler”, Plate CLXXXV, No. 37, suite of three fascimile prints, sight 39” x 26”. Framed. [150/300]

1026After John James Audubon (American, 1785-1851), suite of three fascimile prints, including “Salt Water Marsh Hen”, Plate XXIV, No. 44, “Worm Eating Warbler”, Plate XXXIV, No. 7, and “White-breasted Black-capped Authatch”, Plate CLII, No. 31, sight 39” x 26”. [100/200]

1027Giovanni di Marco (Giovanni dal Ponte) (Florentine, 1385-1437/38) “Madonna with Child Enthroned, Crowned by Two Angels with Saints Anthony Abbot and James Major”, tempera and gold leaf on panel with a gothic-arch carved top, inscribed bottom “Ave Maria Gratia Plen(a)”, 33” x 22”. Provenance: Private collection, Europe. Literature: Moretti Gallery Dalla Tradizione Gotica al Primo Rinascimento, Edizioni Polistampa, 2009, Moretti Galleries 2007 Exhibition Catalogue Dagli Eredi di Giotto Al Primo Cinquecento. Giovanni di Marco, or dal Ponte, acquired his name dal Ponte due to the location of his studio at Santo Stefano al Ponte. In 1410 he joined the Arte dei Medici and degli Speziali and in 1413, Compagnia di San Luca. In the 1420’s, he opened a studio with a partner, Smeraldo di Giovanni, with whom he collaborated on Santa Trinita frescoes. In 1424 his outstanding debts brought him a jail sentence but he was released after accepting a plan in which he paid his debts over a period of five years. His output was prolific, producing varying work, influenced by his contemporaries, such as Masolino, Masaccio, Fra Angelico and Lorenzo Ghiberti. This particular devotional altarpiece, portraying a tender moment between an enthroned solemn Madonna and playful Child, and the elegant linear figures of the Saints below is probably one of his early works, as it is painted in a typical high Gothic style. Some of the artist’s most famous works are housed in the the Musee Conde, Chantilly, Museo del Prado, Madrid, Uffizi Gallery, Florence, among many others. [200000/400000] Illustrated Color Plate I

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1028Francesco Botticini (Florentine, 1446-1497) “Madonna and Child (Madonna del Latte) with Two Angels”, tempera on panel, 43-1/2” x 33-1/2”. Presented in an antique Renaissance-style frame. Provenance: Private collection, Europe. Literature: Everett Fahy “Some Early Italian Pictures in the Gambier-Parry Collection”, The Burlington Magazine, Vol. 109, No. 768, 1967, Moretti Gallery Pittori Attivi in Toscana dal Trecento al Settecento, Edizioni Polistampa, 2001. Francisco Botticini, an early Italian Renaissance painter, was the son of a painter of playing cards. He studied under Cosimo Roselli and Andrea del Verocchio. After a brief period as Neri di Bicci’s assistant, he established his own workshop, known for its decorative work. From 1471 he was a member of the Confraternity of the Archangel Raphael at Santo Spirito and in 1472, Confraternity of St. Luke. His most famous painting is the “Assumption of the Virgin” now in the National Gallery, London. His style draws influences from his contemporaries, Sandro Botticelli, as seen in the composition and the treatment of the Madonna and angels in this particular painting, Domenico Ghirlandaio, Filippo Lippi and Andrea del Verrocchio. This panel was probably made for private worship and enjoyment which was widespread in the late fifteenth century. [150000/300000] Illustrated Color Plate I

1029Collection of Approximately Thirty-Four Auction Catalogs, from The Pettigrew Auction Company, the largest h. 11”, w. 8-1/2”. [100/200]

1030Collection of Approximately Twenty Auction Catalogs, pertaining to Paintings, 19th-Century Furniture and Decorative Arts, Oriental Rugs and Art Glass, including Christie’s East, Early’s, Christie’s New York and Sotheby’s London, the largest h. 12”, w. 9-1/2”. [100/200]

1031Collection of Approximately Twenty Auction Catalogs, pertaining to Decorative Arts, including Christie’s New York and Christie’s East, the largest h. 10-3/4”, w. 8-3/8”. [100/200]

1032Libbey Glass Company Richly Cut Low Bowl, first quarter 20th century, in the “Colonna” decor, signed with the acid-stamped Libbey sabre mark at the outer edge of the interior center, dia. 10”. [150/300] Illustrated

1033Fine Libbey Glass Company Circular Platter, first quarter 20th century, opulently cut in the “Colonna” pattern, dia. 12”. [200/400] Illustrated

1034Libbey Glass Company Brilliant-Cut Bread Tray, first quarter 20th century, in the “Neola” pattern, the interior centered with the acid-stamped Libbey sabre mark, w. 7-3/4”, l. 11-3/4”. [200/400] Illustrated

1035Opulent Clark Brilliant-Cut Glass Berry Bowl, first quarter 20th century, in “Prima Donna” decor, acid-stamped at the interior center “Clark” in script, h. 4-1/4”, dia. 9-1/2”. [200/400] Illustrated following page

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1036Clark Richly Cut Glass “Prima Donna” Berry Bowl, first quarter 20th century, the interior centered with a faint acid-stamped “Clark” in script, h. 3-1/4”, dia. 8-1/4”. [150/300] Illustrated

1037Handsome Clark Brilliant-Cut Glass Berry Bowl, first quarter 20th century, in the “Palmetto” pattern, h. 4-1/4”, dia. 10”. [300/500] Illustrated

1038Good Clark Brilliant-Cut Glass Berry Bowl, first quarter 20th century, in “Prima Donna” decor, the interior centered with the acid-stamped Clark signature in script, h. 3-1/4”, dia. 8-1/4”. [200/400] Illustrated

1039Rare and Important American Rococo Revival Laminated Rosewood Swivel Piano Chair, mid-19th century, attributed to John Henry Belter, New York, in the “Rosalie with Grapes” pattern, the corset-form back with a fruit- and floral-carved crest, the seat frame carved in floral relief and mounted to an acanthus-carved standard and further supported by a four-legged base with conjoined scrolled legs, h. 32” (adjustable), w. 14”, d. 16”. For a similar example see The Furniture of John Henry Belter and the Rococo Revival”, pg. 67, by Schwartz, Stanek and True. Provenance: Purchased by Sophia Catherine Littlewood (1807-1878) in 1850 from John Henry Belter’s workshop; given to her daughter Elizabeth Sophia Milbank (1833-1912) in 1855 as a wedding gift; given to her daughter Caroline Bishop Cauldwell (1870-1955); given to her daughter Ruth Phillips (b. 1910 - d.?); and passed to her daughter, the current owner, Sarah Phillips Foote (b. 1942). Family documents and inventory include two parlor suites ordered from the Belter workshop in 1850. Descriptions and illustrations of these suites are featured in Muzz’s article on Belter furniture in “The Christian Science Monitor”, August 19, 1933, and in Joseph Down’s article on Belter furniture in “Antiques Magazine”, September 1948. Interestingly, more family documents from 1947 describe that when Grandfather Cauldwell bought 129 Lexington Avenue, New York City, for Elizabeth Sophia Milbank as a wedding present, Grandmother Milbank gave them a set of Belter furniture for their parlor. She had two other sets, one in her front parlor and one in her back parlor. She believed that one had “arrived” socially if one owned a set of Belter furniture. In September 1912, five months after Elizabeth Sophia Milbank died, her family house at 16 West 54th Street, New York City, was purchased by John D. Rockefeller, Jr. Additional provenance and family history available to the purchaser. [5000/8000] Illustrated Color Plate III

1040Massive Rococo Revival Rosewood Table, third quarter 19th century, the large cabriole legs with fruit-carved knees and ending in scrolled toes, formerly a square parlor grand piano, h. 29”, w. 82”, d. 41-1/2”. [1000/1500] Illustrated

1041Good American Cut Glass Tiered Four-Light Chandelier, third quarter 19th century, of Regency inspiration, the upper tier fitted with tall cut glass spikes, the basal element modeled as four graduated descending rings, each richly dressed with cut glass spears, the candle arms dressed with larger back-cut glass spears, the lower tier fitted with large bone-white faux-wax candles, h. 53”, dia. 38”. [1500/2500] Illustrated

1042American Rococo Revival Rosewood and Marble-Top Sideboard, third quarter 19th century, the upper section having two graduated open shelves supported by pierced brackets with carved bird heads, the base with two oval mirrored doors below a pair of side-by-side drawers, h. 71-3/4”, w. 46”, d. 21”. [1800/2500] Illustrated

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1043Eight-Piece Rosewood and Kingwood Veneered Parlor Suite, third quarter 19th century, probably Austrian, in the rococo taste, consisting of a sofa, h. 41”, w. 67”, d. 24-1/2”, an armchair, h. 42”, w. 23-1/2”, d. 23”, and six sidechairs, h. 38-1/4”, w. 19”, d. 16-1/2”, each with floral-carved centered cartouches and gadrooned shoulder moldings, raised on cabriole legs. [1500/2500] Illustrated following page

1044Fine, Large American “Roman Centurion” Five-Light Girandole, third quarter 19th century, Philadelphia or New York, composed of gilt-lacquered brass and white marble, and dressed with period magnum cut glass prisms pendant from large emerald-cut glass jewels, the white marble base stepped and mounted in gilt-lacquered brass, the period gilt-lacquered candlesockets vasiform, electrified and fitted with petal-edged glass bobeches and bone-white faux candles, h. 31”, w. 21”, d. 9-1/2”. Reference: H. Parrott Bacot, Nineteenth Century Lighting, Schiffer Publishing, 1984, page 195, illustrated left. [700/1000] Illustrated following page and Color Plate I

1045Fine Pair of American Gilt-Lacquered Brass Five-Light Sconces, third quarter 19th century, attributed to Cornelius and Company, Philadelphia, the rare deux-color gilt-lacquered finish largely intact, not electrified, h. 11-1/4”, w. 12”, d. 9”. [800/1200] Illustrated following page and Color Plate III

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1046Opulent American Brilliant-Cut Glass Footed Compote, first quarter 20th century, in “Interlaced Hobstars” decor, the bowl supported on an attenuated paneled pyriform stem with a “teardrop” air trap above a scalloped reverse-cut circular foot, h. 12”, dia. 7-3/4”. [200/400] Illustrated

1047Opulent Egginton Brilliant-Cut Glass Pyriform Vase, first quarter 20th century, in the “Creswick” pattern, signed on the base with the acid-stamped Egginton star-and-crescent mark, h. 8-5/8”, dia. 7”. [300/500] Illustrated

1048Handsome Hawkes Cut Glass Trumpet Vase, first quarter 20th century, richly cut in the “Navarre” pattern, the trumpet on a lapidary-cut knop above a circular reverse-cut foot, the foot signed on the rim with the acid-stamped Hawkes trefoil mark, h. 14”, dia. 5-1/2”. [300/500] Illustrated

1049Good Hawkes Brilliant-Cut Glass Trumpet Vase, first quarter 20th century, in the “Navarre” pattern, the trumpet supported on a lapidary-cut knop above a reverse-cut circular foot, signed on the rim with the acid-stamped Hawkes trefoil mark, h. 12”, dia. 5”. [200/400] Illustrated

1050Fine Straus Brilliant-Cut Glass Punchbowl, first quarter 20th century, in the “Corinthian” pattern, h. 5-1/2”, dia. 12”. [200/400] Illustrated

10436eight-piece suite

1043eight-piece suite

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1051Fine Hawkes Well-Cut Glass Berry Bowl, first quarter 20th century, in the “Gladys” pattern, the interior centered with an acid-stamped Hawkes trefoil mark, h. 4-1/2”, dia. 10-1/2”. [200/400] Illustrated

1052Trio of American Brilliant-Cut Glass Vases, first quarter 20th century, comprised of a tall and attractive “Notched Prism” footed trumpet vase; a “Hobstar, Starburst and Oculus” cylindrical vase; and a smaller cylindrical example with floral cutting and small hobstars; the largest h. 13-1/2”, dia. 5-1/2”. [100/200]

1053Tall Pair of Anglo-Bohemian Glass Lustres, third quarter 19th century, with parcel gilt white-over-cranberry overlay glass, the lips “Van Dyck” cut, both dressed with period magnum back-cut “Albert” glass spears, h. 11-3/4”, dia. 6-3/4”. [150/300]

1054Thirty-Two-Piece American “Chased Gold Band” Partial Stemware Service, for twelve persons, first quarter 20th century, in “Vertical Optic Rib” decor, comprised of twelve tall red wine goblets, eleven sparkling wine goblets of footed beaker form and nine matching dessert wine goblets, the largest h. 7-3/4”, dia. 3-1/2”; together with a set a Four Similar Red Wine Goblets of like date (thirty-six total pieces). [300/500]

1055American Cast-Iron- and Brass-Mounted White Opal Glass Kerosene Parlor Lamp, fourth quarter 19th century, now electrified, the base and period globular white opal glass shade in floral “putto” decor, retains the blown glass chimney, h. 26”, dia. 8-1/2”. [150/250]

1056American Rococo Revival Mahogany Center Table, third quarter 19th century, the later wood top mounted to a floral-carved frame and raised on scrolled legs with floral garlands, the stretcher system now replaced by a lower shelf, h. 28-1/2”, w. 50-1/2”, d. 27-1/2”. [250/400] Illustrated

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1057American Rococo Revival Two-Piece Mahogany Bed Set, third quarter 19th century, comprised of a bed with an arched headboard and carved cartouche with central egg motif, h. 78-1/2”, w. 59-1/2”, l. 77”, and a dresser with an arched mirror and similar cartouche, the base with a white marble top above three drawers with carved pulls and a secret drawer along the bottom, h. 89”, w. 46”, d. 19-3/4”. [1800/2500] Illustrated

1058American Rococo Revival Mahogany Games Table, third quarter 19th century, the rotating fold-over top with reeded edge, opening to expose an inset circular felt playing surface, the scalloped apron centered by a shell-carved cabochon, raised on cabriole legs with carving above the knees, h. 29-1/4”, w. 36”, d. 18”. Provenance: Didier Antiques, New Orleans, Louisiana. [300/500]

1059American Rococo Revival Rosewood Sofa, third quarter 19th century, the back with a cushion set in a molded frame with a carved crest centered by a leaf vine and berry carving beneath gadrooning, the back joined to open arms on carved supports, with serpentine apron and cabriole legs, now upholstered in tufted forest green plush, retaining its dark, polished period surface, h. 45”, w. 69”, d. 28”. [400/700]

1060Fine Two-Piece Fry Brilliant-Cut Glass Cream-and-Sugar Set, first quarter 20th century, in the “Prima Donna” pattern, comprised of a two-handled and footed open sugar basin, h. 4-1/4”, and a matching footed cream pitcher, dia. 4-1/2”. [200/400] Illustrated

1057two-piece

suite

1057two-piece

suite

1062 1064

10631061

1060

125

1061Good Hawkes Brilliant-Cut Glass Rose Globe, first quarter 20th century, in the “Navarre” pattern, the interior centered with a faint acid-stamped Hawkes trefoil mark, h. 5”, dia. 5-3/4”. [100/200] Illustrated

1062Fine and Rare Pitkin and Brooks Cut Glass Bread Tray, first quarter 20th century, in “Plaza” decor, the interior centered with the acid-stamped Pitkin and Brooks “P & B” mark within a lozenge, w. 6”, l. 12-3/8”. [300/500] Illustrated

1063Unusual Hawkes Brilliant-Cut Glass Sauce Bottle, first quarter 20th century, in the “Gladys” pattern, signed on the rim of the base with the acid-stamped Hawkes trefoil mark, retains the period cut glass stopper, h. 8”, dia. 2-1/2”. [150/300] Illustrated

1064Fine Two-Piece Clark Cut Glass Cream-and-Sugar Set, first quarter 20th century, in the “Prima Donna” pattern, comprised of a two-handled open sugar basin, h. 2-3/4”, and a cream pitcher, h. 3-1/2”, each piece faintly acid-stamped on the exterior beneath one handle “Clark”, in script. [150/300] Illustrated

1065Three-Piece Collection of American Brilliant-Cut Glass, first quarter 20th century, comprised of an “Interlaced Hobstars and Notched Prisms” carafe; a magnum “Hobstar and Fan” cologne bottle with a spherical lapidary-cut stopper; and a “Hobstar and Cane Panel” sauce bowl; the largest h. 7-1/2”, dia. 6-1/4”. [100/200]

1066Fry Richly Cut Glass Berry Bowl, first quarter 20th century, in the “Trojan” pattern, the center with the acid-stamped mark “Fry” in script, h. 4”, dia. 9”. [150/300] Illustrated

1067Fine Fry Cut Glass Company Lobed Circular Tray, first quarter 20th century, richly cut in the “Trojan” pattern, the interior centered with the acid-stamped “Fry” mark in script, dia. 12”. [200/400] Illustrated

1068Fine Egginton Brilliant-Cut Glass Berry Bowl, in “Creswick” decor, signed at the interior center with the Egginton acid-stamped star-and-crescent mark, h. 4-3/4”, dia. 10-1/4”. [150/300] Illustrated

1069Collection of Nine Blown Glass Parlor Domes, of varying sizes ranging from 6” to 10” in height, one example fitted with a circular wooden base. [150/300]

1070Collection of Eleven Blown Glass Parlor Domes, of varying sizes ranging from 4” to 10” in height, one small dome fitted with a circular wooden base as are two of the taller examples, one dome with a spherical glass finial. [150/300]

1071American Rococo Revival Walnut Center Table, third quarter 19th century, the serpentine top with molded edge above a carved frame extending into cabriole legs, one side fitted with a drawer, h. 27-1/2”, w. 35”, d. 22”. [300/500]

1072American Rococo Revival Mahogany and Marble-Top Center Table, third quarter 19th century, the top with its original tortoise-form white marble resting on a floral-carved frame and supported by cabriole legs joined by stretchers and a central turned finial, h. 30-1/2”, w. 41”, d. 28-3/4”. [600/900] Illustrated

1068

1067

1066

1072

126

1073Opulent Libbey Glass Company Brilliant-Cut Berry Bowl, first quarter 20th century, in the “Neola” pattern, the interior centered with the acid-stamped Libbey sabre mark, h. 4”, dia. 10-1/4”. “Neola” was one of the Libbey Company’s most difficult and expensive cut glass patterns. [300/500] Illustrated Color Plate I

1074Fine Libbey Brilliant-Cut Glass Berry Bowl, first quarter 20th century, in the “Star and Feather” pattern, the interior centered with the acid-stamped Libbey sabre mark, h. 4-3/4”, dia. 10-1/4”. [200/400] Illustrated

1075Fine, Beautifully Cut Libbey Glass Company Berry Bowl, first quarter 20th century, in the “Neola” pattern, signed at the interior basal edge with the acid-stamped Libbey sabre mark, h. 3-3/4”, dia. 9-1/8”. “Neola” was one of the Libbey Company’s most difficult and expensive cut glass patterns. [200/400] Illustrated

1076Four-Piece Group of Cut Glass, first quarter 20th century, consisting of a pair of English “Panel and Diamond”-cut glass decanters with attenuated oviform cut glass stoppers; an American brilliant- and intaglio-cut circular tripodal rose bowl in “Floral Sprays” decor; and a small American brilliant-cut and floral-engraved glass single-handled nappy; the largest h. 13”, dia. 5-1/2”. [100/200]

1077Good Trio of Tall Blown Glass Parlor Domes, one with a holly-banded rosewood base of drum form, another with a fruitwood base of disc form and the last with a circular thumb-molded stained wooden base, the largest h. 21”, dia. 8”. [150/300]

1078Stately Bohemian Ruby Overlay Glass Kerosene Parlor Lamp, third quarter 19th century, with antique-gilded brass mounts, now electrified and mounted on a Lucite disc base and fitted with a tall ruby overlay cut glass spike finial, h. 42”. [75/125]

1079American Renaissance Revival Walnut Bookcase, third quarter 19th century, the top with an overhanging cornice above a pair of glazed doors, the protruding base fitted with two drawers, h. 88”, w. 59-3/4”, d. 24”. [500/800]

1080American Rococo Revival Walnut Dresser, third quarter 19th century, the front fitted with three graduated long drawers, each with racetrack moldings and carved pulls, h. 34-1/2”, w. 40”, d. 18-1/2”. [75/125]

1081Good American Rococo Revival Walnut Extension Dining Table, third quarter 19th century, the circular top with molded edge supported by four foliate-carved cabriole legs and a turned center leg, accompanied by two leaves, h. 29-1/2”, dia. 48-1/2”. [500/800] Illustrated

1074

10751073

1081

1082

127

1082American Rococo Revival Walnut and Marble-Top Center Table, third quarter 19th century, of diminutive size, the top of turtleback form with its original white marble, the frame with carved aprons and raised on scrolled and carved legs, h. 28”, w. 30”, d. 22”. [150/300] Illustrated

1083Large Carved Giltwood Overmantel Mirror, in the Spanish 18th-century style, the outer edge spiral-ribbon carved, each rail centered with a bas-relief “Leaf and Berry” spray, h. 54-1/2”, w. 46”. [250/400]

1084Attractive Three-Piece American Girandole Mantel Garniture, third quarter 19th century, composed of gilt-lacquered brass, white marble and cut glass in “Flower Basket” decor, comprised of a three-light center girandole, h. 17-1/4”, w. 17”, d. 4”, and a pair of flanking single-light girandoles dressed with the proper floral back-cut prisms, h. 16”, w. 6”, d. 4”. [300/500] Illustrated

1085Alexander John Drysdale (American/Louisiana, 1870-1934) “Louisiana Bayou Landscape at Dusk”, oil wash on paper, signed lower left “A. J. Drysdale”, 10” x 29-1/2”. Glazed and presented in an Arts and Crafts giltwood frame. [4000/7000] Illustrated Color Plate VII

1086Alexander John Drysdale (American/New Orleans, 1870-1934) “Louisiana Landscape with a Moss-Covered Oak Tree”, oil wash on board, signed lower right “A. J. Drysdale”, sight 9-1/2” x 19-1/2”. Presented in a parcel-gilt molded hardwood frame. [1200/1800] Illustrated Color Plate III

1084

1085

1086

128

1087Marie de Hoa Le Blanc (American/Louisiana, 1874-1954) “Louisiana Landscape at Sunset”, oil on masonite, signed lower right, 12” x 18-1/2”. Presented in a period floral-molded giltwood and gesso frame. [1800/2500] Illustrated Color Plate V

1088Raymond Scully (American/Louisiana, Fourth Quarter 20th Century) “Figure with Cattle Under a Spanish Moss-Draped Oak Tree”, oil on artist’s canvas panel, verso with a “Raymond Scully Original Creations” label, 19-1/2” x 23-1/2”. Presented in a Louis XV-style polychrome frame. [500/800] Illustrated

1089George Louis Viavant (American/Louisiana, 1872-1925) “Nature Morte of Two Game Birds”, pastel on paper, unsigned, verso affixed with “The Farish Art Store Inc.” label, sight 24” x 19”. Matted and framed. [2000/4000] Illustrated

1090Ellsworth Woodward (American/Louisiana, 1861-1939) “Bust of Napoleon I” and “Bust of Apollo Endormi”, pair of charcoal on paper studies, one initialed upper left “E.W.”, sight 25” x 19”. Both glazed and presented in silvered frames. [1200/1800] Illustrated

1091American/Southern School (Fourth Quarter 19th Century) “Richmond Plantation, Natchez, Mississippi”, black and white engraving, titled in pencil lower left, signed in pencil lower right, first name illegible, last name “Bowman”, sight 6-1/2” x 8-1/4”. Glazed, matted and framed. [100/200]

