BACK COVER:

Lot 957 Rare and Important American Neo-GrecBedstead, attributed to Pottier and Stymus,New York, third quarter 19th century,part of a three-piece suite

FRONT COVER:

Detail of the above lot

Schedules Subject to Change

2010 AUCTION SCHEDULE:

November 13-14

2010 AUCTION SCHEDULE:

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

Saturday, November 20, 2010Lots 1-730

Sunday, November 21, 2010Lots 731-1283

– Exhibition –Wednesday, November 3 through

Friday, November 199:00 a.m. to 5:00 p.m.(excluding Sundays)

Late-Evening PreviewWednesday, November 17

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

– AUCTION –

Featuring Important Property From:

The French Quarter Estate of Dr. Ralph BensonNew Orleans, Louisiana

The Estate of Ann B. SakowitzHouston, Texas

The Estate of David F. DixonNew Orleans, Louisiana

The Estate of Victor LegliseNew Orleans, Louisiana

A Private CollectionQuincy, Illinois

The Wildlife and African Art Collection of Randal BalesBaton Rouge, Louisiana

Property from the Collection of Frederick GuessNew Orleans, Louisiana

Property from Numerous Other Southern Estates and Private Collections

Session ISaturday, November 20, 2010

10:00 a.m. (Lots 1-730)

264

Online Catalogue:www.stcharlesgallery.com

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1Regency Rosewood Teapoy, first quarter 19th century, the hinged sarcophagus-shaped lid opening to a compartmented interior, over a conforming carved case, raised on a baluster-turned, reeded and foliate-carved standard to a tripartite concave base ending in rosette feet, h. 34-1/2”, w. 16-3/4”, d. 13-1/2”. [500/800] Illustrated

2Dramatic Wedgwood Royal Blue and White Jasper Tray, first quarter 20th century, of oval form in “Classical Figures” decor, the reverse with full impressed marks, w. 6-5/8”, l. 9-1/4”. [400/700] Illustrated

3German Blue and White Jasper Octagonal Plaque, first quarter 20th century, with decoration of a classical maiden, a child attendant and a gambling dog, modeled in the Wedgwood style, w. 4-1/8”, l. 4-3/4”. [60/90] Illustrated

4Wedgwood Blue and White Jasper Sauce Bowl, the exterior with a classical sacrificial procession in white, the interior gloss glazed, the base with full impressed marks, h. 3-1/2”, dia. 5”. [250/400] Illustrated

5William IV Mahogany Pot Cupboard, second quarter 19th century, the circular marble-inset top over a fluted columnar case fitted with a door, raised on a plinth base, h. 28-1/2”, dia. 15-3/4”. [800/1200]

6Pair of Regency Mahogany Serving Cupboards, first quarter 19th century, each with a rectangular top above a conforming case fitted with a cupboard door faced as two drawer fronts, over a cellarette drawer, all with shaped panels, raised on a plinth base, h. 34-1/2”, w. 19-1/2”, d. 18-1/2”. [2500/4000] Illustrated

7Regency Mahogany and Banded Rosewood Piano Forte Case, first quarter 19th century, now converted to a desk, the stationary top with two drawers across the front and mounted to a trestle base ending in cast-brass paw feet, h. 31-1/2”, w. 68-3/4”, d. 27”. [400/700] Illustrated

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8Fine Pair of Anglo-Irish Cut Glass Covered Chestnut Vases, first quarter 19th century, of large size in the neoclassical taste, the high-domed covers with cut finials of “mushroom” form, the feet entrelac-cut, h. 12”, dia. 5-1/4”. [1200/1800] Illustrated

9Pair of George V Two-Light Candelabra-with-Vases, first quarter 20th century, composed of pressed and cut glass in the Victorian taste, each fitted with petaled bobeches dressed throughout with short “Back-cut Albert” glass spears, h. 23-1/2”, w. 12-1/2”, d. 5-3/4”. [900/1200] Illustrated

10Regency-Style Mahogany Dining Table, the banded and string-inlaid rounded rectangular top with reeded edge, raised on three pedestals, each with a columnar standard to four splayed reeded legs ending in brass paws on casters, with two leaves, h. 28-1/2”, w. 47-1/2”, l. 108”, extended l. 150”. [3500/5000] Illustrated Color Plate IX

11Pair of Late Regency Mahogany Sidechairs, second quarter 19th century, the backs with an oval paneled crest and reeded crown, having slip seats and raised on turned legs joined by an X-form stretcher, h. 34-1/2”, w. 18-1/2”, d. 17”. [250/400]

12Suite of Ten Regency-Style Mahogany Armchairs, 20th century, each with a satinwood rectangular banded crest, over a fretwork and rosette-carved and pierced splat, joined to the cushioned seat by open arms with reeded, turned uprights, raised on tapering square legs ending in spade feet, h. 33-1/2”, w. 22”, d. 17”. [1500/2500] Illustrated Color Plate VII and following page

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13Regency-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”. [150/300]

14Seventeen-Piece Staffordshire Partial After-Dinner Coffee/Chocolate Service, for ten persons, second quarter 20th century, the gold-trimmed white porcelain comprised of nine cylindrical coffee-chocolate cups, h. 2-5/8”, dia. 2-3/8”, and eight saucers, dia. 4-3/4”, all fully backstamped in underglaze green transfer print. [20/40]

15English Gloss Russet-Glazed Stoneware Garden Vase, first quarter 20th century, in the 19th-century style, of large campana form on a matching octagonal base, h. 32”, dia. 18-1/2”. Provenance: Beechwood Mansion, The Estate of William Astor, Newport, Rhode Island. [200/400]

16Regency 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”. [1200/1800] Illustrated

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17Pair of Alexander-Jean Composition Table Lamps, of tall size, composed of turned, silvered and antiqued composition with patinated cast-iron “palm” mounts in the neoclassical taste, each fitted with a custom taupe linen shade with shirred banding in mocha, each with a tall composition finial of upright pomegranate form, both lamps with the oblong Alexander-Jean printed paper label on the base, h. 30”, w. 7”, d. 7”. [150/300]

18William IV Carved Mahogany Swing Shaving Mirror, second quarter 19th century, of large size, the stand fitted with a pair of lidded circular stud boxes centering a matching oval accessories compartment, the supports foliate-scroll carved, h. 33”, w. 31”, d. 12”. [200/400] Illustrated

19Large Regency-Style Mahogany Terrestrial Globe on Stand, second quarter 20th century, the globe labeled “18 inch Terrestrial Globe W. AK Johnson, Limited, Geographers, Engravers, Printers, Edinburgh, A.J. Nystrom & Co. Solo United States Agents, Chicago”, h. 40”, dia. 24”. [500/800] Illustrated

20William IV Mahogany Library Table, second quarter 19th century, the oval, tooled leather-inset top raised on a bulbous, turned standard to a concave base ending in scroll-carved feet, h. 29-1/2”, w. 56”, d. 42”. [500/800] Illustrated

21Victorian Carved Mahogany and Giltwood Sideboard, third quarter 19th century, in the Neo-Grec taste, the backsplash with a beveled mirror plate flanked by a pair of broken-arch crests centered by a carved floral basket, with floral swags below, the base with a central door over an arched opening, flanked by pedestal ends, each door with a gilt winged putti masque over a shaped panel, h. 69-1/2”, w. 84-1/4”, d. 27”. [3500/5000] Illustrated

22Victorian Mahogany Stool, fourth quarter 19th century, the padded, shaped square top over a conforming skirt, raised on cabriole legs ending in peg feet, upholstered in floral needlepoint, h. 15-1/2”, w. 19-1/2”, d. 19-1/2”. [100/200]

23George III-Style Mahogany Console, first quarter 20th century, the demi-lune top over a conforming frieze fitted with a central urn- and swag-carved drawer, flanked to one side by a door, raised on tapering square legs ending in spade feet, h. 32-1/2”, w. 48-3/4”, d. 21-5/8”. [600/900] Illustrated

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30Early Victorian Mahogany Reading Table, third quarter 19th century, the kidney-form top trisected, the central portion with an inset leather surface, hinged and with an adjustable easel back and hinged book rest, the two sides opening out to reveal storage cupboards, above a paneled frieze, raised on cabriole legs headed by shell carving, joined by a crinoline stretcher and ending in sabots, h. 30-1/2”, w. 29”, d. 15”. [800/1200]

31Japanese Export Bone-Mounted Mahogany Gentleman’s Walking Stick, the highly carved bone grip modeled as a mouse over a peach branch, the ferrule of brass, l. 36”. [150/300] Illustrated

24Late Victorian Cast-Iron Allegorical Scenic Fireplace Back, fourth quarter 19th century, of large size, the front with an embossed scene of a mother and child and bordered by a lush foliate surround, the back side embossed “Copyright 1885 Caryl Coleman”, h. 30”, w. 24-1/2”. [300/500]

25Pierre Jules Mene (French, 1810-1879) “Scottish Hunter with Fox”, patinated bronze, signed at foot “P. J. Mene” on a black marble base affixed with a brass plaque, engraved with bronze title and name of artist, h. 21”, dia. 16”. [1500/2500] Illustrated

26French 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”. [300/500] Illustrated

27Victorian-Style Polychromed Metal and Wire Birdcage, of breakfront triple-gabled form, fitted with two doors in the central section, a perching bar and three pull-out cleaning trays, raised on claw feet, h. 49-1/2”, w. 45”, d. 14”. [300/500]

28Good English Pewter-Lidded Caneware Pitcher, dated by British Design Registration lozenge October 7, 1859, with bas-relief game trophees, the pewter lid with a serpent finial, h. 7”, dia. 4”. [75/125]

29Good Doulton-Lambeth Stoneware Hound-Handled Pitcher, third quarter 19th century, the body with five bas-relief hunting reserves in antique white, with full impressed mark underglaze on the base, h. 7”, dia. 6-3/4”, l. 8”. [200/400]

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32Japanese Export Bone-Mounted Mahogany Walking Stick, the bone grip in the form of an owl with attenuated folded wings perched on a cylindrical piling, the eyes of black-detailed cinnabar lacquer, the collar of brass, l. 38”. [200/400] Illustrated

33Japanese Meiji Export Walnut Walking Stick, first quarter 20th century, composed of carved and polished bone and spiral carved, the bone element carved as a trio of horse heads fronting a foliate scroll-carved grip, l. 35”. [150/300] Illustrated

34Anglo-Chinese Bone-Mounted Mahogany Walking Stick, the bone grip modeled as a stag’s head with attenuated and stylized horizontal antlers, the collar and ferrule of brass, l. 36”. [150/300] Illustrated

35Continental Brass-Mounted Mahogany Walking Stick, first quarter 20th century, fitted with a carved ivory horse head with bared teeth, l. 37”. [150/300] Illustrated

36Continental Brass-Mounted Mahogany Walking Stick, first quarter 20th century, with a carved ivory grip in the form of a dog’s head fronting a curvate body ornamented with foliate strapwork, l. 36-1/4”. [150/300] Illustrated

37Two Natural Bentwood Walking Canes, l. 37”. [30/50]

38Pair of Antique Folding Steel Burglar’s Skeleton Keys, third quarter 19th century, l. 5-1/8” and 5-3/4”. [20/40]

39Pair of Staffordshire Pottery Figures of Spaniels, fourth quarter 19th century, the large white-and-gold canines modeled collared and seated, h. 12-1/4”, w. 10”, d. 4”. [200/400]

40Two-Piece Grimwade, Staffordshire, Flow Blue Pottery Toilette Service, fourth quarter 19th century, in the “Poppea” pattern, comprised of a toilette ewer, h. 12-1/2”, dia. 9”, and a large matching basin, h. 5-1/2”, dia. 17”, both pieces fully marked on the base in underglaze blue transfer-print. [300/500]

41Miniature Billiard’s Table Top, early 20th century, of traditional form, with six netted pockets, three cues and nine balls, now mounted as a cocktail table on a conforming square-legged stand, with a rounded rectangular glass surface, h. 21-1/4”, w. 52”, d. 28”. [600/900] Illustrated

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42Victorian Brass- Inlaid Mahogany Box-on-Stand, fourth quarter 19th century, the rectangular top hinged and opening to reveal a tooled leather writing surface and a variety of cubbyholes, raised on a stand with tapering, slightly splayed legs joined by a box stretcher, h. 22-1/2”, w. 13”, d. 8-3/4”. [150/300]

43French Deux-Couleur Brass Figure of a Stallion, the gold-patinated caparisoned animal modeled rearing, in the “Marly” style of Guillaume Coustou (French, 1678-1746), signed at the left facade edge “Coustou”, h. 20”, w. 7-1/4”, l. 16-1/2”. [200/400] Illustrated previous page

44English Gilt-Brass Dressing Table Looking Glass, third quarter 19th century, the foliate-reticulated frame in the rococo taste, the period plate beveled throughout, supported on the period gilt-brass scrolling swing-bracket at the reverse, h. 16-3/4”, w. 11-3/4”. [200/400]

45English Ebonized Wooden Slant-Front Hod Carrier, fourth quarter 19th century, in the Aesthetic taste, the slant front centered with a relief copper plaque in avian decor in the japonesque taste, the knob, hinges and fluted bar handle of brass, h. 14-1/2”, w. 13-1/4”, d. 17-1/4”. [100/200]

46English Cast Brass Novelty Paperweight, in the form of a Georgian tall-case clock, 1954, bears an embossed British Design Registration numeral for 1954 on the reverse, h. 6-1/4”. [100/200]

47Good English Cast-Brass and Mirrored Glass Fireplace Screen, fourth quarter 19th century, of small size in the Aesthetic taste, the screen supported on four brass chicken feet, the screen panel facade of mirrored glass, h. 18-3/4”, w. 20-1/2”, d. 10-1/2”. [300/500]

48Pair of Late Victorian-Style Beveled and Leaded Glass Windows, mid-20th century, the colorless glass panes in a frosted ice pattern, the frames of mahogany and now painted white, h. 80”, w. 18”, d. 2”. [400/700]

49Metal 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”. [75/125]

50John Frederick Herring, Sr. (British, 1815-1907) “A Gray, Bay, Black Blaze and Two Foals at Fence”, oil on canvas, signed lower center “J. F. Herring”, 16” x 16”. Presented in a giltwood frame. Provenance: Purchased in London in the 1950’s by the parents of the present owner. This painting was originally executed for a frame with a round liner. The four corners were later professionally painted in order to frame this piece in a later square frame without the round liner. A faux signature was then added to the lower right corner (in a more prominent place). The original signature is concealed in the contour of the foreground in the lower center of the canvas. [6000/9000] Illustrated Color Plate VIII

51British School (20th/21st Century) “Autumnal Landscape with a Winding River”, oil on panel, unsigned, 8-1/2” x 6-1/2”. Presented in a Beaux Arts-style giltwood and gesso frame. [75/125]

52British School (20th/21st Century) “Spring Landscape with a Stream”, oil on panel, unsigned, 8-1/2” x 6-1/2”. Presented in a Beaux Arts-style giltwood and gesso frame. [75/125]

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53Follower of John F. Herring, Jr. (British, 1820-1907) “Portrait of a Horse in a Stable”, oil on panel, unsigned, 20th/21st century, 6-1/2” x 8-1/2”. Presented in a deeply molded giltwood and gesso frame. [100/200]

54British School (20th/21st Century) “Portrait of a Horse in a Landscape”, oil on panel, unsigned, 6-1/2” x 8-1/2”. Presented in an attractive, deeply molded giltwood and gesso frame. [100/200]

55American School (Contemporary) “Portrait of a Horse”, oil on canvas, unsigned, sight h. 34”, w. 50”. Presented in a burlwood and parcel-silvered frame. [300/500]

56Opulent Fourteen-Piece Ellis-Barker Silverplated Punch Service, for twelve persons, third quarter 20th century, in the Georgian style, comprised of a two-handled and footed punchbowl, h. 9-1/2”, dia. 13-1/2”, twelve footed punch cups, h. 3-1/4”, dia. 3-1/4”, and a double-lipped punch ladle with a spiral-twist shank, l. 17”. [400/700] Illustrated

57Good Pair of Victorian Sterling Silver Salt and Pepper Casters, 1880, Birmingham, the maker’s hallmark abraded and illegible, of spiral-ribbed cylindrical form, h. 4-1/2”, dia. 2-1/2”, 7.35 total t. oz. [300/500]

58Fifteen-Piece Anglo-American Silverplate Revolving Supper Service, second quarter 20th century, of circular, two-handled form in “Gadroon” decor, comprised of four oval covered entree/vegetable dishes (eight pieces), one covered vasiform ice bucket/bottle cooler (two pieces), two footed sauceboats, two spice casters and one two-handled footed revolving warming stand, the everted handles of turned fruitwood, h. 18”, w. 23”, dia. 18”. [300/500]

59Attractive Victorian Two-Piece Sterling Silver Fish Serving Set, 1853, Birmingham, maker: H.A., in “Foliate Scroll and Flower” decor, comprised of a fish slice with elaborately pierced and chased blade, l. 12”, and a matching four-tine serving fork with engraved and pierced bowl and tines, l. 10”. [600/900] Illustrated

60Victorian Vegetable Ivory-Handled Sterling Silver Serving Slice, 1894, London, makers: W.C. & ?, the second hallmark partially obliterated, l. 13”. [400/700]

61Cased Two-Piece Victorian Vegetable Ivory-Handled Sterling Silver Fish Serving Set, 1868, Sheffield, maker: perhaps John Round & Son, comprised of a fish slice with an ivy leaf-engraved blade, l. 13”, and a matching five-tine serving fork, l. 9-3/4”, the elliptical brass-mounted black leather case with a fitted interior. [400/700]

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62Twenty-Two-Piece Group of Silverplate Utensils, comprised of a cased two-piece English mother-of-pearl-handled silverplate fish serving set, second quarter 20th century; a boxed set of eight similar fruit knives; a similar pair of ovoid-bowled silverplate serving spoons; a pair of mother-of-pearl-handled cold meats forks; a similar pie/cake slice; a pair of petal-bowled conserve spoons; and a set of five similar seafood forks; the cased lined and fitted, the largest utensil l. 10-1/8”. [100/200]

63Asprey, London, Sterling Silver Footed Fruit Bowl, 1965, of shallow circular form with an elaborate floral-reticulated border, h. 3-1/2”, dia. 10-1/4”, 20.05 t. oz. [600/900] Illustrated previous page

64Cased Pair of English Silverplate Berry Spoons, third quarter 20th century, with gilded repousse bowls in the Victorian style, the faux-morocco case fitted and lined in ivory satin and black velvet, spoon l. 9-1/4”. [40/70]

65Good Pair of Antique Sheffield-Plate Three-Light Candelabra, second quarter 19th century, of large scale in “Leaf Cluster and Scroll” decor, the reeded candlearms spiral turned, the fused silver finish worn to the base copper in scattered areas, h. 21”, w. 19”, d. 5-3/4”. [300/500]

66Attractive Sheffield Silverplate Oval Waiter, second quarter 20th century, with an elaborately reticulated gallery rim, the center with an armorial crest and motto, the whole supported on four toupie feet, w. 16-3/4”, l. 24”. [100/200]

67Thirteen-Piece Sheffield Silver Company Silverplate Punch Service, for twelve persons, third quarter 20th century, in the “Old Sheffield” style, comprised of a large footed punchbowl in “Shell and Scroll” decor, h. 12”, dia. 16”, and twelve footed punch cups, h. 4”, dia. 3-1/4”. [150/300]

68Large Sheffield Silver Company Silverplate Waiter, third quarter 20th century, of oval, footed form in “Vintage” decor in the “Old Sheffield” style, w. 17”, l. 27-3/4”. [100/200]

69Group of Five Assorted Gadroon Silverplate Serving Pieces, second quarter 20th century, consisting of an English circular covered and footed soup tureen in the “Old Sheffield” style; a matching gravy boat and stand; a matching circular footed tray; and an English double-walled warming dish in “Antique Bead” decor, the interior fitted with a conforming silverplate divider, the exterior with a detaching stained turned fruitwood handle, the domed cover with a melon finial; accompanied by a Sakowitz, Houston, felt storage bag, the largest silverplate item h. 11-1/2”, dia. 10”. [125/250]

70Two Near Pairs of Sheffield Silverplate “King’s Shell” Salad Servers, third quarter 20th century, each set comprised of a long-handled fork and a matching spoon, the largest l. 13-1/2” (four total pieces). [75/125]

71English Sterling Silver-Clad Figure of a Bulldog, fourth quarter 20th century, London, maker: W.C., the seated canine fitted with onyx cabochon eyes and a black leather collar, h. 3-3/4”, w. 3”, l. 4-1/2”. [200/400] Illustrated

72Diverse Ten-Piece Collection of Tableware, comprised of a set of four English ivory Bakelite-handled Art Deco dinner knives, second quarter 20th century; a pair of Rogers silverplate seafood forks in a pattern similar to “Chatelaine” of 1929; a Continental coin silver “Shell and Thread” dessert fork hallmarked “Anezin”; a William Rogers silverplate “Fiddle” stuffing spoon in the George III style; a Rogers silverplate “Eudora” double-lipped punch ladle, the pattern introduced in 1900; and an Edwardian silverplate and turned ebonized fruitwood double-lip punch ladle in the George III style, first quarter 20th century, one lip fitted with a pierced strainer guard; the largest l. 14”. [100/200]

73Good Set of Six Edwardian Sterling Silver “Apostle” Spoons, 1903, London, maker: H.A. & S., of round-bowl form in the Elizabethan style, l. 8”, 15.00 total t. oz. [600/900]

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74Attractive Chinese Export Sterling Silver Box, fourth quarter 19th century, maker: L.C., of cylindrical form in “Bamboo” decor, h. 2”, dia. 3-1/4”, 5.05 t. oz. [600/900]

75Tall Sevres-Style Two-Handled Garniture Vase, fourth quarter 19th century, in the Louis XVI taste, the tall bleu-du-ciel-ground vase parcel-lustered and polychrome, the facade with a large polychrome reserve of an allegorical figure of “La Source” attended by putti, signed lower right “Collot”, the reverse with a bucolic river landscape, h. 27-1/2”, w. 10”, d. 8”. [1500/2500] Illustrated Color Plate VI

76Imposing Porcelaine de Paris Double Standish, second quarter 20th century, in the Louis XVI style, having a parcel-gilded rose Pompadour ground and fitted with a pair of covered inkwells retaining the original porcelain liners and a covered vasiform nibs container at the center of the back rail, the base fully marked in blue, h. 6-1/2”, w. 15”, d. 6-1/2”. [200/400]

77Continental White Crackle Porcelain Vase, with bronze-patinated brass mounts in the Louis XV taste, the base of the vase with a coronet-surmounted shield mark in overglazed red, h. 18-1/2”, w. 11”, d. 9”. [100/200]

78Meyer and Weber, Chicago, Polychromed Baby Grand Piano and Bench, early 20th century, the case retaining Louis XV-style painted scenes with various musicians in lush gardens, h. 38-1/4”, w. 55-1/4”, d. 62”. [1500/2500] Illustrated Color Plate XV

79Franco-Belgian Machine-Woven Tapestry Panel of “Le Concert”, an aristocratic 18th-century family at leisure in their salon, first quarter 20th century, the palette in ivory, ecru and old gold, presented in a matte black-banded antique giltwood frame in the Louis XVI taste, h. 57”, w. 37”. [300/500]