1092Southern School (20th Century) “Portrait of a Confederate Soldier”, oil on board, unsigned, 15” x 10-1/2”. Presented in a giltwood and plaster floral-molded frame. [60/90]

1087

1088

1089

129

1093Charles Whitfield Richards (American/Louisiana, 1906-1992) “Margie”, oil on canvas, inscribed verso “Margie Aug. 1991-Ocean Springs”, signed lower right, 27” x 21-1/2”. Presented in a giltwood and gesso frame. [300/500] Illustrated

1094M. Hartnett (American/New Orleans; Active Second Quarter 20th Century) “Portrait of a Pierrot”, oil on canvas board, signed lower right “M. Hartnett”, 30” x 24”. Presented in an unfinished hardwood frame. [300/500]

1095Todd Rodriguez (American, b. 1967) “New Orleans Jazz Musician”, oil on canvas, 20” x 16”. Presented in a gray-pickled and stained frame. [75/125]

1096Clementine Hunter (American/Louisiana, 1887-1988) “Cooking Outside”, oil on board, monogrammed lower right, 16” x 20”. Presented in a mahogany-veneered molded frame. Provenance: Private collection, Baton Rouge, LA. [2500/4000] Illustrated Color Plate VII

1090

1093

1096

130

10971976 New Orleans Jazz and Heritage Festival Poster, sight 20” x 21-1/2”. Glazed, matted and presented in a contemporary metal frame. [500/800] Illustrated

1098Monumental Contemporary Cast-Bronze Garden Fountain, depicting two pelicans resting on a log, above a boat-dock molded base fitted with two handles, h. 86”, w. 44”, d. 48”. [3000/5000] Illustrated Color Plate VI

1099Pair of Cast-Iron Campana-Form Garden Urns, first quarter 20th century, each with an egg-and-dart-formed lip over a partially ribbed body ending in a circular foot, raised on a square plinth base, 17-1/2”, dia. 19-1/2”. [75/125]

1100Monumental Contemporary Patinated Cast-Bronze Garden Fountain Sculpture, in the form of three turtles riding the waves, h. 69”, w. 25”, d. 34”. [1500/2500] Illustrated Color Plate VI

1097

1098

1100

131

1101Contemporary Cast-Bronze Garden Sculpture, in the form of an egret, h. 47-1/2”, w. 31”, d. 22”. [400/700] Illustrated

1102Five-Piece Cast-Aluminum Garden Set, late 20th century, consisting of a reticulated circular table and four armchairs, all in an old white-painted surface, table h. 37”, dia. 41”, armchair h. 30-1/2”, w. 22”, d. 23”. [350/500] Illustrated

1103Collection of Approximately Thirty-Four Auction Catalogs, from The Pettigrew Auction Company, the largest h. 11-1/2”, w. 9-3/4”. [100/200]

1104Collection of Approximately Twenty Auction Catalogs, pertaining to Important American Furniture, Folk Art, Silver and Decorative Arts, including Christie’s New York, Freeman’s and Sotheby’s New York, the largest h. 11”, w. 8-1/2”. [100/200]

1105Collection of Approximately Twenty Auction Catalogs, pertaining to Fine Oriental Rugs and Carpets, Paintings, 19th-Century Decorative Arts and Furniture, including Christie’s East, Skinner, Christie’s New York, Sotheby’s New York, and Sotheby’s London, the largest h. 11-3/4”, w. 9”. [100/200]

1106Interesting Collection of Seven Needlepoint Sofa Pillows, comprised of a shield-form example featuring the man-in-the-moon and a star, a square example of a pair of skating cats in Victorian dress, a diminutive circular example with the silhouette head of a girl of the Campagna, a circular example in “Pansies” decor, a square “Golf Clubs” pillow, an oblong “Noah’s Ark and The Rainbow” pillow, and a smaller matching accent pillow; along with an unusual floral-patterned needlepoint traveling case of diminutive duffel form for a trio of toilet paper rolls, the largest w. 15”, l. 14”. [30/50]

1107Elegant Collection of Six Needlepoint Sofa Pillows, comprised of a trio of oblong “Fruits and Flowers” examples with taupe spiraled cording and velvet backs; a pair of smaller oblong examples featuring ears of corn on lavender borders ornamented with frolicking beribboned piglets; and a large square gros-point-faced pillow in ecru, russet, ivory and pale gold foliate scrolls, and backed in taupe velvet; the largest w. 20”, l. 20”. [30/50]

1108American Eastlake Victorian Walnut Armoire, fourth quarter 19th century, the top with a simple crown molding above a single mirrored door, the base fitted with a single long drawer, h. 77-3/4”, w. 43-1/4”, d. 18-3/4”. [200/400]

1101

1102

132

1109American Victorian Oak Server/Sideboard, fourth quarter 19th century, the upper section with a pair of stepped shelves capped and supported by scroll-sawn elements, the base with a pair of drawers over a pair of paneled doors, retaining an original paper label affixed to the back of the base “Manufactured by William McCracken, No. 45 Royal Street, New Orleans”, h. 70”, w. 47-1/4”, d. 22-1/2”. [800/1200] Illustrated

1110Pair of American Eastlake Walnut Sidechairs, fourth quarter 19th century, each with line-carved back crests and padded backs and seats, raised on turned front legs, h. 35”, w. 20-1/2”, d. 18”. [100/200]

1111Good French Brass Carriage Clock, first quarter 20th century, produced for J. E. Caldwell, Philadelphia, fully touchmarked on the interior backplate, the glazing beveled throughout, retains the period double-tipped brass winding key, h. 4-3/4”, w. 3-1/8”, d. 2-1/2”. [100/200]

1112Ninety-One-Piece American “Leaf Band” Engraved Glass Partial Stemware Service, second quarter 20th century, comprised of eleven juice glasses, twenty white wine goblets, eleven red wine goblets, eighteen iced water goblets, thirteen sherry-port goblets and eighteen champagne goblets, the largest h. 6”, dia. 3-5/8”. [50/80]

1113Good Set of Eleven American Crystal Wine Goblets, first quarter 20th century, each acid transfer-plate etched in the neoclassical taste, the etched floral patterning applied to “Vertical Optic Rib” bowls, h. 8-1/2”, dia. 3-1/4”. [50/80]

1114Thirty-Six-Piece American Panel-Pressed Glass Stemware Service, for twelve persons, second quarter 20th century, in the Georgian taste, comprised of twelve footed iced water/tea goblets, h. 5-7/8”, dia. 3-3/8”, twelve sparkling wine goblets, h. 4-3/4”, dia. 3-1/2”, and twelve generous red wine goblets, h. 6-1/2”, dia. 3-1/2”. [150/300]

1115Set of Ten Val St. Lambert Limited Edition Glass “Great Artists” Dessert Plates, each featuring a reverse-pressed “satine” portrait of a different artist such as Michelangelo, Van Gogh, Gainsborough, Leonardo da Vinci, Goya, etc, each plate signed and dated in diamond stylus script on the reverse, dia. 8”; together with a Bohemian Floral-Engraved Glass Circular Sandwich/Pastry Tray, dia. 13” (eleven total pieces). [50/80]

1116Good Northwood Iridescent Amethyst Carnival Glass Vase, of ribbed “Jack in the Pulpit” form, the base with the pressed circumscribed Northwood “N” mark at the center, retains the printed paper label of the Antique Center of Texas on the base, h. 7”, dia. 5”. [40/70]

1109

1119

133

1117Elaborate Sixty-Two-Piece L. Straus and Sons, New York, Carlsbad-Manufactured Porcelain Partial Dinner Service, for twelve persons, in “Rose Garland” decor, 1895-1917, comprised of eleven dinner plates, twelve soup plates, twelve salad-dessert plates, nine tea cups, five tea saucers, one oval two-handled covered vegetable tureen, one circular two-handled covered vegetable tureen, a graduated trio of oval open serving bowls, one circular open serving bowl, a graduated nest of three oval platters, one dome-covered butter dish, one oval two-handled covered soup tureen, one two-handled double-lipped sauceboat with integral stand and one large two-handled covered sugar basin, all of the pieced fully backstamped in overglaze pale blue; the largest w. 11-1/2”, l. 18”. Lewis Straus and Sons was a New York retailer importing high-quality Austrian porcelain dinnerwares from 1895 to 1917. [200/400]

1118Pair of Victorian Mahogany Sidechairs, third quarter 19th century, each with a shaped concave top rail, serpentine seat and cabriole legs, now upholstered in burgundy brocade, h. 35-3/4”. [75/125]

1119American Late Victorian Black-Painted Wicker Sofa, ca. 1900, the seat and back with reversible upholstered cushions, h. 29”, w. 84-1/2”, d. 34-1/2”. [300/500] Illustrated

1120American Brass Four-Light Floor Lamp, second quarter 20th century, modeled as a candelabrum, the large central light with a white opal glass shade of inverted bell form, the flanking short upturned brass candlearms each fitted with an ivory card faux candle and electrified, h. 55-1/2”, dia. 8”. [75/125]

1121American Cast and Polychromed Aluminum Humidor, in the form of a “Mephistopheles” head, the painted finish with losses, h. 5-1/4”, w. 4-1/4”, d. 6”. [50/80]

1122Eleven-Piece Gorham Floral-Chased Sterling Silver Toilette Service, first quarter 20th century, comprised of a sterling-handled whisk, a matching nail buffer, a button hook, a comb, a shoehorn, a nail clipper, a curling tong, a toothbrush, a moistener, a bud vase and a large circular pincushion, all of the pieces in a Tiffany and Company ivory felt storage bag, the largest l. 9”. [300/500]

1123David Hagerbaumer (American, b. 1921) “Doves in Flight”, watercolor on paper, signed and dated lower right “David Hagerbaumer, 1965”, sight 21-1/2” x 29-1/2”. Glazed, linen-matted and presented in an ebonized and parcel-gilt frame. Provenance: Private collection, Texas. [2500/4000] Illustrated Color Plate VII

1124John P. Cowan (American/Texas, 1920-2008) “Fly Fishing with Boats in Background”, watercolor on paper, initialed lower left “C”, sight 4-1/2” x 6-1/2”. Glazed, matted and framed. Provenance: Private collection, Texas. [1000/1500] Illustrated

1123

1124

1125

134

1125John P. Cowan (American/Texas, 1920-2008) “View of a Boat Dock”, watercolor on paper, initialed lower left “C”, sight 4-1/2” x 6-1/2”. Glazed, matted and framed. Provenance: Private collection, Texas. [1000/1500] Illustrated previous page

1126Herb Booth (American/Texas, b. 1942) “Grouse in Flight”, watercolor on paper, signed lower left “Herb Booth”, sight 13-1/2” x 21”. Glazed, matted and presented in a giltwood frame. Provenance: Private collection, Texas. [2000/4000] Illustrated Color Plate III

1127David Hagerbaumer (American, b. 1921) “Ducks in Flight”, watercolor on paper, signed and dated lower left “David Hagerbaumer 1967”, sight 12-1/2” x 16-1/4”. Glazed, matted and presented in a giltwood frame. [1500/2500] Illustrated Color Plate VI

1128American School (Second Half 20th Century) “Willie Mays, San Francisco Giants”, ink on paper, unsigned, verso affixed with a printed sticker identifying the subject matter, sight 7” x 8-1/4”. Glazed, matted and presented in a hardwood frame. [50/100]

1129Umberto Romano (Italian/American, 1905-1984) “Pagliacci”, black and white lithograph, pencil signed lower right “Umberto Romano”, titled lower left with a dedication lower center, sight 10” x 14”. Glazed, matted and framed. [50/80]

1130Group of Four American Illustrations of Various Pistols, 20th century, each identifying the pistol, model number and the designer, sight 4-1/2” x 7-1/2”. All glazed and presented in Southwestern-style tooled leather frames. [75/125]

1131Native American School (Fourth Quarter 20th Century) “Dancing Native American” and “Ceremonial Costume Design”, pair of gouaches, markers and ink on paper, signed lower right “Nat Coriz”, larger sight 13-1/4” x 10-1/4”. Both glazed, matted and presented in parquetry-inlaid burlwood frames. [75/125]

1132Three-Piece Peter Chitry, New York, Coin and Sterling Silver Tea Service, first quarter 19th century, in the classical taste, comprised of a sterling silver broad-ribbed and footed teapot with a fruit-basket finial, h. 10”, w. 6-1/4”, l. 11-1/2”, a coin silver covered, two-handled and footed sugar basin, h. 8-1/2”, w. 5-1/4”, l. 9”, and a matching coin silver footed cream pitcher, h. 7-1/2”, w. 4”, l. 6-1/4”, 65.35 total t. oz. [1800/2500] Illustrated

1133Six-Piece Group of American Sterling Silver, consisting of a set of four Saart Brothers “Blossom” after-dinner coffee spoons, the pattern introduced in 1908, l. 4-1/4”; a Manchester “Mary Warren” after-dinner coffee spoon, the pattern introduced in 1910, l. 4-1/4”; and a Wallace after-dinner footed mints dish in the form of a clam shell, second quarter 20th century, l. 2-3/8”, w. 3-1/2”, 2.05 total t. oz. [30/50]

1134Trio of Gorham Sterling Silver Iced Water Goblets, second quarter 20th century, in the Early Georgian taste, the facades of the bowls handsomely monogrammed, h. 3”, dia. 6-1/2”. [75/125]

1135Cased Gorham Sterling Silver “No. 759” After-Dinner Coffee Service, for twelve persons, the pattern introduced in 1895, comprising twelve after-dinner coffee spoons, l. 3-1/2”, and a claw-terminal sugar tong en suite, l. 3-1/2”, the case interior fitted and lined in “old ivory” satin, 2.30 total t. oz. [50/80]

1126

1127

135

1136Three-Piece Whiting Sterling Silver After-Dinner Coffee Service, first quarter 20th century, comprised of an after-dinner coffeepot of “aftaba” form (the scrolled silver handle partially lacking), a covered two-handled sugar basin (the small spherical silver finial of the cover lacking), and a cream pitcher, the largest h. 9-1/4”, dia. 3-1/4”, 32.80 total t. oz. [125/250]

1137Stately Antique Sheffield Plate Covered Soup Tureen, first quarter 19th century, of oval, paw-footed form in the Regency style, the double-scroll handle of the domed cover detachable, h. 11”, w. 15”, d. 10”. [1400/1800] Illustrated

1138Two-Piece Group of American Silverplate, consisting of a Reed and Barton bowl of ribbed flowerhead form, 1933, dated by a Reed and Barton date symbol/hallmark on the base, h. 1-7/8”, dia. 8-1/8”; and an Edwardian “Gadroon and Flower” oval bread tray in the Georgian taste, first quarter 20th century, w. 6-1/2”, l. 9-1/2”. [50/80]

1139Pair of Gorham Weighted Sterling Silver Footed Comports, second quarter 20th century, of small size in “Gadroon” decor, h. 3-3/4”, dia. 5-3/4”. [75/125]

1140Attractive Ellis-Barker Silverplate Circular Tray, in “Shell and Scroll” decor in the “Old Sheffield” style, dia. 14”. [50/80]

1141Highly Interesting Nine-Piece Collection of Silverplate, second quarter 20th century, comprised of a Wallace “Melford” roasted meats tray of lobed oval form; a large three-piece William Rogers and Son “Spring Flowers” covered vegetable dish; a matching oval open serving bowl; a Sheffield oval covered vegetable dish (the covers finial lacking); a “Gadroon” circular covered vegetable dish, the cover reversing to form a divided open vegetable bowl; a “Gadroon” circular footed serving bowl; a Gotham “Vintage” oval bread tray; an International circular sweetmeats bowl with pierced rim; and a William Rogers “Bedford” open two-handled sugar basin in the Georgian taste, the largest w. 12”, l. 16-1/2”. [125/250]

1142Attractive Ellis-Barker Silverplate Waiter, of large size and oblong, scroll-handled form in the George III style, h. 1-1/2”, w. 26”, d. 15-3/4”. [40/70] Illustrated

1143Pair of Tiffany and Company Sterling Silver Candlesticks, first quarter 20th century, each of columnar form and fitted with a detaching sterling bobeche, h. 6”, dia. 3-1/4”, 14.45 t. oz. [500/800]

1144Pair of Sheridan Silverplate “Well and Tree” Roasted Meats Platters, third quarter 20th century, of oval, footed form and large size, in “Foliate Scroll” decor in the “Old Sheffield” style, h. 1-3/4”, w. 22-3/4”, d. 16-3/4”. [75/125]

1132

1137

1142

136

1145Diverse Eight-Piece Collection of Silverplate, comprised of a pair of Rogers rattail candle snuffers in the Georgian style; a large Reed and Barton trifid stuffing spoon, also Georgian in style; an Italian silverplate rattail stuffing spoon after an Eales 1779 model; a pair of pastry servers with scallop-shell terminals; a lasagna spade with a chased blade, also in the Georgian taste; and a Florentine sauce ladle with a scallop shell-form bowl; the largest l. 14-1/4”. [75/125]

1146Two American Bread Knives, consisting of a sterling silver hollow-handled “Daisy “ example with dentillated blade, first quarter 20th century; and a good 1547 Rogers Brothers silverplate “Lorne” bread knife with a finely serrated blade, the pattern introduced in 1878, the “Lorne” blade with a ribbon-bound wheat-and-flower spray on one side; the largest l. 10-1/2”. [40/70]

1147American Silverplate Covered and Footed Spooner-Sugar Bowl, third quarter 19th century and later, the domed cover with an insect finial, the shoulder fitted with twelve teaspoon racks now containing eleven Alvin silverplate “Lily” teaspoons, ca. 1900, h. 8”, w. 7-3/4”, d. 6-1/4”. [50/80]

1148Seventeen-Piece Collection of American Sterling Silver Flatware, comprised of five Samuel Kirk and Son “Stieff Rose” teaspoons, the pattern introduced in 1892; a rare German “Chrysanthemum” olive spoon with gilded bowl, the pattern introduced in 1894; and a set of eleven Gorham “Chrysanthemum” teaspoons; the largest l. 8-1/4”. [150/300]

1149Diverse Six-Piece Collection of American Silver, comprised of a Whiting cream-and-sugar set in the Georgian taste, first quarter 20th century; an unusual Gorham sterling butter plate fitted at the edge with a knife rack; an International bread-and-butter plate of like date in the Early Georgian taste, second quarter 20th century; a Redlich two-handled and footed open sugar basin in the “Early American” taste, also second quarter 20th century; and an Art Silver Company silverplated two-handled cream-and-sugar tray with a foliate scroll-engraved cavetto; the largest w, 6”, l. 10-1/4”. [100/200]

1152

1153

1154

137

1150Twenty-Two-Piece Collection of American Sterling Silver Flatware, comprised of a set of seven Gorham “Etruscan” teaspoons, the pattern introduced in 1913; a matching tablespoon; a matching sauce ladle and a sugar spade; a set of eleven Gorham “Plymouth” teaspoons, the pattern introduced in 1911; and a Towle “Mary Chilton” sugar spade, the pattern introduced in 1912; the largest l. 8-1/2”. [100/200]

1151An 1884 Morgan Silver Dollar, from the New Orleans Mint, dia. 1-1/2”. [50/80]

1152American Late Victorian Quarter-Sawn Oak Sideboard, fourth quarter 19th century, of large scale, the top with a removable gallery above a work surface with a central beveled mirror flanked by carved and framed panels, the lower case with two side-by-side drawers above a pair of doors, the whole flanked by full fluted columns with Corinthian capitals, h. 84-1/2”, w. 76”, d. 27-1/2”. [2000/4000] Illustrated

1153American Late Victorian Quarter-Sawn Oak Rocking Chair, ca. 1900, the back featuring a carved profile portrait of a Native American with headdress, h. 35”, w. 23-1/2”, d. 33”. [200/400] Illustrated

1154American Late Victorian Quarter-Sawn Oak and Curved Glass China Closet, fourth quarter 19th century, the central door flanked by large pilasters with carved lion’s heads, the interiors with four plate-glass shelves and mirrored back, h. 65-3/4”, w. 53”, d. 19-1/4”. [1200/1800] Illustrated

1155Collection of Approximately Twenty Auction Catalogs, pertaining to Decorative Arts, including Christie’s London, Christie’s New York, and Christie’s East, the largest h. 10-3/4”, w. 8-1/4”. [100/200]

1156Collection of Approximately Twenty Auction Catalogs, pertaining to Fine Oriental Rugs and Carpets, Important English Furniture, and 19th-Century Decorative Arts, including Sotheby’s New York, Christie’s, Christie’s East and Sotheby’s London, the largest h. 11-3/4”, w. 9”. [100/200]

1157Two Etched Rose Gold-Plated Gentlemen’s “Hunt Case” Pocket Watches, one by the Illinois Watch Co., Springfield, fifteen jewels, and having a “1905” engraving inside and the initials “J. L.” on the outside face, and the other made by the Trenton Watch Company; the larger dia. 2-1/4”, the smaller dia. 1-3/4”. [150/300] Illustrated

1158Lady’s Waltham Gold-Filled Lapel Watch, presented in a brass and beveled glass watch vitrine, h. 4”, w. 2-1/2”, d. 2”, watch dia. 1-1/4”. [150/300] Illustrated

1159Lady’s Bucherer Etched Twenty-Two-Karat Gold-Plated “Hunt Case” Lapel Watch, presented in a brass and beveled glass watch vitrine, h. 4-1/2”, w. 3”, d. 2”, watch dia. 1-1/8”. [150/300] Illustrated

1160Large American “Vertical Optic Rib” Threaded Green Glass Fan Vase, first quarter 20th century, in the early Steuben style, in a custom cast and wrought-iron base in a bronzed finish, h. 17-3/4”, dia. 9-1/2”. [150/300] Illustrated

1161Continental Cast-Iron-Mounted Crackle Glass Vase, second quarter 20th century, the sides of the colorless glass vase with pale green lion-masque prunts, the cast-iron bronze patinated, h. 9”, w. 8”, d. 5-1/2”. [75/125] Illustrated

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1162American Leaded Glass “Heraldic” Window, in caramel, pink, ochre and ruby slag glass with yellow glass cabochons, the panel centered with a pseudo-heraldic shield in pink with a bar dexter set with five ruby glass cabochons, presented in a natural pine slat frame, h. 34”, w. 20”. [100/200]

1163Good Collection of Eight Belle Epoque Jewel Caskets, composed of gilded brass and beveled glass, comprised of a large slant-front example, fourth quarter 19th century, the floor of period tufted deep rouge silk velvet, the tuft buttons of brass flowerhead-framed pearls, the whole supported on short winged reticulated brass feet, h. 9”, w. 8”, d. 7”; the remaining seven of varying configuration and size, including on oblong example, a square casket, a smaller square casket with engraved beveled glass panels, a small square example, a small oblong casket, a diamond-form casket and a diminutive oblong casket, six of the seven examples retain their period fabric floors, three of which are tufted. [100/200] Illustrated

1164Good Texas Longhorn Upholstered Armchair, early 20th century, the tufted back with conjoined horn crest and having horn arms and front legs, h. 38-1/4”, w. 31”, d. 25”. [1000/1500] Illustrated

1165Texas Longhorn Metal-Mounted Mahogany Meats Carving Tray, and four cast-metal serving utensils, the tray with cast steer’s heads at each end forming the handles, the serving utensils comprised of a salad set and two large serving spoons, each with a large star on the handle, tray w. 13-3/4”, l. 28-3/4”, utensils l. 11-3/4”. [100/200]

1166Good Phoenix Glassworks Mold-Blown Vase, second quarter 20th century, composed of frosted and white enamel-detailed glass in “Dancing Nudes” decor of Lalique inspiration, h. 11-1/2”, dia. 8-1/2”. [75/125]