80Napoleon III “St. John the Baptist” Figural Mantel Clock, fourth quarter 19th century, in the Louis XVI taste, composed of double-patinated brass, the figure of St. John, his lamb and the drum-form case resting on a platform of white alabaster, the basal edge of the facade centered with an alabaster rondel, h. 14-1/2”, w. 15”, d. 5”. [200/400] Illustrated

81French Gilt-Brass-Mounted Steel Mesh Firescreen, second quarter 20th century, in the Louis XVI style, the facade centered with a gilt-brass “trophee” of a scroll-mantled quiver, the feet with paw terminals, h. 31”, w. 27”, d. 7-1/2”. [300/500] Illustrated

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82Louis XVI-Style Mahogany and Marquetry Tiered Occasional Table, fourth quarter 19th century, the three-quarter pierced brass-galleried top banded and with a floral-spray inlay, joined to the like lower shelf by turned and fluted supports, raised on tapering circular legs ending in toupie feet, h. 30-1/2”, w. 19-1/2”, d. 13-3/4”. [300/500]

83Louis XVI-Style Mahogany and Marble-Top Occasional Table, fourth quarter 19th century, the oval top inset with variegated lavender marble over a frieze fitted with a drawer, joined to the lower caned shelf by reeded square supports headed by block-patera carving, raised on fluted tapering legs, h. 28”, w. 17-1/2”, d. 14-1/2”. [100/200]

84Louis XVI-Style Giltwood Vitrine, mid-20th century, the floral-basket pierced and carved cornice over a case fitted with a glazed door and sides, above a drop door inset with a floral- and acanthine-carved panel, raised on fluted tapering circular legs ending in toupie feet, h. 68”, w. 27”, d. 15-1/2”. [200/400] Illustrated

85Pair of Louis XVI-Style Giltwood Bergeres, fourth quarter 19th century, each with a domed crest centered by a floral carving, above a padded back, joined to the cushioned seat by like arms, over a guilloche-carved skirt, raised on fluted tapering circular legs headed by patera and ending in toupie feet, h. 37”, w. 25”, d. 29”. [300/500]

86Three-Piece Napoleon III Giltwood Parlor Suite, fourth quarter 19th century, consisting of a settee, h. 42-1/2”, w. 51-1/2”, d. 24”, and a pair of sidechairs, h. 37”, w. 22”, d. 21”, the settee with a slightly domed crest centered by a cartouche carving, over a conforming padded back, joined to the cushioned seat by scroll-end arms, raised on cabriole legs joined by a shaped H-form stretcher and ending in toupie feet, the chairs each with an acanthine- and floral-carved crest above a padded back flanked by fluted columnar uprights headed by pomegranate finials, over a padded seat, raised on tapering circular legs ending in toupie feet. [500/800] Illustrated

87Usital, Milan, Antique Tapered Pedestal, third quarter 20th century, composed of gilt-brass-mounted tulipwood and marquetry in the neoclassical taste, the facade centered with a stenciled faux-marquetry panel surmounted by a gilt-brass “Goddess” mask, the top with a conforming slab of polished Breccia de Guillestre marble, the reverse upper edge fitted with an oblong brass plaque reading “Usital/IS via Davazati/ Milan-Italy”, h. 45-1/2”, w. 17-1/4”, d. 10”. [400/700] Illustrated

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88Louis XVI-Style Mahogany Secretaire a Abattant, second quarter 19th century, the parquetry frieze with canted corners over a conforming case fitted with a long drawer over a drop-front drawer, opening to reveal a gilt-tooled leather writing surface, a variety of cubbyholes, banded drawers surrounding a central marquetry cubby flanked by two stenciled satinwood secret drawers, above two paneled doors, to the dentillated skirt, raised on tapering square legs on pad feet, the sides of slated columnar form, h. 58-1/2”, w. 37”, d. 17”. [1200/1800] Illustrated

89Five-Piece Louis XVI-Style Gilt-Brass-Mounted Mahogany and Parquetry Bedroom Suite, first quarter 20th century, by Ameublement Poulin, Paris, consisting of an armoire with a bonnet crest over a conforming case with two mirrored doors, h. 98”, w. 55”, d. 22”, a bedstead with an arched paneled headboard and footboard, joined by molded rails, h. 67-1/2”, w. 60-3/4”, d. 79”, a bedside table with an inset variegated marble top over a case fitted with one drawer over a door, raised on fluted tapering circular legs joined by a shelf stretcher and ending in toupie feet, h. 32-1/2”, w. 19-1/2”, d. 15-3/4”, a ladies desk with a rectangular shaped top over a skirt fitted with one drawer, raised on fluted tapering circular legs on toupie feet, h. 30-1/4”, w. 35-1/2”, d. 21-1/2”, and a chair with a carved crest, over a pierced splat, above a padded seat, raised on fluted tapering circular legs ending in toupie feet, h. 36-1/2”, w. 16-1/4”, all five pieces with parquetry inlays and wreath, foliage and patera gilt-brass mounts. [3000/5000] Illustrated

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89 five-piece suite

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90Louis XVI-Style Mahogany and Onyx-Top Console Table, 20th century, the rectangular onyx top with rounded corners, over a conforming frieze fitted with three banded, string-inlaid drawers, raised on fluted tapering circular legs headed by gilt-brass mounts and ending in brass caps, h. 32-1/4”, w. 40-1/2”, d. 12”. [300/500] Illustrated

91Pair of French Rubane Campan Marble Garniture Obelisks, of tall size in the Louis XVI style, the obelisks proper on pedestal bases of square section above stepped plinths, the marble surfaces satin polished throughout, h. 18-1/4”, w. 5-1/4”, d. 5-1/4”. [400/700] Illustrated

92Pair of French Gilt-Brass-Mounted Porcelain Garniture Vases, fourth quarter 19th century, of attenuated baluster form in the Louis XVI style, the gilt-brass handles with diademed female-masque basal terminals and swan-head finials, the facade of each vase with a gilt-framed galants reserve signed “Aly”, the reverses with bucolic landscapes, now mounted as table lamps, h. 14-3/4”, dia. 4”. [900/1200] Illustrated

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93French Glazed and Biscuit Porcelain Two-Handled Vase, early 20th century, perhaps the manufactory of Gille Jeune, Paris, of large size in the Louis XVI taste, the facade with a gilt-framed polychromed galants reserve, the reverse with a well-painted floral spray, the base with two semi-recumbent biscuit porcelain putti, the interior of the foot with a pseudo-Sevres interlaced L’s mark in blue, h. 15-1/2”, w. 13-1/2”, d. 10-1/4”. [1500/2500] Illustrated Color Plate XIII

94Louis XVI-Style Giltwood and Upholstered Bedstead, first quarter 20th century, having a floral- and cornucopia-carved crest, plume finials and carved masques on the posts, h. 52”, inside w. 48-1/2”, l. 78-1/2”, outside w. 53”, l. 83”. [400/700] Illustrated

95Set of Twelve Heinrich & Company, Bavaria, Porcelain Dinner Plates, second quarter 20th century, in the Louis XVI taste, each richly gilded, ivory-bordered and polychrome floral-painted plate decorated for Pickard and Company and so marked in gold on the reverse, dia. 11”. [400/700] Illustrated

96Set of Twelve Black Knight, Hohenberg Porcelain Dinner Plates, second quarter 20th century, the ivory and jade green grounds richly gilded in the Louis XVI taste, dia. 10-3/4”. [250/400]

97Pair of Italian Polychromed and Parcel-Gilt Sidechairs, third quarter 19th century, in the neoclassical taste, each with an oval padded back surrounded by a conforming pierced and carved frame, above a padded seat, over an interlocking circles-carved apron, flanked by modified block patera carving, raised on turned and tapering legs ending in acanthine-molded peg feet, h. 38”, w. 20”, d. 18”. [800/1200] Illustrated

98Pair of American Gilt-Nickel Two-Light Appliques, second quarter 20th century, in the Louis XVI taste, each bobeche dressed with fourteen panel- and facet-cut glass spears, fitted for electrical wiring, h. 14-1/2”, w. 11-1/2”, d. 5-3/4”. [250/400]

99Attractive Swedish Pottery Stove in the Gustavian Style, fourth quarter 18th century, of large size in shaded yellow and white glaze, the three-part stove supported on large spool-form pottery feet, the doors of period wrought-iron, h. 69”, w. 26”, d. 26”. [500/800] Illustrated

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100Follower of Hyacinthe Rigaud (French, 1659-1743) “Portrait of a Lady”, oil on canvas, verso affixed with a handwritten label in ink “No, 1291 Portrait de Dame, Hyacinthe Rigaud, France”, 27” x 23-1/2”, the stretcher signed “Rigaud”. Presented in a Louis XV-style giltwood and gesso frame affixed with a brass plaque inscribed “1659 Hyacinthe Rigaud 1743”. [500/800] Illustrated

101Pio 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. [500/800] Illustrated

102Henry Stephen Ludlow (British, 1861-1925) “My Mistress Wants a Chair”, monotone watercolor on paper, signed lower left “Hal Ludlow”, sight 12-1/4” x 9”. Glazed, matted and framed. [300/500]

103French School (Third Quarter 19th Century) “Reclining Nude”, oil on canvas, unsigned, 9-1/2” x 13-1/2”. Presented in a pierced and carved giltwood frame. [300/500] Illustrated

104German School (17th Century) “Botanical Implements”, four hand-colored woodblock engravings with Latin phrases, by Ferrari, ca.1638, plate 7-3/4” x 5-3/4”. All glazed, attractively matted and framed. [500/800] Illustrated

105Paul B. Pascal (American/French, 1832-1903) “Peasant Riding a Mule Along a North African Coast”, watercolor and gouache on paper, signed and dated lower left “P. B. Pascal, 1899”, sight 13” x 17-1/2”. Glazed and presented in a molded and parcel-gilt frame. [1000/1500] Illustrated

106Spanish School (Fourth Quarter 19th Century) “Young Girl Selling Fish on a Basque Beach”, oil on canvas, inscribed on top of stretcher “Basque Provinces by Jacquered (sic)”, 39” x 28-1/2”. Presented in a period giltwood and gesso frame. [700/1000] Illustrated

107Continental School (Second Quarter 19th Century) “Mountainous Lake Landscape with an Island and Boaters”, oil on canvas, unsigned, 32” x 43”. Presented in a deeply molded giltwood and gesso frame. [800/1200] Illustrated

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108Continental School (21st Century) “View of a Mountain Valley”, oil on panel, 8” x 10”. Presented in an ebonized and parcel-gilt frame. [75/125]

109Francisque Asevedo (French, b. 1954) “Basque Country Charm”, ca. 1978, oil on canvas, signed lower right “Asevedo”, 22” x 28”. Presented in a handsome, wide, leaf-carved giltwood frame. [300/500]

110Frances Robert Nugent (American, 1904-1963) “Barbizon Forest Dawn”, oil on canvas, signed lower left, 11” x 14”. Presented in a carved giltwood and plaster frame. [300/500]

111Dutch School (First Quarter 20th Century) “Street Scene with a Canal”, offset chromolithograph, sight 21-1/2” x 16-1/2”. Glazed, matted and presented in a Beaux Arts giltwood and gesso frame. [100/200]

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112Italian School (Second Quarter 20th Century) “Portrait of an Old Man Playing a Guitar”, oil on canvas, signed lower right “Valentine”, verso affixed with a vintage gallery label, 27-1/2” x 20”. Presented in a polychromed and parcel-gilt frame. [500/800] Illustrated

113After Rembrandt Van Rijn (Dutch, 1606-1669) “Herman Doomer”, oil on panel, unsigned, fourth quarter 20th century, 10” x 8”. Presented in a Baroque-style giltwood and gesso frame. [200/400]

114German School (19th Century) “Burgher with Wine Goblet”, oil on canvas, 21” x 18”. Presented in an antique ebonized frame with gilt fillet. [75/125]

115Continental School (Third Quarter 20th Century) “Portrait of an Old Scholar”, oil on canvas, signed lower right “Ballard”, 10” x 8”. Presented in a rococo-style carved fame. [100/200]

116Interesting Three-Piece Collection of Chinese Carved Jade, second/third quarter 19th century, comprised of an oblong toggle carved in bas-relief with a pair of ducks and lotus; a carved white pendant in the form of a bat, the body and spread wings bas-relief carved with a stylized Celestial Dragon and a Phoenix, in the Ch’ien Lung style; and a stylized ecru/ivory shaded oblong sash plaque similarly carved, with a small hole drilled at either end for fixing the piece to a fabric support; each piece accompanied by a small modern plexiglass display stand, the largest w. 2-7/8”, l. 2-3/4”. [300/500] Illustrated

117Cased Elaborately Carved Pale Green Serpentine Figure of Kwan-Yin, standing on a tiered spray of leaves and backed by clouds and a moon in the Ch’ien Lung style, presented on a Chinese elaborately carved and pierced hardwood stand of oblong form, both pieces in an Oriental oblong fitted and padded blue cloth-upholstered storage box, h. 11”, w. 6”, d. 3”. [200/400] Illustrated

118Kuang 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”. [400/700]

119Chinese Carved Jade Figure of a Man with a Backpack, l. 1-7/8”. [75/125]

120Japanese White Jade Covered Incense Burner, first quarter 20th century, of oblong form, the ebony cover pierced and centered with a rectilinear jade grip, the interior fitted with a copper mesh ash screen, h. 4-1/4”, w. 4”, l. 7-1/8”. [75/125]

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121Collection of Three Kuang Hsu Jade Cabinet Creatures, fourth quarter 19th century through first quarter 20th century, in carved shaded white to gray to black, comprised of a duck, a sleeping Foo dog, a speckled white recumbent Foo dog with turned head, a recumbent bird-billed canine scratching its head with its proper rear leg, a gray to black palm stone in the form of a stylized goat, another hand pacifier in the form of a stylized catfish, and a chop in the form of a stylized bear’s head, entwined by a stylized celestial dragon, the chop proper blank, the largest l. 3”. [200/400]

122Pair of Kuang Hsu Carved Jade Sweetmeats Dishes, first quarter 20th century, in the form of lotus leaves, the jade shaded from charcoal gray to green, w. 5-3/4”, l. 5-1/2”. [100/200]

123Large Kuang Hsu Glass and Jade Flowering Prunus Tree, first quarter 20th century, composed of white and yellow Peking glass and jade, and modeled as an asymmetrically pruned tree, presented in an oblong octagonal cloisonne planter of turquoise ground with multicolor floral decor, the planter interior dressed in white quartz pebbles, h. 16”, w. 14”, l. 27”. [200/400]

124Chinese Carved Pale Gray Jade Scholar’s Desk Boulder, in the Ch’ien Ling style, featuring an elderly mandarin and his pet monkey in the garden below a country villa, the outer layer of the boulder in polished caramel jade, presented on a Chinese custom-carved hardwood stand of cushion form, h. 6-1/2”, w. 3-3/4”, d. 2-1/2”. [300/500] Illustrated

125Kuang Hsu Elaborately Carved Celadon Jade Scholar’s Desk Boulder, fourth quarter 19th century, featuring two figures dining beneath a pine with a country villa in the upper background, the outer layer of the boulder in polished caramel jade, presented on a Chinese pierced ebonized hardwood display stand of circular form, h. 6-1/4”, w. 5”, d. 3-1/2”. [500/800] Illustrated

126Group of Three Oriental Hardstone Items, consisting of a Chinese incise-carved gray-brown stone archer’s ring of the traditional type in “Bird and Kylin” decor; a similarly decorated beige stone archer’s ring; and a gray-green polished marble child’s bracelet of the traditional type; the largest dia. 3-3/8”. [75/125]

127Kuang Hsu Carved Gray Soapstone Group, mid-20th century, depicting a recumbent water buffalo and calf surmounted by a robed boy groom, presented on a conforming Chinese carved and ebonized hardwood display stand of oval form, h. 3-1/2”, w. 3-1/4”, l. 6-1/4”. [400/700] Illustrated

128Tao Kuang Blond Horn Libation Cup, second quarter 19th century, in bas-relief “Mandarin Mountain Garden” decor, h. 4”, w. 2-1/8”, d. 2-1/4”. [75/125] Illustrated

129Tao Kuang Elaborately Carved Horn Brush Cup, second quarter 19th century, in “Pine and Bamboo” decor, the raised portion of the carved decoration softly polished, h. 3-1/2”, dia. 2-1/2”. [75/125] Illustrated

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130Collection of Three Chinese Carved Stone Scholar’s Desk Ornaments, comprised of a gold/brown scroll weight in the form of a water buffalo recumbent on a leaf; a pale green to brown scroll weight of similar configuration; and a larger D-form beige to gray scroll weight in the form of a large carp and a minnow amidst aquatic plants; the largest h. 3-1/8”, w. 3”. [200/400] Illustrated previous page

131Kuang Hsu Cordovan-Lacquered Wooden Chop, fourth quarter 19th century, elaborately carved in the form of an Immortal and two attendants in a wooded grove, the chop proper carved with calligraphic characters, h. 2-1/2”. [100/200] Illustrated previous page

132Kuang Hsu Cabinet a Deux Corps, fourth quarter 19th century, composed of polychromed, parcel-gilt and red-lacquered wood, modeled as a tall two-door cabinet surmounting a horizontal paneled four-door cabinet, its panels decorated with dragon masks, the lower cabinet fitted with a single transverse shelf, h. 41-1/4”, w. 43-1/2”, d. 17”. [800/1200] Illustrated

133Chinese Parcel-Gilt Red-Lacquered Two-Door Cabinet, second quarter 20th century and later, the doors with multiple carved figural reserves, one door with a stacked trio of brass-mounted blind drawers, the interior fitted with four slide drawers of natural birch, h. 52”, w. 39”, d. 17”. [300/500] Illustrated

134Chinese Fretted Open Armchair, second quarter 20th century, of the traditional type in carved, red-lacquered and polychromed wood, the seat polychromed with a view of a mountain lake, the fretted splat centered with a polychromed kylin, h. 37”, w. 23”, d. 18”. [150/300] Illustrated

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135Large Japanese Edo Engraved Yokeback Samurai Chair, second quarter 19th century, composed of brass-mounted red lacquer and carved giltwood, the splat of carved diapered giltwood, the chair supports of X-form fronted by a transverse footrest, h. 35”, w. 32”, d. 31-1/2”. [200/400] Illustrated

136Chinese Two-Color Scholar’s Gazing Stone and Stand, the layered stone polished to reveal the dark brown figure of a Chinese oak tree on rockwork against a gray/white stone, presented on a wooden stand, h. 23”. [200/400]

137Unusual Chinese Porcelain Fishbowl-on-Stand Dining Table, the large porcelain bowl in the traditional style, with a pale gray ground, mauve and slate blue flowers and polychromed tangent tondos, now mounted with a turned gold-banded mahogany lid and a large beveled plate glass top to form a dining table, h. 28-1/2”, dia. 60”. [200/400]

138Large and Elaborately Carved Kuang Hsu Opium Bed Valance, fourth quarter 19th century, composed of mahogany-stained giltwood and featuring multiple figures: The Immortals, bats, kylins and cranes, h. 12”, l. 58”. [100/200] Illustrated

139Japanese Meiji Painted Gold-Ground Three-Panel Screen, first quarter 20th century, featuring figures and horses in a landscape in the Edo style, the panels bordered in floral-figured fabric in the traditional manner, each panel backed in geometrically patterned blocked papers in beige and white, h. 66”, l. 25-1/4”, extended l. 75-3/4”. [200/400]

140Indian Shesham Wood Three-Panel Folding Screen, the elaborately carved screen in the traditional style, h. 74”, l. 20-1/4”, extended l. 60-3/4”. [300/500]

141Chinese Gold-Ground Polychromed Lacquer Four-Panel Folding Screen, in the coromandel style, featuring cranes on the wing, the reverse with four calligraphy stanzas in Chinese red, h. 72”, l. 16”, extended l. 72”. [300/500]

142Large Ch’ien Lung Carved Wooden Figure of the Youthful Buddha, fourth quarter 18th century and later, the polychromed figure depicted robed and bird-crowned, his upright hands joined before him, h. 46-1/2”, w. 12”, d. 12”. [900/1200] Illustrated

143Set of Seven Kuang Hsu Provincial Carved Wooden Equestrian Figures, fourth quarter 19th century, each horse and figure different, each polychromed and parcel gilt, and presented on a Chinese carved hardwood stand of oval form, h. 4-1/2”, w. 4-1/4”, d. 1-1/2”. [400/700] Illustrated

144Kuang Hsu Porcelain Vase, fourth quarter 19th century, depicting exotic birds in a floral landscape, h. 12”, dia. 5-3/4”. [100/200]

145Kuang Hsu Elaborately Polychromed Porcelain Vase, fourth quarter 19th century, of tall baluster form in “Roosters and Peonies” decor, now mounted as a table lamp with a satin-finished brass cap, an elaborately carved Chinese hardwood base and a custom hexagonal strie shantung shade, h. 17-3/4”, dia. 8”. [100/200]

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146Diminutive Kuang Hsu Porcelain Birdcage Feeder, first quarter 20th century, of cup form in floral decor, the rear wall fitted with a double-loop projecting element for attachment to the birdcage, h. 2-1/4”, dia. 2-1/4”. [20/40]

147Pair of Chinese Black-Lacquered Yoke-Back Open Armchairs, third quarter 20th century, of commodious proportions and of the traditional type, each polychromed and parcel-gilt in “Celestial Dragon and Phoenix” decor, h. 39”, w. 27-1/2”, d. 18”. [400/700] Illustrated

148Chinese Four-Panel Wooden Folding Screen, in the Ch’ien Lung Coromandel style, composed of parcel-gilt, polychromed and black-lacquered, the facade featuring a riverside garden, figures, pavilions and pleasure boats, the reverse with flowers and rocks in the Coromandel manner, h. 84”, l. 16”, extended l. 64”. [300/500] Illustrated

149Chinese Stained Teak Wood Plant Stand, first quarter 20th century, the square dished top over a pierced and carved frieze, raised on circular legs joined by a shelf-stretcher and ending in pad feet, h. 32-1/2”, w. 13”, d. 13”. [100/200]

150Chinese Modern Lacquered and Giltwood Coffee Table, the rectangular top with a carved flowering landscape scene, over a like frieze, raised on cabriole legs ending in pad feet, the top fitted with a protective glass panel, h. 17”, w. 42-1/4”, d. 20”. [150/300]

151Chinese-Style Polychromed Display Cabinet, second quarter 20th century, the carved and pierced crest over a molded frieze, above a case fitted with a glazed door and sides over a pair of “Fishermen”-painted doors, raised on serpentine legs ending in pad feet, h. 76-1/2”, w. 45-1/2”, d. 17-1/2”. [700/1000] Illustrated

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152Chinese Carved Blackwood Plant Stand, the square top banded in an incised Greek-key pattern, above a nicely foliate-carved shaped frieze, raised on shaped supports joined by a floral-incised stretcher shelf and ending in scrolled toes, h. 36”, w. 20”, d. 20”. [75/125]

153Collection of Five Oriental Carpet-Faced Sofa Pillows, comprised of a square kilim-faced example with blue wool loop edging at one side; a square Sarouk example in ivory, two-tone blue and rose; an oblong Malayar-faced pillow; a square Hamadan-faced pillow; and a small oblong kilim-faced accent pillow; all but two with matching midnight-blue linen backings, the largest w. 15”, l. 20”. [200/400]