1167Attractive Ansonia Silvered and Bronze-Patinated Spelter Mantel Clock, the signed backplate with a patent date of June 14, 1881, featuring the French cartographer Descartes seated with a globe, the facade apron embellished with a floral-mantled oval portrait cartouche of a young naive girl, h. 13-1/2”, w. 17”, d. 7”. [200/400]

1168Set of Five American Beveled Glass Transom Windows, each centered with a pebbled glass stylized blossom of four petals and presented in a pine frame in a natural softly waxed finish, h. 58”, w. 22”. [100/200]

1169American Bronze-Patinated Bell-Form Floor Lamp, in the Art Nouveau style, fitted with a later domed green, white and gold “ribbon” glass shade, h. 57”, w. 14”, d. 10”. [200/400] Illustrated

1163

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139

1170French Art Nouveau-Style Cameo-Cut Glass Two-Handled Vase, in colorless, amethyst and citron yellow glass and “Orchid” decor in the manner of Emile Galle, signed on the facade with a pseudo-Galle script signature, h. 12”, w. 9”. [200/400] Illustrated

1171Fourteen-Piece Group of American Studio Pottery Serving Pieces, third quarter 20th century, in polychromed “Dogwood” decor, consisting of a set of seven buffet plates and a set of seven matching soup/salad bowls, all of the pieces signed on the reverses in rose conjoined lowercase script “aw”, plate dia. 12”, bowl dia. 9”. [600/900]

1172R. W. Stephens (American, Contemporary), an iridescent blue air-twist studio glass paperweight, dated 1984, of oval, flat-faced oviform, signed and dated on the base in diamond stylus, h. 4-1/4”, w. 3”, d. 2”. [50/80]

1173Eight-Piece Group of Belle Epoque Jewel Caskets, fourth quarter 19th century, consisting of a large patinated brass-enframed beveled cut glass example, h. 6-3/4”, w. 8-1/2”, d. 6-1/4”; and a collection of seven similar, smaller jewel caskets of varying size, including a circular footed example with beveled glass oculi at the sides, a diamond-form casket also with oculi at the sides, an octagonal casket with engraved glass panels, a smaller square example with floral-engraved glass panels, a polygonal casket with modified horseshoe-form beveled glass side panels, a small oblong “Leaf and Tendril”-engraved example, and a yet smaller casket of drum form with a beveled glass lid; all eight examples retain their period fabric linings. [100/200]

1174American Late Victorian Oak and Caned Captain’s Chair, ca. 1900, the curved back with a caned panel and turned spindles, the seat caned and raised on turned legs, h. 35”, w. 22-1/2”, d. 18”. [50/80]

1175Two American Polychromed Pottery Wall Pockets, consisting of a rare Weller “Baldin” example, second quarter 20th century; and a smaller matte sage green-detailed buff pottery wall pocket of demi-flambeau form, first quarter 20th century; neither example marked, the smallest h. 6-3/4”, the largest h. 11-1/2”. [50/80]

1176Graduated Pair of McCoy Matte White Pottery “Quilted” Jardinieres, second quarter 20th century, each with an impressed McCoy mark underglaze on the base, the smaller h. 7-3/4”, dia. 10-1/4”, the larger h. 8-3/4”, dia. 11-1/4”. [50/80]

1177Four-Piece Group of McCoy “Quilted” Pottery Cachepots, second quarter 20th century, consisting of a graduated trio of gloss celadon-glazed cachepots; and a similar McCoy cachepot with a wiped celadon glaze revealing the white body; all four pieces with the impressed McCoy signature underglaze on the bases, the largest h. 8-3/4”, dia. 11-1/2”. [75/125]

1178Rookwood Pottery Figure of a Monkey, 1931, the seated crouched figure presented in a gloss off-white glaze and filled with plaster, the base fully marked with the impressed Rookwood logo, date and mold numerals, h. 4”, w. 2-1/2”, d. 2-1/2”. [100/200]

1179German High-Glazed Pottery Bulb Bowl, first quarter 20th century, in the Arts and Crafts style in “Tulips” decor, the interior and the base glazed in gloss terracotta, h. 3”, dia. 8”. [50/80]

1180Arts and Crafts-Style Stained Mahogany Hall Tree, the molded cornice above a mirrored back, flanked by stamped, stained glass panels and iron hanging hooks, over a short drawer centering two demi-lune umbrella cubbies, above a shelf stretcher, raised on block feet, h. 71-3/4”, w. 33”, d. 10-1/4”. [200/400]

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140

1181American Arts And Crafts Patinated Copper and Leaded Glass Parlor Lamp, first quarter 20th century, the domed floriform leaded shade in caramel and green slag glass set with transparent ruby glass accents, the interior fitted with a pair of light sockets, h. 23”, dia. 16-3/4”. [100/200]

1182Set of Eleven Black Knight Porcelain Works Dinner Plates, second quarter 20th century, each with a gilt-edged grass-green border and a different polychromed floral center, each example fully backstamped in black, dia. 10-3/4”. [100/200] Illustrated previous page

1183Good Anglo-American Stained Ash and Glass Wall Hanging Vitrine, fourth quarter 19th century, of demi-hexagonal form in the Aesthetic taste, h. 20-3/4”, w. 18-3/4”, d. 6-1/2”. [75/125]

1184Pair of Arts and Crafts Stained Glass Windows, first quarter 20th century, composed of pebbled colorless and polychromed leaded glass, each window centered with a stylized leaded glass blossom in transparent gold, olive and amethyst, presented in matching period honey-pine frames in a natural finish, h. 17-3/4”, w. 15”, d. 1-3/4”. [100/200]

1185Newcomb College Brass-Mounted and -Inlaid Oak Presentation Tyg, dated 1915, presented as first prize for the fifteen-yard hurdle, h. 5-3/4”, dia. 6”. [300/500]

1186Cowhide Rug, 72” x 77”. [300/500] Illustrated

1187Bhadohi Jaipur Runner, 2’ 8” x 10’. [200/400]

1188Persian Kashan Carpet, 9’ 9” x 12’ 11”. [500/800] Illustrated

1189Peshawar Vegetable-Dyed Carpet, 9’ x 12’. [3000/5000]

1186

1188

1190

141

1190English-Design Needlepoint Carpet, 10’ 1” x 14’ 2”. [2000/4000] Illustrated

1191Agra Oushak Carpet, 6’ 2” x 9’ 1”. [600/900]

1192Indo-Oushak Carpet, 4’ x 6’. [200/400]

1193Afghan Belouchistan Carpet, 3’ 8” x 6’ 1”. [200/400]

1194Mashad Carpet, 9’ 7” x 13’ 8”. [700/1000]

1195Contemporary Belouch Runner, 9’ 4” x 2’ 3”. [50/80]

1196Semi-Antique Sparta Carpet, 11’ 11” x 17’ 8”. [500/800] Illustrated

1197Antique Persian Serab Carpet, 4’ 3” x 6’ 10”. [800/1200] Illustrated

1198Oushak Carpet, 10’ x 14’. [3000/5000] Illustrated

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142

1199Antique Hamadan Carpet, 6’ 5” x 4’ 3”. [250/400]

1200Semi-Antique Heriz Carpet, 12’ 1” x 8’ 11”. [600/900]

1201Bakhtiari Persian Carpet, 7’ 10” x 10’ 5”. [400/700]

1202Peshawar Vegetable-Dyed Carpet, 9’ x 12’. [3000/5000] Illustrated

1203Agra Serapi Carpet, 8’ 9” x 11’ 8”. [1200/1800] Illustrated

1204Three Various Semi-Antique Carpets, consisting of a Hamadan rug, 3’ 11” x 2’ 4”, a Malayer rug, 4’ 9” x 2’ 4”, and a Kazak rug, 3’ 6” x 2’ 1”. [200/400]

1205Pair of Peshawar Zeigler Mahal Runners, 2’ 7” x 10” and 2’ 6” x 10”. [700/1000]

1206Semi-Antique Mashad Carpet, 13’ x 8’. [500/800] Illustrated

1207Angela Adams Modernist Rug, 4’ x 6’. [500/800]

1208Uzbek Kazak Carpet, 6’ 4” x 9’ 4”. [100/200]

1209Turkish Carpet, 12’ 4” x 8’ 8”. [300/500]

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143

1210Jaipur Zeigler Mahal Carpet, 8’ 3” x 10’ 1”. [900/1200] Illustrated

1211Chinese Carpet, 11’ 11” x 20’ 6”. [300/500]

1212Pair of Agra Serapi Carpets, 4’ 1” x 6’ and 4’ x 6’. [500/800]

1213Nick Hufford (American; Active Second Half 20th Century) “Portrait of a Boy Playing a Cello”, oil on canvas, signed lower left “Hufford”, the frame affixed with a “Portraits, Inc., New York, NY” label, 24” x 20”. Presented in a polychromed and parcel-gilt frame.[400-700]

1214 Boston School (First Quarter 20th Century)“Portrait of a Woman in Black”, oil on canvas, unsigned, 16-1/2” x 12”. Presented in a parcel-gilt hardwood frame.[200-400]

1215 American School (20th Century) “Skip Jack”, oil on panel, signed and dated lower right “Robert L. Nex, ‘64”, 18” x 21”. Glazed, linen matted and presented ina giltwood and gesso frame affixed with a brass plaque with the painting’s title.[200-400]

1216 Lajos Markos (American/Texas, 1917-1993) “Portraits of a Gentleman, a YoungGirl and a Boy”, suite of three oils on canvas, all signed lower left “L. Markos,1962”, the smallest 9-1/2” x 11-1/2”, the largest 16” x 20”. [400-700]

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144

1217 American School (First Quarter 20th Century) “Portrait of a Boy with a Red Hat”, oil on canvas, sight 10-1/4” x 8”. Presented in a molded giltwood frame. [200-400]

1218 Umberto Romano (Italian/American, 1905-1984) “Portrait of a Lady in an Evening Dress”, oil on canvas, signed lower right, 21” x 24-1/2”. Presented in adeeply molded giltwood and gesso frame.[200-400]

1219 American School (First Quarter 20th Century) “Reclining Nude”, watercolor onpaper, signed lower left “Carlis”, sight 8-3/4” x 6-3/4”. Glazed, matted andframed. [150-300]

1220 William Coombs (American/New Hampshire, b. 1933) “Portrait of a Seated Young Man”, oil and pencil on board, signed and dated lower right “William Coombs ‘61”,24” x 20”. Unframed. [125-250]

1221 William Coombs (American/New Hampshire, b. 1933) “Bernard”, pencil and oil on cardboard, signed and dated lower right “William Coombs ‘60”, 18” x 15-1/2”. Presented in a giltwood frame with a linen liner, verso affixed with a “Salmagundi Club” label. [125-250]

1222 William Coombs (American/New Hampshire, b. 1933) “Small Woman”, oil andgraphite on board, signed and dated lower right “William Coombs ‘61”, 13-1/2” x11-1/2”. Presented in a giltwood and plaster frame with a linen liner. [75-125]

1223 William Coombs (American/New Hampshire, b. 1933) “Portrait of a Man withBeard”, oil and graphite on board, signed and dated lower left “William Coombs ‘61”,10-1/4” x 8-1/4”. Presented in a giltwood and linen-mounted frame. [75-125]

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1220

145

1224Gerrit Hondius (Dutch/American, 1891-1970) “Study of Four Female Figures”, ink and wash on paper, signed lower right “Hondius”, sight 7-1/2” x 9-3/8”. Glazed, matted and framed. [75/125]

1225Continental School (Second Quarter 20th Century) “Seated Female Nude”, oil on canvas, signed lower right “A. Visne”, 31-1/2” x 23-3/4”. Unframed. [200/400]

1226Elizabeth MacQueen (American/Contemporary; Active Alabama) “The Sculptor Aranda”, 1985, a patinated bronze figure of an elderly bearded African American man seated whittling wood, presented on a freeform specimen of marlstone, signed, dated and numbered “6/30” on the reverse basal edge of the figure, h. 9”, w. 7-3/4”, d. 9”. [700/1000]

1227Group of Two Continental Children’s Chambersticks, fourth quarter 19th century, comprised of a patinated bronze chamberstick in the form of a sunflower head, h. 1-1/4”, w. 3”; and a similar example modeled as a stylized flowerhead, h. 1-1/4”, w. 2-1/2”; in both examples, the finial of the curvate handle is a tiny butterfly. [20/40]

1228Belle Epoque Giltwood Ecclesiastical Sidechair, fourth quarter 19th century, the dentillated crest over a spindled back above a needlepoint-upholstered seat centered by a quatrefoil design, raised on circular legs joined by a box-form stretcher, h. 36”, w. 17”, d. 18”. [200/400] Illustrated

1229Gothic-Style Cast Plaster Octagonal Pedestal, first quarter 20th century, the shaft paneled with eight tall, narrow lancet-arched reserves, the whole painted matte white, h. 36-1/2”, dia. 19-1/2”. [150/300]

1230Extremely Rare Continental Carved and Polychromed Pegasus Sleigh, mid-19th century, the winged horse mounted to large wrought-iron-reinforced wooden runners, and having an additional chauffeur’s seat behind the horse and leather stirrups mounted to the rear of the runners, h. 51”, w. 39”, l. 92”. [15000/25000] Illustrated Color Plate V

1231Patinated and Gilded Brass Three-Light Applique, modeled as an oak leaf and acorn spray, first quarter 20th century, the light sockets emerging from spiny acorn tops, h. 21”, w. 34”. [40/70]

1232Imposing Belle Epoque Carved Folding Stand, first quarter 20th century, in the Louis XVI style, composed of antique-green-painted and parcel-gilt beechwood, the rails joined by large carved, painted and parcel-gilt rosettes, h. 55”, w. 22”, d. 40”. [600/900] Illustrated

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146

1233Pair of Beaux Arts-Style Looking Glasses, first quarter 20th century, with carved, silvered, gray paint-pickled and parcel-gilt wood frames, the outer frames braid-carved, the inner molding pickled and with a continuous bas-relief rinceau of foliate scrolls, h. 37”, w. 32”. [400/700]

1234Mihaly Teles (Hungarian, 1872-ca.1947), a patinated bronze presentation silhouette portrait plaque of “Dr. Richard Singer”, 1929, signed and dated left center edge, the basal edge with a dedicatory title, presented on a vertical oblong rosewood bookplate plaque, h. 11-5/8”, dia. 8”. [100/200]

1235Three-Piece Group of Diminutive Gilt-Bronze Figures, 19th century, consisting of a rare lion-masque fountainhead, the beast’s mouth fitted with water jets, h. 3-3/4”, w. 3-3/4”; a winged cherub riding a diademed swan, mounted on a turned wooden socle base, overall h. 5-1/2”; and a figure of a bare-breasted putto riding a classical dolphin, h. 2-3/4”, l. 3-3/4”. [100/200]

1236Belle Epoque Leather Three-Panel Arched Folding Screen, first quarter 20th century, polychromed and parcel-gilt embossed in “Satyr Masque” decor, edged with antiqued brass nailheads, h. 49-1/2”, w. 22”, extended l. 66”. [200/400] Illustrated

1237Interesting Six-Piece Collection of Silvered and Golden Glass, third quarter 19th century, comprised of a tall ringed footed cylindrical vase, a vase of footed beaker form, a golden vase of baluster form, a smaller garniture vase of footed baluster form, a yet smaller golden vase of footed baluster form and a rare footed match holder of nozzle form, the tallest h. 11”, dia. 3-3/4”. [100/200] Illustrated

1238Large Gold “Mercury” Glass Vase, second quarter 20th century, of spherical form and probably of Mexican origin, h. 12-1/2”, dia. 12”. [75/125] Illustrated

1239Good Five-Piece Group of Gold “Mercury” Glass Objects, third quarter 19th century, comprised of a boldly scaled columnar candlestick, a paneled garniture vase of nozzle form, a pedestaled comport of small size and a pair of footed garniture vases of baluster form, the tallest h. 10-3/4”, dia. 4-3/4”. [100/200] Illustrated

1240Near Pair of Cambridge Glass Company “Grasshopper” Vases, second quarter 20th century, the stained and acid-finished vases inspired by the earlier Rene Lalique model, one stained in lavender, h. 8-3/8”, w. 8-1/8”, and the other in darker amethyst, h. 8-3/8”, w. 7-3/4”. [100/200]

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147

1241Belle Epoque Painted Wrought-Iron Baby’s Bed, first quarter 20th century, in “ Scrolls” decor, the antique-white paint in the original untouched condition, each leg fitted with a diminutive cast-iron caster, h. 18”, w. 13-3/4”, l. 27”. [50/80]

1242Belle Epoque Parcel-Gilt and Black-Painted Cast-Iron Tripodal Stool, first quarter 20th century, presently upholstered in black and white cowhide, h. 17-1/2”, dia. 14”. [50/80] Illustrated

1243Belle Epoque Cast-Iron “Winged Putto Masque” Tripodal Stool, first quarter 20th century, the circular seat presently upholstered in deep reddish-brown cowhide, h. 17-1/2”, dia. 14”. [50/80] Illustrated

1244Belle Epoque Black-Painted Cast-Iron Tripodal Stool, first quarter 20th century, the circular seat presently upholstered in black cowhide, h. 17-1/2”, dia. 14”. [50/80] Illustrated

1245Continental Silvered Cast-Iron Cabriole-Legged Footstool, first quarter 20th century, in the Baronial taste, each seat rail centered with a bas-relief heraldic shield, the padded seat upholstered in semi-antique floral gros-point tapestry, second quarter 20th century, h. 10”, w. 10-1/2”, l. 15-1/2”. [50/80]

1246Two-Piece Group of Hawk Figures, consisting of a Continental bronzed and weighted composition figure of a hawk perched on a rocky outcrop, in the “Animalier” style, h. 5”; and a silver-clad lead paperweight in the form of a hawk’s head, first quarter 20th century, l. 3-1/2”. [75/125]

1247Collection of Seven N. N. Deaton Cast and Polychromed Composition Wildlife Figures, 1971-1978, in the “Vienna Bronze” style, the collection comprised of a beaver, a raccoon, a pair of rabbits, a fawn, a red fox and vixen, a squirrel and a pair of chipmunks, all signed and dated on the basal edges, the largest h. 2-1/2”. [200/400]

1248Achille Gamba Pewter Watch Stand, in the form of a displayed eagle perched on a sphere and now fitted with an Italian antiqued brass-mounted pendant double convex-glazed watch/compass, the dial with black Roman chapters and the Latin motto “Per Mare - Per Terram” (By Sea - By Land), the reverse dial an eight-point compass, the eagle stand touchmarked at the rear proper right basal edge, h. 6”, w. 8-1/4”, d. 3-1/2”. [100/200] Illustrated

1249French Gilt-Brass and Green Onyx Watch Stand, fourth quarter 19th century, now displaying a later convex double-glazed antiqued brass pendant clock/compass, the clock dial with the Latin motto “Per Mare - Per Terram” (By Sea - By Land), the reverse dial an eight-point compass, h. 7-1/4”, w. 4”, d. 3-3/8”. [100/200] Illustrated

1250Five-Piece Collection of Silverplate and Brass Table Bells, comprised of a Gorham “Old Florentine” silverplate bell, second quarter 20th century; a large Continental brass ringed table bell in the 18th-century style, first quarter 20th century; a Continental brass “Stags” bell with an avian finial, first quarter 20th century; a small brass dining table bell in the Arts and Crafts taste of like date; and a stylish Italian brass and nickel hotelier’s desk bell, second quarter 20th century; the largest h. 6-3/4”, dia. 3-1/4”. [75/125]

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148

1251German Gilt-Brass Relief Table Box, first quarter 20th century, in the late Gothic style, the lid modeled as four tangent Gothic arches, each centering two different figures in the Gothic style, the facade edge fitted with a brass hasp, the interior lined in sandalwood, h. 3-1/4”, w. 9”, d. 4-1/2”. [75/125]

1252Varied Seven-Piece Collection of Desk Paper Clips, comprised of a small American brass clip in the form of a war-bonneted Native American chief, first quarter 20th century; a Crete “Grand Tour” example in the classical taste in patinated bronze; a French rose-gilded and bronzed brass clip in the form of an owl, of like date; a similar clip in bronzed cast-iron; a gilded and bronze-patinated brass owl clip with glass taxidermist’s eyes; and an American gilt-lacquered and parcel-bronzed brass clip of a bulldog’s head, first quarter 20th century; the largest l. 5-1/4”. [50/80]

1253Group of Two Repousse Brass Fireplace Items, consisting of a good, large German double-lidded hearth bucket in the Baronial style, first quarter 20th century, h. 19”, w. 16-1/4”, d. 11-1/4”; and an Edwardian repousse brass, leather and wood bellow featuring a seated cat, fourth quarter 19th century, l. 18-1/2”. [75/125]

1254Stately Three-Piece Continental Steel Fireplace Set, first quarter 20th century, comprised of a hearth shovel with pierced blade, poker and log tong, all with coronet finials, shovel l. 33”, poker l. 32”, tong l. 32-1/2”. [40/70]

1255Interesting and Highly Diversified Collection of Nine Small Boxes, comprised of a German pewter-inlaid black lacquer oblong snuffbox, fourth quarter 19th century; an Italian glass mosaic-mounted silvered metal oval pillbox with a faux-ivory liner, second quarter 20th century; a gilt-brass-mounted Limoges porcelain cardioform lip gloss box (with the lip gloss still inside); a French green enameled and paste brilliant-set oviform sweetmeat box in the style of Peter Carl Faberge (Russian, 1846-1920); a Russian lacquer-mounted gilt-metal oblong matchbox cover; a Chinese Export gilt-brass and floral enamel oblong stamp box, first quarter 20th century; a pair of similar, yet smaller Chinese Export stamp boxes of like date; and a Chinese Export cloisonne and gilt-brass oblong pillbox with a sky-blue enamel interior; the largest h. 1-1/4”, w. 3-1/4”, d. 1-1/4”. [50/80]

1256Pair of Continental Carved Marble Figures of German Shepherd Dogs, the alert canines depicted seated on integral oblong octagonal marble bases, the whole in off-white marble, h. 10-1/2”, w. 5-1/8”, d. 9-7/8”. [100/200]

1257Good Tielson-Altwasser Blanc-de-Chine Porcelain Bust of Frederick the Great of Prussia, first quarter 20th century, the king depicted in a rakish bowknotted tricorne hat, the base fully marked in green underglaze transfer-print, h. 11-1/2”, w. 7”, d. 5”. [100/200] Illustrated previous page

1258Continental Cast-Iron Relief Plaque, third quarter 19th century, perhaps German, of square outline with a silhouette portrait head of the bearded Hercules wearing the mask of the Nemean Lion on his head, presented in an old black-painted finish, w. 6”, l. 6”. [30/50]

1259Interesting Collection of Ten Glass, Ceramic and Acrylic Hands, comprised of an American Porcelain Company unglazed No. 7 lady’s glove mold, 1993; a General Porcelain Company glazed pottery No. 6 lady’s glove mold; a smaller General Porcelain Company matte glazed glove mold, dated 1991; a European white biscuit porcelain model of a lady’s hand, fourth quarter 19th century; an N. Funk glazed pottery wall soap dish in the form of a hand; a pair of colored blue glass ring stands in the form of lady’s hands; a similar pair of jadeite glass ring stands; and a Lucite ring stand in the form of a cuffed lady’s hand; the largest h. 15-3/4”. [100/200]

1260Continental Carved Alabaster Bust of Ludwig van Beethoven, first quarter 20th century, raised on a variegated marble socle base, h. 13-1/2”, w. 8”, d. 4-1/2”. [300/500]