154Three Japanese Scrolls, comprised of a pair of painted scrolls featuring “The Mill in Autumn”, w. 12”, l. 45”, and “Autumn Mountain Peaks”, w. 12”, l. 45”; and another scroll depicting a noblewoman and attendants in a garden promontory in front of a mountain waterfall, w. 20-1/2”, l. 73”; all three signed in calligraphy, with scarlet colophons, the edges with traditional figured damask borders, the basal edges with a polished bone weight-rod. [200/400]

155Group of Four Colored Woodblock Prints, consisting of a pair of Hiroshige (1796-1858) colored woodblock prints of “Moonlit Night at Tagota, Sarashina” and “Mountain Rice Paddies”, presented in silk-textured celadon mats within narrow black half-round molding frames; another Hiroshige “View of a Bayside Quai” and another of “Waders in a River”, both of the previous prints in ecru silk backplates within very narrow stained wood molding frames, each example fully signed in calligraphy, all of the frame reserves with the label of a Portland, Oregon, framer, the largest sight 10” x 7-1/2”. [75/125]

156Good Japanese Lithograph of a Woodblock Print, depicting a teahouse interior with an elderly male observing nude female bathers in the foreground and robed Geishas and a client in the background, after Harunobu (1725-1770), presented in an ecru silk-textured French-striped mat within a narrow carved fruitwood frame with notched oriental corners, the center basal edge with a calligraphic colophon, sight 14-1/2” x 14”. [50/80]

157Good Set of Four Kuang Hsu Painted Scrolls, second quarter 19th century, emblematic of the Four Seasons and featuring, respectively, a pair of cockerels, a crane, a hawk and a heron, all now presented in Occidental giltwood-bordered fruitwood frames and glazed, each panel with a calligraphic stanza at the upper right or left corner, h. 72”, w. 21-1/2”. [1200/1800] Illustrated Color Plate IX

158Kuang Hsu Painted Fabric Panel, fourth quarter 19th century, featuring a pair of white geese standing amidst flowering shrubs on the bank of a stream, the panel signed in black calligraphy right center, and having a red colophon below, presented in a wide rose-beige fabric mat within an antique carved giltwood concave frame in the neoclassical taste and glazed, h. 62-1/2”, w. 31-1/2”. [800/1200]

159Two Japanese Folding Panels, fourth quarter 19th century, comprised of a vertical oblong two-panel painted gold leaf-ground screen featuring a duck resting beneath a flowering prunus tree on a lakeshore, h. 42-1/2”, w. 37”; and a lower two-panel screen with a painted gold-dappled ground featuring a crested exotic pheasant in a flowing prunus tree surrounded by flowering shrubs on a lakeshore, h. 35”, w. 38-1/2”; both screens with the traditional figured damask borders and backed in figured blocked papers, each screen fitted with a pair of brass suspension frets. [150/300]

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160Chinese Mahogany and Silk Desk Screen, second quarter 20th century, in the Kuang Hsu style, the elaborately carved and pierced mahogany frame fitted with a double-glazed (front and back) embroidered silk gauze panel featuring a white cockatiel and a songbird perched on a flowering peony branch, signed on both faces with an embroidered scarlet colophon, the glazed panel fitted to swivel, h. 31-1/2”, w. 19”, d. 8”. [200/400]

161Framed Antique Chinese Gold-Embroidered Robe Panel, first quarter 19th century, in blue and white linen and featuring a pair of Celestial Dragons cavorting with white cranes amidst clouds above stylized sea waves, the panel enframed in blue and black floral silk-embroidered ribbon, the whole presented in a plain black-painted wooden frame and glazed, h. 45”, w. 16”. [100/200]

162Chinese Stained Teakwood Occasional Table, first quarter 20th century, the scalloped, beaded and variegated marble-inset top raised on foliate- and floral-carved legs joined by a circular shelf-stretcher and ending in ball-and-claw feet, h. 23-1/2”, dia. 26”. [250/400] Illustrated previous page

163Kuang Hsu Porcelain Wash Basin, fourth quarter 19th century, the bowl with a flared outer rim, the interior scenes depicting traditional Asian motifs, h. 4”, dia. 10-3/4”. [100/200]

164T’ang Dynasty Green-Glazed Pottery Vessel, 618-906 A.D., of demi-elliptical form, modeled as a double domed building, h. 5-1/2”, w. 11-5/8”, d. 12”. [150/300]

165Fine, Rare and Diminutive Tao Kuang Engraved Ivory Plaque, second quarter 19th century, of oblong form and depicting a mountain landscape, presented in a flat and welled mahogany scholar’s desk frame, the plaque centering the fabric-lined and glazed shallow well, the slab-form frame of mahogany, w. 1-3/8”, l. 3-3/4”. [150/300] Illustrated

166Framed Japanese Edo Scroll Panel, second quarter 19th century, featuring two figures at a rural teahouse before a mountain, the borders in the traditional figured fabric, presented in a narrow antique giltwood frame and glazed, h. 44-1/2”, w. 12-1/2”. [100/200]

167Trio of Japanese Colored Woodblock Prints, comprised of a Toyokumi (1769-1825) robed figure with a parasol walking in the snow; another Toyokumi figure of an actor, both examples presented in matching strie ivory-toned mats within narrow black half-round molding frames; and a Toyo-Hiro (d. 1828) figure of an aristocratic male standing on a lakeshore, presented in a pebbled tan mat within a narrow black half-round molding frame; all three examples fully signed in calligraphy. [75/125]

168Pair of Japanese Colored Woodblock Prints, consisting of a Ritsusho (1813-1840) shore scene with a windswept cypress tree, and a Masanobu (1686-1764) of two geishas at tea, presented in matching, wide, non-metallic gold mats within narrow black half-round wood molding frames, each example fully signed, sight 6-1/2” x 5-5/8”. [50/80]

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169Four Framed Tao Kuang and Kuang Hsu Embroidered Robe Borders and Panels, second quarter and fourth quarter 19th century, comprised of three blue and white floral borders framed together; a square pair of front and back panels featuring Foo dogs amidst stylized clouds, also framed together; a rectangular back panel enframed in narrow floral-embroidered strips; and a circular front panel featuring a crane in flight; all presented on antique white silk backplates within narrow antique silvered wood molding frames and glazed, the largest h. 27-3/4”, w. 14-1/2”. [100/200]

170Monumental Pair of Chinese Polychromed Porcelain “Palace” Vases, of baluster form, in “Mandarins” decor in the Kuang Hsu style, h. 71”, dia. 21”. [700/1000] Illustrated

171Pair of Chinese Famille Verte Porcelain Garniture Vases, of tall square section in the Ch’ien Lung style, now mounted in gilded brass as table lamps, the gilt-brass basal mounts with boldly modeled paw feet, the finials modeled as upright pomegranates, h. 23”, w. 6-1/4”, d. 6-1/4”. [250/400]

172Chinese Blue and White Cloisonne Vase, of footed pyriform in “Flowering Shrubs and Exotic Bird” decor, the interior of the neck and the edge of the foot in matte-gilded brass, h. 9-1/2”, dia. 5”. [75/125]

173Attractive Japanese Edo Kakiemon Porcelain Covered Wine Ewer, second quarter 19th century, side-handled and of “lighthouse” form in floral decor, h. 8-1/2”, w. 6”, d. 5-1/2”. [200/400]

174Imposing Pair of Kuang Hsu Blue and White Porcelain Garniture Vases, fourth quarter 19th century, of tall-neck globular form, each with “rose ombre”-glazed bas-relief ornament of “Celestial Dragons and The Flaming Pearl”, the underglaze blue decoration of swirling heavenly clouds, h. 21-1/2”, dia. 15-1/4”. [1200/1800] Illustrated

175Near Pair of Tao-Kuang Porcelain “Solitaire” Teapots, second quarter 19th century, the diminutive blue and white side-handled pots of spherical form in avian decor, the handles of canted attenuated funnel form, one pot with a kingfisher, the other with a crane, both birds standing amidst flowering shrubs, h. 4”, dia. 4-1/4”, l. 6-1/4”. [50/80]

176Pair of Kuang Hsu Porcelain Covered Vases, fourth quarter 19th century, of spherical form with claret grounds, each with four mandorla-form white-ground reserves centered with a polychromed male figure, h. 8-1/2”, dia. 8”. [200/400] Illustrated

177Kuang Hsu Polychromed Pottery Pillow, fourth quarter 19th century, of traditional “Crawling Boy Child” form, the body washed in pale gray-white, the hair and lips in russet, the pupils black, h. 10-1/2”, w. 6-1/2”, l. 15”. [350/500]

178Kuang Hsu-Style Polychromed Porcelain Pyriform Vase, of tall size in “Immortals” decor, now mounted as a table lamp on a Chinese elaborately carved and ebonized hardwood base, and fitted with a custom gold-banded ecru silk shade of tall cylindrical section, h. 26”, dia. 8”. [300/500]

179Chinese Colorfully Enameled Porcelain Tree Tub, first quarter 20th century, with four beneficent calligraphy characters equidistant on a cinnabar and yellow fretted ground, h. 12-3/4”, dia. 14-1/2”. [50/80]

180Chinese Famille Verte Porcelain Fishbowl, of the traditional type with three equidistant floral/avian reserves on a crimson and green fretted ground, presented on a Chinese carved hardwood stand of low, footed form, bowl h. 10-1/2”, dia. 15-1/2”, overall h. 15”. [75/125]

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181Forty-Piece Porcelain-Handled Dessert Flatware Service, for twenty persons, first quarter 20th century, consisting of twenty three-tine dessert forks, l. 6-1/4”, and twenty matching dessert knives, l. 7”, all with figural chinoiserie porcelain handles of robed gentlewomen, The Immortals and warriors in the 18th-century Chantilly style, the forks with brass tines, the knives with brass blades, all with silver collars. [800/1200] Illustrated

182Good Japanese Meiji Carved and Polished Ivory Figure, depicting the seated laughing Ho-tei, first quarter 20th century, h. 5”, w. 4-1/2”, d. 4”. [200/400] Illustrated

183Group 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”. [100/200]

184Large Pair of Kuang Hsu Pottery Figures of Foo Dogs, first quarter 20th century, the figures modeled seated on large paneled octagonal bases in the Ming Dynasty style, the palette in gloss green, ochre and brown, one dog with a forepaw on a sphere, the other holding down a Foo pup, h. 20”, dia. 14”. [200/400]

185Group 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”. [100/200]

186Collection of Ten Cased Chinese Snuff Bottles, comprised of a pink-glazed porcelain carp with an aventurine cabochon stopper; a double example of conjoined bottles; a flat-sided square porcelain bottle with rouge de fer “Celestial Dragon” decoration; a porcelain flat-sided bottle of flask design with a carnelian cabochon stopper; a white crackle-glazed porcelain example of baluster form with a rose quartz stopper of disc form; a crimson over clear cameo-cut Peking glass bottle in “Celestial Dragon” decor with an ivory stopper; a relief-carved bone bottle in ‘Mandarin’s Garden” decor; a reverse-painted glass example with a green and white jade cabochon stopper; and an enameled gilt-brass bottle in the form of a carp standing on its tail and having a rose jasper cabochon stopper; the collection presented in an Oriental fabric-covered and compartmented oblong storage case with a ruby velvet-lined interior, the largest bottle h. 3”, dia. 2-1/2”. [300/500]

187Queen Anne-Style Mahogany Corner Chair, ca. 1900, the shaped crest over a baluster-form splat, above a padded seat, raised on cabriole legs joined by an X-form stretcher and ending in pad feet, h. 32-1/2”, w. 17-3/4”, d. 16-1/2”. Provenance: Private collection, Jackson, Mississippi. [100/200]

188Pair of Provincial George III-Style Stained Elmwood Armchairs, fourth quarter 19th century, each with an oval back centered by a pierced and carved splat, joined to the inset-padded lift-out seat by open arms, raised on slightly cabriole legs joined by an X-form stretcher and ending in pad feet, h. 36-1/2”, w. 20”, d. 16-1/4”. [300/500] Illustrated

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189Attractive Edwardian Brass-Mounted Mahogany Mantel Clock, ca. 1903, in the George II style, the triple-face dial silvered, the interior of the rear door with the printed paper label of Garrard, Aberdeen, Scotland, the reverse with an engraved gilt-brass presentation shield dated 31 October 1903, h. 14-1/2”, w. 12-1/2”, d. 8”. [150/300] Illustrated

190Provincial George III-Style Elmwood Armchair, third quarter 19th century, the shaped crest over a vasiform splat, joined to the padded seat by open outscrolled arms, raised on square legs joined by a box stretcher, h. 37-1/2”, w. 23-1/2”, d. 19-1/2”. Provenance: Private collection, Jackson, Mississippi. [100/200]

191George III-Style Mahogany Dining Table, late 19th century, the top with a gadrooned edge and crank opening device to accommodate an additional leaf, raised on large cabriole legs with carved knees and ending in ball-and-claw feet, h. 31”, w. 42”, l. 71”. [700/1000] Illustrated

192Oueen Anne-Style Mahogany Stool, ca. 1900, the oval tapestry-upholstered padded top raised on cabriole legs ending in pad feet, h. 19”, w. 24-1/2”, d. 20”. [300/500]

193Queen 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”. [300/500]

194Suite of Twelve Queen Anne-Style Walnut Dining Chairs, 20th century, consisting of two armchairs and ten sidechairs, each with a shaped crest over a baluster-carved splat above an inset padded seat, raised on cabriole legs, headed by a cartouche-and-acanthine carving, and ending in ball-and-claw feet, upholstered in hunter green leather, h. 38-1/2”, w. 23-1/4”, d. 20”. [3000/5000] Illustrated

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195Early Queen Anne Mahogany Drop-Leaf Table, mid-18th century, the rectangular top with a 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”. [600/900]

196Queen Anne-Style Mahogany Drop-Leaf Table, fourth quarter 18th century, the rectangular top with two drop leaves, raised on tapering circular legs ending in pad feet, h. 27-1/2”, w. 36”, extended l. 44”. [200/400] Illustrated

197Pair of Polished Brass and Wrought-Iron Andirons, first quarter 19th century, in the George III style, each with double-scroll feet, a double log-stop and wrought-iron billets, h. 21”, w. 12”, d. 20”. [300/500] Illustrated

198Five-Piece Group of Fireplace Accessories, consisting of a tall pair of Edwardian brass and wrought-iron andirons in the Georgian style, first quarter 20th century; a pair of brass “cannonball’ andirons of like date; and an attractive late Victorian brass double-rail fireplace fender in the Reform taste, fourth quarter 19th century, h. 7-3/4”, w. 48”, d. 12”; the andirons supported on barbed scroll legs with ball feet, h. 13-1/4” and 18”. [150/300]

199Pair of George III-Style Mahogany Sidechairs, first quarter 20th century, the serpentine-carved crest over a pierced and carved splat, above a padded seat, raised on tapering square legs joined by an H-form stretcher, h. 36-1/2”. [150/300] Illustrated

200George III-Style Mahogany Dining Table, the rounded rectangular top with incised gilt banding, raised on two pedestals, each with a reeded bulbous standard to three splayed and reeded legs ending in brass caps, with one leaf, h. 31-1/2”, w. 40”, l. 58-1/2”, extended l. 77-1/2”. [150/300]

201Large French Bronze-Patinated Brass Figure of “Blind Justice”, in the Belle Epoque style, the figure modeled standing atop a vanquished cobra on a book, holding a downturned sword in one hand and an articulated double-pan scale in the other, h. 33”, w. 20”, d. 15”. [300/500] Illustrated

202After Demetre Chiparus (French, 1886-1947, b. Romania) “La Sirene”, a large double-patinated bronze figure of a seductively robed female figure standing before an ornamental grille decorated with the silhouettes of two standing felines, signed at the reverse “D. Chiparus”, presented on a verde antico marble base of oblong slab form, h. 26”, w. 16”, d. 10-1/2”. [400/700] Illustrated

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203Pair of George III Giltwood Sidechairs, late 18th century and later, in the Sheraton style, each with an annulated canted crest above a garland-draped Prince of Wales-carved splat, flanked to either side by spiral-reeded uprights, the padded seat raised on like reeded legs ending in toupie feet, h. 35-1/2”. [500/800]

204Seven Reference Books on Antique Furniture and Decorative Arts, including William Chaffers, Marks and Monograms on European and Oriental Porcelain and Pottery (14th ed.), Elizabeth Norfolk, ed., Miller’s International Antiques Price Guide (21st ed., 2000), Rachel Field, Macdonald Guide to Buying Antique Furniture, Huon Mallalieu, ed., Illustrated History of Antiques, Paul Atterbury & Lars Tharp. ed., Bullfinch’s Illustrated Encyclopedia of Antiques, and Judith Miller, Miller’s Antique Encyclopedia and A Closer Look at Antiques. [50/80]

205Twelve Reference Books on Antiques and Collectibles, including Thomas Michael and George S. Cuhaj, ed., Collecting World Coins: Circulating Issues, 1901-Present (12th ed., 2008), Richard Holiner, Antique Purses: A History, Identification and Value Guide (rev. 2nd ed., 1987), Alan & Rita Shenton, Collectable Clocks: 1840-1940, Richard O’Brien, Collecting Foreign-Made Toy Soldiers, Robert Bishop, The American Chair: Three Centuries of Style, Geoffrey Godden, Godden’s Guide to European Porcelain, Tim Forrest, Bullfinch Anatomy of Antique China and Silver, Paul Greenhalgh, ed., Art Nouveau: 1890-1914, Robert Koch, Louis C. Tiffany’s Glass, Bronzes and Lamps, Jo Evers, Standard Cut Glass Value Guide, Gene Florence, Elegant Glassware of the Depression Era (rev. 2nd ed., 1985), and Gilvert Bahl, Music Boxes. [50/80]

206Four Reference Books on Fine Art, including Susan Theran, Fine Art Identification and Price Guide (New York: Avon, 1992, 2nd ed.), Gerard Leduc and Joseph D. Ferrara, eds., Huxford’s Fine Art Value Guide, vol. II (Paducah, Kentucky: Collector Books, 1991), Peter Hastings Falk, ed. Who Was Who in American Art (Madison, Connecticut: Sound View Press, 1985), and H. H. Caplan and Bob Creps, Encyclopedia of Artists’ Signatures, Symbols and Monograms (Land O’ Lakes, Florida: Dealer’s Choice Books, 1999). [40/70]

207Large Polychromed and Parcel-Gilt Looking Glass, in the chinoiserie taste, the deep rectangular frame painted in antique red and matte black with gilt highlights, the mirror plate broadly beveled throughout, the reverse with a Decorative Crafts printed paper label, h. 44”, w. 36”. [300/500]

208George 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”. [1200/1800] Illustrated

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209Unusual Midnight Blue-Painted and Japanned Looking Glass, second quarter 20th century, in the early Georgian style, h. 32”, w. 17-1/4”. [300/500]

210Contemporary Mahogany Side Table, in the Chinese Chippendale taste, the rectangular top with a 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”. [200/400]

211Pair of Drexel Heritage Looking Glasses, composed of parcel-gilt black lacquer in the Georgian chinoiserie style, each with a blue printed Drexel Heritage paper label on the reverse, h. 44”, w. 17-1/2”. [100/200]

212George III-Style Mahogany Games Table, first quarter 19th century, the serpentine fold-over top over a conforming frieze, raised on fluted tapering legs and a swing-out support, ending in spade feet, h. 29”, w. 36-1/4”, d. 18”. [400/700] Illustrated

213Good George III Figured Mahogany Tall-Case Clock, ca. 1800, the painted dial labeled Andu Millar, Edinburgh, the lift-off case door flanked by fluted quarter columns, the paneled base raised on bracket feet, h. 83”, w. 18”, d. 8-1/2”. [700/1000] Illustrated

214Pair of Chinese Blue and White Porcelain Covered Vases, of large “temple jar” form in the Ch’ien Lung style, decorated in blue “Carp and Lotus” decor, the domed covers with seated Foo-dog finials, h. 21”, dia. 11-1/2”. [700/1000] Illustrated

215Chinese Export Blue and White Porcelain Punchbowl, fourth quarter 18th century, in “Lakeside Pavilions” decor, one side with an old professional repair, h. 4-3/4”, dia. 11-1/4”. [100/200]

216Four-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”. [50/80]

217Rare Pair of Chinese Export Porcelain Roasted Meats Platters, fourth quarter 18th century, of large elliptical form in “Blue Fitzhugh” pattern, retaining the rare feature of the matching period pierced mazarines, w. 14”, l. 16-3/4”. [1800/2500] Illustrated

218Chinese Blue and White Porcelain Tree Tub, in stylized floral decor in the Ch’ien Lung style, h. 11-1/2”, dia. 14-1/2”. [300/500]

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219Chinese Export Blue and White Porcelain “Nanking” Platter, fourth quarter 18th century, of deep oval form in “Lakeside Pavilions” decor, w. 12-3/8”, l. 14-3/4”. Ex-collection: Alberto Pinto, New York. [600/900]

220George III-Style Mahogany Tilt-Top Center Table, first quarter 20th century, the rectangular top above a baluster-turned standard raised on three cabriole legs ending in scroll feet on casters, h. 28-1/2”, w. 39-1/4”, d. 39-1/4”. [400/700] Illustrated

221George III-Style Mahogany Center Table, the circular string-inlaid satinwood top raised on a turned standard ending in three splayed legs terminating in brass caps on casters, h. 29”, dia. 39-1/2”. [300/500]

222After Joseph Von Stieler (German, 1781-1858), an oval portrait miniature of an 18th-century gentleman with a queue and powdered hair, fourth quarter 19th century, signed lower right “Stieler”, presented in a dished pieced and engraved bone frame with a bronze-patinated brass fillet and convex glazing, h. 3-7/8”, w. 3-3/8”. [300/500] Illustrated

223Oval Portrait Miniature, second quarter 20th century, of the hand-colored photo type depicting a white wimpled heavenward gazing nun, presented in a claret velvet mat within an antique-ivory-enameled wooden shallow shadowbox table frame, h. 5-1/2”, w. 4-3/4”. It has been suggested that the subject is Princess Alice of Battenberg, later Princess Andrew of Greece and Denmark (1885-1969), mother of the English Duke of Edinburgh. [300/500] Illustrated

224German Oval Portrait Miniature, depicting a young bespectacled gentleman, fourth quarter 19th century, presented in a dished pieced and engraved bone rectangular frame with an antique-gilded brass fillet and convex glazing, signed at the right center “Edy”, h. 4-3/4”, w. 4”. It has been suggested that the subject of this portrait miniature is the young Ludwig von Beethoven. [300/500] Illustrated

225German Oval Portrait Miniature, fourth quarter 19th century, depicting a 16th-century veiled and ruffed noblewoman wearing a long gold chain, signed at the right center “LA” conjoined, presented in a dished pieced and engraved bone frame with a bronze-patinated fillet and convex glazing, h. 3-3/4”, w. 3-1/4”. [300/500] Illustrated

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226Fine and Rare Suite of Eight Antique George III-Style Mahogany Dining Chairs, third quarter 19th century, in the manner of Giles Grendey (1693-1780), London, comprised of two armchairs and six sidechairs, each with a serpentine crest over an acanthine- and masque-carved and pierced splat, to the padded seat, over a foliage-carved skirt, raised on cabriole legs headed by lion-head carvings and ending in hairy-paw and ball feet, armchair h. 40-1/2”, w. 28”, d. 26”, sidechair h. 39-1/4”, w. 25”, d. 24”. [35000/50000] Illustrated Color Plate V

227Pair of George III-Style Mahogany Sidechairs, fourth quarter 19th century, each with an acanthine-carved crest over an elaborately interlacing carved and pierced splat, above a padded seat, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 42”. [200/400]

228George 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”. [400/700] Illustrated

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226detail

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229George III-Style Mahogany Dining Table, 20th century, the rectangular top with rounded corners, raised on two pedestals, each with a baluster-turned standard and ending in three splayed reeded legs on casters, with three leaves, h. 30”, w. 42”, l. 64”, extended l. 100”. [400/700]

230Large Pair of English Elaborately Carved Giltwood Looking Glasses, in the style of William Kent (1684-1748), each broken-scroll pediment centered with a large giltwood putto masque backed by “Prince of Wales” feathers, h. 70”, w. 42”. [1000/1500] Illustrated Color Plate XIII

231George III-Style Mahogany Settee, the double chairback surmounted by shaped and earred foliate-carved crests above interlacing pierced splats, joined by outscrolled arms to the padded seat, raised on blind-fret-carved square legs ending in block feet, h. 41-1/2”, w. 43-1/2”, d. 20-1/2”. [500/800]

232George III-Style Mahogany Wing Chair, mid -19th century, the padded back joined to the cushioned seat by like-shaped sides and arms, raised on cabriole legs ending in pad feet, h. 42-1/2”, w. 32”, d. 37”. [200/400] Illustrated

233Suite of Eight Hepplewhite-Style Mahogany Dining Chairs, early 20th century, consisting of two armchairs and six sidechairs, all with a domed crest above a pierced baluster-form splat, the padded seat raised on tapering square legs, h. 38”, w. 19-1/4”, d. 21”. [500/800] Illustrated

234Pair of Chinese Export “Rose Canton” Porcelain Garniture Vases, second quarter 19th century, of paneled, two-handled form in “Mandarins” decor, the “Mandarins” reserves enframed by a green-latticed ground, h. 8-3/4”, w. 4”, d. 3”. [150/300]

235Chinese Export “Rose Mandarin” Porcelain Punchbowl, in the 19th-century style, the exterior with alternating polychromed “Mandarin” and floral/avian reserves in the traditional style, the interior with scattered floral sprays, peaches, pears and butterflies, h. 5-3/4”, dia. 12-1/4”. [100/200]

236Large Japanese Meiji Imari Porcelain Vase, fourth quarter 19th century, of baluster form, now mounted as a table lamp with an gilt-brass cap and base in the Louis XVI style, fitted with a custom gilt cord-detailed “old ivory” fabric shade of drum form, h. 18”, dia. 9-1/2”. [300/500] Illustrated

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237Attractive Chinese Export Porcelain Ale Jug, fourth quarter 18th century, of barrel form with a double foliate-terminal handle, the body with three equidistant rondels circumscribed in green enamel and centered with small floral sprays in parcel-gilt rouge de fer, h. 5”, w. 3-3/4”. [150/300]

238Pair 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”. [150/300]

239Japanese Meiji Imari Porcelain Covered Vase, first quarter 20th century, of “Temple Jar” form, presented on a later oriental mahogany footed stand of the traditional type, h. 21”, dia. 11”. [300/500]

240Japanese Meiji Ribbed Imari Porcelain Vase, fourth quarter 19th century, of baluster form in floral/avian decor, now mounted as a table lamp on an oriental square scroll-footed hardwood base and having a gently flared hexagonal antique-white fabric shade and a spherical cinnabar lacquer finial, h. 12”, dia. 6”. [100/200]

241Suite 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”. [100/200]

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242Suite of Four George III-Style Mahogany Sidechairs, ca. 1900, each with a shaped crest over a pierced and carved splat, above a concave-front padded seat, raised on square legs joined by an H-form stretcher, upholstered in white leather, h. 38-1/2”, seat h. 18-1/2”. [200/400]

243Near Pair of George III-Style Mahogany Planters, third quarter 19th century, each with a lidded kidney-shaped top over a conforming case with a metal liner, one raised on tapering square legs, the other on turned circular legs, ending in toupie feet, h. 17-1/2”, w. 24-1/2”, d. 13”. [300/500] Illustrated

244George III-Style Mahogany Tester Bed, the canopy frame supported by reeded posts adorned with acanthine carving, with a gently arched plank headboard and spade feet, h. 93”, inside w. 69”, l. 61-1/4”, outside w. 90”, l. 82”. [1000/1500] Illustrated

245George III-Style Mahogany Wash Basin Stand, mid-19th century, the top with a recessed cut-out and holes for a basin and bottles, the base fitted with a drawer above a shaped X-form stretcher, h. 32”, w. 12-1/2”, d. 12-1/2”. [100/200]

246Fine Georgian Sterling Silver Circular Salver, 1766, London, makers: Thomas Hannam and John Crouch, with a stylized shell and foliate-scroll edge, the center with a handsomely engraved full coat-of-arms surmounted by a draped floral garland, raised on ball-and-claw feet, dia. 12-1/2”, 30 t. oz. [3000/5000] Illustrated

247Suite of Four Fine Hester Bateman Sterling Silver Salts, 1782, London, of oval form with reticulated ball-and-claw feet, each fitted with a period conforming cobalt blue glass liner, h. 2-1/4”, w. 2-1/2”, l. 3-1/4”, 7.70 total t. oz. [2500/4000]

248Fine and Rare Hester Bateman, London, Sterling Silver Teapot, 1783, of oval form with a carved fruitwood handle and finial, the cover and basal edge with “Small Antique Bead” borders, the facade with a period handsomely engraved full coat-of-arms, h. 5-11/2”, w. 3-1/2”, l. 10”. [2500/4000] Illustrated

249Rare Pair of Hester Bateman Sterling Silver Tablespoons, 1784, London, each with “Bright-Cut” edge”, l. 9”, 4.15 total t. oz. [350/500] Illustrated

250Two-Piece Sterling Silver Serving Group, comprised of a Georgian sterling silver “Antique Bead” stuffing spoon by Mick Romer, London, 1816; and a matching sterling silver long-handled six-tine fork by William Sumner and Richard Crossley, 1823, l. 12”; both pieces with matching engraved armorials, 6.60 total t. oz. [700/1000]

251Rare George III Sterling Silver Asparagus Tong, 1817, London, maker: Robert Peppin, the arch of the tong with an engraved armorial, l. 10-1/4”, 6.85 t. oz. [600/900]

252Good Victorian Sterling Silver “King’s Shell” Sauce Ladle, 1845, London, maker: probably William Kingdon, of oval-bowled form, l. 7-1/2”, 3.05 t. oz. [200/400]

253Victorian Sterling Silver Dish Cross with Alcohol Burner, 1864, London, maker: Henry Holland, in the George III style, h. 4”, w. 9-1/2”, l. 13”, 18.25 t. oz. [1400/1800]

254Pair of Elkington Silverplated Nickel Silver Wall Planters, fourth quarter 19th century, formed of a bisected antique meat cover, the planters crafted second quarter 20th century, h. 11-1/2”, w. 14-1/2”, d. 5-1/2”. [100/200]

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255David Hagerbaumer (American, b. 1921) “Hardwood Slope (Puffed Grouse)”, watercolor on paper, signed and dated lower right “David Hagerbaumer, 1960”, titled in pencil verso, sight 22” x 29-1/2”. Glazed, matted and framed. [1500/2500] Illustrated Color Plate XI and previous page

256David Hagerbaumer (American, b. 1921) “Mallards in Flight”, watercolor on paper, signed and dated lower left “David Hagerbaumer, 1960”, sight 21-1/2” x 19-1/2”. Glazed, matted and framed. [1500/2500] Illustrated Color Plate XI and previous page

257David Hagerbaumer (American, b. 1921) “St. Francis Bookwater (Mallards)”, watercolor on paper, signed and dated lower right “David Hagerbaumer, 1960”, titled in pencil verso, sight 21” x 29-1/2”. Glazed, matted and framed. [1500/2500] Illustrated Color Plate XI

258John Dearman (American/Texas, 20th/21st Century) “Quail Hunting Scene”, watercolor on paper, signed and dated lower right “John Dearman, 1990”, sight 29” x 21-1/2”. Glazed, matted and presented in a molded hardwood frame. [2000/4000] Illustrated

259John Dearman (American/Texas, 20th/21st Century) “Quail Hunting Scene”, watercolor on paper, signed and dated lower right “John Dearman 1995”, sight 21-1/2” x 29”. Glazed, matted and presented in a molded giltwood frame. [2000/4000] Illustrated Color Plate X

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260John Dearman (American/Texas, 20th/21st Century) “Speckled Trout Fishing”, watercolor on paper, signed and dated lower right “John Dearman, 1990”, sight 21-1/2” x 29”. Glazed, matted and presented in a molded hardwood frame. [2000/4000] Illustrated

261John Dearman (American/Texas, 20th/21st Century) “Hunter’s Prairie”, watercolor on paper, signed and dated lower right “John Dearman, 1986”, sight 18” x 26”. Glazed, linen-matted and presented in a molded hardwood and ebonized frame. [1200/1800] Illustrated

262Opulent French Nine-Light Chandelier, of cage form in the Bagues, Paris, style, composed of gilded wrought-iron dressed with rock crystal and green quartz pendalogues in four sizes, emerald green and colorless glass flowerheads, and peridot and colorless glass fleurettes, electrified, modeled as eight outer lights enframing a center light and fitted with buff faux-wax candles, h. 33”, dia. 32”. [5000/8000] Illustrated Color Plate VI

263Group of Two Continental Porcelain Groups, consisting of a good, large group of “The Concert of Orpheus”, third quarter 19th century, in the 18th-century style, unmarked; and a good Royal Copenhagen “Infant Pan” porcelain figure, second quarter 20th century, fully signed and numbered on the base; the largest h. 12-1/2”, w. 7”, d. 3-3/4”. [100/200]

264Opulent Three-Piece Napoleon III Bronze Mantel Garniture, third quarter 19th century, gilded and patinated in the Louis XV style, comprised of a mantel clock on base with a gilded circular dial set with enamel chapters with blue Roman numerals, the glass dial cover convex, h. 28”, w. 21”, d. 10”, along with a tall pair of stepped six-light flat-back candelabra, each with flammiform cassolette central finial, h. 32-1/4”, w. 14”, d. 12”, the clock case with a pair of patinated bronze Bacchic putti at the center of the base and another at the apex, the candelabra each upheld by a patinated bronze putto. Ex-collection: Ann Sothern (1909-2001), noted Hollywood actress. [4000/7000] Illustrated Color Plate VII

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265Robert Persch (Mildeneichen; Active 1869-ca.1907), a hand-painted porcelain plaque of “The Laughing Cavalier”, fourth quarter 19th century, after Frans Hals (Dutch, 1580/85-1666), signed on the reverse in black stencil, presented in an antique-gilded carved wood frame in the Regency style, h. 13-1/2”, w. 11-1/4”. [250/400] Illustrated

266Robert Persch (Mildeneichen; Active 1869-ca.1907), a hand-painted porcelain plaque of “The Honorable Mrs. Thomas Graham”, fourth quarter 19th century, after Thomas Gainsborough (English, 1727-1788), signed on the reverse in black stencil, presented in an antique-gilded carved wood frame in the Regency style, h. 13-1/2”, w. 11-1/4”. [250/400] Illustrated

267Louis XV-Style Carved Fruitwood Easel, ca. 1900, the elaborate crest depicting a bird in flight with flowers and carved scrolls, the trestle base with pierce-carved aprons and raised on carved paw feet, h. 91”, w. 23”, d. 6”. [2500/4000] Illustrated

268Louis XV-Style Cast-Iron and Marble-Top Center Table, the circular variegated cream marble top with a molded edge over a pierced frieze, raised on cabriole legs joined by an X-form stretcher centered by a finial, h. 30-1/2”, dia. 33-3/4”. [200/400]

269Suite of Four Wrought-Iron Garden Fence Panels, first quarter 20th century, each composed of scrolling elements, h. 57-3/4”, w. 39”. [200/400]

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270Louis XV-Style Gilt-Brass-Mounted Parquetry Tiered Occasional Table, first quarter 20th century, the brass-banded turtle-form top joined to the like lower shelf by ram-molded gilt-brass supports, raised on tapering square legs ending in brass caps, h. 37-1/2”, w. 27-1/2”, d. 22”. [200/400] Illustrated

271Pair of French Brass “Foliate Scroll” Chenets, second quarter 20th century, of tall size in the Louis XV style, the wrought-iron billets lacking, h. 20-1/2”, w. 11-1/2”, d. 4”. [200/400]

272Louis XV-Style Polychromed and Parcel-Gilt Looking Glass, first quarter 20th century, the shaped plate surrounded by a conforming cartouche and acanthine-molded slip within a rectangular creme-peinte frame surmounted by a gadroon-molded crest, h. 53-1/4”, w. 41-1/2”. [200/400]

273Large Antiqued Brass Five-Light Sconce, first quarter 20th century, in the style of Robert Adam (English, 1728-1792), electrified and fitted with tall antique-white faux candles, h. 24”, w. 20”, d. 20”. [150/300]

274Louis XV-Style Kingwood, Marquetry and Marble-Top Bombe Commode, second quarter 20th century, the serpentine top inset with a variegated salmon marble top, above a conforming case fitted with two long brass-banded drawers, with an elaborate floral inlay, over a carved skirt, raised on sabre legs headed by figural bronze mounts and ending in like-capped feet, h. 35-1/2”, w. 37”, d. 15”. [600/900] Illustrated

275Louis XV-Style Mahogany Bergere, fourth quarter 19th century, the acanthine-carved crest centered by a cartouche carving, above a conforming padded back, joined to the cushioned seat by like sides and outscrolled arms, over a serpentine-carved skirt, raised on cabriole legs ending in scrolled toes, h. 46”, w. 27”, d. 26”. [300/500]

276Louis XV-Style Walnut Fauteuil a la Reine, fourth quarter 19th century, the shaped, acanthine-carved crest over a conforming caned back, joined to the cushioned seat by open, carved arms, over a serpentine skirt, raised on cabriole legs joined by an X-form stretcher and ending in scrolled toes, h. 51”, w. 26-1/2”, d. 23”. [300/500]

277Louis XV-Style Gilt-Brass-Mounted Burlwood and Elmwood Poudreuse, fourth quarter 19th century, the shaped and banded tripartite top hinged and opening to reveal a variety of cubbyholes and a central mirrored panel, above a frieze drawer, raised on cabriole legs ending in sabots, h. 29”, w. 22”, d. 15-1/2”. [500/800] Illustrated

278Louis XV-Style Mahogany and Marquetry Bureau, fourth quarter 19th century, the galleried top over a case fitted with a slant front, shaped door inset with a floral-inlaid panel, opening to reveal a writing surface, a slide-out secret cubby and a variety of drawers, above a serpentine, like-inlaid apron, raised on cabriole legs headed by gilt-brass mounts and ending in like feet, h. 36”, w. 26”, d. 17”. [400/700] Illustrated

279French Kingwood and Marquetry Occasional Table, fourth quarter 19th century, in the transitional Louis XV into Louis XVI style, the shaped, quarter-veneered, banded and foliate-inlaid top above a frieze fitted with a like-inlaid drawer, raised on cabriole legs, headed by gilt-brass acanthine mounts, joined by a shelf-stretcher and ending in sabre feet, h. 25”, w. 17-1/2”, d. 12”. [125/250]

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280Pair of Provincial Louis XV-Style Fruitwood Fauteuils a la Reine, fourth quarter 20th century, by Hickory White, each with a slightly domed floral-carved crest above a conforming padded back, joined to the cushioned seat by open arms, over a serpentine-carved skirt, raised on cabriole legs headed by floral carving and ending in scrolled toes on pegs, h. 41”, w. 31”, d. 25”. [500/800] Illustrated

281Suite of Six Louis XV-Style Fruitwood Dining Chairs, fourth quarter 19th century, consisting of two armchairs and four sidechairs, each with a shaped crest centered by a floral-bouquet carving above a caned back, with a serpentine padded seat, and a floral-carved skirt, raised on cabriole legs ending in scrolled toes, h. 43”, w. 20”, d. 18-1/2”. [700/1000] Illustrated

282Louis 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”. [800/1200] Illustrated

283Monumental Cast- and Wrought-Iron Garden Fence Panel, of rectangular, elaborately pierced and molded form, h. 126”, w. 42”. [300/500]

284Suite of Three Painted Wrought-Iron Fence Panels, first quarter 20th century, composed of serpentine and circular elements, with rosette-molded mounts, the paint generally weathered, the largest h. 85-1/2”, w. 39”. [75/125]

285Two Painted Wrought-Iron Garden Fence Panels, of stylized geometric form, the tallest h. 47-3/4”, w. 31-3/4”. [30/50]

286Persian Mahal Runner, 3’ 5” x 9’ 9”. [200/400]

287Agra Serapi Carpet, 6’ x 9’. [700/1000]

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288Semi-Antique Persian Heriz Carpet, 8’ 11” x 11’ 5”. [1000/1500] Illustrated

289Jaipur Runner, 2’ 6” x 11’ 4”. [200/400]

290Jaipur Runner, 2’ 4” x 9’ 10”. [150/300]

291Indo-Jaipur Carpet, 9’ 9” x 14’ 3”. [500/800]

292Persian Hamadan Runner, 4’ 8” x 12’ 9”. [300/500]

293Peshawar Zeiglar Mahal Carpet, 9’ x 11’ 10”. [2500/4000] Illustrated

294Two Bidjar Runners, 1’ 11” x 6’ 7” and 1’ 9” x 7’ 11”. [150/300]

295Turkoman Carpet, 5’ x 6’ 4”. [150/300]

296Agra Serapi Carpet, 9’ 2” x 11’ 10”. [1400/1800] Illustrated

297Karaja Runner, 2’ 1” x 6’ 11”. [75/1250]

298Bhadohi Jaipur Carpet, 4’ 1” x 6’. [150/300]

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299Chinese Carpet, 8’ x 10’. [400/700] Illustrated

300Persian Mahal Carpet, 4’ 5” x 7’ 1”. [200/400]

301Two Chinese Carpets, the first a rug, 1’ 11” x 3’ 6”, and the second a runner, 2’ 1” x 8’. [100/200]

302Persian Tabriz Carpet, 9’ 7” x 12’ 10”. [700/1000] Illustrated

303Tabriz Carpet, 4’ 10” x 6’ 4”. [300/500]

304Tabriz Carpet, 4’ 11” x 6’ 6”. [250/400]

305Bakhtiari Persian Carpet, 7’ 10” x 10’ 5”. [300/500]

306Turkish Oushak Carpet, 8’ 4” x 9’ 10”. [1000/1500] Illustrated

307French Art Deco Patinated Bronze Tabletop Sculpture, second quarter 20th century, modeled as a crested long-tailed bird perched on a natural gray stone boulder, h. 9”, w. 6”, d. 4”. [50/80]

308After Demetre Chiparus (Rumanian, 1888-1950; Worked in Paris) “Pluto Abducting Proserpine in the Presence of Cerberus”, a complex patinated bronze group and early Chiparus model, signed at the rear edge of the plinth “Chiparus” in script, presented on a square “Grand Antique” marble base of block form, h. 14-3/4”, w. 6-1/4”, d. 6-1/4”. [400/700] Illustrated

309Eugene Marioton (French, 1854-1933) “The Embrace”, a black-patinated bronze tabletop group on a circular disc base of polished black slate, first quarter 20th century, signed on the base, proper right, “E. Marioton”, h. 11”, dia. 5-1/2”. [400/700] Illustrated

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310Pair of Barcelona-Style Leather and Chrome Lounge Chairs, manufactured after a design by Ludwig Mies (Van der Rohe), first introduced in 1929, with black welted leather back and seat, on a chrome stainless steel flat bar X-form frame with black straps, unlabeled, h. 28”, w. 30”, d. 33-1/2”. [1000/1500] Illustrated

311Pair of Barcelona-Style Leather and Chrome Lounge Chairs, manufactured after a design by Ludwig Mies (Van der Rohe), first introduced in 1929, with black welted leather back and seat, on a chrome stainless steel flat bar X-form frame with black straps, unlabeled, h. 28”, w. 30”, d. 33-1/2”. [1000/1500]

312Pair of Barcelona-Style Leather and Chrome Lounge Chairs, manufactured after a design by Ludwig Mies (Van der Rohe), first introduced in 1929, with black welted leather back and seat, on a chrome stainless steel flat bar X-form frame with black straps, unlabeled, h. 28”, w. 30”, d. 33-1/2”. [1000/1500]

313Contemporary Blonde Wood and Steel Inlaid Banquet Table, the rectangular top with two geometric inlays, raised on tapering square legs, h. 28-3/4”, w. 95-1/2”, d. 59-1/2”. Provenance: Private collection, Jackson, Mississippi. [1000/1500]

314Pair of Turkish Silver-Inlaid Brass Long-Neck Vases, fourth quarter 19th century, of inverted pyriform with multiple relief tracery reserves, now mounted as table lamps on brass bases of flat disc form, h. 20-1/2”, dia. 8”. [1000/1500] Illustrated

315Modern Silvered Wood Looking Glass, of rectangular form within a conforming molded frame, h. 34-1/2”, w. 42-1/2”. Provenance: Private collection, Jackson, Mississippi. [50/80]

316Group of Four Leaded Glass Windows, first quarter 20th century, consisting of a pair of English Art Deco pebbled amber and blue leaded glass rectangular windows, h. 18”, w. 22”; and a near-square pair featuring stylized swags of amber, sky blue and cobalt leaded glass, h. 19-1/8”, w. 20”; all four examples in the period painted wood frames and fitted with later metal suspension eye-screws. [100/200]

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317Domed Leaded Glass Parlor Lamp, in the Art Nouveau style, the russet-patinated base of stylized tree trunk form, the dramatic domed leaded glass shade set with scarlet glass caladium leaves with slag glass panels above, h. 23-1/2”, dia. 18”. [100/200]

318Daum, Nancy, Free-Form Ribbed Crystal Vase, third quarter 20th century, the basal edge signed in diamond stylus script “Daum Cross of Lorraine France”, of good weight, h. 8-1/4”, dia. 8-1/2”. [100/200] Illustrated

319Good Steuben Crystal “Trillium Bowl, 9089”, designed by Donald Pollard in 1958, signed on the center of the foot in diamond stylus script “Steuben”, h. 4-3/4”, dia. 10”. [700/1000] Illustrated

320Good Early Steuben Crystal “Flower Vase 7913”, designed by George Thompson in 1942, the base signed in diamond stylus script “Steuben” at the center, h. 8-1/2”, dia. 5”. Many Steuben collectors regard “Flower Vase 7913” as one of the best of Thompson’s many designs for Steuben from 1937 to 1977. [300/500] Illustrated

321Good Twenty-Four-Piece Group of Waterford Cut Glass Stemware, for eight persons, in the “Lismore” pattern, comprised of eight red wine/iced water goblets, eight white wine goblets and eight dessert wine goblets, each piece with the Waterford acid-stamp on the underside of the circular foot, the largest, h. 7”, dia. 3”. [150/300]

322Pair of Contemporary Rosewood Occasional Tables, of Asian inspiration, each with a square top over a recessed frieze, raised on square legs ending in carved feet, h. 22-1/4”, w. 24”, d. 24”. [200/400]

323Contemporary Ash and Marble-Top Coffee Table, of Renaissance inspiration, the rectangular variegated black marble top above a modified Greek-key-carved frieze, raised on two paneled columnar pedestals to a banded plinth base, h. 15”, w. 72”, d. 21”. [100/200]