1261German Basalt Ware Bust of Admiral Blucher, second quarter 19th century, the Admiral depicted with medals and presented on an integral faux-Siena marble base of pottery, h. 13-3/4”. [100/200]

1263

1266

149

1262Pair of German Watercolor and Gouache Figures of Pandora and Bacchus, third quarter 19th century, in the Pompeian manner, sight 12-1/2” x 9-1/4”. Both presented on black grounds in ecru mats within period antiqued silver-leaf frames in the neoclassical taste. [50/80]

1263Continental Brass-Mounted Red Mahogany Gentleman’s Walking Stick, first quarter 20th century, with a carved ivory grip in the form of a Bacchic putto seated on a stump with his uplifted tunic holding purloined fruit, l. 34-1/2”. [200/400] Illustrated

1264Group of Twenty-Seven European Parasol/Walking Stick Handles, fourth quarter 19th/first quarter 20th century, some examples carved in ivory and others in bone, l. 3-1/2” to 6”. [200/400]

1265Seventy-Nine-Piece Continental Partial Stemware Service, for twelve persons, in Brilliant-cut glass in “Hobstar and Fan” decor, comprised of twelve highball glasses, eleven smaller highball glasses, twelve rocks glasses, twelve red wine goblets, ten white wine goblets, twelve dessert wine goblets and ten liqueur goblets, the largest h. 7-1/4”, dia. 3-1/4”. [300/500]

1266Large Belle Epoque Blown Glass Circular Cake Dome, with matching undertray, first quarter 20th century, the basal edge of the cake cover with a folded rim, h. 13”, dia. 17-3/4”. [75/125] Illustrated

1267Group of Two Continental Glass Vases, consisting of a drip-painted and “satine” glass cabinet vase with gauffered lip, first quarter 20th century, probably Bohemian, h. 7-1/4”, dia. 3-1/2”; and a satin-finished reverse drip-enameled pyriform vase, third quarter 20th century, h. 5-1/2”, dia. 5”. [30/50]

1268Dramatic Bohemian Glass Garniture Vase, of modified cushion form in an abstracted vine pattern in orange and shaded claret, the base with a partial glassmaker’s stencil in silver and the paper label of David Lackey Antiques of Houston, h. 7-1/2”, dia. 9”. [75/125]

1269Attractive Set of Six Bohemian Seafood Servers, first quarter 20th century, of goblet form in gold-edged “Vertical Optic Rib” glass, each with a matching glass insert of pegged coupe form, h. 6-5/8”, dia. 5-3/16”. [75/125]

1270Twelve-Piece Group of Ruby Glassware, first quarter 20th century, comprising a set of six Continental acid-transfer plate-etched, ruby-stained and parcel-gilt red wine goblets in the neoclassical taste, h. 7-3/4”, dia. 2-3/4”; a matching set of five white wine goblets, h. 7-1/4”, dia. 2-1/2”; and a Bohemian richly gilded ruby glass table bell, h. 5-1/2”, dia. 3-1/2”. [100/200]

1271Continental Ribbed Glass Trumpet Vase, third quarter 20th century, of tall size in transparent and translucent mocha, white and colorless glass with a scalloped rim, h. 16”, dia. 9-1/2”. [75/125]

1272

1275

150

1272Pair of Italian Brass-Banded White Onyx Columnar Pedestals, first quarter 20th century, with square revolving tops, h. 37-1/4”, w. 11”, d. 11”. [400/700] Illustrated previous page

1273Group of Two Continental Glazed Pottery Hat Stands, second quarter 20th century, one in the form of a dolorous child’s head, h. 13-1/4”, and the other, smaller hat stand in the form of a happy child’s head, h. 11”, both examples with antique-white glazing. [100/200]

1274Unusual Continental Lacquered Side Table, of Baroque form, the serpentine top over a case fitted with a faux drawer, above five graduated drawers, raised on bun feet, the whole with Gustav Klimt-inspired painting, h. 34”, w. 15-1/4”, d. 13”. [100/200]

1275Continental Carved Oak Looking Glass, mid-19th century, possibly Black Forest, the rectangular plate surrounded by an elaborately carved naturalistic frame with side star accents, h. 42”, w. 33-3/4”. [400/700] Illustrated previous page

1276Group of Two Hand-Painted Porcelain Pitchers, first quarter 20th century, consisting of a striking Favorite Porcelain Works, Bavaria, iced beverages pitcher, hand-painted, parcel-gilded and pearl-lustered in “Violets” decor, h. 8-1/2”; and a good American Belleek porcelain milk pitcher, hand-painted and parcel-gilded in “Abundance” decor in the Arts and Crafts style, fully backstamped and signed “Julia Foster”, h. 7-1/2”. [40/70]

1277Nineteen-Piece Collection of Continental White and Gold Porcelain, comprised of a pair of Czech garniture vases of rhyton form, second quarter 20th century; an attractive Paris oval covered sauce tureen with integral stand, first quarter 19th century; a Paris coffee cup of cylindrical section, also first quarter 19th century; a Vista Allegre, Portugal, fruit bowl in the early 19th-century Paris style; a good Richard Klemm, Dresden, richly gilded coffeepot, also in the neoclassical taste, first quarter 20th century; a child’s miniature “Anneau d’Or” footed coffeepot; and a set of six Bohemian gilt-banded coffee cups and matching saucers, third quarter 19th century. [100/200]

1278Forty-Eight-Piece Winterling, Bavaria, Porcelain Partial Dinner Service, for eight persons, second quarter 20th century, in floral decor, the partial service comprised of seven large dinner plates, a bread-and-butter plate, five salad/dessert plates, four soup plates, seven teacups, eight tea saucers, eight dessert bowls, a serving bowl, a sauceboat, a hot milk pitcher, a cream pitcher, a covered two-handled sugar basin, a covered tea caddy and a coffee/teapot, all of the pieces fully backstamped, the largest w. 9”, l. 13-1/2”. [50/80]

1279Stylish French Scrolling Wrought-Iron Conservatory Plant Stand, first quarter 20th century, the pot holder of corbeille form, presented in an old and attractive distressed gray-painted finish, h. 32”, dia. 16”. [50/80]

1280French Wrought-Iron Folding Three-Panel Conservatory Screen, first quarter 20th century, in the Louis XVI taste, the center supporting six flowerpot racks, presented in an old forest-green-painted finish, h. 69-1/2”, w. 26”, d. 26”. [75/125]

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151

1281Three-Piece Group of Continental Porcelain, comprising an attractive pair of Carl Thieme, Potschappel, hand-painted porcelain covered masque-handled garniture vases with periwinkle blue grounds in the Louis XVI style, second quarter 20th century, the facades with galants reserves, the reverses with military trophees, the masque handles gilded, the interiors of the bases fully marked, h. 15-1/2”, dia. 5-1/2”; and a German porcelain jewel casket of oval truncated capstan form in the Sevres Louis XVI style, first quarter 20th century, probably by the Eisenberg Porcelain Works, the domed lid with a richly gilded enframement of a floral spray, the sides with an undulating parcel-gilt ribbon interwoven with a floral garland, h. 4”, w. 11”, d. 7”. [100/200] Illustrated

1282Attractive Royal Berlin (KPM) Porcelain Scent Bottle, third quarter 19th century, of modified lyriform, each facade with a jeweled faux-cypher on a rich cobalt blue ground, the stopper a flat blue and white flowerhead, h. 3-3/4”, w. 2-1/2”, d. 1-3/4”. [50/80]

1283Twelve-Piece Group of Richly Gilded Porcelain, first quarter 20th century, consisting of a Royal Silesian Porcelain Works (KPM Silesia) covered two-handled sugar basin and matching cream pitcher, each backstamped in green underglaze “KMP/Silesia”, basin h. 3-1/4”, w. 5-3/4”, d. 4-1/4”, creamer h. 3”, w. 4-5/8”, d. 3-1/4”; and a set of ten similarly gilded porcelain place salt-and-pepper casters, h. 2-5/8”. [100/200]

1284Fine Continental Teakwood and Marble-Top Step-Back Cupboard, third quarter 19th century, in the Victorian taste, the top with a floral-carved crest flanked by turned finials above a pair of glazed doors and tapering spiral columns, the base with a marble deck over a long drawer and a pair of cabinets below, h. 91”, w. 47-1/4”, d. 22”. [1000/1500] Illustrated

1285Group of Two Continental Desk Items, first quarter 20th century, consisting of a German bronzed and parcel-gilt brass desk notebook in the Renaissance style, presently fitted with a later photograph album, h. 7”, w. 5-1/4”; and a Belle Epoque antiqued bronze rocker-blotter in the Mannerist taste, l. 6-1/4”. [100/200]

1286Good German Polychromed Gray Stoneware Ewer, fourth quarter 19th century, of tall size in the 16th-century style, the central body with an arcaded frieze of courting couples in fashionable 16th-century attire, h. 16”, w. 8-1/2”. [200/400]

1287Pair of German Carved Lindenwood Demi-lune Bracket Shelves, fourth quarter 19th century, of large size in the “Schwarzwald” style, each crabstock-edged with pendant carved oak leaves, h. 19”, w. 18”, d. 10-1/2”. [150/300] Illustrated

1288French Patinated and Reticulated Cast-Iron Double Swing Bracket, ca. 1900, in the Beaux Arts style, one crescent-form bracket broken off from the backplate, h. 30”, w. 22”, extended l. 40”. [20/40]

1289Pair of Continental Fruitwood and Upholstered Wing Chairs, each with a padded and domed back with shaped sides, joined by open scrolling arms to the padded seat, raised on bulbous legs ending in toupie feet, h. 43-1/2”, w. 30”, d. 24”. [400/700]

1290Pair of American Late Victorian Mahogany Hall Chairs, fourth quarter 19th century, each with a serpentine crest, centered by a shell-and-acanthine carving, above a conforming padded back, flanked by square supports and headed by a smiling putto bust, above a padded seat, raised on slightly serpentine legs ending in claw feet, h. 44-1/2”, w. 19-1/2”, d. 20-1/2”. [300/500] Illustrated

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152

1291Northern European Wrought-Iron-Mounted Walnut Dowry Chest, fourth quarter 19th century, in the traditional style, the ends fitted with wrought-iron bails for carrying, h. 12”, w. 23-1/2”, d. 14-1/8”. [100/200]

1292French Carved and Stained Beechwood Gout Stool, first quarter 20th century, in the Louis XVI style, upholstered in russet leather with brass nailhead edging , the taller legs of fluted tapering cylindrical section, h. 13-1/2”, w. 15”, d. 19-1/2”. [100/200]

1293Continental Reticulated Brass Dressing Table Mirror, first quarter 20th century, with an armorial cresting featuring a coronet-surmounted heart monogrammed “C”, with leonine supporters, the mirror plate broadly beveled throughout, h. 20-3/4”, w. 12-1/4”, d. 13-1/2”. [50/80]

1294Unusual Burled Walnut-Veneered Chest/Vanity, the hinged top opening to reveal a mirror plate, over a case fitted with a faux drawer above six drawers, the back of the chest of faux-bookstack form, the whole raised on block feet, h. 26”, w. 20-1/2”, d. 13”. [100/200]

1295Continental Provincial Pine and Marble-Top Butcher Block, the rectangular variegated marble top above a conforming frieze fitted with a drawer, the sided affixed with Renaissance-style ceramic plaques over two wine-storage shelves, raised on tapering square legs, h. 35-3/4”, w. 42”, d. 19”. [200/400]

1296Tiffany and Company Sterling Silver Art Deco Footed Fruit Bowl, dated June 19, 1930, the interior centered with a custom cast sterling silver presentation medallion, h. 3-3/4”, dia. 11-3/4”, 36.40 t. oz. [1800/2500] Illustrated

1297Rare Pair of Tiffany and Company Sterling Silver “Olympian” Salad Servers, the pattern introduced in 1878, comprised of an ovoid-bowled serving spoon and a bowled three broad-tined fork, the bowls gilded, l. 9-3/4”. [1200/1800] Illustrated

1298Good Tiffany and Company Sterling Silver Iced Water Pitcher, first quarter 20th century, of cylindrical form in the Arts and Crafts taste, h. 7-1/4”, w. 5-1/2”, l. 8”, 28.70 t. oz. [1200/1800] Illustrated

1299Two American Silverplate and Mirrored Glass Plateaus, consisting of a circular example in the Art Nouveau taste, first quarter 20th century; and a Wallace circular plateau in the “Baroque” pattern, with a laminated wood backplate, third quarter 20th century; the smaller dia. 14-1/4”, the larger dia. 16-1/2”. [100/200]

1300Two-Piece American Weighted Sterling Silver Cream-and-Sugar Set, second quarter 20th century, in the Georgian taste, comprised of a two-handled and footed open sugar basin, h. 3-3/8”, dia. 3”, and a matching footed cream pitcher, h. 3-1/4”, dia. 3”, not monogrammed, 5.65 total t. oz. [30/50]

1301Group of Three American Silver Footed Sweetmeats Stands, second quarter 20th century, comprised of a weighted sterling example in “Gadroon” decor; a Dunkirk Silversmith’s weighted sterling stand, also in “Gadroon” decor; and an International silverplate “Chippendale” example; the largest h. 6-1/4”, dia. 7”. [50/80]

1302Nine-Piece Group of Sterling Silver Plates, consisting of a set of eight Mathews and Prier bread-and-butter plates, handsomely engraved at the center in entwined script, first quarter 20th century, dia. 6”; and a French circular reeded-edge tray of small size, fourth quarter 19th century, dia. 8-3/4”, 27.80 total t. oz. [100/200]

1297

1296

1298

1303

1304

153

1303Tiffany and Company Sterling Silver Fruit Bowl, first quarter 20th century, of oval, fluted, two-handled and footed form in the Georgian neoclassical style, the handles modeled as reeded articulated rings, h. 5-1/4”, w. 8-5/8”, l. 13-1/2”, 34.40 t. oz. [3000/5000] Illustrated

1304Pair of Edwardian Silverplate Lyriform Three-Light Candelabra, first quarter 20th century, the “lyres” strung with silver wires, h. 12-1/2”, w. 14-1/2”, d. 4”. [400/700] Illustrated

1305Set of Four Tiffany and Company Sterling Silver Julep Cups, third quarter 20th century, after the 1760 original by Ludwig Heck of Lancaster, fully hallmarked on the bases, h. 2-3/8”, dia. 2-3/8”, 12.90 total t. oz. [100/200]

1306Sanborn, Mexico, Hand-Wrought Sterling Silver Sweetmeats Bowl, second quarter 20th century, in the Spanish Colonial style, h. 2-1/8”, dia. 4-1/4”, 6.05 t. oz. [40/70]

1307Diverse Five-Piece Collection of American Sterling Silver, comprised of an Alvin “Raleigh” vegetable fork, the pattern introduced in 1900; a Manchester “Gadroonette” gravy ladle, the pattern introduced in 1938; a Wallace “Washington” sugar shell with paneled bowl, the pattern introduced in 1911; a rare Gorham “Old Medici” cheese scoop, the pattern introduced in 1880; and a Frank W. Smith “Fiddle Thread” sugar shell, the pattern introduced in 1902; the largest l. 8-1/4”, 7.05 total t. oz. [50/80]

1308Collection of Three American and English Silverplate Ladles, comprised of a good Taunton Silverplate Company oval-bowled example in a pattern similar to Shiebler’s sterling “Oriental” of 1860, third quarter 19th century; a William A. Rogers soup ladle in a pattern similar to Towle’s “Helena” of 1900; and a Sheffield “Fiddle” double-lipped punch ladle in the Georgian style, second quarter 20th century; the largest l. 14”. [100/200]

1309Good Collection of Nine Sterling Silver and Silverplate Items, comprised of an attractive American reticulated sterling circular fruit basket with arched stationary handle, first quarter 20th century; a good Gorham sterling bonbon dish of scallop shell form, third quarter 20th century; a good American reticulated sterling mustard pot with conforming cobalt blue glass liner in the Georgian style, first quarter 20th century; a Gorham sterling fruit bowl with reticulated rim; an American weighted sterling footed sweetmeats stand, second quarter 20th century; a smaller American weighted sterling footed jelly stand; a weighted sterling dessert cup in the Georgian style; a Continental silver bonbon basket with a serpentine edge and an arched swing handle; and an English reticulated silverplate oblong crackers basket with a faux-hammered finish, also second quarter 20th century; the largest h. 7”, dia. 8”. [150/300]

1310Collection of Three Antique American Chains, composed of a silverplated brass box-link example with a pendant clip, first quarter 20th century, l. 27”; a longer gilt-brass double-link chain, fourth quarter 19th century, l. 30”; and a silverplated nickel circular link chain with a fish-hook closure, first quarter 20th century, l. 25”. [30/50]

1311Set of Eight Barker-Ellis Silverplate “Foliate Scroll” Julep Cups, second quarter 20th century, h. 4”, dia. 3”; together with a Nearly Matching Wilcox Silverplate Tray, of oblong, footed form with a gallery rim, first quarter 20th century, h. 2-1/4”, w. 14-1/4”, d. 6-1/4” (nine total pieces). [50/80]

1312Three-Piece Group of American Serving Utensils, consisting of a large and rare silverplate and ebonized fruitwood pierced oyster cracker scoop, fourth quarter 19th century; a silverplate patent spring-action olive picker, first quarter 20th century; and a telescoping double pastries fork-server of like date; the largest l. 10-1/4”. [50/80]

1313Trio of American Silver Hand Mirrors, comprised of a sterling silver example in the rococo taste, fourth quarter 19th century; a smaller sterling silver example in “Antique Bead” decor, handsomely monogrammed in large international High Victorian letters, ca. 1875; and an Art Nouveau silverplate example in bas-relief “Clematis” decor, ca. 1905; all with circular beveled-edge plates, the largest w. 6”, l. 10-1/4”. [30/50]

1314Four-Piece Group of Silver Items, consisting of an American Art Nouveau sterling-handled cake breaker, the pattern introduced ca. 1900-1905; a Holmes and Edwards silverplate pickle fork in a floral pattern; and a pair of English sterling-handled “Onslow” dessert knives, London 1931, maker: GHB; the largest l. 10-1/2”. [50/80]

1315Four-Piece Group of Serving Utensils, consisting of a good two-piece Elkington vegetable ivory-handled silverplate salad serving set, first quarter 20th century, the tapering rib-carved handles having barley-twist shanks, l. 12-1/4”; and a two-piece Wallace sterling-handled “La Reine” salad serving set with black Bakelite bowls, the pattern introduced in 1921, l. 12”. [50/80]

1316Collection of Four Silverplate Alcohol Lamps for Chafing and Casserole Dishes, including a large American circular example with a patent-action wick cover, first quarter 20th century; a pair of smaller Italian examples; and a similar American example; the largest l. 5-1/4”. [50/80]

154

1317Interesting Seven-Piece Collection of Desk Implements, including a good American sterling-handled tortoiseshell page turner, ca. 1900; an Austrian doe’s foot-handled pewter-mounted nickel letter knife in the “Jager” style, first quarter 20th century; a Mexican reeded and spiraled sterling silver letter knife of dagger form; another Mexican sterling silver example with an open-spiral handle, also of dagger form; a Mexican gold wire-mounted sterling silver letter knife with a horizontally ribbed hilt; a diminutive Mexican stylized plume-handled sterling silver paperknife; and an American sterling silver-handled desk magnifier in the neoclassical taste, first quarter 20th century; the largest l. 11-1/4”. [50/80]

1318Six-Piece Collection of American Sterling Silver Flatware, comprised of a Tiffany and Company “Saratoga” variant sauce ladle and a matching serving spoon in the Tiffany pattern introduced in 1870; a pair of Whiting Manufacturing Company “Violet” serving spoons, the pattern introduced in 1905; a matching sugar shell; and a flat master butter knife; the largest l. 8-1/2”. [100/200]

1319Group of Two American Silverplate Trays, consisting of a large oblong, two-handled waiter in “Foliate Scroll” decor, in the Old Sheffield style, second quarter 20th century, the center with an elaborate stamped pattern of interlaced foliate scrolls and stylized scallop shells, w. 15”, l. 25”; and an Oneida circular sandwich/pastry tray with a reticulated inner border, the cavetto with an elaborate stamped pattern of foliate scrolls and diapered reserves, dia. 14-3/4”. [40/70]

1320Nine-Piece Group of Continental Porcelain, consisting of a Paris porcelain covered two-handled sauce tureen of oval form with conforming integral stand, in “Anneau d’Or” decor, second/third quarter 19th century, h. 5”, w. 9-1/4”, d. 6-1/2; a Wilhelm & Burg, Austria, white and gold circular sandwich tray, first quarter 20th century; a Haviland, Limoges, circular two-handled pastry tray of like date; a Limoges hand-painted two-handled pastry tray of lobed circular form in “Eagles” pattern, dated 1907; and a set of five Charles Field, Haviland, Limoges, white and gold circular dessert bowls in the neoclassical style, first quarter 20th century. [50/80]

1321Four Pieces of White and Gold Porcelain, consisting of a three-piece English partial tea service in the neoclassical taste, comprised of an oval two-handled covered sugar basin, a matching cream pitcher and an oval teapot salver, first quarter 19th century; and a good Paris porcelain cream pitcher of baluster form; sugar basin h. 5”,w. 7-1/2”, d. 4-1/2”, creamer h. 4”, w. 3-1/4”, l. 6”, plate w. 5-3/8”, l. 6-7/8”, cream pitcher h. 8”, w. 4-1/4”, l. 4-1/2”. [50/80]

1322Set of Four Limoges “Anneau d’Or” Porcelain Fruit Bowls, fourth quarter 19th century, of shallow form in the Louis XV taste, dia. 13-1/2”. [75/125] Illustrated

1323Twenty-Eight-Piece Collection of White and Gold Paris Porcelain, second quarter 19th century, comprised of a set of nine “Clauss”-form breakfast coffee cups and ten matching saucers; a matching set of four tea cups and saucers; and a circular two-handled paneled vegetable tureen; the largest h. 6-1/2”, dia. 8-1/2”. [75/125]

1322

1327

155

1324Group of Three Paris Cups and Saucers, consisting of a good white and gold bread-and-milk scenic cup and deep magnum saucer featuring the Paris Bourse, with a long hairline crack to the left of the polychrome reserve, third quarter 19th century; a pair of Paris white and gold bread-and-milk cups and saucers of like date in stylized “Floral Sprays” decor; the gilding on all the examples in good condition, the largest h. 3-3/4”, dia. 4-1/2”. [40/70]

1325Assorted Group of Porcelain, third quarter 19th century, consisting of a good set of eleven richly gilded Paris white and gold porcelain dessert plates in “Upright Scrolls” decor; an attractive set of eight smaller Paris porcelain dessert plates in floral decor; a Franco-Bohemian white and gold porcelain trefoil-lipped jug in “Bacchic Masque” decor, with an impressed underglaze mark “L.S.”; a two-piece Paris white and gold porcelain “Acorn” coffee service; a pair of Paris white and gold porcelain condiment bowls of attenuated shell form in “Ivy” decor; and a large Gerard Dufrasseux, Limoges, white and gold porcelain milk pitcher; the largest h. 10-1/2”, w. 7-1/4”, dia. 4”. [100/200]

1326Fine Set of Seven Creil “Landmarks of Paris” Plates, first quarter 19th century, consisting of four dessert plates and three soup plates in black and white transfer-printed decor, each plate centered with a different celebrated landmark such as Notre-Dame, the Fountain des Innocents, the Odeon Theater, etc., each example with the full Legros d’ Anisy backstamped in gray transfer-print and an impressed Creil mark underglaze, dia. 9-1/8”. [200/400]

1327Joey Bonhage (American/Louisiana, 20th Century) Interesting Tin, Mixed Metals and Porcelain Floral Arrangement, first quarter 20th century, composed of a French wrought, cut and polychromed iron flowering plant in an Kuang Hsu porcelain jardiniere of oblong form, the whole presented on a custom-carved stepped mahogany stand, h. 15-1/2”, w. 10”, d. 7”. [500/800] Illustrated

1328Frederic Levillain (French, 1837-1919), a large bronze two-handled and footed tazza set with a bas-relief medallion of “Mercury and Argus”, dated 1852 in the basal edge of the relief rondel, h. 6-1/4”, w. 19”, dia. 13-1/2”. [150/300]

1329Attractive Pair of Paris Porcelain Dinner Plates, second quarter 19th century, each parcel-gilt and black-banded plate in polychromed “Summer Flowers” decor, dia. 9-1/2”. [100/200]

1330Large Paris Porcelain Garniture Figure, third quarter 19th century, possibly the Gille Jeune factory, the elaborately polychromed and parcel-gilt figure depicting a Louis XVI gentleman-of-fashion holding a nosegay, h. 16”, w. 5-3/4”. [200/400]

1331French Brass-Mounted Burl and Ebonized Fruitwood Jardiniere, second quarter 20th century, of large oval form in the Napoleon III style, the interior fitted with a conforming and removable galvanized metal liner, the rim in reticulated gilt brass, h. 8-1/4”, w. 19”, d. 13-1/2”. [100/200]

1332Large French Drip-Glazed Pottery Vase, of elliptical section in bas-relief “Asters” decor, h. 13-3/4”, w. 10”, d. 4”. [75/125]

1333French Carved Giltwood and Plaster Looking Glass, fourth quarter 19th century, in the Louis XIV taste, the outer ribbed molding now painted in matte blanc de Trianon, h. 48”, w. 39-1/2”. [1000/1500] Illustrated

1334French Carved and Gilded Wood Looking Glass, second quarter 20th century, of horizontal cartouche form in the Regence taste, the cresting modeled as a carved giltwood vase of flowers centering a pair of foliate scrolls “en face”, h. 22-1/2”, w. 27-1/2”. [100/200]

1335Elaborate Continental Cast-Iron and Sheet Metal Day Bed, third quarter 19th century, in the rococo taste, the ends with a sheet metal panel and ornate cast fronts, the front rail with animals and foliate motifs, inside w. 42-3/4”, l. 75-1/4”, outside w. 46”, l. 79”. [100/200]

1333

156

1336Pair of Napoleon III Rosewood Sidechairs, third quarter 19th century, in the rococo taste, each with a medallion back with foliate-carved crest, scrolling braces at the hips, serpentine seat and cabriole legs, now upholstered in striped gold damask, h. 38-1/4”. [150/300]

1337Napoleon III Rosewood Settee, third quarter 19th century, in the Louis XV style, the padded back and downswept arms within a molded frame, the serpentine padded seat raised on molded cabriole legs ending in casters, h. 37”, w. 69”, d. 23”. [300/500]

1338Imposing French Brass-Mounted Blue Terra Cotta Table Lamp, of octagonal finial form, the terra cotta with attractive strie glazing in shades of light blue to cobalt, h. 45-1/2”. [75/125]

1339Pair of French Gilt-Bronze Silhouette Portrait Plaques, fourth quarter 19th century, depicting, respectively, a plume-hatted cavalier and a lady-of-fashion, presented on matching backplates of satin-polished Siena marble, h. 6-1/4”, w. 5”. [50/80]

1340Third Republic Wrought-Iron, Marble and Porcelain Washstand, ca. 1900, the porcelain sink set in an iron stand with a marble top with iron gallery and towel bars at each end, on a tripodal-shaped iron base, the legs joined by a low shelf, accompanied by an earthenware pitcher of like date, h. 37”, w. 42”, d. 27”. [400/700]

1341Third Republic Wrought-Iron Basin Stand, ca. 1900, the top fitted with a circular ring to support a wash basin, on a tripodal stand, the legs joined by a central and low ring, h. 32”, w. 20”, d. 18”. [250/400]

1342French Carved Silver-Giltwood and Plaster Looking Glass, in “Creatures in the Wood” decor in the late 19th-century Aesthetic taste, the plate broadly beveled throughout, the frame bas-relief carved with tangent leaf sprays and vines inhabited by small woodland creatures, also in bas-relief, h. 45”, w. 33”. [200/400]

1343Napoleon III Parcel-Gilt Copper Butcher’s Shop Insignia, third quarter 19th century, in the form of a steer’s head, h. 15”, w. 14-1/4”, d. 13”. [200/400] Illustrated

1344French Cast-Brass “Torch and Ribbon” Three-Light Hanging Fixture, early 20th century, h. 20”, dia. 12”. [50/80]

1345Collection of Five Objects of “Hand” Form, comprised of a good Napoleon III bronze ringed lady’s hand paperweight on a stepped oblong base, third quarter 19th century; a larger bronze lady’s hand paperweight of like date; a yet smaller lady’s hand paperweight in lead, third quarter 19th century; a milk glass dressing table tray in the form of a lady’s hand in the 19th-century style; and a silvered composition vase in the form of a lady’s hand holding a small vase of trumpet form with a ruffled lip; the largest h. 5-1/4”, l. 7”. [100/200]

1346Eclectic Seven-Piece Collection of Table and Pocket Objects, comprised of an A. E. Chanal, France, circular silverplate box in the Art Nouveau style, ca. 1900; an Art Nouveau gilt-brass-mounted leather coin purse of cushion form; a Native American tooled leather coin purse in the form of a traditional boot; a carved and enameled white jade snuff bottle in the form of a stylized tortoise; a Chinese cloisonne figure of a rabbit; a pyrite paper weight of disc form; and an unusual French brass-mounted box formed of a natural geode; the largest h. 2-3/4”, dia. 4”. [50/80]

1343

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157

1347Napoleon III Gilt-Bronze Seven-Light Candlearm, third quarter 19th century, in the Louis XVI style, each candlesocket but the central one fitted with a detaching beaded gilt-brass bobeche, the base of the candelabrum lacking, h. 12”, w. 18”. [75/125]

1348Napoleon III Antique-Gilded Spelter Mantel Clock, third quarter 19th century, featuring a gleaning girl in the Louis XVI style, the support strut lacking as are the cut steel hands of the enamel dial, h. 13”, w. 13”, d. 4-1/2”. [200/400]

1349Pair of Napoleon III Malachite and Black Slate Obelisks, third quarter 19th century, in the neoclassical style, the malachite bases of square section, with each facade inlaid with an oval black slate plaque, h. 9-3/4”, w. 2-1/2”, d. 2-1/2”. [75/125]

1350Good Pair of French Bronze Four-Light Tripodal Candelabra, fourth quarter 19th century, in the Neo-Grec style, the whole supported on pieds de biche, h. 20-1/2”, dia. 8”. [200/400] Illustrated

1351Napoleon III Patinated Bronze “Heraldic Lion” Candlestick, third quarter 19th century, elaborately detailed and featuring a stylized seated lion as the shaft, h. 9-1/4”, w. 5-1/4”, d. 5-1/4”. [50/80]

1352Pair of French Bronze Two-Light Tripodal Candelabra, fourth quarter 19th century, in the Neo-Grec style, each candlesocket fitted with a detaching antique-gilded brass bobeche, h. 11”, w. 9-1/2”, dia. 7”. [100/200]

1353Pair of Metal and Glass Floor Torcheres, composed of bronze-patinated and silvered metal, the ribbed standards having ribbed vasiform fonts fitted with large frosted glass shades of flared bowl form, the foliate-modeled bases of stepped circular form, h. 72-1/2”, dia. 16”. [200/400]

1354Metal and Glass Floor Torchere, composed of bronze-patinated and silvered metal, the ribbed standard having a ribbed vasiform font fitted with a large frosted glass shades of flared bowl form, the foliate-modeled base of stepped circular form, h. 68”. [100/200]

1355Elegant Tripodal Footstool, of circular cushion form, upholstered in dyed and spotted cowhide, the three bun feet of stained pine, h. 5-3/4”, dia. 11”. [100/200] Illustrated

1356American Reticulated Cast-Iron Footstool, fourth quarter 19th century, of oblong form in the Neo-Rococo style, presented in a later antiqued russet enamel finish and upholstered in leopard-spotted cowhide, h. 8-1/4”, w. 13-1/2”, d. 10-1/2”. [75/125] Illustrated

1357Elegant Tripodal Footstool, of circular cushion form, upholstered in dyed and spotted cowhide, the three bun feet of stained pine, h. 5-1/2”, dia. 11-1/4”. [75/125] Illustrated

1358Pair of Napoleon III Patinated Bronze Allegorical Figures, of, respectively, Ceres and Knowledge, third quarter 19th century, the diminutive figures presented on matching reticulated gilt-bronze bases in the Louis XVI taste, h. 6-1/2”, dia. 3-1/2”. [50/80]

1359French Biscuit Porcelain Bust, fourth quarter 19th century, depicting Napoleon Bonaparte as First Consul, on an integral glazed white porcelain base, now mounted as a lamp on a later gilt-brass beaded cubical plinth above a square satin-polished Portor marble base, the harp fitted with a spherical bronze-patinated brass finial, h. to top of finial 27-1/2”. [75/125]

1360Pair of Napoleon III Tole Twin Beds, third quarter 19th century, each with a domed headboard with faux-bois graining and scrolling foliate mother-of-pearl-inlaid designs, joined by scrolling rails to the slightly domed lower footboard, with like decorations, raised on tubular legs, h. 63-1/2”, inside w. 33”, l. 76”, outside w. 36”, l. 78”. [400/700]

1356

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158

1361Good Napoleon III Marquetry-Inlaid and Gilt-Brass-Mounted Marble-Top Parlor Cabinet, fourth quarter 19th century, the front with three doors, each having inlaid panels and cast metal moldings, the top retaining its original white marble, h. 47”, w. 68-1/2”, d. 20-1/4”. [3000/5000] Illustrated Color Plate II

1362Seven-Piece Collection of White Opaline and Frosted Glass Items, consisting of a Napoleon III cut, frosted and gilt-banded “clambroth” glass comport, third quarter 19th century; a similar glass garniture vase of nozzle form; a French elaborately gilded long-neck perfume bottle of frosted glass, fourth quarter 19th century; an English parcel-gilded and white-enameled cologne bottle of the “Bristol” type, third quarter 19th century; a parcel-gilt white opaline goblet of like date; a French gilt-banded white opaline glass footed cologne bottle; and a French gilt-banded white opal glass smoke bell of tall “morning glory” form, third quarter 19th century; the largest h. 8-1/2”, dia. 5-3/4”. [100/200]

1363Pair of Continental Gilt-Brass Dragon-Entwined Candlesticks, fourth quarter 19th century, in the Japonesque taste, h. 13-1/2”, dia. 4-3/4”. [100/200]

1364Group of Two Belle Epoque “Cannele” Glass Inkwells, first quarter 20th century, comprised of a large and attractive example in the Baccarat style, h. 5-3/4”, w. 3-3/4”, d. 3-3/4”, and a slightly larger inkwell with a domed brass cap, h. 5-1/2”, w. 4-1/4”, d. 4-1/4”. [50/80]

1365Four Pieces of Haviland and Company, Limoges, Porcelain, consisting of a three-piece white and gold “Rope Twist” coffee service, comprised of a tall coffeepot, a large two-handled covered sugar basin and a columnar cream pitcher en suite, third quarter 19th century; and a similar milk pitcher of like date; the largest h. 9”, w. 8”, dia. 5”. [100/200]

1366One Hundred Forty-Two-Piece Theodore Haviland, Limoges, Porcelain Partial Dinner Service, for twelve persons, first quarter 20th century, in “Oriental Birds” decor, comprised of eleven dinner plates, ten bread-and-butter plates, six soup plates, twelve salad plates, eleven dessert plates, ten creamed soup bowls, ten creamed soup underplates, eight individual vegetable bowls, six tea cups, five coffee cups, twenty-two cup saucers, seven after-dinner coffee cups, twelve after-dinner coffee saucers, one double-lipped gravy boat with integral stand, one elliptical celery dish, two covered two-handled vegetable tureens, one matching covered sauce tureen and one matching sauce tureen stand, each piece fully backstamped, the largest h. 5-1/4”, w. 10-1/2”, d. 9-1/2”. [300/500] Illustrated

1367Coronet, Limoges, Hand-Painted Porcelain Plate, first quarter 20th century, of shaped circular form and featuring a pair of wild boar in the snow, signed “Pradet” at the lower right and fully backstamped, dia. 10”. [20/40]

1368Large French Porcelain Foot Bath, fourth quarter 19th century, of oval, two-handled form in “Anneau d’Or” decor, h. 6-3/4”, w. 13”, l. 18-1/4”. [100/200]

1361

1366

159

1369Two White-Glazed Pottery Foot Baths, both of elliptical, two-handled form, the first a Carbona, Italy, foot bath in the 19th-century style, signed on the base in incised black script “Carbona”; and the second a French example, third quarter 19th century; the smaller h. 8-1/4”, w. 19”, d. 12-1/4”, the larger h. 8-1/4”, w. 19-1/2”, d. 13-1/4”. [75/125]

1370Extensive Eighty-Eight-Piece La Seynie, Limoges Partial Dinner Service, for twelve persons, first quarter 20th century, in blue-celeste-banded white porcelain, comprised of twelve dinner plates, eleven bread-and-butter plates, twelve salad plates, five soup plates, twelve dessert plates, eleven dessert bowls, four coffee cups, one tea cup, nine coffee and tea saucers, one two-handled covered butter tub with pierced drain plate, one oval covered two-handled vegetable tureen, a graduated nest of three oval platters, one circular two-handled covered vegetable tureen, one circular two-handled open vegetable tureen, two ovoid open serving bowls, one celery/olives dish of tear form, one sauceboat and one oval sauceboat stand, all of the pieces fully backstamped in underglaze green, the largest w. 13”, l. 19”. [300/500] Illustrated

1371Good Set of Twelve Charles Ahrenfeldt, Limoges, Porcelain Dinner Plates, first quarter 20th century, in the early Art Deco style, decorated in polychromed “Flower Basket” decor on a silver-gray “vermicelli” ground, each example fully backstamped, dia. 10”. [100/200]

1372Follower of Emile Louis Picault (French, 1833-1915) “Roman Soldier”, a patinated bronze sculpture, signed at base “Condier”, raised on a black marble pedestal, h. 19-1/2”, w. 7”, d. 4-3/4”. [600/900] Illustrated

1373After Sabatino de Angelis (Italian, Fourth Quarter 19th/First Quarter 20th Century) “Narcissus”, a patinated bronze sculpture, after the Antique, h. 14”, w. 6”, d. 4-1/2”. [200/400] Illustrated

1374French School (Fourth Quarter 20th Century) “Knight on Horseback”, a patinated bronze sculpture, signed at base “Priss”, raised on a marble block pedestal, h. 19-1/4”, w. 13-1/2”, d. 4-3/4”. [600/900] Illustrated

1375Seven-Piece Collection of French Green Glass Items, comprised of a good two-piece gold-banded green opaline “tumble-up” (carafe and beaker forming the cover), third quarter 19th century; a pair of Napoleon III gilt-brass-mounted green opaline garniture vases with double portrait silhouette medallions at the facades, third quarter 19th century; a graduated pair of opaque pale green glass covered toilette jars of canister form, fourth quarter 19th century; a green opaline cylindrical covered toilette jar of like date; and an English Art Deco glass compote in frosted lime green glass, second quarter 20th century; the largest h. 8-1/4”, dia. 6”. [100/200]

1370

1372

1373

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160

1376Napoleon III Polychromed Tole Bed, third quarter 19th century, the double-domed headboard with ball finial accents and painted oval medallions featuring cherubs admiring themselves in a garden setting, joined by scrolling rails to the lower like-shaped footboard, featuring portrait medallions of young costumed maidens, raised on bulbous feet, h. 61”, inside w. 60”, l. 76”, outside w. 62”, l. 78”. [250/400]

1377Emile-Antoine Bourdelle (French, 1861-1929) “Mere et Fille” (“Mother and Girl”), a dark gold-patinated bronze, inscribed lower right “Bourdelle”, stamped lower left with “C. Valsuani” foundry mark, raised on an oblong white marble base, h. 19”, w. 18”, d. 7”. [7000/10000] Illustrated Color Plate II

1378Thomas Frognall Dibdin (1776-1847), Bibliomania, Boston: The Bibliophile Society, 1903, two of four volumes (lacking volumes 1 and 2), a limited edition of 453 copies for the Bibliophile Society, with attractive three-color title page, pale green marbled boards and gilt lettering on the spine, 9-3/8” x 6-3/4”. [30/50]

1379Twenty-One-Volume Collection of Antique Leatherbound Books, comprised of a nine-volume set of Voyage du June Anacharsis en Greece, Paris, 1789, a five-volume set of Flammarion, Paris Theatre de P. Corneille, third quarter 19th century, and a seven-volume set of Flammarion, Les Essais de Michel de Montaigne, of like date, all with leather bindings and marbled Florentine endpapers, h. 7”, w. 4-3/4”. [75/125]

1380Rare First Edition of M. Raton (Jean M.-M. Redares), Traite Raisonne sur l’Education du Chat Domestique, Paris: Raynal, 1828, printed by Veuve Delaguette, duodecimo, in tan quarter calf with mottled boards, marbled endpapers and gilt fore-edges, the spine with raised bands, with gilt tooling and lettering on a dark brown panel, 7-1/8” x 4-3/8”. Written pseudonymously by “M. Redon” (“Mr. Raccoon”) as a series of letters to the Mother Superior of an unnamed Visitandine convent, this unusual little tome can only be described as an offbeat combination of epistolary treatise, political history and serious veterinary advice. Very little is known of the author, Jean M.M. Redares - the Bibliotheque Nationale has no birth or death dates for him - but treatises by him were published in the 1830’s and 40’s on subjects as diverse as religious principles, freedom of the press, prison reform and the eradication of garden pests, from insects to moles. [75/125]

1381Heinie Hartwig (American, b. 1939) “Rocky Mountain Camp”, oil on canvas, signed lower left, titled verso, 24-1/2” x 32”. Presented in a linen-matted giltwood and gesso frame. [1200/1800] Illustrated

1382American School (Second Quarter 20th Century) “Cottage in the Woods”, oil on canvas, signed lower right “I. Cafieri”, sight 24” x 36”. Presented in a hardwood frame. [300/500]

1383American School (Mid-19th Century) “Winter Landscape with a Red Barn”, oil on panel, signed lower left “Leo Allison”, 10” x 9”. Presented in a giltwood and linen-matted frame. [100/200]

1384American School (First Half 20th Century) “Still Life with a Jug, Apples and Grapes” and “Still Life with a Pottery Jug and a Plate of Strawberries”, two oils on canvas, both signed and dated, one lower right, one lower left “F. Townley, 1926”, 7” x 6”. Both presented in attractive antiqued giltwood frames. [1000/1500] Illustrated

1377

1381

161

1385Follower of Severin Roesen (American, 1815-1872) “Still Life of Fruit on a Shelf”, oil on canvas, first quarter 20th century, 20” x 24”. Presented in an appropriate deux-couleur-gilded wooden frame in the neoclassical style. [400/700]

1386Continental School (Mid-20th Century) “Still Life with a Lute, Candle and Spectacles”, oil on canvas, signed “Chopoton” lower right and in pencil verso, 33” x 15”. Presented in a giltwood and gesso frame. [150/300]

1387Continental School (Mid-20th Century) “Still Life with Potted Purple Flowers”, oil on canvas, unsigned, 34” x 24”. Framed. [40/70]

1388Diminutive Pair of Gilt-Bronze Cabinet Busts, fourth quarter 19th century, depicting, respectively, a uniformed male and a female with a pompadour coiffure and a riviere necklace, the busts on columnar gilt-bronze pedestals and accompanied by small gilt-brass-mounted faux-marbre square platform bases, h. 7”, w. 3”, d. 3” (four total pieces). [75/125]

1389Group of Two Continental Portrait Miniatures, consisting of a good Italian wax silhouette head, of circular form in the classical style, fourth quarter 18th century, dia. 4”; and a larger oval hand-painted porcelain portrait miniature of an 18th-century lady-of-fashion in an extravagantly plumed hat, fourth quarter 19th century, h. 6”, w. 5”; both presented in Florentine carved giltwood tabletop frames. [100/200]

1390Louis XVI-Style Mahogany Breakfast Table, second quarter 20th century, the circular top with a molded edge above a ribboned floral-carved apron, raised on fluted tapering square legs ending in toupie feet, with two leaves, h. 29-1/2”, dia. 40”, extended l. 76”. [800/1200] Illustrated

1391Napoleon III Porcelain-Set Spelter Mantel Clock, third quarter 19th century, in the Louis XVI taste, the drum case flanked by the figure of a young Louis XVI girl holding a blossom, the circular dial in white enamel with Roman chapters, the period movement replaced with a quartz movement, h. 11-5/8”, w. 12-1/4”, d. 4-1/2”. [150/300]

1392French Gilt-Brass Tripodal Candlestick Accent Lamp, first quarter 20th century, of diminutive size in the Louis XVI taste, the base formed of three horned ram masques joined by swagged garlands and fitted with a candlesocket, presented with a custom gold thread-embroidered and beaded pale copper gauze shade with a bronze silk lining, h. 9”, dia. 4-1/2”. [50/80]

1393Louis XVI-Style Walnut Sidechair, fourth quarter 19th century, the shaped and padded back above a like seat, raised on cabriole legs headed by acanthine carving and ending in scroll feet, h. 37”, w. 17”, d. 14”. [30/50]

1394Imposing Pair of Belle Epoque Brass Chenets, first quarter 20th century, of modified vasiform configuration in the Louis XVI style, the brass finish bronze patinated and parcel gilded, h. 17-3/4”, w. 18-3/4”, d. 6”. [150/300] Illustrated

1384

1390

1394

162

1395Four-Piece Associated Brass Hearth Set, first quarter 20th century, consisting of a French three-piece tool set in the Louis XVI taste, comprising a shovel with a bell-form blade, a poker and a log tong, all with tall attenuated vasiform finials; and an Edwardian hearth tool stand with a gallery-rimmed circular base, h. 32-1/2”. [50/80]

1396Louis XVI-Style Mahogany-Veneered Coffee Table, the serpentine top with reeded edge, above a conforming recessed frieze, raised on fluted, reeded and tapering circular legs joined by a shelf-stretcher and ending in toupie feet, h. 22-1/2”, w. 47-1/4”, d. 29-3/4”. [100/200]

1397Belle Epoque Brass and Glass Three-Shelf Wall Vitrine, first quarter 20th century, in the Louis XVI taste, the interior fitted with a mirrored glass backplate and a trio of glass shelves, the crest rail with a pair of gilded brass “Chapeau de Gendarme” finials at the facade corners, h. 42-1/2”, w. 20”, d. 6-1/4”. [50/80]

1398Louis XVI-Style Polychromed Vitrine, first quarter 20th century, the molded cornice with rounded corners, over an acanthine- and armorial-carved frieze flanked by block-pattern carvings, above a case fitted with a glazed door and sides, and inset with a floral-painted panel, raised on fluted tapering feet, the interior fitted with rose and green-striped floral damask fabric, h. 65”, w. 29-1/4”, d. 15”. [1500/2500] Illustrated Color Plate V