324Pair of Contemporary Club Chairs, of Art Deco inspiration, each with a rectangular back, joined to the cushioned seat by the like arms, raised on tapering square legs, upholstered in gathered straw chenille with chocolate leather trim, h. 35”, w. 31”, d. 39”. [300/500] Illustrated

325Pair of Contemporary Club Chairs, of Art Deco inspiration, each with a rectangular back, joined to the cushioned seat by like arms, raised on tapering square legs, upholstered in gathered straw-colored chenille with chocolate brown leather trim, h. 35”, w. 31”, d. 39”. [300/500]

326Contemporary Ottoman, of Art Deco Inspiration, the rectangular padded seat over a like skirt, raised on tapering square legs, upholstered in gathered straw-colored chenille with a chocolate leather trim, h. 17”, w. 24-1/2”, d. 21”. [200/400]

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327Modern Basket-Weave Oversized Ottoman, of circular form, raised on turned and tapering legs, h. 19”, dia. 42”. [200/400] Illustrated

328Modern Bamboo Armchair, the arched back joined to the padded seat by open arms, raised on circular legs joined by a X-form stretcher, h. 34”, w. 23”, d. 17”. [40/70]

329Contemporary Tiger Maple-Veneer and Stainless Steel Desk, the top fitted with a Lazy Susan for a computer monitor and the underside with a built-in storage cabinet with hinged door for the hard drive, raised on tapered tubular steel legs, h. 30”, w. 63”, d. 33”. Provenance: Private collection, Jackson, Mississippi. [250/400]

330Contemporary Blonde Wood and Ebony Coffee Table, the rectangular top joined to a diamond-shaped shelf stretcher by curved supports, h. 15-1/2”, w. 52-1/2”, d. 38”. Provenance: Private collection, Jackson, Mississippi. [300/500]

331Large 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”. [300/500]

332Circle of Jean Despujols (French, 1886-1965), a patinated bronze tabletop portrait head of “Nguon”, a Vietnamese woman, second quarter 20th century, signed to the left of the chignon in calligraphy “V-N”, presented on a satin black-patinated block base, h. 10-1/2”, w. 4-1/2”, d. 5-1/2”. [200/400]

333Victor Salmones (Mexican, 1937-1989), an attractive verigris-patinated bronze “Maternite” group depicting a young mother bent over the infant cradled on her proper right arm, signed at the lower proper right rear “Victor Salmones”, presented on a rectangular polished “Grand Antique” marble slab base, h. 13-1/4”, w. 12”, d. 9”. [800/1200] Illustrated Color Plate XV

334Large Quarter-Cut and Polished Quartz Specimen Bookend, the outer band exhibiting rich violet color, h. 5-1/4”, w. 4”. [50/80]

335Contemporary Bamboo and Glass-Top Coffee Table, the circular top raised on splayed bamboo legs joined by a shelf-stretcher, h. 20”, dia. 23-3/4”. [50/80]

336Contemporary Bamboo and Jute Side Table, the circular glass top above a bamboo and jute columnar pedestal, h. 17-1/4”, dia. 20”. [50/80]

337Contemporary Life-Sized Cast Bronze Sculpture of a Bear, h. 34”, w. 59-1/2”, d. 18-1/2”. [1500/2500] Illustrated

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338Pair of Art Deco-Style Cast and Wrought-Iron Garden Planters, each of rectangular form with curved ends and fanning scroll sides, the top fitted with five circular planter holders, h. 24-1/2”, w. 59-1/4”, d. 12-1/2”. [100/200]

339Suite of Five Cast-Iron Garden Fence Panels, of rectangular, pierced interlocking diamond form, h. 95”, w. 42”. [300/500]

340Cast and Wrought-Iron Garden Gate, first quarter 20th century, the domed, scrolled fan-form transom over a lower pierced panel, h. 110”, w. 46”. [200/400]

341Franz Josef Kline (American, 1910-1962) “Abstract Untitled”, charcoal signed lower right “Kline”, signed in ink en verso, sheet size 19-1/2” x 23-1/2”. Provenance: Acquired by the present owner in 1992, from a private Swiss collector who purchased it directly from the artist in 1957. Born in Wilkes-Barre, Pennsylvania, Franz Kline became one of the most prominent 20th-century American abstract and non-objective artists. His name is most associated with large-scale black and white paintings, and these linear abstractions brought him his first notable public attention in 1950 when they were shown in New York City. [45000/80000] Illustrated Color Plate XV

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342Joan Mitchell (American, 1926-1992) “Abstract Untitled”, chromolithograph, signed, dated and numbered in pencil lower right “19/25, Joan Mitchell, 1992”, overall sight 33-1/4” x 22-1/2”. Glazed, matted and presented in a blonde wood frame. [2000/4000] Illustrated

343Pablo Picasso (Spanish, 1881-1973) “Faunes et Chevre”, linocut in colors, signed in pencil lower right, sheet size 12-1/2” x 15”. Glazed and framed. [300/500]

344British School (Contemporary) “Untitled”, black and white etching, numbered in pencil lower left “1/1”, signed and dated in pencil lower right “Halpin, 1982”, sheet size 20” x 30”. Glazed, matted and framed. [200/400]

345Salvador Dali (Spanish, 1904-1989) “The Centaur”, woodblock engraving, signed lower right, numbered lower left “26/150”, verso affixed with authentication label from “The Collector’s Guild, Ltd.”, sight 12-1/4” x 8-3/4”. Glazed, matted and framed. [500/800] Illustrated

346American School (First Quarter 20th Century) “Great Eastern”, gouache on board, signed and dated lower right “RoKing, 1925”, verso signed “Raymond King” and titled, 7-1/2” x 9-1/2”. Glazed and presented in a Beaux Arts giltwood and gesso frame. [150/300]

347George Segal (American, 1924-2000) “Woman Stretching”, color silkscreen, artist proof, signed and dated “1970” lower right, sight 31-3/4” x 23”. Glazed and presented in a contemporary metal frame. [200/400]

348Lois Fine (American, b. 1931) “The Triumph of Evil”, lithograph, pencil signed and dated lower right “Lois Fine, 1967”, titled in pencil lower center and numbered lower left “1/50”, sight 37” x 19”. Glazed, matted and framed. [75/125]

349American School (20th Century) “Architectural Elevation”, hand-colored lithograph, sight 20” x 15”. Glazed and presented in a giltwood frame. [40/70]

350Neil Welliver (American, 1929-2005) “The Maine Coast, Near Camden”, gouache on paper, unsigned, sight 14-1/2” x 19-1/2”. Glazed, matted and framed. Provenance: Purchased directly from the artist by the consignor. [400/700]

351Nat Lewis (American, 20th Century) “Kitchen Still Life with Popcorn and Lemons”, watercolor on paper, signed lower right, sight 13-1/4” x 20”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [100/200]

352LeRoy Neiman (American, b. 1921) “Beachside Cafe”, color silkscreen, pencil signed lower right, numbered lower left “175/375”, sight 30” x 37”. Glazed, attractively double-matted and presented in a rope-molded silvered frame. [600/900]

353Ralph Sweet (American/California, 1892-1961) “Street Flower Vendor”, watercolor on paper, initialed lower right, sight 20-1/2” x 27-1/2”. Glazed, matted and framed [75/125]

354French School (Mid-20th Century) “Paris, Les Bouquinistes”, watercolor on paper, signed illegibly and dated “52” lower right, titled in pencil lower right margins, sight 5-3/4” x 8”. Glazed, matted and framed. [75/125]

355Fine Pair of Napoleon III Terra Cotta Garniture Vases, third quarter 19th century, each of two-handled pyriform in the Neo-Grec style and composed of glazed and unglazed terra cotta, the facade of one vase with a vignette of a Roman emperor and attendants, the other with a similar vignette of a Roman empress and her attendants, now mounted as table lamps, h. 30” to top of finial, dia. 6-3/4”. [700/1000] Illustrated

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356Good Pair of French Gilt-Brass and Carrara Marble Garniture Coupes, fourth quarter 19th century, of two-handled form in the Neo-Grec style, with bas-relief medallion centers, each coupe surmounting a Carrara marble columnar pedestal base, h. 8-3/4”, w. 8”, dia. 6”. [100/200]

357Good French Panel-Cut Glass Garniture Vase, third quarter 19th century, in parcel-gilt white-over-emerald overlay glass with a lambrequin pattern at the shoulder, h. 10”, dia. 4-1/2”. [75/125]

358After Clement-Edouard Rousseau (French, 1872-1921) “Le Travail”, a bronze-patinated spelter figure allegorical of Labor, in the form of a well-muscled blacksmith at the anvil, signed at the rear upper surface of the base “Rousseau”, conjoined, the base fitted with an engraved brass title plaque, h. 32”, dia. 10-1/2”. [300/500] Illustrated previous page

359Isidore-Jules Bonheur (French, 1827-1901), a patinated bronze equestrian group of a uniformed French officer and his mount, fourth quarter 19th century, signed “I. bonheur” at one end of the elliptical faux-turf base and with the Peyrol foundry mark, h. 16-1/2”, w. 15”, d. 4-1/2”. [3500/5000] Illustrated

360Pair of Belle Epoque Bronze-Patinated Cast-Iron Bookends, fourth quarter 19th century, with bas-relief decoration of “The Angelus” in the manner of Jean-Francois Millet (French, 1814-1875), h. 5”, w. 5”, d. 2-1/4”. [100/200]

361R. St. Yves (French, fl. ca. 1865-1925), a verdigris- and brown-patinated bronze inkstand of a tiger drinking at a sylvan pool, first quarter 20th century, the right side fitted with a covered inkwell modeled as a flat rocky outcrop (the glass or ceramic liner lacking), the tiger patinated in brown, signed in script at the right facade “R. St. Yves”, h. 4”, w. 12”, d. 8”. [400/700] Illustrated

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362Good Pair of Napoleon III Vasiform Five-Light Candelabra, third quarter 19th century, composed of patinated and parcel-gilt bronze in the Neo-Grec style, the vasiform bodies decorated with bas-relief friezes of classical female dancers, the candlearms with draped metal chains terminating in gilt-bronze spheres, presented on gilt- and patinated bronze-mounted polished black slate bases above gilt-bronze disc feet, h. 28”, dia. 12”. Provenance: Beechwood Mansion, The Estate of William Astor, Newport, Rhode Island. [500/800] Illustrated

363Good Napoleon III Gilt-Brass Jewel Casket, third quarter 19th century, fitted with black slate and eight small pietra dure rondels of avian and floral subjects, the interior partially lined in marbled Florentine papers, h. 4-1/2”, w. 8-1/4”, d. 4”. [400/700] Illustrated

364French Neoclassical-Style Oblong Mantel Clock, fourth quarter 19th century, composed of fluted rose marble and parcel-gilt incise-carved black slate, the circular dial of white enamel with black chapters and enframed in embossed gilt-brass, with a beveled glass cover, h. 10”, w. 14-1/4”, d. 6”. [125/250]

365Attractive French Burlwood, Marquetry and Beveled Glass Cave-a-Liqueurs, fourth quarter 19th century, the interior fitted with gilt-brass racks for four liqueur decanters (one lacking) and fourteen liqueur goblets, the decanters and goblets acid-transfer plate-etched and having gilt banding, retains the period steel key, h. 11-1/4”, w. 13-3/4”, d. 10-1/2”. [400/700]

366Attractive French Gilt-Brass and Filigree-Work Devotional Frame, first quarter 20th century, of lancet-arch form, with a filigree crest and flanked by a pair of filigree fleur-de-lys staffs, presented with a period French hand-colored lithograph of “Christ In Benediction” within a tiered rose fonce velvet mat and glazed, h. 7-3/4”, w. 7-1/4”. [300/500]

367Napoleon III Black Enameled, Polychromed and Parcel-Gilt Lead Humidor, third quarter 19th century, of hexagonal form in the Renaissance taste, the conforming lead cover with a patinated bronze finial of the standing Emperor Napoleon I in military garb, h. 7”, w. 4-1/2”. [125/250]

368Napoleon III Ebonized and Boulle Vitrine, third quarter 19th century, the case fitted with a boulle-work frieze above two doors, each inset with a glazed panel over a boulle panel, flanked to each side by like-paneled uprights headed by an ormolu shield, raised on ormolu-banded toupie feet, the whole accented with ormolu mounts and millwork, h. 67-1/2”, w. 38-1/4”, d. 16”. [600/900] Illustrated

369Napoleon III Kingwood and Marquetry Tilt-Top Tripod Table, fourth quarter 19th century, the turtle-shaped top with interlacing foliate inlay, centered by monogrammed brass plaques within an armorial design, raised on a pierced standard ending in three cabriole legs with gilt-brass mounts, h. 28”, w. 22”, d. 15”. [75/125]

370Napoleon III Faux-Bamboo Stool, fourth quarter 19th century, the square needlepoint-upholstered padded top raided on slightly splayed faux-bamboo legs joined by a like X-form stretcher centered by a turned finial, h. 18”, w. 14-1/4”, d. 14-1/4”. [125/250]

371Napoleon III Gilt-Bronze and Black Slate Tazza, the bronze standard modeled as a trio of standing putti, their upraised arms supporting the polished black slate bowl centered with a bronze plaque of a classical hymeneal altar scene and fitted with a pair of bronze foliate-scroll handles, h. 12-3/4”, w. 15”, dia. 12-3/4”. [800/1200] Illustrated

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372Good Fourteen-Piece Limoges Porcelain Pots-de-Creme Set, first quarter 20th century, consisting of two rounded rectangular trays and twelve covered pots-de-creme en suite, all in “Floral Garlands” decor in the Louis XVI style, pot h. 3-3/4”, dia. 2”, tray w. 8-3/4”, d. 6-1/4”. [100/200]

373Pair of Napoleon III Gilt-Bronze Five-Light Candelabra, third quarter 19th century, in the Neo-Grec taste, raised on paw feet, h. 21”, dia. 11”. [600/900] Illustrated

374French 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”. [100/200]

375French Gilt-Brass-Mounted Flute-Cut Glass Table Box, first quarter 20th century, in the St Louis style, the lid centered with a relief-gilded “galants” reserve, the whole supported on gilt-brass paw feet, h. 6”, w. 7-1/2”, d. 5-3/4”. [600/900] Illustrated

376French Gilt-Brass-Mounted Pressed-Cut Glass Table Box, fourth quarter 19th century, in “Cane” decor, h. 4”, w. 7”, d. 4-1/2”. [500/800] Illustrated

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377Pair of Belle Epoque Tiered Five-Light Appliques, first quarter 20th century, composed of polished brass in the Louis XVI taste, each of the downturned candlearms fitted with a satin glass shade of rose bloom form, the backplates pendant from a bowknotted and looped laurel-leaf garland of brass, electrified, h. 38”, w. 14”, d. 11”. [600/900] Illustrated

378French Ormolu-Mounted Mahogany Vitrine, early 20th century, in the transitional Louis XV into Louis XVI taste, the rectangular top with a three-quarter pierced brass gallery and projecting center section above a conforming case fitted with a central frieze drawer over three doors, all inset with glazed beveled panels, raised on cabriole legs ending in sabots, the whole accented with ormolu mounts and millwork, with one conforming glass shelf, h 49”, w. 50-1/2”, d. 17”. [3500/5000] Illustrated Color Plate VII

379Louis XV-Style Mahogany Console Table, fourth quarter 19th century, the serpentine marble top over a conforming foliate-carved frieze, raised on cabriole legs headed by acanthine carving and ending in scrolled toes, h. 31”, w. 40”, d. 18-1/4”. [600/900] Illustrated

380Pair of French Six-Light Candelabra, fourth quarter 19th century, composed of gilt-brass-mounted gray Turquin marble in the Neo-Grec taste, the central elements mounted with gilded ringed lion masques, h. 21”, w. 12”, d. 9”. [400/700] Illustrated

381Napoleon III Mahogany and Parquetry Commode, third quarter 19th century, the inset rectangular variegated green marble top over a frieze drawer, flanked by patera-formed gilt-brass mounts, above a recessed case fitted with three long drawers, flanked by fluted columnar supports, over a laurel leaf-carved skirt, raised on fluted tapering circular legs ending in toupie feet, h. 44-1/4”, w. 49”, d. 22-1/2”. [2000/4000] Illustrated

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382Napoleon III Walnut and Marble-Top Dresser, fourth quarter 19th century, the tripartite beveled mirror with a serpentine-molded frame above a variegated rouge marble top over a case fitted with two short over three long drawers, raised on cabriole legs headed by foliate carving and ending in scrolled toes, h. 73-1/2”, w. 49”, d. 22”. [800/1200] Illustrated

383Opulent Four-Piece French Gilt-Brass Dressing Table Set, comprised of an oval perfume bottle tray with mirrored glass center, a long-handled hand mirror, a large brass-mounted beveled glass scent bottle, and a matching brass-mounted beveled glass footed jewel casket with a tufted peach velvet interior, the largest w. 15”, d. 8-1/2”. [100/200]

384Set 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”. [75/125]

385Two Charles Ahrenfeldt, Limoges, Porcelain Sweetmeat Servers, first quarter 20th century, consisting of a center-handled triple-compartment example in the chinoiserie taste; and a similar double-compartment server in “Flowering Tree” decor; the largest h. 4”, w. 12”, l. 11-1/2”. [100/200]

386Attractive French Faience Tray, second quarter 20th century, of circular, two-handled form in the 18th-century Rouen style, the foot-ring pierced at the upper edge to accommodate a suspension wire, the reverse fully marked in underglaze black, w. 12-1/2”, dia. 11”. [75/125]

387Attractive 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]

388Three Piece Group of Paris Porcelain White and Gold Vases,a richly gilded and paleled vase in Summer flowers decor, together with a pair of of oval and footed form, with polychromed facade reserves of summer flowers, the pair: h. 6-1/2”, w. 6-3/4”. the single vase: h 9 1/2”, w. 9 [200/400]

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389Fine and Rare Emile Galle Blue and White Pottery Encrier, modeled as an armorial lion flanked by a knight’s helmet and a crenellated tower as ink bottle wells, all surmounting a serpentine-edged integral pens tray, the base with the stylized GTE mark in underglaze black, restorations, h. 7-1/2”, w. 13-1/2”, d. 10-1/2”. [400/700] Illustrated

390Paris Porcelain Double Foliate Scroll-Handled Pitcher, third quarter 19th century, in “Summer Flowers” decor, with old professional repairs, now slightly discolored, h. 8”. [200/400]

391Group of Two Porcelain Figural Garniture Groups, first quarter 20th century, comprised of a Reus, Spain, polychromed and parcel-gilt figure of a Russian muzhik in holiday attire, h. 10”; and a similar group of a courting rural couple, h. 11”; both figures signed on the bases. [600/900] Illustrated

392Fine, Large and Rare Pair of Paris Porcelain Figural Cologne Bottles, third quarter 19th century, one depicting “Jeanne d’Arc”, fitted with a diminutive wrought-iron sword and the other “Jeanne Hachette”, depicted with an integral porcelain battle axe, both bases titled in period gold script, h. 11-1/2”. [500/800] Illustrated

393Napoleon III Tole-Peinte and Mother-of-Pearl- Inlaid Bed, fourth quarter 19th century, the serpentine parcel-gilt headboard with faux-satinwood banding, surmounted by a crest centered by a cartouche-formed gilt-brass mount and flanked by ball finials, joined to the like footboard by a metal frame, raised on baluster-formed legs ending in plinth feet, h. 69”, w. 36-1/2”, l. 80-1/2”, inside w. 32”, l. 76”. [200/400]

394Napoleon III Ebonized and Marble-Top Pier Mirror Base, fourth quarter 19th century, the white marble deck resting on a rectangular base with large turned and carved standards, h. 18”, w. 35”, d. 10-1/2”. [200/400]

395Napoleon III Ebonized, Parquetry and Marquetry Tiered Occasional Table, fourth quarter 19th century, the brass-bound shaped top with scrolling foliate inlays and brass finials, joined to the two like lower shelves by circular supports, raised on cabriole legs, h. 30-1/2”, w. 16”, d. 12”. [100/200]

396Napoleon III Ebonized Vitrine, third quarter 19th century, the upper case with a serpentine acanthine-carved crest over a conforming glazed door and two short serpentine shelves, above a lower case with a rectangular serpentine top over a conforming foliate-carved frieze drawer, and an incised and ribbon-carved central long door flanked on both sides by two open shelves, joined by deeply carved, serpentine supports raised on cabriole legs and ending in scrolled toes on pegs, h. 82”, w. 39-1/2”, d. 19-1/4”. [1500/2500] Illustrated

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397First Edition Two-Volume Set of Thomas E. Watson’s The Story of France, The MacMillan Company, New York and London, 1909, both volumes in gold-stamped crimson cloth bindings and in generally good condition, h. 8-1/2”, w. 6”, d. 2”. [30/50]

398Comprehensive Fourteen-Volume Collection of Napoleonic Subjects, including J. C. Herold’s The Age of Napoleon, 1963; D. Stacton’s The Bonapartes, 1966; E. P. de Lorme’s Josephine Napoleon’s Incomparable Empress, 2002; and eleven other significant works on the subject, h. 12-1/2”, w. 9-1/2”, d. 1-1/2”. [100/200]

399Interesting Eighteen-Volume Collection of Art Books, including Parissien’s Palladian Style, 1994; J. D. Draper and G. Scherf’s Augustin Pajou, Royal Sculptor, 1997; Taschen’s Sculpture from the Renaissance to the Present Day, 1999; and M. F. Foley’s The American House, 1980 and; fourteen other tomes, the largest h. 13-1/2”, w. 10-1/4”, d. 2”. [100/200]

400Emmanuel Benezit (1854-1920), Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Paris: Librairie Gruend, 1976, the third edition, number 47670, complete in ten volumes, octavo, with blue buckram boards with gilt lettering, 9-3/4” x 6-1/2”. [50/80]

401James Abbott McNeill Whistler (American, 1834-1903) “Black Lion Wharf”, etching, signed and dated in plate “Whistler, 1859”, plate size 6” x 8-3/4”, sight size 12-1/2” x 15-1/2”. Glazed, matted and framed. [2000/4000] Illustrated Color Plate XIII

402James S. King (American, 1852-1925) “Rhoda Holmes Nicholls”, black and white engraving, signed in pencil lower right “Jas S. King”, titled in pencil lower left, sight 27” x 18-1/2”. Glazed, matted and presented in a period giltwood and gesso pierced and molded frame. [100/200]

403American 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. [75/125]

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404The Balance and Columbian Repository, Hudson, New York, Tuesday, July 19, 1803, an editorial article reflecting on the perceived failure at the English commonwealth, an attempt to replace monarchy with democracy in England, sight 10” x 7-3/4”. Glazed, attractively matted in hunter green felt, edged in Florentine paper, affixed with a brass plaque and presented in a burlwood frame. [250/400]

405After Kathe Kollwitz (German, 1867-1945) “Sitzender Mannlicher Akt”, black and white etching, unsigned, blind-stamped “And. Becke Muenchen-22”, image size 6-1/4” x 5”, sheet size 13-3/4” x 10”. Matted and unframed. [500/800] Illustrated

406Luigi Kasimir (Austrian/American, 1881-1962) “Berlin, Brandenburg Gate”, color etching, signed in pencil lower center margins, sight 14-1/4” x 17-1/4”. Glazed, attractively triple matted and presented in a molded giltwood frame. [200/400]