1399Pair of French Circular Sofa Pillows, faced in antique gros-point tapestry in “Lily Spray” decor, the sides and reverses of the pillows in sueded pale gray velvet, dia. 17”. [20/40]

1400Pair of Deep Rose Damask Sofa Pillows, each of large square form, with tasseled bobbin fringe outlining the face, each pillow down-filled, 24” x 24”. [30/50]

1401Seven-Piece Suite of French Silk Sofa Pillows, in the Louis XVI taste, all in antique gold and ivory stripes, composed of a trio of large square pillows edged in spiraled rose, celadon and pale blue cotton cord, and a quartet of smaller square pillows, the largest w. 22”, l. 22”. [40/70]

1402Louis XVI-Style Creme-Peinte Chaise Longue, fourth quarter 19th century, the curved, ribbon-carved crest above a conforming padded back, joined to the like seat by undulating arms, with a removable foot, above a molded skirt, raised on fluted tapering circular legs headed by a block-patera carving and ending in toupie feet, h. 42”, w. 31-1/2”, l. 84”. [500/800] Illustrated

1403French Gilt-Brass Two-Light Girandole Looking Glass, first quarter 20th century, of diminutive oval form in the late Louis XVI style, the cresting modeled as a wheat sheaf and flower trophee, the candlearms styled as diminutive floral foliate-scrolled cornucopiae, h. 13-3/4”, w. 7-1/2”. [150/300]

1404Pair of Italian Provincial Turned Wood Looking Glasses, first quarter 20th century, of circular form in the neoclassical style, each presented in a later dramatic black-sponged and antique matte coral-painted finish, dia. 21”. [150/300]

1405Manner of Jane DeDecker (American, Contemporary), a monumental cast bronze garden sculpture of a boy lounging on a tree branch, writing in a book, on a tree roots-modeled base, inscribed “Jim Davidson”, h. 64”, w. 30”, d. 55”. [2500/4000] Illustrated

1406Five-Piece American Painted Cast Aluminum Garden Suite, third quarter 20th century, consisting of an umbrella table and four armchairs, all painted white and featuring an interlacing acorn-leaf motif, table h. 27-1/4”, dia. 37”, armchair h. 32-3/4”, w. 23”, d. 21”. [150/300] Illustrated1398

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163

1407Manner of Jane DeDecker (Contemporary), a monumental patinated bronze garden sculpture of a boy trying to escape from a bulldog, signed at the base “Jim Davidson”, h. 80”, w. 38”, d. 28”. [2500/4000] Illustrated

1408Polychromed Cast-Zinc Garden Gate Panels, ca. 1900, the square panels of stylized rosette form, joined by square uprights with pyramidal finials, h. 37”, w. 39”, d. 2”. [50/80]

1409Contemporary Life-Sized Cast Bronze Sculpture of a Bear, h. 34”, w. 59-1/2”, d. 18-1/2”. [2000/4000] Illustrated

1410Three-Piece American Painted Cast Aluminum Garden Suite, third quarter 20th century, consisting of an umbrella table and two sidechairs, all painted green and featuring an interlacing rose flower motif, table h. 26-1/4”, dia. 25”, sidechair h. 34”, dia. 15”. [100/200]

1405

1406

1407

1409

164

1411William Anzalone (American/Texas, b. 1935) “Landscape in Blue and Gold”, oil on canvas, signed lower left “Anzalone”, sight 30” x 40”. Presented in an ebonized and parcel-gilt frame with linen liner. [1500/2500] Illustrated

1412American School (Contemporary) “View of an Abandoned Farmhouse”, oil on canvas, unsigned, 25” x 38”. Presented in an ebonized frame. [75/125]

1413Dan Wingren (American/Texas, 1923-1998) “Snow-Covered Landscape”, oil on canvas, signed and dated lower right “Dan Wingren 1960”, sight 18” x 24”. Presented in a gilt-painted frame. [1800/2500] Illustrated

1414Kay Naylor (American, 20th Century) “Beach Stroll”, pencil and watercolor on paper, signed lower right “K. Naylor”, sight 13” x 19”. Glazed, double-matted and framed. [60/90]

1415Lacey Stinson (American/Louisiana, b. 1957) “View of a Farm in Winter”, oil on canvas, signed lower right, 18” x 18”. Presented in a hardwood frame. [300/500] Illustrated

1416Nicholas Marvell (American, Contemporary) “Dickinson Avenue” and “Family Room From Living Room”, 1989, two watercolors on paper, initialed in pencil lower right, verso affixed with a “OK Harris Works of Art, New York, NY” label, sight 10-1/2” x 13-3/4” and 13” x 10”. Both glazed, matted and framed. [200/400]

1417Jen Mazza (American, Contemporary) “Tree-Lined Path”, oil on canvas, signed lower right “J. Mazza”, 48-1/2” x 36-3/4”. Framed. [400/700] Illustrated

1418American School (Late 20th Century) “A Blue and Sunlit Sea”, oil on canvas, signed lower right “Swinger”, 20” x 24”. Presented in a carved, ivory-painted and antiqued wooden frame. [75/125]

1419William “Bill” Condon (American, 1923-1998; Active Houston, Texas) “Two Houses”, mixed media on board, signed lower right “Bill Condon ‘60”, titled four times on stretcher verso, once on each side, the paper backing with handwritten annotation “West Gray, Houston, Texas”, 12” x 9”. Presented in a wooden frame with cream-painted fillet. Bill Condon, a native Houstonian, was a practicing architect and fine artist. He showed regularly in the Annual Exhibition of Works by Houston Artists from 1954 to 1962, and won prizes for print-making and painting. [125/250]

1411

1413

1415

165

1420American/Texas School (Contemporary) “Mexican Revolutionary Horsemen”, pair of oils on board, signed lower right “J. Wheat”, sight 12-1/2” x 11”. Both presented in attractive parcel-gilt ebonized frames with linen mats. [200/400]

1421American School (Fourth Quarter 20th Century) “A Horse Race”, oil on canvas, signed lower right “Todd”, 10” x 20”. Presented in an attractive linen-matted ebonized and giltwood frame. [75/125]

1422Anthony Veccio (American, b. 1949) “Thoroughbred Glory”, oil on canvas, signed lower right “A. Veccio”, 23-1/2” x 36”. Presented in a broad gilt-painted exhibition frame. [150/300]

1423American School (Contemporary) “Portrait of a Horse”, oil on canvas, unsigned, sight h. 34”, w. 50”, presented in a burlwood and parcel-silvered frame. [400/700]

1424James Johnson (American, Contemporary) “Christina’s New World”, oil on board, signed and dated lower right “James Johnson ‘91”, 12” x 10”. Presented in a pierced and molded giltwood and gesso frame. [75/125]

1425Roland Renaud (French, Contemporary) “Roxanne Red Gown”, oil on canvas, initialed lower right, 67” x 39-1/2”. Presented in a contemporary ebonized and gold-painted frame. [300/500] Illustrated

1426American School (Third Quarter 20th Century) “Study of a Partially Nude Male”, oil on canvas board, unsigned, 24” x 18”. Presented in a parcel-gilt ebonized frame. [75/125]

1427Louise August (American, Contemporary) “Along Came The Rider”, “The Courtship”, “One Morning In Summer” and “The Game”, four serigraphs, signed lower right “Louise August” and numbered lower left, edition size 300, 19” x 14”. Unframed. [75/125]

1428American School (Contemporary) “Boy Throwing a Rock”, oil on canvas, signed lower right “Hayes”, 24” x 34”. Presented in an ebonized frame. [100/200]

1417

1425

166

1429Robert Bliss (American/Massachusetts, 1925-1981) “Blond Athlete” and “Yellow Shirt”, two oils on board, both signed and dated lower right, titled verso, 17-1/2” x 11” and 19-1/2” x 15”. Both presented in giltwood frames. [2000/4000] Illustrated

1430American School (Contemporary) “Abstract Untitled”, black and white lithograph, signed in pencil lower right “Henry Simon”, 39-3/4” x 50”. Unframed. [60/90]

1431Gustav Kaitz (American, 1913-1992) “Floating Nude in Blue Background”, tempera, ink and pencil in paper, signed lower left “G. Kaitz”, sight 18-3/8” x 14-3/8”. Glazed and presented in a polychromed frame. [200/400]

1432American School (20th Century) “White Birds”, oil on canvas over cardboard, unsigned, 6” x 9-1/2”. Presented in a giltwood and gesso frame. [75/125]

1433Suite of Three American School Works of Art, 20th century, consisting of an oil on canvas depicting chickens drinking out of a shell, near a creek, signed illegibly lower right, unframed; an oil on canvas over cardboard, titled verso “Snail Hell” and signed verso “Bernadine Custer, Londonberry”, framed; and an oil on canvas, “Still Life with a Single Pear”, unsigned, presented in a polychromed frame; the largest oil on canvas 20” x 15-1/2”. [125/250]

1434After Donald Roller Wilson (American/Arkansas, b. 1938) “Dog in a Red Dress”, oil on canvas, unsigned, 10-1/2” x 8”. Presented in a giltwood and plaster frame. [50/80]

1435After Donald Roller Wilson (American/Arkansas, b. 1938), suite of seven oils on canvas depicting various animals, all unsigned, the largest 16” x 12”. All framed. [300/500]

1436American School (Contemporary) “Floating Orange Female Nude”, oil on canvas, signed lower right “Hayes”, 33-1/2” x 23”. Presented in a faux-mahogany frame. [75/125]

1429

1449

1448

1450

1453

167

1437Gilt-Metal Wall Display Cabinet, 20th century, the brass body with a single glass door with foliate finials at the ends of the top and a suspension bar at the rear, the door glazed with a single bar, h. 42”, w. 20-1/2”. [100/200]

1438Stylish American Brushed Steel and Glass Etagere, 20th century, fitted with five rectangular glass shelves supported by tubular square supports headed by gilt ball finials and ending in peg feet, h. 76”, w. 27-1/2”, d. 13-1/2”. [200/400]

1439Stylish American Brushed Steel and Glass Etagere, 20th century, fitted with five rectangular glass shelves supported by tubular square supports headed by gilt ball finials and ending in peg feet, h. 76”, w. 27-1/2”, d. 13-1/2”. [200/400]

1440Good Three-Piece Collection of Georgian and American Glass, comprised of a blown “Panel and Stop Flute”-cut bitters decanter, first quarter 20th century, h. 9”; a ringed barrel-form colorless glass tankard, fourth quarter 18th century, h. 5”; and an American free-blown “Petal and Swag”-cut glass bitters decanter of Pittsburgh origin, first quarter 19th century, h. 9”. Ex-collection: David Kingsley Calcote, Natchez, Mississippi. [40/70]

1441Dramatic Charles Miner Iridized and Crackled Cranberry Glass Vase, 1989, New Mexico, in the Art Nouveau taste, the gold- and black-iridized crackled pale cranberry vase of bluster form, signed and dated in diamond-stylus script at the basal edge, h. 6”, dia. 2-1/2”. [100/200]

1442Trio of Charles Miner Art Nouveau-Style Studio Glass Cabinet Vases, fourth quarter 20th century, New Mexico, including an undated and unsigned silver “feather comb-up” example of circular cushion form in pale blue iridized topaz, h. 2”, dia. 2-1/4”; a 1989 silver-threaded cased emerald green example of baluster form, h-1-/2”, dia. 1-1/4”; and a 1989 bulbous cased amber example with abstract decoration, h. 1-1/4”, dia. 1-1/4”; the latter two examples signed and dated in diamond stylus script. [75/125]

1443Two Charles Miner Art Nouveau-Style Studio Glass Cabinet Vases, 1987 and 1989, New Mexico, in the Art Nouveau taste, including a striking 1987 gold-iridized silver-green “feather comb-up” red flambe vase of baluster form, h. 6”, dia. 2-1/2”; and a good 1989 globular rose-iridized silver and black “feather comb-up” cranberry cabinet vase, h. 4”, dia. 3-1/2”; both signed and dated in diamond stylus script. [150/300]

1444Two Charles Miner Miniature Iridized Ruby Glass Vases, 1983 and 1989, New Mexico, in the Art Nouveau taste, the first an unusual 1983 silver-lustered “feather”-iridized vase of narrow baluster form, h. 5-1/4”, dia. 2-1/2”, and the second a 1989 silver-green iridized “feather comb-up” vase of globular form, h. 2-3/4”, dia. 4”, both examples signed and dated in diamond stylus script. [125/250]

1445Two Charles Miner Studio Glass Cabinet Vases, 1986 and 1987, New Mexico, in the Art Nouveau taste, the first a 1986 silver-blue iridized amethyst glass vase of baluster form, h. 4-1/2”, dia. 2-3/4”, and the second a 1987 stylish lavender-silver iridized threaded topaz vase of inverted nozzle form, h. 4”, dia. 2-1/4”, both signed and dated in diamond stylus script on the basal edge. [125/250]

1446Charles Miner Studio Glass “Peacock Feather” Vase, 1988, New Mexico, in the Art Nouveau taste, the pyriform vase in iridized cobalt blue glass with “peacock feather” comb-up, the vase supported on an applied iridized colorless glass foot of disc form, signed and dated in diamond-stylus script, h. 6”, dia. 4-1/2”. [100/200]

1447Two Charles Miner Iridized Studio Glass Cabinet Vases, 1990 and 1989, New Mexico, in the Art Nouveau taste, including a 1990 blue-lavender-iridized pale green “feather comb-up” example of baluster form, h. 6”, dia. 2-1/2”, and a smaller 1989 silver-blue-iridized example of similar form and decor, h. 4-1/2”, dia. 2”, each signed and dated in diamond-stylus script. [150/300]

1448Steel-Mounted Lucite Magazine Rack, third quarter 20th century, the magazine holder of V-form, h. 16”, w. 17-3/4”, d. 12”. [50/80] Illustrated

1449Tall Plexiglass Pedestal, of square section with beveled edges, h. 40”, w. 8-1/4”, d. 8-1/4”. [50/80] Illustrated

1450Art Deco Revival Lucite Occasional Table, third quarter 20th century, of block form and curvilinear construction, h. 20”, w. 20-1/4”, d. 20-1/4”. [50/80] Illustrated

1451Lucite Footstool, third quarter 20th century, the circular padded seat covered in antique-white linen and raised on four tall legs terminating in an X-form base, h. 18”, dia. 13-1/4”. [50/80]

1452Art Deco Revival Lucite and Glass Cocktail Table, third quarter 20th century, the canted square top with an inset conforming glass surface, above a plain frieze, raised on plank legs, h. 16”, w. 26”, d. 26”. [60/90]

1453Good Phoenix Art Glass Pyriform Vase, fourth quarter 20th century, the iridescent russet and silver glass in “Peacock Feather Comb-Up” decor in the revived Art Nouveau style, signed on the base in engraved script, h. 8-1/4”, dia. 7”. [150/300] Illustrated

1454Good American Studio Glass Paperweight, fourth quarter 20th century, the amber and garnet spiral-ribbed glass in the form of an endless knot, presented on a pale green acrylic stand of circular tripodal form, paperweight h. 4”, stand dia. 5”. [40/70]

168

1455Group of Two American Studio Glass Wall Pockets, one in spangled rose, charcoal, yellow, brown and clear glass, fourth quarter 20th century, h. 9-1/2”, w. 3-5/8”; and the other in colorless glass in the 18th-century manner, third quarter 20th century, h. 7-1/2”. [50/80]

1456American Studio Glass Vase, fourth quarter 20th century, the marbled gray and lavender glass vase of closed leaf form, h. 10-1/2”. [40/70]

1457Pair of American Studio Glass Wall Pockets, of flat-sided “Jack in the Pulpit” form in blue-detailed colorless glass, h. 8”, w. 5-7/8”. [40/70]

1458Attractive Contemporary Brass and Glass Cocktail Table, the rounded rectangular glass top raised above a brass frame on paneled tubular legs joined by an H-form stretcher and ending in turret feet, h. 14-1/2”, w. 39-1/2”, d. 20”. [200/400]

1459American Art Deco Oak, Walnut and Fruitwood Bar/Serving Table, mid-20th century, with a pair of sliding glass doors over a wider pair of solid doors with scalloped bottom edge, h. 35-3/4”, w. 36-1/2”, d. 15-1/4”. [75/125]

1460Stylish American Art Deco Milk Glass Foyer Lantern, second quarter 20th century, of hexagonal descending-step form and detailed in silver-black enamel, retains the polished chromium canopy, h. 20”, dia. 10”. [200/400]

1461Contemporary Lucite Occasional Table, late 20th century, of cube form, two of the sides open, with decorative brushed metal hardware, h. 16-3/4”, w. 16-3/4”, d. 16-3/4”. [75/125]

1462Art Deco Revival Glass and Lucite Cocktail Table, third quarter 20th century, the thick rectangular glass top with rounded corners, raised on two Lucite supports joined by a brushed metal stretcher, h. 15-1/2”, w. 54”, d. 26”. [150/300]

1463American “Feather Comb-Up” Spherical Glass Vase, by Correia Studios, California, in iridized green/gold on a pale pink ground, signed on the base in diamond stylus script “Correia”, h. 8-1/4”, dia. 9”. [100/200]

1464American Patinated Metal and Leaded Glass Floor Torchere, in the turn-of-the-century style, the flaring leaded glass shade in shades of ivory, rose and pale green and fan-pleated, h. 70”, dia. 14-1/2”. [75/125]

1465American Chrome and Milk Glass Foyer Lantern, of stepped and ribbed hexagonal form in the Art Deco taste, with stenciled black geometric reserves, retains the period chromium canopy, h. 15”, dia. 12”. [200/400]

1466Stylish Art Deco Cased Glass Bowl, second quarter 20th century, of scrolled form in “Tango Orange” and black, the exterior in mirror black, the interior in opaque orange, h. 4”, w. 8-3/4”, d. 6”. [50/80] Illustrated

1467Italian Blown Transparent Azure Glass Two-Handled Vase, second quarter 20th century, with goldstone inclusions, the loop handles of opaque claret glass, h. 10-1/4”, dia. 4-1/2”. [75/125] Illustrated

1466

1467

1468

1473

169

1468Good Johann Loetz Pale Blue-Iridized Amber Glass Flared Neck Vase, first quarter 20th century, unsigned but displaying the expected large, high and polished Loetz signature pontil mark, h. 7-1/2”, dia. 3-3/4”. [75/125] Illustrated

1469Two American Glass Items, consisting of a blown and engraved glass ice bucket featuring ducks flying over a marsh, third quarter 20th century, h. 5”, dia. 6-1/4”; and an attractive engraved glass claret pitcher of “hourglass” form in “Vintage” decor, first quarter 20th century, h. 10”, dia. 5-1/2”. [50/80]

1470Two-Piece Group of Mexican Black Smoke-Glazed Pottery, second quarter 20th century, consisting of a figure of an elaborately robed Virgin Mary holding a five-point star in her hands, h. 9”, w. 7-1/2”, d. 4”; and a similar votive crown of small size. [75/125]

1471Group of Two Art Glass Items, consisting of Henry Dean (American, Contemporary), a blown red studio glass oviform vase, fourth quarter 20th century, signed on the base in diamond stylus script “Henry Dean”, h. 8”; and a Murano ruby-cased lattimo glass cachepot, third quarter 20th century, with an applied cobalt blue rim, h. 6-1/4”, dia. 6”. [50/80]

1472Ply. Ratnauer (American, Contemporary), a limited edition double-patinated bronze figure of a prominently billed bird perched on a spiraling branch, 1988, this is No. 1 of an edition of 12 and so signed on the bronze plinth, the whole presented on a square polished slab base of breche violette marble, h. 15”, w. 6-7/8”, d. 8”. [150/300]

1473Good Hamilton Ebonized Baby Grand Player Piano and Bench, model H391, fitted with a digital reproducer, piano h. 41”, w. 58”, d. 56”. [5000/8000] Illustrated

1474Interesting Mid-Century Modern Laminated Walnut Armchair, bearing the label “Manufactured by Plycraft, Inc., designed by Norman Cherner”, h. 31-1/2”, w. 25”, d. 18”. [300/500] Illustrated

1475Pair of English Brass “Gadroon” Single-Light Sconces, in the Early Georgian style, the candlesockets of small flambeau form with ball terminals, not electrified, h. 19”, w. 2-5/8”, d. 6”. [40/70]

1476Pair of Art Deco-Style Satinwood and Ebonized Console Tables, each with a sunburst-inlaid top with an ebonized border, above a frieze centered by a rosewood panel, raised on a single shaped support, h. 34-1/2”, w. 41”, d. 22”. [500/800]

1474

170

1477Jack Levine (American/New York, b. 1915), suite of thirty-one limited edition etchings, lithographs and engravings, of various titles, including “Apollo and Daphne”, “L’ Enlovement des Sabines”, “Marianne and the Goddess of Liberty”, “Vernisage”, “Venetian Lady - Volpone I”, “The Art Lover”, “El Greco” and “Meditation” and “Je Me Souviens de M. Watteau”, all numbered and signed in pencil, the largest 30” x 23”. Unmatted and unframed. [700/1000] Illustrated

1478Jack Levine (American/New York, b. 1915) “Daley Gesture”, 1969, etching, pencil signed lower right “J. Levine”, numbered lower left “47/120”, sight 10-1/4” x 13”. Matted and mounted for hanging. [200/400]

1479Jack Levine (American/New York, b. 1915) “Maimonides”, 1963, etching and aquatint, signed in pencil lower right “J. Levine”, numbered lower left “41/100”, sight 11” x 9-1/4”. Glazed, matted and mounted for hanging [200/400]

1480Jack Levine (American/New York, b. 1915) “Artist’s Introduction”, 1967, soft ground etching, signed lower right in pencil “J. Levine”, numbered lower left “XXVI/XLV”, sight 13” x 10”. Glazed, matted and mounted for hanging. [100/200]

1481Jack Levine (American/New York, b. 1915) “Jenny Visits McHeath”, lithograph, signed in pencil lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 10” x 13”. Glazed, matted and mounted for hanging. [100/200]

1482Jack Levine (American/New York, b. 1915) “Jonathan Jeremiah Peachum”, soft ground etching, signed in pencil lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 10-1/4” x 13”. Glazed, matted and mounted for hanging. [100/200]

1477suite of thirty-one

1477suite of thirty-one

1477suite of thirty-one

171

1483Jack Levine (American/New York, b. 1915) “Artist’s Introduction - Moritur”, 1967, pencil signed lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 13-1/4” x 10-1/4”. Glazed, matted and mounted for hanging. [100/200]

1484George Segal (American/New Jersey, 1924-2000) “Woman Brushing Her Hair”, 1965, serigraph in colors, signed in pencil lower middle “Segal”, numbered “197/200”, inscribed “Poleskie/Imp” lower left, from New York Ten, published by Tanglewood Press Inc., New York, 1965, verso with framer’s label “Kulicke Frames Inc., New York”, full sheet, sight 21-3/4” x 16-3/4”. Glazed and presented in a silver metal frame. [150/300]

1485Max Weber (American, 1881-1961) “The Mirror #2”, ca. 1928-1930, lithograph, pencil signed lower left “Max Weber”, retains gallery label on the reverse “Anna Sosenko, New York”, sight 8-1/2” x 13-1/4”. Glazed, handsomely matted and framed. [400/700]

1486Jack Levine (American/New York, b. 1915) “Reception in Miami”, color lithograph, signed and numbered in print lower center “J. Levine, 120/120”, sight 20” x 27-1/2”. Glazed, linen-matted and presented in a silvered frame. [100/200]

1487Jack Levine (American/New York, b. 1915) “Moritur”, soft ground etching, signed in pencil lower right “J. Levine”, pencil lower left “XXVI/XLV”, sight 10-1/4” x 13”. Matted and mounted for hanging. [100/200]

1488Jack Levine (American/New York, b. 1915) “Thieves”, soft ground etching, signed in pencil lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 13” x 10”. Glazed, matted and mounted for hanging. [100/200]

1489Jack Levine (American/New York, b. 1915) “Quadrille”, 1967, etching, pencil signed lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 10” x 13”. Glazed, matted and mounted for hanging. [100/200]

1490Jack Levine (American/New York, b. 1915) “Mack At Work”, 1967, soft ground etching, signed in pencil lower right “J. Levine”, pencil numbered lower left “XXVI/XLV”, sight 13” x 10-1/2”. Glazed, matted and mounted for hanging. [100/200]

1491Jack Levine (American/New York, b. 1915) “Tunbridge Girl with McHeath in Flight”, 1967, soft ground etching, signed in pencil lower right “J. Levine”, pencil numbered lower left “XXVI/XLV”, titled in print, sight 13” x 10”. Glazed, matted and mounted for hanging. [100/200]

1492Jack Levine (American/New York, b. 1915) “Girls of Tunbridge Alley #3”, 1967, soft ground etching and aquatint, signed in pencil lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 13” x 10”. Glazed, matted and mounted for hanging. [100/200]

1493Jack Levine (American/New York, b. 1915) “McHeath Betrayed”, 1967, soft ground etching, signed in pencil lower right “J. Levine”, pencil numbered lower left “XXVI/XLV”, titled in print, sight 13” x 10”. Glazed, matted and mounted for hanging. [100/200]

1494Jack Levine (American/New York, b. 1915) “Tiger Brown”, 1967, soft ground etching, signed in pencil lower right “J. Levine”, pencil numbered lower left “XXVI/XLV”, sight 13” x 10-1/2”. Glazed, matted and mounted for hanging. [100/200]

1496

1500

172

1495Pair of Kuang Hsu Polychromed Porcelain Flowerpots, fourth quarter 19th century, in “Songbird and Flowering Branch” decor, the reverse of each pot with a calligraphic stanza in overglaze black, each pot is accompanied by its period porcelain tripodal drain plate, h. 4-3/4”, dia. 5”. [50/80]

1496Pair of Chinese Export “Rose Medallion” Porcelain Vases, third quarter 19th century, of cylindrical form in “Mandarins” decor, with gilt ringed elephant mask handles, h. 14”, dia. 5”. [300/500] Illustrated previous page

1497Pair of Kuang Hsu Famille Rose Porcelain Tabletop Plant Tubs, fourth quarter 19th century, of ovoid form in “Peony” decor, the reverses with calligraphic stanzas in overglaze black, h. 3-3/4”, w. 5-1/2”, l. 6-1/2”. [200/400]

1498Pair of Chinese Famille Rose Porcelain Covered Tea Jars, 20th century, each of tapered ovate form with fitted covers, decorated in famille rose enamels with continuous scenes of figures in domestic settings, h. 13”, dia. 8-1/2”. [125/250]

1499Kuang Hsu Famille Noire Porcelain Vase, fourth quarter 19th century, of tall baluster form in “Birds in a Chinese Garden” decor, the base signed with an underglaze blue calligraphy rondel, h. 16-1/4”, dia. 6-1/4”. [200/400]

1500Pair of Chinese Export “Rose Medallion” Porcelain Bulb Vases, mid-20th century, of lobed “garlic” form and vividly polychromed, the tall garlic-bud lips fitted for a single bulb, the shoulders fitted for five bulbs, h. 10”, dia. 7”. [500/800] Illustrated previous page and Color Plate III

1501Large Kuang Hsu Carved Wooden Vase Stand, first quarter 20th century, painted black and parcel gilded, now fitted with a mirrored plate to form a footed centerpiece plateau, h. 7-1/2”, dia. 15”. [75/125]

1502Chinese Export Porcelain Tureen, ca. 1800, of oval, two-handled form in “Floral Sprays” decor, the cover lacking, h. 4-3/4”, w. 8-1/2”, l. 11-1/2”. [75/125]

1503Large Amita Porcelain Works, China, Porcelain Cachepot, of gently tapered section in “Monkeys and Palms” decor, the base with the transfer-printed mark of the Amita Works, h. 10”, dia. 10”. [75/125]

1504Chinese Celadon Porcelain Bamboo-Ribbed Garden Seat, of large hexagonal form with avian, auspicious symbols, floral and kylin reserves decorated in blue and white, the seat with a pierced blue and white rondel enframed by five bats, h. 19”, dia. 15”. [100/200] Illustrated

1505Chinese Blue and White Porcelain Ribbed Barrel-Form Garden Seat, first quarter 20th century, in “Peacocks” decor, the sides fitted with two “Laughing Mask” hand holds, h. 20”, dia. 12”. [100/2000] Illustrated

1506Chinese Glazed Pottery “Caparisoned Elephant” Garden Seat, second quarter 20th century, the howdah modeled as a circular flat-topped seat, h. 18-1/4”, w. 10-3/8”, l. 21”. [100/200]

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173

1507Kuang Hsu Porcelain Child’s Garden Seat, first quarter 20th century, of traditional barrel form and brilliantly polychromed in “Aquatic Birds and Lotus” decor, the center of the seat with a pierced rondel, h. 11-3/4”, dia. 11”. [75/125]

1508Large Pair of Chinese Blanc De Chine Porcelain Tree Tubs, of traditional form, presented on Chinese carved red mahogany footed stands, tub h. 14-1/2”, dia. 16-1/2”, overall h. 23-1/4”. [100/200] Illustrated

1509Large Pair of Chinese Gloss Pale Gray-White-Glazed Porcelain Tree Tubs, in the Ch’ien Lung style, h. 16”, dia. 14-1/2”. [150/300]

1510Chinese Richly Enameled Porcelain Fishbowl, of the traditional type, with the exterior walls decorated with “Mandarin” reserves on a “Millefleurs” ground, the interior decorated with exotic goldfish and aquatic plants, the base with a reign mark in rouge de fer, h. 13”, dia. 15”. [200/400]

1511Diminutive Pair of Kuang Hsu Ribbed Bronze Tripodal Cachepots, fourth quarter 19th century, each example signed with a circular calligraphic colophon on the base, h. 4-1/2”, dia. 6-5/8”. [75/125]

1512Eight-Piece Collection of Chinese Carved Soapstone Chops, comprised of a large pair of vieux rose and gray examples of square section carved with celestial dragons; a similar, smaller pair also carved with celestial dragons; a matching ecru example; another in gray and ecru; an oblong example carved with a recumbent dog and a calligraphic seal on the base; and a smaller pale green soapstone chop carved with an abstracted celestial dragon and the word “Peace” on the seal; the largest h. 5-3/4”, w. 1-1/2”, d. 1-1/2”. [75/125]

1513Kuang Hsu Carved Rosewood Miniature Center Table, fourth quarter 19th century, the circular top set with a blue and white porcelain rondel featuring a water carrier in a country house garden, the upper standard fitted with a deep peg to attach it to the base, h. 11-1/2”, dia. 13-1/2”. [75/125]

1514Group of Three Chinese Decorative Objects, first quarter 20th century, consisting of a Kuang Hsu carved green and ivory soapstone ringed two-handled vase on an addorsed Kylin base; a Kuang Hsu dark celadon-glazed porcelain libation cup of beaker form; and a celadon porcelain ringed two-handled cabinet vase of baluster form; the largest h. 6-1/8”, w. 4-1/2”, d. 1-1/2”. [250/400]

1515Kuang Hsu Carved Charcoal Gray and White Marble Vase, first quarter 20th century, of baluster form, the body with four vertical panels carved in bas-relief with, respectively, a group of Immortals with a scroll, a “Celestial Dragon with the Flaming Pearl”, a group of Immortals in a bamboo grove, and a phoenix beneath a leafy tree, h. 11”, dia. 3-3/4”. [800/1200] Illustrated

1516Kuang Hsu Carved Pale Caramel Marble Group, fourth quarter 19th century, depicting the robed Kwan-yin seated on the back of a Foo dog, presented on an oriental custom-carved mahogany stand with an undulating rim, h. 9”, w. 6”, d. 2-1/2”. [1000/1500] Illustrated

1517Pair of Chinese Carved Marble Chops, each of large size, carved as rectangular bases topped with the figures of snarling dogs in front of rockwork, the bases uncarved, h. 9”. [40/70]

1518Kuang Hsu Elaborately Carved Rose Quartz Table Box, fourth quarter 19th century, of peach form, the interior carved with a three-peach spray, the cover relief-carved with a fruited peach tree branch, w. 2-3/4”, l. 3-1/2”. [450/700]

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1520

174

1519Interesting Four-Piece Collection of Carved Hardstone, comprised of a pair of fluorite lizards on a rock, a smaller rose quartz matrix lizard on a rock slab, a green and white aventurine toad, and a smaller aventurine frog on a rock slab, the largest w. 3-3/4”, l. 6-1/4”. [50/80]

1520Chinese Carved Hardstone Figure of a Recumbent Horse, of large size, the dark green stone body carved as the figure of a reclining horse with head turned backward, legs tucked beneath the body and tail wrapped around, presented on a custom fitted wooden stand, overall h. 14-1/2”, l. 22”. [700/1000] Illustrated previous page

1521Chinese Carved Lapis Lazuli Matrix Figure of a Rhinoceros, h. 3-3/4”, w. 3”, l. 8”. [60/90]

1522Pair of Chinese Porcelain Baluster-Form Vases, each polychromed and elaborately deux-couleur gilded in foliate decor, now mounted as table lamps on Chinese lacquered hardwood bases and fitted with antique-white rep silk shades with narrow pleated bands at the upper and lower edges, h. 14”, dia. 7-3/4”. [100/200]

1523Six-Piece Group of Kuang Hsu Porcelain Table Ware, the white porcelain with figural “Grisaille” decoration, consisting of a rice bowl, a matching shallow plate, a pair of small dishes and a yet smaller pair of matching sauce dishes, each piece with a gilded rim, the rice bowl with a reign mark in rouge de fer on the base, the largest dia. 7-1/2”. [100/200]

1524Pair of Tao Kuang Blue and White Porcelain Vases, second quarter 19th century, each of two-handled baluster form and emblazoned with multiple “Good Fortune” characters on a stylized floral/calligraphic ground, h. 17”, dia. 7”. [200/400] Illustrated

1525Tao Kuang Blue and White Porcelain Two-Handled Vase, second quarter 19th century, of tall baluster form and emblazoned with multiple “Good Fortune” calligraphic symbols on an overall stylized flowering vine ground, h. 24-1/4”, dia. 9”. [250/400] Illustrated

1526Near Pair of Tao Kuang Blue and White Porcelain Orchid Pots, second quarter 19th century, in “Flower and Vine” decor, the larger h. 4”, dia. 5”, the smaller h. 3-1/2”, dia. 4-1/2”. [50/80]

1527Pair of Kuang Hsu Porcelain Figures of Caparisoned Kylins, the blue and white figures modeled galloping through clouds, one beast with its proper left foreleg upon a Foo dog, the other with its proper right foreleg resting upon a sphere, h. 12-3/4”, w. 5-1/2”, d. 14”. [200/400] Illustrated

1528Japanese Meiji Blue and White Stoneware Cachepot, first quarter 20th century, of octagonal form, the relief handles modeled as white ringed Foo-dog masks, h. 7-3/4”, dia. 7-1/4”. [100/200] Illustrated

1525

1524

1527

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175

1529Rare Tao Kuang Provincial Blue and White Porcelain Covered Pickling Jar, second quarter 19th century, in an overall stylized floral pattern, the cover inverting to form a pickle sampling bowl, h. 7-3/4”, dia. 7”. [75/125] Illustrated

1530Kuang Hsu Crackle-Glazed and Polychromed Porcelain Covered Vase, first quarter 20th century, of “temple jar” form in “Warriors and Attendants” decor, h. 13”, dia. 8”. [75/125]

1531Three-Piece Kuang Hsu Crackle-Glazed and Polychromed Porcelain Garniture, first quarter 20th century, of “Temple Jar” form, comprised of a pair of “Songbirds and Flowering Shrubs”-decorated vases, h. 16”, dia. 10”, and a larger, similarly glazed and polychromed covered center vase in “Exotic Birds and Flowering Shrubs” decor, h. 18”, dia. 10”. [150/300]

1532Pair of Chinese Crackleware Vases, early 20th century, now with bronze mounts and converted to lamps, h. 32”. [200/400]

1533Pair of Tao Kuang Blue and White Porcelain Vases, second quarter 19th century, each of two-handled baluster form and emblazoned with multiple “Good Fortune” calligraphic characters on a stylized flowering vine ground, h. 13-1/4”, dia. 6-1/4”. [150/300] Illustrated

1534Pair of Tao Kuang Blue and White Porcelain Vases, second quarter 19th century, each of baluster form and emblazoned with multiple calligraphic “Good Fortune” characters on a stylized flowering vine ground, h. 15-1/2”, dia. 8-1/4”. [200/400] Illustrated

1535Kuang Hsu Cloisonne and Gilt-Brass Tobacco Canister, first quarter 20th century, in an overall floral pattern on a black ground, the interior and the base enameled in monochrome turquoise, h. 6”, dia. 4-3/4”. [75/125]

1536Large Pair of Kuang Hsu Covered Figural Vessels, fourth quarter 19th century, composed of bronze-patinated brass and cloisonne in the form of hawks perched on stylized crags in the Ming Dynasty style, the heads removing to reveal the hollow avian bodies, h. 21”, w. 6-1/2”, l. 13”. [300/500] Illustrated

1534

1533

1536

1539

176

1537Group of Two Oriental Decorative Objects, consisting of a Kuang Hsu cloisonne figural covered wine ewer in the form of a hissing goose, fourth quarter 19th century, h. 8-1/4”, w. 4”, l. 13”; and a small enameled open bowl of circular form with a sky-blue exterior featuring flying cranes with an exotic goldfish, h. 2-1/4”, dia. 5”. [300/500]

1538Pair of Japanese Meiji Cabinet Vases, first quarter 20th century, composed of silver-mounted cloisonne and “en plain” enamel, of baluster form in “Songbird and Flowering Tree” decor, the grounds of gray-blue enamel, h. 6”, dia. 3”. [800/1200]

1539Anglo-Colonial Chinoiserie-Polychromed Vitrine, the molded cornice above a case fitted with a long glazed door and sides, raised on curved plinth legs, the whole featuring a figures-in-a-landscape design on a red-lacquered background, h. 78”, w. 26”, d. 12”. [150/300] Illustrated previous page

1540Group of Five Decorative Chinese Calligraphy Brushes, the handles in coral, agate and serpentine with bone tops and horsehair bristles, l. 10” to 11-3/4”. [75/125] Illustrated

1541Group of Six Decorative Chinese Calligraphy Brushes, the handles in agate, glass, amethyst and serpentine, with bone tops and horsehair bristles, l. 8-1/2” to 10-1/2”. [75/125]

1542Group of Five Decorative Chinese Calligraphy Brushes, the handles in porcelain, agate and Tiger’s eye, with bone tops and horsehair bristles, l. 10-1/4” to 11-1/4”. [50/80]

1543Group of Four Decorative Chinese Calligraphy Brushes, the handles in porcelain, coral and agate, with bone and horn tops and horsehair bristles, l. 8-3/4” to 11”. [50/80]

1544Pair of Thai Parcel-Gilt Patinated Bronze Door Handles, fourth quarter 19th century, in the form of diademed mermaids, h. 12”, w. 3-3/4”, d. 3-1/8”. [75/125]

1545Nepalese Bronzed Cast-Iron and Gilt-Brass Vaga-Headed Processional Staff, fourth quarter 19th century, fitted with a pendant bell, l. 62”. [75/125]

1540

1553

1554

177

1546Group of Two Oriental Metal Objects, consisting of a Nepalese patinated bronze figure of an elaborately garbed seated youthful Buddha, fourth quarter 19th century, h. 8-3/8”, w. 5-1/2”, d. 4-1/2”; and a Kuang Hsu brass personal brazier/hand-warmer of handled basket form, first quarter 20th century, the pierced cover in a “Flowering Tree” pattern, the base fitted with an arched swing handle, h. 2-1/2”, w. 3-1/4”, l. 4-1/2”. [250/400]

1547Graduated Pair of Indonesian Carved Wood Figures of Males, first quarter 20th century, the seated, hunched, near-nude males modeled with their heads in their hands, the wood possibly ebony, the smaller h. 3”, w. 2-3/4”, d. 2-1/4”, the larger h. 5”, w. 4”, d. 3-1/2”. [100/200]

1548Five Indonesian Folk Theatre Character Masks, first quarter 20th century, composed of carved and polychromed wood, the largest h. 13”, w. 7-1/2”, d. 6-1/2”. [100/200]

1549Collection of Six Indonesian Wooden Character Masks, first quarter 20th century, each carved and polychromed, and depicting such traditional characters as the Moth Goddess, the Bat Pirate, the Fish Spirit, etc., the largest h. 10-3/4”, w. 8”. [300/500]

1550Good Indian Intricately Painted and Parcel-Gilded Illuminated Page, second quarter 19th century, depicting a royal procession before a palace, the inner border of polychromed flowerheads, the outer border of intricately gilded flowers and foliage on a midnight-blue ground, the whole presented in a gilded card mat within a narrow silver-gilt wood frame and glazed, h. 12-3/4”, w. 9-1/8”. [50/80]

1551Indian Intricately Painted Illuminated Page, second quarter 19th century, depicting a hookah-smoking princess and her attendants in a nighttime palace garden, the inner border of gray-white flowerheads and gilded foliage on a black ground, presented in a strie ecru mat within a deeper ecru-painted faux-bamboo frame and glazed, h. 10-1/2”, w. 7-5/8”. [50/80]

1552Indian Illuminated Page, third quarter 19th century, depicting three supplicants before a crouched male with a leafy bow, presented in a strie ecru mat within a deeper ecru-painted faux-bamboo frame and glazed, h. 8”, w. 11-1/2”. [50/80]

1553Collection of Thirty-Three Carved Ivory, Bone and Stone Items, comprising a Far Eastern necklace composed of one hundred and ten skull-carved and patinated bone beads, first quarter 20th century; a bracelet formed of eight large skull-carved and patinated ivory beads; a short shell necklace; four skull-carved flat-back plaques of polished bone; a Chinese carved bone “Concentric Balls” sphere; a collection of six blue faience skull beads; a carved and patinated bone pendant of a skeleton dancing atop a trio of skulls; two skull-carved turquoise beads; four carved bone or ivory skulls of varying size; a collection of eight miniature carved and patinated bone skulls; and four carved and tinted bone dice, the largest l. 50”. [100/200] Illustrated

1554African Carved Wooden Head of a Horned Steer, first quarter 20th century, the head presented on a similarly patinated wooden backplate of shield form, the brown-patinated finish with scattered losses, h. 22-3/4”, w. 18”, d. 13”. [200/400] Illustrated

1555African Carved and Painted Wooden Figure of a Giraffe, the tall, extremely attenuated animal mounted on a square Lucite slab base, h. 64”. [50/80]

1556Collection of Five Figures of Giraffes, comprised of a polychromed leather example fitted with glass eyes; a pair of smaller carved, polished and waxed African giraffes; a smaller African incise-carved wooden example; and a yet smaller African carved, incised and burn-detailed wooden figure of a giraffe; the largest h. 17”, w. 12-1/4”, d. 4”. [100/200]

1557Near Eastern Hand-Wrought, Chased and Patinated Copper Vase, fourth quarter 19th century, in the traditional style, h. 12-1/2”, dia. 9-1/2”. [50/80]

1558Chinese Silk Table Runner, composed of two peach silk sleeve bands embroidered with peacocks in “Tree Accompanied by Bird in Flight” decor, with a blue silk chrysanthemum floral border, w. 12”, l. 60”, border w. 3-1/2”. [100/200]

1559Group of Two Chinese Metal Objects, including a Tao Kuang copper-mounted pewter room scenter, fitted with two grilles and an interior conforming cover, second quarter 19th century, h. 2-1/2”, w. 2-1/8”, l. 5-1/2”; and a polished brass folding plate rack in the traditional Chinese style, h. 7-3/4”, w. 6”, d. 4-1/2”. [30/50]

178

1560Louis-Philippe-Style Aubusson Carpet, 9’ x 12’ 2”. [2500/4000] Illustrated

1561Persian Karaja Runner, 2’ 3” x 8’ 10”. [300/500]

1562Louis-Philippe-Style Aubusson Carpet, 9’ x 12’ 3”. [2500/4000]

1563Persian Belouchistan Carpet, 6’ 10” x 9’ 10”. [300/500]

1564Persian Shiraz Carpet, 4’ 8” x 8’ 9”. [150/300]

1565Indo-Oushak Carpet, 5’ 2” x 8’ 1”. [300/500]

1566Peshawar Carpet, 7’ 9” x 9’ 10”. [1000/1500] Illustrated

1567Oushak Carpet, 10’ x 14’. [3000/5000]

1568Persian Nahavand Runner, 3’ 5” x 10’ 2”. [200/400]

1569Heriz Runner, 4’ 8” x 15’ 2”. [400/700] Illustrated

1560

1566

1569

179

1570Semi-Antique Mashad Carpet, 10’ 6” x 14’ 1”. [700/1000]

1571Semi-Antique Persian Tribal Carpet, 3’ 10” x 3’ 5”. [150/300]

1572Angora Oushak Carpet, 11’ 6” x 9’ 1”. [700/1000] Illustrated

1573Peshawar Vegetable-Dyed Carpet, 9’ 1” x 12’ 1”. [3000/5000] Illustrated

1574Agra Serapi Carpet, 8’ x 10’. [900/1200] Illustrated

1575Antique Persian Carpet, 4’ 8” x 3’ 10”. [100/200]

1576Caucasian Kazak Carpet, 2’ 5” x 18’ 2”. [300/500]

1572

1573

1574

180

1577Hand-Woven Wool and Silk Tapestry, 5’ 4” x 7’ 5”. [3000/5000] Illustrated

1578Four Tabriz Carpets, two contemporary and two pictoral carpets, smallest 1’ 5” x 2’ 7”, largest 2’ 6” x 4’ 2”. [100/200]

1579Louis-Philippe Savonnerie Carpet, 5’ 3” x 8’ 3”. [400/700] Illustrated

1580Scandinavian Mid-Century Rug, 3’ x 5’ 6”. [400/700]

1581Persian Kerman Carpet, 10’ x 13’ 5”. [500/800] Illustrated

1582Three Chinese Carpets, 8’ 10” x 11’ 6”, 8’ 8” x 11’ 3” and 3’ x 5”. [300/500]

1583Persian Gabbeh Carpet, 3’ 5” x 4’. [400/700]

1584Gabbeh Modern Carpet, 4’ x 6’ 9”. [200/400]

1585Antique Sultanabad Carpet, 11’ 8” x 8’ 8”. [700/1000]

1577

1579

1581

A

American School 342, 347, 654, 655, 742, 744, 745, 746, 936, 937, 949, 1021, 1128, 1130, 1215, 1217, 1219, 1383, 1384, 1412, 1418, 1421, 1423, 1426, 1428, 1430, 1432, 1433, 1436

American/Southern School 1091

American/Texas School 1420

Anzalone, William 1411

Audubon, John James (after) 1005, 1006, 1007, 1008, 1009, 1011, 1012, 1023, 1025, 1026