407A. Aubrey Bodine (American, 1906-1970) “Pops in His Patio”, 1944, vintage photograph of noted New Orleans photographer Joseph Woodson “Pops” Whitesell and an unidentified woman seated on the patio of his French Quarter home, now the site of the world famous jazz club Preservation Hall, signed and dated in ink on the mount “A. Aubrey Bodine 1944”, titled lower left, and dedicated by the artist “To a Grand Old Man Who Hung Prints in his First Year of Exhibiting”, 18-1/2” x 14-1/2”. Glazed, handsomely matted and framed. [800/1200] Illustrated

408Luigi Kasimir (Austrian/American, 1881-1962) “Snow-Covered Village Road” and “Snow-Covered Landscape”, soft-ground etchings and aquatint, pencil signed middle margins, the latter titled in print “An Der Himmelstrasse”, sight 10-3/4” x 10”. Both glazed, attractively double matted and presented in giltwood frames. [200/400]

409Luigi Kasimir (Austrian/American, 1881-1962) “Winter Park Scene” and “February in Grinzing”, two color etchings, both signed in pencil lower center margins, the latter titled and dated “1940” in print, sight 16-3/4” x 23” and 17-3/4” x 22-3/4”. Both glazed and attractively matted and framed. [400/700] Illustrated

410Josef Eidenberger (Austrian, 1899-1991) “Vienna, University” and “Innsbruck, Maria Theresa Street”, two color etchings, both signed in pencil lower right “Eidenberger”, the former titled in print lower right, sight 7-3/4” x 6” and 10-1/4” x 7”. Both attractively matted and presented in molded giltwood frames. [200/400]

411Josef Eidenberger (Austrian, 1899-1991) “Williamsburg in Winter” and “Lermoos”, two color etchings, both signed in pencil lower right margins “Eidenberger”, titled in print lower left, with dedication lower left margins, sight 12” x 14-1/2” and 9-1/2” x 10-3/4”. Both glazed, attractively triple matted and presented in parcel-silvered frames. [300/500]

412Kurt Meyer-Eberhardt (German, 1895-1977) “Portrait of a German Shepherd”, color engraving, pencil signed lower right, sight 21-1/4” x 16-1/2”. Glazed, matted and presented in an ebonized and parcel-gilt frame. [75/125]

413After William Blake (British, 1757-1827) “Then the Lord Answered Job Out of the Whirlwind”, black and white engraving, 1930’s edition, sheet size 15” x 10-1/2”. Unframed. [200/400]

414American School (Second Quarter 20th Century) “Sweet Potato Vine”, color engraving, pencil signed illegibly lower right, numbered in pencil lower left “4/150” and titled lower center, sight 8-1/2” x 6-1/2”. Glazed, attractively linen matted and presented in an ebonized and parcel-gilt frame. [50/80]

415American School (First Quarter 20th Century) “Studies of a Flowering Vine”, pair of watercolors and gouaches on board, both signed lower right “H. Palao”, sight 18-1/2” x 5-1/2”. Both glazed and presented in molded giltwood frame. [200/400]

416Suite of Nine Various Vegetable Seed Packet Offset Chromolithographs, sight 18” x 14-1/2”. All glazed and presented in weathered polychromed frames. [250/400]

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417Pair of French Parcel-Gilt Wrought-Iron and Marble-Top Plant Stands, the circular, tripodal stands in the Directoire style, each stand supported on three pairs of crossed gilt-tipped arrows and fitted with a top of polished Campan Vert marble, h. 42-1/2”, dia. 13”. [200/400]

418Provincial Neoclassical-Style Polychromed Looking Glass, first quarter 20th century, the rectangular beveled mirror plate within a flowering trellis-molded frame with an outer rope-molded band, h. 38-1/2”, w. 32-1/4”. [100/200]

419Neoclassical-Style Giltwood Looking Glass, the rectangular mirror plate surrounded by a gadroon-molded slip within a deeply molded frame, h. 40”, w. 58”. Provenance: Private collection, Jackson, Mississippi. [50/80]

420Attractive French Carved Carrara Marble Mantel Clock, fourth quarter 19th century, of “portico” form with gilt-brass-mounts in the neoclassical style, the circular dial of gilded engine-turned brass with a white enamel chapter ring, retains the long steel and brass pendulum, h. 20”, w. 10-1/2”, d. 6-3/4”. Provenance: Beechwood Mansion, The Estate of William Astor, Newport, Rhode Island. [500/800] Illustrated

421Pair of Continental Patinated Brass Candlesticks, second quarter 19th century, of tall baluster form, h. 17-3/4”, w. 5-1/2”, d. 5-1/2”. [100/200]

422Pair of Louis-Philippe Brass Three-Light “Putto” Candelabra, second quarter 19th century, the cast, chased and engine-turned candelabra of small size, the standards modeled as winged putti poised on a sphere holding aloft the three candle branches, the plinths modeled as stylized flowerheads surmounting square brass bases, h. 19”. [500/800]

423Set of Five Polychromed Terra Cotta Corinthian Capitals, third quarter 19th century, h. 14-1/2”, w. 15”, d. 15”. [200/400]

424Stately Pair of French Columnar Table Lamps, second quarter 20th century, in the late Louis XVI style, composed of antique ivory-painted and parcel-gilt plaster, and modeled as tall gilt cord-draped fluted columns surmounting stepped pedestal bases of square section, the obverse and reverse facades of the pedestals with a bas-relief gilded displayed eagle, h. 44”. [400/700] Illustrated

425Pair of Continental Silverplate-Mounted Garniture Vases, composed of matte terra cotta-painted metal in the neoclassical taste, of covered and two-handled form, raised on tall pedestal bases of square section, the facades of each pedestal base centered with a silverplate beribboned three-quarter wreath, h. 14-1/2”, w. 10-1/4”, d. 7-1/2”. [250/400]

426Large Pair of French Cast-Plaster Figures of Recumbent Whippets, in the Restauration style, each deep ivory-painted canine modeled with a buckled collar and surmounting an oblong plinth with beveled upped edges, h. 13”, w. 15”, l. 35”. [600/900] Illustrated

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427Empire-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”. [1000/1500] Illustrated

428Sorrento Marquetry Chairside Table, third quarter 20th century, in the Directoire taste, the marquetry top lifting to reveal a compartmented interior fitted with a music box, the facade apron fitted with a diminutive brass lock, the music box in playing order, h. 17”, w. 14-3/4”, d. 10-3/4”. [75/125]

429Handsome Pair of French Eglomise-Style Panels, one featuring engraved images of the youthful Hercules and the Numidian Boar, the other a robed figure of Ceres bearing a basket of fruit on her head, the engraved images after 18th-century models, both figures with parcel-gilt detailing, each panel framed in narrow gilt-brass molding and fixed to a larger black-painted wood outer molding in the neoclassical taste, h. 30”, w. 14”. [600/900] Illustrated

430Large Two-Panel Folding Screen, in stenciled bird’s-eye maple in the Directoire style, each panel stenciled with a large fourteen-point wood-grained star, the borders geometrically stenciled, h. 84”, l. 30”, extended l. 60”. Provenance: Private collection, Jackson, Mississippi. [200/400]

431Good Pair of French Gilt-Brass and Marble-Top Guerdons, mid-20th century, each with a circular gadrooned rim and inset Maurin green marble top, the legs featuring rams’ heads at the top, joined by a similar circular shelf and ending in cloven hoofed feet, h. 26”, dia. 27-3/4”. [3000/5000] Illustrated Color Plate VI

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432Pair of Directoire-Style Brass-Mounted Mahogany Side Tables, each with a rectangular brass-edged top over a plain apron, flanked by brass patera mounts, raised on tapering circular legs joined by a shelf stretcher and ending in brass caps, h. 26-1/4”, w. 30-1/4”, d. 20-1/4”. [300/500]

433Empire-Style Gilt-Brass-Mounted Mahogany Sidechair, early 20th century, the padded back with applied ormolu to the frame, the legs depicting winged lions and terminating in paw feet, h. 36”, w. 21”, d. 18”. [800/1200] Illustrated

434Russian or Baltic Tole-Peinte and Brass Occasional Table, fourth quarter 19th century, the circular parcel-gilt and floral-painted top raised on a circular X-form pedestal ending in ball feet, the top fitted with ringed ball-shaped finials, h. 33-3/4”, dia. 28”. [2000/4000] Illustrated

435Attractive and Rare French Gilt-Brass Figural Mantel Clock, second quarter 19th century, surmounted by the seated figure of author Sir Walter Scott, retains the period pendulum and winding key, h. 18”, w. 14”, d. 5”. [1200/1800] Illustrated Color Plate VI

436Attractive French Gilt-Brass-Mounted Mahogany Jewel Box, first quarter 20th century, in the First Empire style, the lid featuring a diminutive beribboned gilded brass wreath at each corner and centered with a gilded brass mount of two dancing classical maidens flanking a similar larger wreath, the lower facade fitted with a period key, the interior lined in period padded coral moire, h. 3-1/4”, w. 14-1/8”, d. 5-1/4”. [400/700] Illustrated

437Empire-Style Brass-Mounted Mahogany and Marble-Top Dressing Table, fourth quarter 19th century, the arched mirror supported by a pair of turned standards with detailed cast capitals and finials, the base with a white marble top above a single drawer and columnar legs, h. 56”, w. 32”, d. 17-3/4”. [500/800] Illustrated

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438Directoire-Style Brass-Mounted Mahogany Commode, 20th century, the rectangular top with rounded corners, above a case fitted with two short drawers over two long drawers, all brass-banded, flanked by fluted columnar stiles, ending in tapering circular legs on brass-capped toupie feet, h. 33-1/2”, w. 49-1/2”, d. 18-1/2”. [500/800] Illustrated

439Empire-Style Brass-Mounted Mahogany and Curved Glass Vitrine, ca. 1900, the central door with beveled glass, flanked by turned columns with brass capitals, the sides with curved and beveled glass ends with beaded brass trim, h. 73-1/4”, w. 55”, d. 17-1/4”. [1800/2500] Illustrated

440Directoire-Style Giltwood Vitrine, fourth quarter 20th century, the molded cornice over a patera- and laurel leaf-centered frieze, above a glazed panel and glazed side doors, the lower case fitted with two long drawers, ending in a plinth base, h. 68”, w. 28”, d. 15-1/2”. [200/400]

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441Portuguese Sterling Silver Waiter, second quarter 19th century, of oblong, two-handled and footed form with a “Vintage” reticulated gallery rim, the center with foliate scroll-engraved borders, weighted, w. 14”, l. 22-1/2”. [2000/4000] Illustrated

442Austrian Sterling Silver Double-Lipped Sauceboat, fourth quarter 19th century, in the Louis XV style, of two-handled and footed form with integral stand, dia. 8”, 21.90 t. oz. [600/900]

443Handsome French Sterling Silver Tray, second quarter 19th century, maker: P.B., of oval form in the neoclassical style, with a narrow ribbed border, one inner edge engraved with a full mantled coat-of-arms, w. 10-1/2”, l. 17-1/2”, 41.10 t. oz. [1800/2500]

444Pair of Austro-Hungarian Silverplate Three-Light Candelabra, fourth quarter 19th century, of small size in relief strapwork decor, detach at the centers to form a pair of single-light candlesticks, h. 12-1/2”, w. 9”, d. 4-1/2”. [700/1000]

445German .800-Standard Silver-Mounted Glass Decanter, first quarter 20th century, the ewer-form decanter composed of brilliant-cut glass in “Buzz” pattern, retains the period “Buzz”-cut spherical glass stopper, h. 11”, w. 6-1/2”, d. 4-1/4”. [600/900]

446Set of Six Lalaounis, Athens, Sterling Silver Place Mint/Nut Dishes, third quarter 20th century, in the form of miniature serpent-handled tastevins, dia. 2-1/2”, 4.90 total t. oz. [300/500]

447Elaborate Pair of Dutch Silver Salad Servers, fourth quarter 19th century, in the Baroque taste, comprised of an oviform-bowled serving spoon and a three-tine fork, both with large shield-form terminals centered with bas-relief decoration of a near nude classical warrior, l. 12-1/2”. [700/1000] Illustrated

448Coppini Silversmiths, Italy, .800-Standard Silver Embroidery Scissors, first quarter 20th century, in the “Dutch” taste, l. 5-1/2”, 1.45 t. oz. [100/200]

449Good Set of Seven French Mother-of-Pearl-Handled Silver-Gilt Fruit Knives, third quarter 19th century, l. 8”. [200/400]

450Pair of German .800-Standard Covered Mustard Pots, first quarter 20th century, of diminutive, oval, back-handled form in the 18th-century style, each fitted with a period conforming blown and cut colorless glass liner, l. 3”, 2.45 total t. oz. [100/200]

451Continental Silver-Mounted Beveled Glass Flat-Sided Scent Flacon, second quarter 20th century, the scent container proper with an interior silver-mounted glass body of cylindrical section capped with a large, circular silver-mounted beveled glass stopper fitted with a glass dabbing rod, h. 8”, w. 4-3/4”, d. 3”. [50/80]

452Pair of Continental Silver Heart-Form Footed Posy Vases, first quarter 20th century, of diminutive size with triple apertures, both facades with bas-relief decoration of flower basket-bearing putti in flight, the borders with bas-relief foliate scrolls, h. 4-1/2”, w. 3-1/2”, d. 2-7/8”, 6.45 total t. oz. [450/700]

453Set of Four German Sterling Silver-Mounted Glass Posy Vases, first quarter 20th century, each panel-cut and engraved, the silver mounts with triple dolphin supports joined by a disc platform stretcher, the rims of the vases scallop-cut, h. 4-1/2”, dia. 3”. [800/1200]

454Three-Piece Group of Sterling Silver Items, comprised of an attractive Swedish .830-standard silver side-lipped sauce ladle, first quarter 20th century, in “Olga” pattern by A. G. Carlberg, Eksjo, 1865, the bowl of the sauce ladle gilded, l. 8”; a Gorham sterling silver child’s cup in the Early American style, second quarter 20th century, h. 2-1/8”, dia. 2-3/4”; and an American sterling silver “Antique Bead” napkin ring, first quarter 20th century, dia. 1-1/2”; 3.90 total t. oz. [75/125]

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455Georg Jensen Sterling Silver “Acanthus” Slice, second quarter 20th century, with a stainless steel blade, l. 10-1/2”. [200/400]

456Georg Jensen Sterling Silver-Handled Teak Salad Serving Spoon, in “the Cactus” pattern, second quarter 20th century, l. 11”. [250/400]

457Cased Fourteen-Piece Norwegian Silver-Gilt and Enamel Tea Service, for twelve persons, first quarter 20th century, in the “Sezession” taste, comprised of twelve silver-gilt teaspoons, l. 4-1/2”, each in a different enamel color, a claw-terminal sugar tong in deep cream enamel, l. 4-1/2”, and an over-the-cup tea strainer also in deep cream enamel, dia. 2-1/2”, the silk-lined fitted case with the mark of the Christiania jeweler J. Tostrup. [400/700]

458Attractive French Verdure Tapestry Panel, fourth quarter 17th century, depicting a pensive maiden observing a Nereid in a sylvan pool, fitted with the proper suspension loops and linen backing, h. 109”, w. 86”. [4000/7000] Illustrated Color Plate V

459Pair of Louis XIII-Style Stained Elmwood Fauteuils a La Reine, fourth quarter 19th century, each with a slightly domed padded back, joined to the padded seat by acanthine-carved open arms, raised on block-and-ball turned legs, joined by a framed and carved stretcher, and ending in paw feet, h. 44”, w. 25”, d. 27-3/4”. [500/800] Illustrated

460French Color Lithograph Canvas Panel of “Le Vernissage”, an 18th-century art opening in the painter’s studio, first quarter 20th century, signed lower left “A. Borsari da V. Taredas”, probably Antonio Borsari (Italian, fl. ca. 1770-1849), presented in a period bronzed and incised-carved giltwood frame, h. 35”, w. 50”. [200/400]

461French Patinated Bronze Figure of Diana the Huntress, fourth quarter 20th century, the goddess modeled standing on a demi-sphere in the Louis XIV style, h. 17-1/2”, dia. 6-1/2”. [150/300] Illustrated

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462After Auguste Moreau (French 1834-1917) “Fairy Goddess”, a copperplate bronze-patinated spelter figure of a gesturing woodland sprite, fourth quarter 20th century, signed indistinctly at the proper left side of the crag “Aug. Moreau”, below and to the right a pseudo-Parisian foundry mark, entitled at the center of the facade, in bas-relief small script, “Fairy/Head of a bonneted woman/Goddess”, presented on a gray turquin marble base of disc form, h. 16-3/4”, dia. 6”. [150/300] Illustrated previous page

463After Auguste Moreau (French, 1834-1917) “The Lute Player”, a double-patinated bronze figure of a seated female lutinist, fourth quarter 20th century, signed at the right front corner of the plinth “A Moreau” in script, presented on an oblong base of Grand Antique marble, h. 13”, w. 11”, d. 7-1/2”. [200/400] Illustrated previous page

464Louis-Philippe 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”. [1200/1800] Illustrated

465French Provincial Brass-Bound Copper Chocolate Pot, second quarter 19th century, fitted with a side handle, h. 8-3/4”, dia. 4”, l. 11”. [50/80]

466Two Continental Transfer-Printed Items, comprised of a good Choisy-Le-Roi faience fine lobed oval platter in Louis XIII decor, fourth quarter 19th century; and a Royal Doulton tinted transfer-printed jug in “Arundel Castle” decor, first quarter 20th century; both pieces fully marked and numbered on the bases, w. 13”, l. 17”. [75/125]

467Provincial Louis XV-Style Fruitwood Settee, fourth quarter 19th century, the serpentine crest over a conforming padded back, joined to the like seat by open downswept arms, raised on cabriole legs ending in pad feet on pegs, h. 39-1/2”, w. 66-1/2”, d. 26”. [1200/1800] Illustrated

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468Pair of Louis XV-Style Stained Fruitwood Fauteuils a la Reine, fourth quarter 20th century, each with a slightly domed crest, over a conforming padded back, joined to the like serpentine seat by open carved arms, raised on cabriole legs ending in scrolled toes, h. 38-1/2”, w. 25”, d. 23”. [400/700] Illustrated

469Provincial 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”. [1000/1500] Illustrated

470French Provincial Fruitwood Cocktail Table, in the transitional Louis XV into Louis XVI style, the circular dished top raised on sabre legs, fitted with four pull-out sections, each with a triangular top over a serpentine-carved apron, raised on sabre legs, h. 23-3/4”, dia. 23”. [250/400]

471Provincial Louis XVI-Style Walnut Armoire, first quarter 19th century, the projecting molded bonnet top over a conforming frieze with patera and leaf carving above a case fitted with two doors flanking a fluted support, over three drawers, raised on cabriole legs, h. 93”, w. 62”, d. 27”. [800/1200] Illustrated

472Louis XV-Style Fruitwood Armoire, fourth quarter 19th century, the domed cornice surmounted by a carved foliate shell crest, above a case fitted with two doors, each inset with a beveled mirrored panel, raised on a stand consisting of a single drawer and having scrolled feet, h. 101-1/2”, w. 55”, d. 20”. [700/1000]

473Pair of Louis XIV-Style Walnut Sidechairs, fourth quarter 19th century, each with a rectangular padded back above a like seat, over a carved skirt, raised on C-scroll legs joined by a shaped X-form stretcher, centered by a finial, and ending in block feet, h. 42-1/2”, w. 21”, d. 19-1/2”. [500/800] Illustrated

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474Provincial Regence-Style Mahogany Center Table, ca. 1900, the rectangular top with a 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”. [600/900]

475Provincial Teakwood Bowfront Corner Cabinet, early 20th century, the top front edge with a scalloped border above a pair of bowfront doors, each with scalloped framing and raised on ball-and-claw feet, h. 47-1/2”, w. 48”, d. 31-1/4”. [700/1000] Illustrated

476Pair of Louis XV-Style Fruitwood Bergere avec Orielles, late 19th century, each with a domed and padded back and shaped sides joined to the cushioned seat by padded foliate-carved arms, the seat above a shell-carved apron, raised on cabriole legs ending in scrolled toes on pegs, h. 44-3/4”. [1500/2500] Illustrated

477Provincial 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”. [1000/1500] Illustrated

478Provincial Vernacular Fruitwood Side Table, third quarter 19th century, the cloverleaf-shaped top over a frieze fitted with a drawer, raised on tapering square legs, h. 28-1/2”, dia. 22-1/4”. [100/200]

479Pair of Louis XIII-Style Elmwood Fauteuils-A-La-Reine, fourth quarter 19th century, the slightly domed padded back joined to the padded seat by downswept arms, raised on block-and-ball legs joined by a turned stretcher and ending in pad feet, h. 47”, w. 24”, d. 19”. [800/1200] Illustrated

480Provincial Continental Elmwood Child’s High Chair, the ladder back joined to the shaped seat by carved open arms, raised on turned legs joined by an H-form stretcher and a curved foot-rest, and ending in tapering feet, h. 31”, w. 15”, d. 14”. [50/80]

481Painted Iron and Marble-Top Garden Table, the circular variegated cream marble top with a molded edge, raised on serpentine-formed legs joined by a circular stretcher, h. 30-1/2”, dia. 33-3/4”. [125/250]

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482Pair of Painted Wrought-Iron Floor Candelabra, each fitted with four floral-formed candleholders on C-scroll-formed arms, and raised on a like-formed standard ending in three splayed legs with scrolled feet, h. 50”, w. 28”. [50/80]

483Cast-Iron Console Table Base, the rectangular base composed of scrolling elements, h. 36-3/4”, w. 43-1/8”, d. 11-3/4”. [50/80]

484Suite of Three Cast- and Wrought-Iron Garden Gate Transoms, each of semi-circular, pierced and scroll-molded form, h. 34”, w. 56”. [150/300]

485Pair of Polychromed Wood and Wrought-Iron Entrance Gates, first quarter 20th century, of rectangular form, with grille-inset transom windows over the like lower panels, the lower section paneled, h. 108”, w. 50-1/2”. [100/200]

486Pair of Unfinished Pine Arched Doors, with double trellis-form panels, h. 85-1/4”, w. 65”, d. 3-1/4”. [50/80]

487Polychromed Cast-Iron Garden Table, the rectangular, scrollwork- and rosette-molded top surmounted by a glass panel, raised on square legs joined by a box stretcher, h. 33-1/2”, w. 59-3/4”, d. 37-1/2”. [150/300]

488Suite of Three Iron Garden Fence Panels and a Pediment, first quarter 20th century, each gate panel with a domed crest over a scrolling frieze, above a spindled body, the pediment of Gothic-arch form, h. 33”, w. 31-3/4”. [50/80]

489Suite of Three Middle Eastern Hardwood Windows, each of arched, rectangular form with a spindled grille, h. 88-1/2”, w. 38-1/2”. [200/400]

490Two Painted Hardwood Windows, each with a rough-hewn frame fitted with two hinged, astragal-glazed panels, h. 57-3/4”, w. 58-1/4”. [100/200]

491Italian Highly Carved Verde Antico Marble Pedestal, fourth quarter 19th century, in the neoclassical taste, h. 44”, dia. 14”. [400/700] Illustrated

492Italian Exuberantly Modeled Carved Carrara Marble Bust, of a Beauty in a vagrant hat, first quarter 20th century, presented on a Carrara marble base of spool form, h. 20”, w. 11”, d. 8”. [500/800]