August, Louise 1427

B

Barrymore, Lionel 941

Baskin, Leonard 942, 943, 947

Besler, Basilius (after) 953

Bliss, Robert 1429

Bonhage, Joey 1327

Bonheur, Isidore (follower) 38

Bonheur, Isidore Jules (circle) 376

Booth, Herb 1126

Boston School 1214

Botticini, Francesco 1028

Bourdelle, Emile-Antoine 1377

British School 151, 153, 154, 155, 156, 159, 161, 162, 242, 338, 342, 345

Bronson, Clark 616

Buonaroti, Michelangelo (manner) 857

C

Cafieri, I 1382

Cahero, Garcia 652

Cameron, Lance 1022

Campuzano, Jose Luis 657

Canaletto, Giovanni (manner) 70, 71

Catesby, Mark (after) 344

Condon, William “Bill” 1419

Continental School 66, 67, 68, 74, 77, 339, 592, 593, 594, 1225, 1260, 1386, 1387

Cooley, Jack 1014

Coombs, William 1220, 1221, 1222, 1223

Cortes, Edouard-Leon (manner) 589

Coustou, Guillaume, the Younger (after) 221

Cowan, John P. 1124, 1125

Curtis, T. 349

D

Dali, Salvador 534

Danish School 595, 596

David, Jacques-Louis (after) 241

Davidson, Jim 1407

Dawson, John Allan 622

De Angelis, Sabatino (after) 1373

De Longpre, Paul 247

De Seve, Jacques Eustache (after) 240, 243

Dean, Meredith 747

DeDecker, Jane (after) 288

DeDecker, Jane (manner) 290, 1405

Dehn, Adolf Arthur 939

Index of ArtIsts And PrIntmAkers July 24-25, 2010

Delaroche, Hippolyte (After) 235

Delcroix, Michel 598, 599

Di Marco, Giovanni (Giovanni dal Ponte) 1027

Dommersen, William Raymond (manner) 340

Drysdale, Alexander John 1085, 1086

Duccio di Buoninsegna (follower) 856

Dusart, Cornelius (manner) 75

Dutch School 337

E

Ede, Basil 1019

F

Focardi, Ruggero 346

French School 238, 239, 244, 1374

Fryling, Ronald H. 590

G

Gebbie & Co. 951

German School 73, 249

Giacometti, Alberto (follower) 637

Gott, Hans 591

Gould and Hart 1016

Gould and Richter 1020

Gould, J. and Richter, H.C. 1015

Gould, J. B. 1018

H

Hagerbaumer, David 1123, 1127

Hartnett, M. 1094

Hartwig, Heinie 1381

Heching, Dan 625

Hildebrandt, Howard Logan (attributed) 651, 653

Hondius, Gerrit 1224

Houdon, Jean-Antoine (after) 810

Hufford, Nick 1213

Hunter, Clementine 1096

I

Icart, Louis 245

Icart, Louis (After) 246

Italian School 588, 600, 601

J

Jackson, John, R. A. 160

Jameson, Rosa (after) 341

Japanese School 506

Johnson, James 1424

K

Kaitz, Gustav 1431

Kay, John 235

Kelety, Alexandre 624

King, Mark 743

Koppelman, Chaim 948

Kozlow, Richard 944, 945

L

Le Blanc, Marie de Hoa 1087

Leiber, Gerson August 946

Levillain, Frederic 1328

Levine, Jack 748, 749, 750, 751, 752, 837, 838, 839,

Index of ArtIsts And PrIntmAkers July 24-25, 2010

840, 841, 842, 843, 844, 845, 846, 847, 848, 849, 850, 1477, 1478, 1479, 1480, 1481, 1482, 1483, 1486, 1487, 1488, 1489, 1490, 1491, 1492, 1493, 1494

Levinson, Mon 741

Lizars, William H. 343

Loir, Marianne (circle) 65

Lorne, Naomi Duckman (furth) 656

Lugue, Morando 658, 659

M

Macdougall, Norman M. 157

MacQueen, Elizabeth 1226

Maillol, Aristide 236

Manet, Edouard (after) 248

Mark, King 740

Markos, Lajos 1216

Marvell, Nichols 1416

Mazza, Jen 1417

Mercie, Marius Jean Antonin (follower) 379

N

Native American School 1131

Naylor, Kay 1414

O

Opie, John (after) 248

P

Pechaubes, Eugene 235

Picasso, Pablo (after) 532

Picault, Emile Louis (follower) 1372

Poulsen, Emil 597

R

Rand, Austin 638

Remington, Frederic Sackrider 922

Remington, Frederick (after) 894, 895, 896

Renaud, Roland 1425

Ricci, Pio 72

Richards, Charles Whitfield 1093

Rodriguez, Todd 1095

Roesen, Severin (follower) 1385

Romano, Umberto 1129, 1218

Rosenthal, Albert 938

Rozet, Fanny 550

Russell, Charles Marion (after) 921

Ryan, M. E. 460

S

Scott, Richard 158

Scott, Sandy 940

Scottish School 152

Scully, Raymond 1088

Segal, George 1484

Seymour, James (follower) 150

Shahn, Ben (after) 533

Simbari, Nicola 535, 536, 537, 538

Singleton, Henry 237

Smith, Isabel E. 958

Southern School 1092

Spanish Colonial School 858

Index of ArtIsts And PrIntmAkers July 24-25, 2010

Index of ArtIsts And PrIntmAkers July 24-25, 2010

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, possibly 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

Stinson, Lacey 1415

V

Van Huysum, Jan (follower) 69

Veccio, Anthony 1422

Viavant, George Louis 1089

Vigee Le Brun, Elisabeth (after) 241

W

Waller, Samuel Edmund (after) 348

Warhol, Andy (after) 539

Weber, Max 1485

Weinman, Alexander (manner) 923

Weller, Dell 1013

Wilkinson, Michael 644

Wilson, Donald Roller (after) 1434, 1435

Wingren, Dan 1413

Wolf and Richter 1017

Woods, Peggy 1024

Woodward, Ellsworth 1090

Customers, Please Note:DeaDliNe for abseNtee/telePhoNe biDDiNg

5:00 P.m. CeNtral – friDay, July 23, 2010guiDeliNes for telePhoNe biDDiNg

1. eaCh item must have a low estimate of at least $500

2. telePhoNe biDDers must agree to biD the low estimate oN eaCh item.

DeaDliNe for CoNDitioN rePort requests

5:00 P.m. CeNtral – thursDay, July 22 , 2010

We Accept VISA and MasterCard for Invoices Up to $25,000

There will be a buyer’s premium of 23% (3% discount if paying by cash, check or wire) of the final bid price up to and including $200,000 and 10% of the amount by which the lot exceeds $200,000 added to the hammer price on all lots sold.

Items in the catalogue are sold as is, where is. On the fall of the auctioneer’s hammer, the highest bidder shall be deemed to have purchased the lot in accordance with the Conditions of Sale. All sales are final. Where possible, significant damage is mentioned but does not include all faults and imperfections. Unless stated in the catalogue description, lampshades and keys are not included.

Conditions of sale

The following as amended by any posted notices or oral announcements during the sale, constitutes the entire terms and conditions on which property listed in the catalog shall be offered for sale or sold through New Orleans Auction Galleries, Inc. (the “Company”), for any consignor

of such property for whom we act as agent.

As used herein, the term “bid price” means the price at which a lot is knocked down to the purchaser and the term “purchase price” means the aggregate of (a) the bid price (b) a premium of 23% of the bid price up to and including $200,000 and 10% of the amount by which the lot exceeds $200,000 payable by the purchaser to the Company and (c) unless the purchaser is exempt by law from the payment thereof, any Louisiana state or local sales taxes. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%.

On the fall of the auctioneer’s hammer, the highest bidder shall be deemed to have purchased the offered lot in accordance with all of the conditions set forth herein and thereupon (a) assumes full risk and responsibility therefor (b) if requested will sign a confirmation of purchase thereof, and (c) will pay the purchase price in full.

The Company reserves the right to withdraw any lot at any time before the actual sale. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the catalog and no lot shall be divided for sale.

The Company reserves the right to reject a bid from any bidder. The highest bidder acknowledged by the auctioneer shall be the purchaser. In the event of any dispute between bidders, or in the event the auctioneer doubts the validity of any bid, the auctioneer shall have sole and final discretion either to determine the successful bidder or to re-offer and resell the lot in dispute. If any dispute arises after the sale, the Company’s sales records shall be conclusive in all respects. In the event of a tie bid between an absentee bidder and a live bidder, the lot will be sold to the live bidder.

If a lot is offered subject to a reserve (the confidential minimum price below which the lot will not be sold), the Company may implement such reserve by bidding on behalf of the consignor, whether by opening bidding or continuing bidding until the reserve is obtained, by placing consecutive bids or bids in response to other bidders. Consignors shall not be permitted to bid on their own items.

While the Company has endeavored to catalog and describe the lots correctly, each lot is sold “as is”, and neither the Company nor the seller warrants or represents, nor shall be responsible for, the description, genuineness, provenance, importance, or condition of a lot. No statement contained in the catalog or made verbally prior to or during the sale shall be deemed to express any warranty, representation, or assumption of responsibility by the Company or the Seller.

In the event that the buyer of any lot fails to pay the purchase price thereof when due, the Company shall have the option, at its sole discretion, to (a) enforce payment by civil action or other proceedings against the buyer; (b) to void the sale as if said sale had not occurred; or (c) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of Louisiana Civil Code, Article 2622, including the subsequent enforcement of any deficiency against the initial buyer (d) to charge successful bids to your credit card, including the 23% buyer premium.

The Company reserves the right to require that advance bids received either by mail or by means of telecommunications be accompanied by a 25% deposit. The Company further reserves the right to require payment in full of the sales price (“Hammer Price”) at the moment of successful bid. The Purchase Price must be paid by the successful bidder on or prior to the close of the auction. Checks are not acceptable unless a buyer is accredited with the Company; otherwise certified checks are required.

Absolutely no items may be removed before the end of the auction. All items must be removed by the purchaser thereof promptly after the auction. The Company is not liable for any damage to goods after they have been sold. A storage charge of $5 per item per day will be assessed against any items remaining in the custody of the Company by the close of business of the fifteenth day following the auction.

GOVERNING LAW AND JURISDICTION 11. These Conditions of Sale, as well as the Purchaser’s and the Company’s respective rights and obligations hereunder, shall be governed by and construed and enforced in accordance with the laws of the State of Louisiana. By bidding at an auction, whether present in person or by agent, order bid, telephone, internet, or other means, the Purchaser shall be deemed to have consented to the exclusive jurisdiction of the state courts of, and the federal courts sitting in, the State of Louisiana.

This Form Must Be Submitted by Friday at 5:00 p.m.

Name (Please Print): ______________________________________________ Date: ____________Business Name: _____________________________________________________________________Dealer Resale # (Dealers must also sign official State of Louisiana document): ________________________Address: __________________________________________________________________________City: _____________________________________________ State: ____________ ZIP: ________Telephones: Work (_____)___________ Home (_____)____________ Fax (_____)___________E-mail Address: _____________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries, Inc. catalog as amended by any posted notices or oral announcements during the sale, such conditions of sale together with the following conditions applicable to telephone and absentee bids, constitute the entire terms and conditions on which property listed in the catalog shall be offered for sale or sold through New Orleans Auction Galleries, Inc. (the “Company”).Additional Absentee and Telephone Bid Conditions: The Company is hereby authorized to bid on the following lots up to the price entered and will treat this figure as a budget and will obtain the item as reasonably as possible within the budget. We assume no responsibility for failure to execute bids for any reason whatsoever. The Company encourages collectors to place absentee and telephone bids as soon as possible and cannot guarantee the implementation of bids left after 5:00 p.m. the evening before the sale. In the event absentee bids of identical amounts are submitted, the earliest bid received takes precedence. Please date this form. In the event of a tie bid, live bidders and telephone bidders, respectively, take precedence over absentee bids. A successful bid results in a purchase price which is the aggregate total of the final bid, a 23% buyer’s premium of the final bid price up to and including $200,000 and 10% of the amount by which the lot exceeds $200,000 added to the hammer price on all lots sold, together with any tax due on the item. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. The bidder is responsible for calling the Company for sales results during the week after the sale. Dealers purchasing for resale must enter appropriate Dealer Resale Number on this form and provide the Company with proper documentation. The Company does not pack or ship items purchased at auction. The buyer is responsible for packing and shipping. The Company is not liable for any dam-age to goods after they have been sold. A storage charge of $5 per item per day will be assessed against any items remaining in the custody of the Company by the close of business of the fifteenth day following the auction.GOVERNING LAW AND JURISDICTION 11. These Conditions of Sale, as well as the Purchaser’s and the Company’s respective rights and obligations hereunder, shall be governed by and construed and enforced in accordance with the laws of the State of Louisiana. By bidding at an auction, whether present in person or by agent, order bid, telephone, internet, or other means, the Purchaser shall be deemed to have consented to the exclusive jurisdiction of the state courts of, and the federal courts sitting in, the State of Louisiana.

Lot # Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$

$

$

$

$

$

$

$

$

$

VISA / MasterCard #: ____________________________________________ Expiration Date: ________________Credit Card V-Code: _______________ (Three-digit code on the back of credit card, following the account number)

I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 23% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): ___________________________________ Please fax this completed form to: 504-586-8841

abse

ntee

/ t

elep

hone

bid

for

mPaddle #_______________

1330 St. Charles Ave. l New Orleans, LA 70130504-586-8733 l Fax: 504-586-8841

ABSENTEE/TELEPHONE BID FORM(CONTINUED)

Name (Please Print): ______________________________________

Lot # Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

This Form Must Be Submitted by Friday at 5:00 p.m.

801 Magazine StreetNew Orleans, Louisiana 70130

504-566-1849Fax 504-566-1851

1330 St. Charles AvenueNew Orleans, Louisiana 70130

504-586-8733Fax 504-586-8841

– Authorized Release Form –

Name: ________________________________________________________________________

Business Name: _________________________________________________________________

Telephone(s): __________________________________________________________________

Email Address: _________________________________________________________________

I authorize: _______________________________________________________to pick up items

New Orleans Auction No.:______________________________or Sale Date:_________________

Lot #(s): ______________________________________________________________________

_____________________________________________________________________________

Please sign below:

X________________________________________________ Date____________________

Print name: __________________________________________

Please provide the shipping agent with the appropriate New Orleans Auction location and fax this form to the correct gallery listed above.

Note: Items will not be released without a signed authorization

Page No. 1New Orleans AuctionPrices Realized for

Sale A103 May 15, 2010 Important Estates Auction

05/17/2010 10:21:27

Lot# Aggregate

2 1,0803 1084 1807 90010 9615 72017 27018 1,14020 1,08022 1,14023 9630 33031 3032 6,90033 60034 30035 15037 54039 15040 12042 15042A 39044 9645 42048 18049 1,80050 48051 1,20052 6053 45054 42056 15057 84058 15059 36060 15061 12062 10863 36064 45065 1,68067 84070 24073 45074 1,440

Lot# Aggregate

76 18077 27078 30079 1,92080 42082 33083 21084 30087 48088 66090 1,02091 1,20092 66094 18095 10897 10898 21099 570102 150104 210106 150109 660112 108114 240116 180118 120119 270120 240121 270122 270123 240124 300125 270126 72127 96128 108132 300135 270136 1,320137 210138 540140 180141 660142 480143 540

Lot# Aggregate

145 4,080146 960149 240151 54155 96158 150159 42160 420162 240163 72168 330169 180170 330171 300172 84176 240177 270178 360182 60184 48186 96188 270189 360190 480197 660200 150202 240203 450204 270205 360206 120208 108209 30210 180212 84213 180214 84215 96220 330223 120225 1,140226 390228 300234 420235 72

Lot# Aggregate

237 390238 96239 660240 150241 270243 510245 480246 180247 120248 390250 48251 720252 780253 780257 270258 1,080263 390264 180265 510266 750271 150272 450276 1,200279 3,600281 420282 120284 600285 1,920286 300287 510288 390289 1,440290 300291 1,680292 390293 1,320295 330296 300298 1,200300 330301 2,880305 1,440306 1,020307 72310 108

Lot# Aggregate

313 480315 2,640316 72317 360318 150319 2,280321 96323 240325 210326 450332 2,160334 210336 120343 840344 120345 1,080347 180348 1,560349 120351 30352 1,560354 240359 180363 84364 540365 180366 180370 30374 240375 1,800376 420380 300381 72382 330383 330385 360387 3,360389 270393 270396 60398 30401 420403 360405 210406 960

Lot# Aggregate

407 30408 360411 300413 210416 240418 108419 84420 360426 84428 108429 150430 510431 210432 360433 120434 600435 300436 330437 2,280442 24443 240444 240449 96453 540455 300456 480457 270458 570459 600460 54461 720465 60466 120467 48469 300474 330475 300476 510477 270479 120480 360481 300482 3,360483 210484 240

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Page No. 2New Orleans AuctionPrices Realized for

Sale A103 May 15, 2010 Important Estates Auction

05/17/2010 10:21:28

Lot# Aggregate

485 270486 360487 1,440488 240489 240490 210491 210492 450494 390499 360500 600501 270502 270505 210509 1,080510 510511 180512 5,280514 72515 84516 210518 120519 390520 180521 270522 600523 84525 84526 420534 180535 48537 510538 210540 48541 300542 72549 96550 540553 120554 660556 240559 72560 72561 84562 84

Lot# Aggregate

564 48568 600569 480570 300574 48581 180583 54584 48586 60590 780592 180596 120600 840601 360605 720607 210608 180612 96613 240617 300618 240619 2,880620 1,680624 36627 240628 150632 570637 360638 2,400640 360641 270647 120649 300655 4,320656 600657 2,640658 360659 180660 1,560661 120663 84664 3,900667 150668 420670 300

Lot# Aggregate

674 96675 780677 60678 36680 150682 300685 60687 96693 150695 1,560696 1,200697 840698 108699 108701 660703 510706 180707 390708 210710 108711 450713 150716 360718 1,680719 2,280720 42721 1,140725 120726 72730 660732 390733 1,200735 360736 720737 210738 600740 150749 300750 1,140751 54752 540755 1,800756 108757 330758 360

Lot# Aggregate

762 180763 480764 480766 2,280778 84780 900781 540785 240787 360788 510789 360790 420795 210796 1,080798 72800 72801 510802 72803 330805 1,560806 900807 300808 180809 300810 600811 300812 270813 180817 1,560818 3,840819 480820 132823 420824 570825 5,280826 5,520831 2,880832 240833 120839 4,080844 420845 960847 2,880848 120850 420

Lot# Aggregate

851 420853 2,880855 2,160857 270858 180861 120862 360863 390864 240865 72866 390869 300871 84874 330875 210879 2,640881 330882 600884 300885 300887 300889 480891 270893 270894 270895 1,320896 390897 720900 780902 570903 450907 480910 450913 720914 180915 540916 480917 540919 210921 6,000922 270923 420924 510927 150928 1,320

Lot# Aggregate

929 390930 720931 120933 11,400936 780937 390938 390939 420940 210941 60942 84945 720946 150948 4,080950 270951 120952 3,360953 300954 1,440957 900958 1,680959 2,640960 2,040961 72963 330965 540968 660969 330971 108972 270973 240975 450976 240978 300979 300980 300981 300982 1,560983 1,800988 840989 330990 330991 480992 240995 210

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Page No. 3New Orleans AuctionPrices Realized for

Sale A103 May 15, 2010 Important Estates Auction

05/17/2010 10:21:30

Lot# Aggregate

997 390998 840999 5,7601001 1,6801002 1201005 2401006 1081007 3001008 4201009 2101010 2101011 3,8401013 1501014 3301018 2401019 1801020 1,9201021 4501022 1801023 2101024 4801025 1501029 5701030 3601031 1201032 4201034 961035 4201037 1,3201038 3301039 3301040 6001041 2401042 2701044 481045 7801047 1,1401048 1201049 1081057 3001058 1501059 1081060 3001062 1081063 48

Lot# Aggregate

1064 361065 1801066 1801068 4201070 6001073 5401074 2101075 3001076 3001077 961078 3001079 601081 721082 481084 721087 6601089 1,0801091 1801094 1201096 3901098 5,0401099 721100 601101 4,0801102 3,1201103 4,3201104 6601105 4801107 481108 1,6801109 961117 1801118 1501119 1801120 1081121 601123 541125 2101126 1801127 1501130 1201131 1201134 361135 1801136 1,140

Lot# Aggregate

1137 1,1401139 4801141 3901142 3301143 3001144 3001145 6001146 6,9001147 1201148 3601149 2,2801151 1801152 1801154 5401155 5101156 8401157 2401161 4801164 2,8801166 7201168 3301169 5401170 2401172 721173 6001176 481177 2101179 1081180 2401181 1501183 4501184 3001186 2701187 1801188 1501189 2401190 2101191 1501192 3301194 2101198 7801200 1,0201201 7201204 1801205 210

Lot# Aggregate

1206 5401209 181210 1081211 1201213 1501214 1501215 2401218 1201221 841222 4801224 3601227 2101228 5101230 1801231 1801233 961234 721236 1801238 1801239 3001240 1501241 3901243 961245 1201247 721248 1,6801249 2,0401250 3601251 3001252 1801253 1,6801254 2101256 1501257 1501259 1081260 3301261 4501262 3301263 2401264 3001265 8401266 4801267 1501268 3301270 300

Lot# Aggregate

1271 4801272 9601273 1201274 4501275 3001276 961278 2401279 1501281 721282 961283 3001286 1501287 7801289 2701292 2401295 5101297 2401300 5701301 841305 1,4401306 8401307 9601309 3001310 3001313 7801314 2701318 2401320 1801321 1501328 541332 1201335 3901338 2101339 601340 8401341 4501342 841343 1801344 721347 721350 4801351 5401354 4,8001355 4801357 2,880

Lot# Aggregate

1358 5401359 1,3201361 4201367 8401373 961374 841375 601376 3601377 1501379 7201380 3,1201381 2401382 2401383 2101384 3601395 2101396 4501399 9001400 4801403 601406 7201407 84

columns62.frx

JJEEAANN VVIIDDOOSS

President

TTEESSSSAA SSTTEEIINNKKAAMMPP

Executive Vice President

GGRREEGG SS.. KKOOWWLLEESS

Director of Consignments / American Furniture

DDEENNIISSEE HHAAIIKK

Marketing Director

KKAAYYSSIIEE WWIILLKKIINNSSOONN

Office Manager

JJEELLEENNAA JJAAMMEESS

Fine Arts Consignments

NNAATTAALLIIEE HH.. GGIIBBSSOONN,, CC..EE..SS..Certified Estates Specialist

Administrator of Online Auctions

LLYYNNNN BBOOWWKKEERR

Interior Designer / Exhibition Staff

JJOOHHNN WW.. KKEEEEFFEE // RROOBBIINN RRUUIIZZ WWIILLKKIINNSSOONN

TTOOMM HHAALLVVEERRSSOONN // EELLLLEENN MMCCKKEENNZZIIEE

RRIICCHHEERRSSOONN LL.. RRHHOODDEESS,, GG..GG..,, NN..JJ..AA..Cataloguers

SSEEAANN RRAANNSSOONN

Carpet Consignments

KKUURRTT SSTTEEIINNKKAAMMPP

Director of Operations

CCEEDDRRIICC RROOBBEERRTTSS

Inventory Manager

DDAAVVIIDD AABBNNEEYY // EEDDDDIIEE DDAAIIGGRREEPPOONNTT // RRAAUULL GGUUIILLLLEENN

BBLLAAKKEE HHUUFFFFMMAANN // GGLLEENNNN MMAARRTTIINN

Operations Department

PPAATTRRIICCKK LL.. LLOORREENNZZ

Photographer