493Italian-Style Mosaic and Silvered Wrought-Iron Center Table, the circular top inlaid with various hardstones, raised on a circular pedestal and C-scroll supports ending in splayed cabriole legs on scrolled toes, h. 30”, dia. 35-1/2”. [1800/2500] Illustrated

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494Italian “Magnum Diamond”-Carved Alabaster Table Box, first quarter 20th century, of square form with gilt-lacquered brass mounts, h. 5”, w. 5”, d. 5”. [250/400]

495Italian Veined Carrara Marble Columnar Pedestal, first quarter 20th century, in the neoclassical taste, the square top over a cylindrical standard terminating in a circular plinth above a square base, h. 44-1/2”, w. 13-1/2”, d. 13-1/2”. [300/500] Illustrated

496Good Venetian Glass Six-Light Chandelier, third quarter 20th century, composed of frosted colorless and pale pink glass in the 18th-century style, richly dressed with cut pendalogues, faceted panel-cut glass spears, pendant pale pink frosted bellflowers, draped jewel-cut chains and frosted bobeches of saucer form, electrified and fitted with short bone-white faux candles, h. 24”, dia. 19”. [200/400]

497Attractive Venetian Glass Mirror, third quarter 20th century, in the 18th-century style, with a serpentine edge, the colorless glass frame backed in gold foil and set with ten equidistant dapple vieux rose glass flowerheads, the plate signed lower right “Teri M”, in engraved script, h. 23”, w. 19”. [200/400]

498Continental Highly Carved Oak Cupboard, 20th century, the overhanging cornice above a foliate-carved frieze above three cupboard doors, each bi-paneled, the central door featuring shield carving, the side doors with deeply carved masques, all flanked to either side by an engaged pilaster headed by a masque and with fruit and foliate carving, joined to a lower shelf by scrolling acanthine-carved supports, the whole raised on flattened bun feet, h. 73”, w. 80”, d. 23”. [1200/1800] Illustrated

499Large and Impressive Florentine Giltwood Looking Glass, third quarter 19th century, the central crest with conjoined scrolls and foliate motifs, the inner frame of a twisted ribbon and bead design, h. 76”, w. 47”. [1500/2500] Illustrated Color Plate XIII

500Italian Provincial Majolica Table Lamp, of flat-sided bottle form, the blue ground with avian and floral enameling, mounted on an ebonized wooden base of flat elliptical form and fitted with an oblong paneled antique-white fabric shade, h. 10-1/4”, w. 6-1/2”, d. 4-1/2”. [75/125]

501Large Italian Provincial Majolica Fruit Bowl, of shallow, rounded square form, glazed in blue, white and yellow, and featuring a bird and a stylized flowering branch in the traditional style, the reverse fitted with a plaited wire suspension ring, w. 19-3/8”, l. 19-3/8”. [100/200]

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502Italian Polychromed Majolica Figural-Handled Garniture Vase, fourth quarter 19th century, in the Renaissance taste, now mounted as a table lamp on a bronze-patinated brass base and fitted with a custom “deep old ivory” fabric shade with rich bead fringe at the upper edge, h. 15-1/4”, w. 9”, d. 4-1/4”. [100/200]

503Italian Exuberantly Modeled Giltwood Looking Glass, foliate carved and antiqued in the rococo style, the plate broadly beveled throughout, h. 48”, w. 31-1/2”, d. 13”. [1200/1800] Illustrated

504Imposing Italian Mahogany Tiered Print/Folio Easel, first quarter 20th century, grille-carved and parcel-gilt in the neoclassical taste, h. 87”, w. 36”. [800/1200] Illustrated

505Large Pair of Italian Demi-lune Bracket Shelves, in the neoclassical taste, composed of carved, antique white-painted and periwinkle blue-detailed wood, the shelf supports upward flaring and carved with graduated registers of leaves, h. 15-1/2”, w. 13”, d. 6-1/2”. [150/300]

506Pair of Italian Carved Giltwood “Putto Masque” Bracket Shelves, fourth quarter 19th century, in the Baroque style, the under-shelves and backplates covered in tastefully faded and worn antique claret silk velvet, the gilding in bright and matte finishes, h. 12”, w. 13”, d. 7”. [100/200]

507Tall Pair of Italian Blackamoors, in the Venetian 18th-century style, constructed of polychromed and parcel-gilt composition, each exotically clad figure supporting a ribbed flaring vase on his head, h. 71”, dia. 22”. [500/800] Illustrated

508Pair of Italian Bronze Blackamoor Candlesticks, patinated and black-painted in the 18th-century Venetian taste, each turbaned Blackamoor holding a staff with the upper terminus forming the candle socket, h. 16”, w. 6-1/2”, d. 5-1/2”. [250/400]

509Highly Amusing Pair of Italian Pottery Garniture Figures, second quarter 20th century, the ochre- and white-glazed figures depicting ancient Roman warriors in elaborately feathered helmets and bearing shields, each signed on the base “Z/Italy/A.1911”, h. 14-1/4”, w. 6-1/2”, d. 3”. Provenance: Beechwood Mansion, The Estate of William Astor, Newport, Rhode Island. [100/200]

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510Federico deLuca (Italian, ca. 1847-1920), a gilt-lacquered and parcel-bronze-patinated spelter figure of a scantily clad smiling boy water vendor, first quarter 20th century, signed at the rear basal edge of the plinth “F. deLuca” and “Fonderia P. Mucello”, presented on a white marble base of oblong octagonal form, h. 22”, w. 9”, d. 7”. [300/500]

511Nippon Glazed and Bas-Relief-Enameled Pottery Garniture Vase, 19th century, with two handles, the raised enamel featuring a stylized phoenix amidst foliage in jade green accented with white, with professional restorations, h. 10-5/8”. [125/250]

512Italian Capodimonte Tapered Pedestal, third quarter 19th century, composed of gilt-brass- and plaque-mounted and incised-carved ebonized wood, the reverse fitted with a conforming “secret” storage compartment, h. 43”, w. 11-1/2”, d. 11-1/4”. [400/700] Illustrated

513Elegant Italian Sfumato-Glazed Pottery Globular Vase, third quarter 20th century, in mirror and matte black, h. 7-1/4”, dia. 9-1/2”. Provenance: Private collection, Jackson, Mississippi. [75/125]

514Pair of Italian Cast-Brass Tripodal Pricket Candlesticks, third quarter 20th century, of tall size in the Baroque style, each facade of the base centered with a Bacchante masque, each candlestick fitted with a short cylindrical candle in shaded green, h. 23-1/2”, w. 7-1/2”, d. 7”. [150/300]

515Exotic Hardwood Footed Centerpiece Bowl, composed of turned, chiseled, carved and stained hardwood, of free-form stylized floral configuration, h. 8-1/2”, w. 13-1/2”, d. 10-1/4”. [40/70]

516Continental Carved Oak Buffet a Deux Corps, late 19th century, the molded cornice above a case fitted with a tri-paneled foliate-carved frieze over three cupboard doors, each inset with an arched panel and with scrolling foliate carving, all flanked and divided by cluster columns, the lower section fitted with two drawers with ribbed carving over two cupboard doors, each paneled and with foliate carving, flanked to either side by fluted pilasters, raised on bun feet, h. 80”, w. 58”, d. 21-1/4”. [600/900] Illustrated

517Italian 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”. [800/1200] Illustrated

518Rococo Revival Black Forest Inlaid Lindenwood Side Chair, fourth quarter 19th century, the foliate-pierced and -carved back surrounding a central inlaid plaque of a stag and fawn, the seat with a similar inlaid motif and raised on cabriole legs, h. 36”, w. 18”, d. 14-1/2”. [75/125]

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519Continental Carved Walnut Buffet a Deux Corps, early 20th century, the molded cornice above a foliate-carved frieze with three cupboards below, all paneled and with carved foliate patterns, the middle one centered by a carved masque, joined by a paneled back with spindled gallery to the lower section, the lower section fitted with two drawers over two cupboard doors, each paneled and centered by a shield carving, raised on flattened bun feet, h. 79”, w. 59”, d. 21-1/2”. [600/900] Illustrated

520Italian Elaborately Polychromed Pottery Figure of a Cow, of large size, the body diapered, black-spotted and floral-enameled, h. 15-1/2”, w. 10”, l. 23”. [150/300]

521Rococo-Style Cast and Wrought-Iron Center Table, the circular glass top over a serpentine-molded frieze, raised on cabriole and C-scroll legs joined by an X-form stretcher, centered by a finial, and ending in scrolled toes, h. 32-3/4”, dia. 35-3/4”. [150/300]

522Painted Iron Three-Panel Garden Screen, each panel with a scroll-formed crest over a floral-centered lattice-molded section on scroll feet, h. 78”, w. 59”. [100/200]

523Pair of Painted Wrought-Iron Garden Planters, each with a pierced and molded tapering circular plant holder embellished with grape leaves and flowerheads, raised on like-formed tapering legs joined by a circular stretcher centered by a floral-bouquet molded finial, h. 34”, dia. 14-3/4”. [100/200]

524Pair of Painted Wrought-Iron Garden Planters, each with a pierced and molded tapering circular plant holder embellished with grape leaves and flowerheads, raised on like-formed tapering legs joined by a circular stretcher centered by a floral bouquet-molded finial, h. 34”, dia. 14-3/4”. [100/200]

525Pair of Art Deco Cast-Iron Garden Gates, first quarter 20th century, each tall, rectangular panel with circular and scrolling designs, h. 112”, w. 27-1/2”. [500/800]

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526Suite of Five Cast- and Wrought-Iron Garden Gate Panels, first quarter 20th century, of rectangular form, and geometric and C-scroll design, h. 83-1/2”, w. 44-1/2”. [500/800]

527Patinated Cast and Wrought-Iron Garden Gate Panel, of rectangular form, composed of interlocking scrolling and circular design, h. 113-1/2”, w. 42”. [400/700]

528Two Cast-Iron Garden Gate Fragments, first quarter 20th century, each of rectangular, slightly domed form with interlocking scroll, circular and diamond, pierced and molded panels, h. 33-1/2”, w. 63”. [200/400]

529Jacobean Oak Blanket Chest, fourth quarter 17th century, the paneled rectangular hinged top above a conforming case with a carved frieze, raised on plinth feet, h. 26”, w. 50-1/2”, d. 21”. Provenance: Beechwood Mansion, The Estate of William Astor, Newport, Rhode Island. [400/700] Illustrated previous page

530Pair of Renaissance-Style Sidechairs, fourth quarter 19th century, the rectangular leather-padded back with a gilt-tooled “WM” monogram, surmounted by carved finials, above a like-padded seat, raised on square legs joined by a carved stretcher and ending in paw feet, h. 37”. Provenance: The Beechwood Mansion of William Astor, Newport, Rhode Island. [300/500] Illustrated previous page

531English Carved Oak Court Cupboard, late 19th century, the upper section with an ogee-molded cornice above a foliate-carved frieze and two central cupboards, each paneled and with a carved portrait bust, flanked to either side by a canted linenfold-carved panel, joined to the lower section by large foliate-carved columnar supports, the lower section fitted with a tall central cupboard with linenfold carving, flanked to either side by a drawer over a paneled cupboard door, all with foliate-carved accents, raised on block feet, h. 77-1/2”, w. 81-1/2”, d. 22-3/4”. [800/1200] Illustrated

532Continental Gilt-Brass Jewel Casket, first quarter 20th century, in the Baroque style, the upper corners ornamented with putto heads, the facade centered with a keyhole, the interior fully lined in scarlet velvet, h. 5-1/2”, w. 6-3/4”, d. 4-3/4”. [500/800] Illustrated

533Lenzkirch, Germany, Gilt-Brass and Bronze-Patinated Spelter Medallion Wall Clock, first quarter 20th century, of lobed dish form in the Baroque style, the circular dial enameled in pale blue with bas-relief black enamel Roman chapters, the everted rim set with six bronze-patinated bas-relief putto medallions, the interior backplate touchmarked “Lenzkirch/branch/A.G/U”, dia. 17-1/2”. [600/900] Illustrated

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534George I Oak Blanket Chest, first quarter 18th century, the hinged, planked top, opening to reveal a deep storage area, over a paneled case, raised on block feet, h. 24-1/2”, w. 46”, d. 21”. [250/400] Illustrated

535English Oak Occasional Table, 20th century, the rectangular top over a recessed frieze, joined to the lower shelf by turned supports, raised on turned and block legs, h. 25”, w. 26”, d. 17-1/2”. Provenance: Private collection, Jackson, Mississippi. [100/200]

536English Oak Gateleg Table, fourth quarter 18th century, the rectangular top with two ovoid drop leaves, over a carved apron, raised on baluster-turned legs and a swing-out support joined by a box stretcher, h. 30”, w. 40”, d. 14-1/2”, extended d. 44-1/2”. [300/500] Illustrated

537German Patinated Bronze Figure of a Young Hunter, fourth quarter 19th century, the figure modeled with a pair of deceased game birds in his belt, his proper left hand holding an equally dead hare by its rear legs, h. 21”, w. 7”, d. 5-1/2”. [300/500] Illustrated

538Group of Three Bohemian Glass Covered Garniture Vases, fourth quarter 19th century, in cranberry-over-clear cut and engraved overlay glass, each with a different “Deer in the Woods” engraved scene, each vase with a panel-cut spire finial, h. 9-1/2”, dia. 3-1/4”. [800/1200] Illustrated

539Pair of Bohemian Glass Covered Candy Jars, first quarter 20th century, each composed of ruby- and amber-stained cut glass with floral engraving, h. 6-1/4”, dia. 4-1/2”. [400/700] Illustrated

540Pair of Bohemian Glass Covered Vases, first quarter 20th century, composed of ruby-stained, cut and engraved overlay glass in floral decor, h. 12-1/2”, dia. 5-3/4”. [1200/1800] Illustrated

541Unusual Bohemian Glass “Wedding Toasts” Chalice, first quarter 20th century, of traditional form, composed of richly gilded and ruby- and amber-stained cut overlay glass, the chalice inverting from a round-bowl (groom) drinking vessel to a flaring (bride) vessel, h. 8-3/4”, dia. 4-1/4”. [300/500]

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542Good Bohemian Panel-Cut Glass Vase, fourth quarter 19th century, attributed to the Harrach Glassworks, of tall cylindrical form, composed of parcel-gilt clear-over-cranberry glass, on a gilt-edged petal-cut foot, h. 17-1/4”, dia. 5”. [400/700] Illustrated

543Pair of Bohemian Ruby-Stained Glass Trumpet Vases, second quarter 20th century, probably the Goldberg Glassworks, Bohemia, each cut and floral-engraved glass vase on a circular colorless glass foot, the collars lattice-cut, the rims scallop-cut, h. 11”, dia. 5”. [100/200]

544Franco-Belgian Machine-Woven Tapestry Panel, second quarter 20th century, featuring a galants group at a swing in a sylvan glade in the 18th-century style, the primary palette in vieux rose, antique white, ecru, green and taupe, w. 40”, l. 59”. [300/500]

545Good 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”. [40/70]

546Pair of Bohemian White Cased Cut-to-Clear Glass Vases, second quarter 20th century, of baluster form, the underside of each example etched “Made in Czechoslovakia” within a circle, one vase with a slight blue-gray hue, h. 9-1/4”. [125/250]

547Pair of Austro-German Patinated Copper and Brass Vases, first quarter 20th century, of footed bullet form in the “Sezession” taste, each fitted with a period flute-cut glass liner of conforming bullet form, h. 13-1/4”, dia. 4-1/2”. Provenance: Beechwood Mansion, The Estate of William Astor, Newport, Rhode Island. [75/125]

548Thirty-Nine-Piece Collection of Blue and White Porcelain and Pottery, including Danish, Finnish, German and English examples, consisting of a seventeen-piece group of Royal Copenhagen pottery rondels depicting Danish urban landmarks; a pair of circular Bing & Grondahl “Antoni” porcelain trivets, third quarter 20th century; a set of eleven German “Blue Onion” porcelain-handled fruit knives with Stahl-Bronce, Solingen, blades; an Arabic square relishes dish in “Lapplander Children” decor; a set of four Royal Copenhagen porcelain breakfast tea saucers in floral decor; a matching set of four bread-and-butter plates; and a Johnson Brothers, Staffordshire, Flow Blue sauceboat in “St. Louis” decor, first quarter 20th century; all of the pieces fully marked and/or numbered, the largest h. 4-1/2”, w. 3-1/4”, l. 8”. [100/200]

549Good Bohemian Glass Vase, ca. 1900, attributed to the Harrach Glassworks, in the Orientalist style, in white cameo-enameled shaded and frosted pale green glass, h. 11-1/4”, dia. 6”. [100/200]

550Royal Bavarian Porcelain Manufactory White Biscuit Vase, second quarter 20th century, of upright oblong form in bas-relief “Lowing Stag in the Forest” decor, the base fully marked in green transfer-print, h. 9-1/4”, w. 6-1/2”, d. 3-1/2”. [100/200] Illustrated

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551Jacques Marin (French, 1877-1950), a good Belle Epoque sculpted Carrara marble portrait bust of a fine-featured aloof gentlewoman with an upswept coiffure, dated 1903, h. 18”, w. 17”, d. 10”. [300/500] Illustrated

552Unusual Pair of Bohemian Frosted Smoky Quartz Glass Lustres, first quarter 20th century, each elaborately parcel gilded and dressed with period magnum cut glass prisms, h. 13”, dia. 7-3/4”. [200/400]

553Fine Imperial German Blown Glass Pokal, fourth quarter 19th century, probably the Heckert Glassworks (active 1866-1923, Warmbrun, Silesia) parcel-gilded and enameled in the late 17th-century style, the facade emblazoned with a gold and black crowned imperial German eagle, the domed cover with a prominent oviform finial, h. 17-3/4”, dia. 5”. Reference: R. & D. Truitt, Bohemian Glass, 1880-1940 (Kensington, MD: B. & D. Glass, 1995), p. 70-71. [700/1000]

554Good Pair of Tielsch and Company, Altwasser, Porcelain Pastry Serving Trays, third quarter 19th century, in the rococo taste, each of two-handled form and centered with a well-painted fruit still life, each tray marked with the Tielsch “eagle” in blue on the base, h. 1-1/2”, w. 9”, l. 10”. [50/80]

555German Walnut and Ebony-Lacquered Wooden Wall Clock, fourth quarter 19th century, in the Renaissance taste, the circular dial of ivory enamel with black chapters, retains the period brass pendulum of “moon” form, the arched cresting centered with a carved upright scallop shell, h. 32”, w. 15-1/2”, d. 8”. [250/400]

556Attractive Continental Copper-Relief Garniture Vase, first quarter 20th century, gilt-brass mounted and bronze patinated in “Procession of the Gods” decor, the bronze finish tastefully worn lightly to the underlying copper, h. 12-1/2”, w. 6-1/4”, d. 6”. [400/700] Illustrated

557Six-Piece Continental Enameled Cobalt Blue Glass Liqueur Service, for four persons, fourth quarter 19th century, consisting of a circular tray with gallery rim, dia. 6-5/8”, a ringed decanter, h. 6-1/2”, dia. 2-1/2”, and four small goblets, h. 3”. [300/500] Illustrated

558Reinhold Schlegelmilch (RS, Prussia), polychromed bat-decorated porcelain sweetmeat tray, of circular, two-handled form, featuring a central reserve of “The Dice Players” after Murillo, first quarter 20th century, dia. 9-3/4”. [50/80]

559Unusual Pair of Franco-Bohemian Porcelain Garniture Vases, third quarter 19th century, of two-handled form in the Neo-Grec style, each facade painted in the Luminist manner with a moonlit river scene, the black and gold handles sharply rectilinear, h. 10-3/4”, w. 10”, d. 4-3/4”. [200/400] Illustrated

560Two-Piece Group of Cabinet Porcelain, comprised of a Carl Knoll, Fischern, elaborately gilded porcelain cabinet plate centered with the portrait of a long-tressed Beauty, fourth quarter 19th century; and a Zeh, Scherzer and Company, Bavaria, porcelain fruit bowl in “Orleans” pattern, first quarter 20th century, the center of the bowl with a neoclassical figural vignette in the style of Angelica Kauffmann (Swiss, 1741-1807) and so signed; the largest h. 2-1/2”, dia. 10-1/4”. [100/200]

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561Translucent Blue and White Composition Glove Box, with serpentine edges and featuring “Galatea and Frolicking Water Sprites” on the lid, the body decorated with white relief ivy vines, h. 3-1/4”, w. 11-1/2”, d. 4-1/2”. [500/800] Illustrated

562Collection of Four German Stoneware Steins, first quarter 20th century, comprised of a “Mettlach”-type pewter-lidded motto example; a Mettlach “Tavern Bowlers” stein in the “Illustrator” style; a similar Mettlack “Storyteller” example also in the “Illustrator” style; and a German polychromed pottery musical stein with “Bavarian Topers” decor; both Mettlach examples fully marked, the musical stein in working order, h. 11-1/2”, dia. 4-3/4”. [150/300]

563Four-Piece Von Schierholz Porcelain Mantel Garniture, first quarter 20th century, in the “Dresden” rococo style, comprised of a mantel clock, h. 22-1/2”, w. 15”, d. 9-1/2”, a matching bowfront clock stand, and a pair of four-light candelabra, all with putto figures and lavish applied flowerhead decoration, the candelabra with standing putto supports, each holding aloft the candlearms, h. 18-1/4”, dia. 11”, all of the pieces fully marked. [1000/1500] Illustrated Color Plate IV

564Beaux Arts-Style Giltwood and Plaster Looking Glass, first quarter 20th century, the rectangular mirror plate within a floral and annulated slip surrounded by an acanthine- and floral-molded frame, h. 32-1/2”, w. 47”. [400/700] Illustrated

565Franco-Belgian Machine-Woven Tapestry Panel, first quarter 20th century, depicting “The Card Players” in the manner of David Teniers the Younger (Flemish, 1620-1690), fitted with a linen rod sleeve at the upper edge and accompanied by a later bronzed metal rod with fleur-de-lys finials, h.53”, w. 47”. [400/700] Illustrated

566Continental 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”. [300/500]

567Good Meissen .800-Standard Silver-Mounted Blanc-de-Chine Porcelain Vase, of sleeve form in the Chinese taste and featuring a blue dragon with the Flaming Pearl, h. 9”. [75/125]

568Framed Arched Franco-Belgian Tapestry Panel, first quarter 20th century, the machine-woven tapestry depicting mounted huntsmen, hounds and a standing hornsman in a wood, the period frame in old gold with a concave burl-grained center molding embellished at the rounded corners with polychromed bas-relief floral garlands, h. 27-1/2”, w. 17-3/4”. [100/200]

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569Eight-Piece Continental Rococo-Style Polychromed Bedroom Suite, first quarter 20th century, consisting of a bedstead, h. 52-1/2”, inside w. 56-1/2”, l. 83”, outside w. 60”, l. 85”, with a shaped padded headboard, a pair of bedside tables fitted with four drawers, h. 28”, w. 13-3/4”, d. 10”, a kidney-shaped dressing table and a stool, a looking glass, a two-drawer side table, h. 27-1/2”, w. 27”, d. 12”, a tall dresser with a shaped mirror plate over a short drawer above a case fitted with two frieze drawers over four long drawers, h. 72”, w. 36”, d. 23”, and a giltwood armchair with padded back joined to the like seat by open arms, h. 36-1/2”, w. 25-1/2”, d. 27”, all eight pieces raised on cabriole legs on peg feet; all except the armchair painted apple green with accents of floral bouquets. [800/1200] Illustrated

570Venetian Polychromed Bedside Commode, first quarter 20th century, the serpentine top over a conforming case fitted with two paneled drawers, above a carved apron, raised on cabriole legs ending in peg feet, h. 25-1/4”, w. 23-1/2”, d. 13”. [125/250]

571Monumental Beaux Arts-Style Giltwood and Plaster Looking Glass, the outer frame with foliage carving, the inner molding with acanthine designs within a beaded band, h. 78”, w. 40-1/2”, d. 3”. [200/400]

572Monumental Beaux Arts-Style Giltwood and Plaster Looking Glass, the outer frame with foliage carving, the inner molding with acanthine designs within a beaded band, h. 78”, w. 40-1/2”, d. 3”. [200/400]

573Suite of Four Continental Painted Metal Bistro Chairs, first quarter 20th century, each with a shaped and pierced crest over a pierced columnar splat, above a caned seat, raised on circular legs ending in pad feet, h. 34-3/4”, w. 20”, d. 17”. Provenance: Private collection, Jackson, Mississippi. [300/500]

565

569eight-piece

suite

569eight-piece

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574Good Vienna Bronze-Patinated Metal Orientalist Accent Lamp, fourth quarter 19th century, modeled as a Turkish crenellated tower occupied by a robed male, the exterior with an ivory vendor under a canopy and a caparisoned mule under a palm tree, the upper portion and sides of the tower set with crimson and green glass windows, fitted for electrical wiring, h. 14-1/4”, w. 12-1/4”, d. 7-1/2”. [600/900] Illustrated

575Manner 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”. [1800/2500] Illustrated

576Japanese Meiji Patinated Bronze Figure of an Immortal, fourth quarter 19th century, the bearded figure modeled robed and crouched, the base with a bas-relief calligraphic rondel, h. 8-1/2”, w. 9-1/4”, d. 7”. [200/400] Illustrated

577Thai Patinated Cast-Iron Figure of a Dancing Girl, third quarter 19th century, the bronze-patinated figure modeled in a traditional dancing costume, presented on a mahogany-stained wooden block base with beveled upper edges, h. 12-1/2”, w. 4-3/4”, d. 4-1/2”. [100/200] Illustrated

578Thai Patinated Bronze Figure of the Youthful Buddha, second quarter 19th century, the figure modeled seated on a lotus throne, h. 18-3/4”, w. 7-1/4”, d. 5-1/4”. [250/400] Illustrated

579Two Japanese Meiji Patinated Bronze Figures, fourth quarter 19th century, comprised of a standing robed and armored samurai offering a sack of tribute money, h. 13-1/2”; and an elaborately robed and diademed female figure, the diadem fitted with a tall pair of detachable bronze feathers, h. 9-1/4”. [150/300] Illustrated

580Pair of Kuang Hsu Bronze and Champleve Enamel Candlesticks, fourth quarter 19th century, each featuring a relief Celestial Dragon and bas-relief calligraphic symbols, h. 14-1/4”, dia. 4”. [100/200] Illustrated

581Kuang Hsu Bronze and Champleve Enamel Brazier, fourth quarter 19th century, h. 9”, w. 13-1/2”, dia. 9”. [100/200] Illustrated

582Japanese Meiji Provincial Glazed Stoneware Storage Jar, fourth quarter 19th century, the shoulders with rows of stamped barred decoration, h. 19-1/2”, dia. 13-1/2”. [150/300]

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583Japanese Meiji Provincial Storage Jar, fourth quarter 19th century, composed of glazed stoneware, the shoulders with rows of stamped barred decoration, h. 19-1/2”, dia. 13-1/2”. [150/300]

584Japanese Meiji Cloisonne Pyriform Vase, fourth quarter 19th century, the melon-ribbed bowl with elaborately patterned cloisonne panels and goldstone inclusions, h. 9-1/4”, dia. 12”. [500/800]

585Kuang Hsu Black-Patinated Bronze Footed Cachepot, fourth quarter 19th century, of large sze, the exterior with bas-relief reserves of mythical beasts, h. 11-1/2”, dia. 14”. [300/500] Illustrated

586Kuang Hsu Bronze Gourd-Form Jardiniere, fourth quarter 19th century, the exterior walls with relief decoration of fruited vines and a diminutive pair of snails, the feet modeled as stylized fruits, h. 3”, w. 9”, l. 14-1/2”. [100/200]

587Japanese Meiji Bronze Figure of a Snarling Foo Dog, fourth quarter 19th century, the gold- and brown-patinated figure modeled with its forepaws on a ribbed sphere and a Foo pup on its bag, the pup removing to reveal the hollow interior of the primary figure, presented on an oriental hardwood stand of stepped oblong form, h. 11”, w. 5-1/2”, l. 8-1/2”. [200/400] Illustrated

588Kuang Hsu Patinated Bronze Figure of a Foo Dog, fourth quarter 19th century, the figure modeled standing on its hind legs, its proper right foreleg on a reticulated bronze sphere, h. 10”, w. 11”, d. 5-1/2”. [150/300] Illustrated

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589Kuang Hsu Elaborately Carved Noble’s “Dragon” Throne, fourth quarter 19th century, of the traditional type, composed of carved, red-lacquered and parcel-gilded wood, the yoke-form crest rail centered with a large gilded Flaming Pearl and having Celestial Dragon terminals, h. 45-1/2”, w. 22-1/2”, d. 23-1/2”. Provenance: Beechwood Mansion, The Estate of William Astor, Newport, Rhode Island. [500/800] Illustrated Color Plate VII and previous page

590Modern Mahogany-Veneered Sideboard, of Asian inspiration, the banded rectangular top with a low-relief-carved “Samurai in a Landscape” scene and fitted with slide-out ends, over a case fitted with a silverware drawer and another short drawer above two like-carved doors, ending in a shaped plinth base, h. 31-1/2”, w. 42”, d. 19”. [200/400] Illustrated

591Henredon Brass-Mounted Stained Fruitwood Bedstead, of Asian inspiration, the molded cornice over a fretwork pierced and carved frieze fitted with spotlights, joined to the like headboard by square supports, over a platform base, raised on C-curved legs ending in carved feet, h. 84”, w. 66-1/2”, inside l. 66”, outside l. 88”. [200/400] Illustrated

592Three-Piece Group of Nepalese and Japanese Metal Figures, comprised of a tall Nepalese gilded cast-iron figure of the young crowned Buddha standing atop a lotus, second quarter 19th century, now mounted on a bronze-patinated brass “collector’s” base as a table lamp; a Nepalese weighted and gilded brass figure of Ganeesh seated on a skull-ringed platform, fourth quarter 19th century; and a Japanese Meiji brass figure of the robed seated Buddha, also fourth quarter 19th century; the largest h. 23”. [600/900] Illustrated590

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593Attractive Kuang Hsu Domed Gong, fourth quarter 19th century, of bell form with bas-relief decoration of Celestial Dragons and stylized clouds, the striker lacking, h. 7”, dia. 5”. [75/125]

594Graduated Near Pair of Kuang Hsu “Celestial Dragons Entwined” Vases, fourth quarter 19th century, composed of natural bronze, the larger with alternating reserves of kylin and flowers on the body and presented on a Chinese hardwood footed stand, h. 11”, w. 6”, d. 5-1/2”; the smaller with a pair of Celestial Dragons and The Flaming Pearl on the body, h. 10”, dia. 5”; each signed in bas-relief calligraphy on the base. [100/200] Illustrated

595Pair of Chinese Satin-Finished Gilt-Brass Vases, third quarter 20th century, of tall “Gu” form, mounted as table lamps on black-lacquered wooden disc bases, each fitted with an interior white opal glass shade of flaring bowl form, h. 31”, dia. 8”. [100/200]

596Group of Three Thai and Nepalese Figures of Buddha, comprised of a Nepalese weighted brass figure of an elaborately crowned Buddha seated in the lotus position, fourth quarter 19th century; a smaller Thai parcel-gilt and patinated weighted bronze figure of Buddha seated on a tiered throne, third quarter 19th century; and a yet smaller Thai parcel-gilt cast-iron figure of a lotus-seated Buddha on a serpent throne, third quarter 19th century; the largest h. 15”. [200/400]

597Diminutive Ch’ien Lung Patinated Bronze Table Incense Burner, third quarter 18th century, in the form of a standing Foo dog with a fan-form tail, the head of the creature lifts off for the filling and cleaning of the vessel, h. 7”, w. 2-1/2”, d. 2-1/2”. [100/200]

598Nepalese Brass Figure of Buddha, second quarter 19th century, the figure depicted seated on a throne supported on the back of a dog, the whole set in a footed “tabernacle” stand, the reverse of the tabernacle with a script stanza at the arch, h. 6”, w. 3”, d. 2-1/2”. [40/70]

599Two Large Asian Table Lamps, second quarter 20th century, comprised of a good Chinese engraved brass ring-handled tea canister of cylindrical section, now mounted as a table lamp on a stained Oriental pine base of disc form, h. 27”, dia. 12”; and a tall serpentine-edge antiqued and floral-engraved brass table lamp of tea canister form on a conforming black-lacquered chinoiserie base, h. 32”, w. 11”, d. 6-1/2”; the former with a custom pale green linen shade, the latter with a drum shade in antique white silk shantung. [250/400]

600Five-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]

601Japanese Meiji Brass Figure of an Eagle, first quarter 20th century, the bird modeled perched on crossed logs, with wings spread and gazing downwards, h. 22-1/2”, w. 33-1/2”, d. 27”. [150/300] Illustrated

602Graduated Group of Six Thai Gilded Cast-Iron Figures, third quarter 19th century, each depicting a seated, enthroned young Buddha with scarlet paint details, all of the figures but one with the elaborate traditional spiked Siamese crown, the largest h. 17”, w. 10-1/4”, d. 5-1/2”. [400/700] Illustrated

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603Tao Kuang Gilded Cast-Iron Figure of an Immortal, second quarter 19th century, the bearded figure depicted robed and seated, his proper right hand raised, his throne of elaborately carved dark mahogany, h. 18”, w. 9”, d. 6”. [700/1000] Illustrated

604Kuang Hsu Patinated Bronze Covered Ewer, fourth quarter 19th century, in the form of a horned bovine in the T’ang Dynasty style, the bovine-headed cover removing to reveal the underlying ewer form, h. 7-3/4”, w. 4”, l. 8”. [150/300]

605Circle of Jean Despujols (French, 1886-1953), a small patinated bronze head of an Indonesian woman with an elaborate chignon, second quarter 20th century, presented on a black-painted wooden base of square block form, h. 7-1/4”. [75/125]

606Chinese-Style Lacquered Display Cabinet, the pagoda-molded cornice over a case fitted with two long astragal-glazed doors and sides, raised on curved feet, the whole painted with interlacing floral sprays, h. 85-1/2”, w. 47”, d. 14-3/4”. [300/500] Illustrated

607Drexel Heritage Mahogany-Veneered Console Table, of Asian inspiration, the rectangular top carved in low relief with three Chinese landscape scenes, over a like-carved frieze centered by a drawer, raised on square legs ending in carved feet, the top fitted with a glass panel, h. 28”, w. 56”, d. 16”. [100/200]

608Pair of Chinese Modern Black-Lacquered and Polychromed Pedestals, each of circular form depicting avian and foliage scenes throughout, and raised on a circular plinth base, h. 36-1/4”, dia. 12-1/4”. [150/300]

609Drexel Heritage Lacquered Faux-Bamboo Chinoiserie, Desk, of George III form, the rectangular top with a gilt-tooled leather writing surface, over a central frieze drawer, flanked by two pedestals, each fitted with three drawers, raised on a plinth base, h. 30”, w. 59-1/2”, d. 30”. [300/500] Illustrated

610Drexel Heritage Black-Lacquered Chinoiserie Vitrine, the molded cornice over a case fitted with two glazed doors above a pair of Chinese village landscape-painted doors, raised on a plinth base, h. 80”, w. 35”, d. 15”. [300/500]

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611Drexel Heritage Lacquered Faux-Bamboo Television Cabinet, in the Chinese taste, the pagoda crest over a dentillated frieze above two “Scholars in a Landscape”-painted doors, the lower case fitted with a pair of doors depicting “Pavilions in a Landscape”, raised on fretwork-carved bracket feet, h. 84-1/2”, w. 42-1/4”, d. 23”. [200/400] Illustrated

612Five-Piece Drexel Heritage Cream-Lacquered Dining Suite, of Asian inspiration, consisting of a dining table, h. 29”, w. 35-1/4”, d. 35-1/4”, and four armchairs, h. 36”, w. 22”, d. 19”, the table with a square top with a molded edge and corners, raised on square legs ending in shaped feet; each armchair with a shaped crest above a Chinese dragons-carved splat, joined to the cushioned seat by undulating downswept arms, raised on square legs joined by a stretcher. [200/400]

613Three-Piece Drexel Heritage Cream-Lacquered Living Room Suite, consisting of a side table, h. 28-1/2”, w. 54”, d. 16”, a cabinet, h. 32-1/4”, w. 36”, d. 18”, and a sofa table, 23-1/2”, w. 20-1/4”, d. 20-1/4”, the side table with a rectangular top, raised on square legs ending in block feet; the cabinet with a paneled rectangular top over a conforming case fitted with two lotus-carved doors, ending in a plinth base; the sofa table with a quatrefoil-form top, over a conforming case fitted with a door, ending in a plinth base. [200/400]

614Collection of Four Japanese Meiji “Bento” Basket Woven Picnic Boxes, first quarter 20th century, comprised of a square bamboo-handled three-tier example, a rounded square three-tier stained example with a bentwood handle, a square paneled box with octagonal reserves at the obverse and reverse, and a circular three-tier example with carved giltwood embellishments, the largest h. 15”, w. 9”, d. 9”. Provenance: Private collection, Jackson, Mississippi. [50/80]

615Pair of Tao Kuang Verdigris-Patinated Bronze Vases, of tall, two-handled “Hu” form in the T’ang Dynasty style (206 B.C.-220 A.D.), now mounted as table lamps with ovoid mahogany caps and bases, and fitted with tall oval drum shades in “old ivory” silk, h. 22”, w. 13”, d. 8”. [300/500] Illustrated

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616Diverse Four-Piece Collection of Bronze and Silver Objects, comprised of a Flemish cased set of five graduated gold weights, second quarter 18th century; a Kuang Hsu bronze ashtray in the form of a gourd, fourth quarter 19th century; a Japanese Meiji patinated bronze brush cup of like date; and a William Spratling silver head of a Mayan nobleman mounted on a black lacquer stand as a tabletop ornament, the base of the silver head’s stand with an inset “WS” monogram disc, second quarter 20th century; the largest h. 3-3/4”. [100/200]

617Japanese Meiji Bronze Traveling Scribe’s Inkstand/Brush Case, fourth quarter 19th century, the polygonal inkstand with dark russet patination and bas-relief figures of Foo dogs, the scroll-terminal handle hollow for the containment of brushes, l. 13-1/2”. [75/125]

618Attractive Pair of Han Dynasty (206 B.C.- 220 A.D.) Pottery Vases, of large “Hu” form, polychromed and patinated gray, the spherical bodies with traces of the period red-orange painted banding, presented on matching lacquered wooden display stands of square block form, h. 14-1/2”, dia. 9-1/2”. [1500/2500] Illustrated previous page

619Pair of Kuang Hsu Patinated Pottery Figures of Bulls, fourth quarter 19th century, in the T’ang Dynasty (618-970 A.D.) style, each figure modeled with a slightly covered head, its proper right hoof pawing the ground, h. 10-1/2”, w. 6”, l. 14”. [300/500] Illustrated

620Turkish Oushak Carpet, 8’ 5” x 10’ 2”. [1200/1800] Illustrated

621Agra Serapi Runner, 2’ 7” x 12’. [400/700] Illustrated

622Semi-Antique Sparta Carpet, 11’ 11” x 17’ 8”. [300/500]

623Aubusson-Style Needlepoint Carpet, 5’ 3” x 8’ 5”. [200/400]

624Persian Kashmar Carpet, 9’ 7” x 13’ 3”. [600/900] Illustrated

625Hamadan Carpet, 3’ 5” x 4’ 8”. [50/80]

626Karaja Runner, 2’ 2” x 6’ 3”. [75/125]

627Agra Serapi Carpet, 8’ 1” x 10’. [1000/1500] Illustrated

619

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628Indo-Oushak Carpet, 5’ 8” x 7’ 10”. [350/500]

629Persian Mir Carpet, 3’ 8” x 6’ 7”. [150/300]

630Persian Azerbaijan Runner, 3’ 2” x 9’ 8”. [250/400]

631Persian Tabriz Carpet, 9’ 8” x 12’ 10”. [500/800] Illustrated

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632Persian Bakhtiari Carpet, 9’ 7” x 11’ 10”. [450/700]

633Bidjar Circular Carpet, dia. 8’ 3”. [300/500]

634Heriz Carpet, 6’ x 9’. [200/400]

635Louis XIV-Style Needlepoint Carpet, 8’ 7” x 11’ 8”. [400/700] Illustrated Color Plate II and previous page

636Pakistan Lahore Runner, 2’ 8” x 8’ 4”. [150/300]

637Indo-Oushak Runner, 2’ 7” x 8’. [200/400]

638Agra Zeiglar Mahal Carpet, 7’ 10” x 10’. [800/1200] Illustrated

639African, Kenyan Charcoal and Pastel Self-Portrait of a Kalahari Bushman Tracker, signed and dated, together with a bow and arrow belonging to the subject in the painting, painting 26-1/2” x 20-3/4”, bow l. 47”. The portrait glazed, matted and framed. This bushman went by the American name “Mack” which was given to him because his real name was too hard to pronounce. He was later killed by a water buffalo during a hunting exposition. [500/800] Illustrated

640African Cowhide and Wood Tribal Shield and Spear, the shield oval, h. 27”, w. 20”, the spear long, l. 55”, both polychromed. [40/70]

641Triple-Faced Wooden Helmet Mask, of conical shape, each face with large rectangular eyes with traces of red and white pigment, and small conical mouth, each bottom perimeter with attached fiber ruff, h. 13-1/2”, dia. 12”. [150/300] Illustrated

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642Cameroon-Style Head with Pedestal, composed of a large head on a circular cloth and wrap base, the head with four-ridged hairdo, C-shaped ears, dome-shaped protruding eyes, bulbous cheeks painted white, exposed rows of teeth painted white, and large voluminous fiber ruff attached to the circumference of the neck, presented on a tall ebonized squared columnar pedestal, h. 21”, with stand h. 63”. Provenance: Private collection, Jackson, Mississippi. [700/1000] Illustrated

643Group of Two African Masks, comprised of a Baule-style horned face mask with an oval-shaped wooden face with tubular horns, h. 18”, w. 10”; and an African-style face mask with copperized patina and red metal applications on the mouth, above the eyes and on the forehand, with rope-like wire decoration on the mouth, ears, eyes and abstract decoration on forehead, h. 17-1/2”, w. 9-1/2”. [200/400] Illustrated

644Two Vietnamese Bamboo Root Sculptures, comprised of a table sculpture of a smiling Buddha, h. 15”, w. 11”, d. 4”; and a wall-mounted example of a bearded sage, h. 13”, w. 7”, d. 3-1/2”. [75/125] Illustrated

645African-Style Wooden Kneeling Female Figure, with exaggerated features, her arms extending to the base, one hand with a finger inserted into a jar-like container, having pendulous breasts and protrusions from forehead, presented on an ebonized wooden pedestal of cube form, h. 48-1/2”, w. 11”, d. 11”. Provenance: Private collection, Jackson, Mississippi. [200/400] Illustrated

646Baule-Style Wooden Female Figure, with bulbous domed hairdo, depicted seated on a stool, her feet on a low platform, her hands resting on her abdomen, with raised scarification marks on her breasts, abdomen, cheeks, forehead, shoulders and forearms, presented on an ebonized wooden pedestal of cube form, h. 45-1/2”, dia. 9”. Provenance: Private collection, Jackson, Mississippi. [200/400] Illustrated

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647Senufo-Style Standing Bird, West African, the wooden bird standing on a low platform, with rectangular wings extended, domed-shaped torso, long beak touching abdomen, long tubular legs and crest atop head with multiple conical protrusions, incised decoration overall, presented on a black wooden base of cube form, h. 75”, w. 27”, d. 20”. Provenance: Private collection, Jackson, Mississippi. [400/700] Illustrated

648Kenyan Carved Wooden Tribal Figure, second quarter 20th century, of tall, attenuated form with a bristle topknot and a fiber head wrap, the wood in a dark stained and rubbed finish throughout, h. 45”. [30/50]

649Trio of Patinated Bronze “Manilas”, (also called “slave bracelets”), 1600-1700, all barter pieces used during the European slave trade with Africa, w. 2-1/4”, l. 2-1/2”. [50/80]

650African-Style Carved Wooden Female Figure with a Bird, the figure modeled seated on a stool, her arms upraised and holding the tips of extended wings of a large bird standing on her head, the bird with a long beak touching its chest, presented on a black wooden base of cube form, h. 50”, w. 19”, d. 10-1/2”. Provenance: Private collection, Jackson, Mississippi. [400/700]

651Suite of Nine Various North American Hand-Woven Baskets, consisting of six Papago, Tohono O’oDham; an early 20th-century Alaskan coiled vase; and two Seminole Indian, Florida, bound pine needle baskets; the largest dia. 8-1/2”. [100/200] Illustrated

652Suite of Six Various African Hand-Woven and Dyed Trays, consisting of four Pima design examples, a Zulu example and a Nigerian flat example, the largest dia. 12-1/2”. [100/200]

653Navajo Indian Red Fox Quiver and Two Arrows, fitted with a hanging strap, h. 17”, l. 58”, d. 3”. [200/400] Illustrated

654Amahuaca Indian Bow and Three Arrows, bow l. 53”, largest arrow l. 45”. The Amahuaca Indians are one of the smallest population tribes known in the Amazon today. [200/400]

655Vintage Shotgun Cleaning Rod and Native Indian Arrow, the arrow bearing the maker’s name along the shaft, with a knapped stone-tipped arrowhead, l. 33-1/2”; together with a vintage hand-made shotgun cleaning rod, l. 39-1/4”. [50/80]

656Two Powder Horns, third quarter 20th century, one a hand-crafted white/gray/black polished buffalo horn powder horn with a carved antler plug and stopper in the traditional style, l. 10”; the other a brass-, leather- and turned horn-mounted goat horn powder horn with pendant horsehair embellishments, l. 13”. [50/80] Illustrated

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657Rare Mayoruna Indian Poison Dart Quiver, h. 11-1/2”, dia. 3”. Also known as Matses, this Amazon tribe stored their darts in this container. The darts were impregnated with frog poison by rubbing the tips across the backs of poison frog species from the Amazon jungle. [50/80] Illustrated

658Two Coiled and Dyed Hand-Woven Tribal Baskets, consisting of an Amazonian Mats’es Indian leaf gathering example and a vintage Navajo Indian medicine basket, the largest dia. 13-1/2”. [50/100] Illustrated

659Large African Coiled and Dyed Wedding Basket, Kenyan, of Navaho Indian design, dia. 23-1/2”. [100/200] Illustrated

660Suite of Three Hand-Woven Tribal Baskets, consisting of a vintage African string bowl, a large Yanomamo Indian gathering basket and a Heminaku Indian banana leaf platter basket, all from the Amazon rain forest, the largest dia. 19-1/2”. [50/80]

661Group of Two American Woven Splint Baskets, first quarter 20th century, the first a large example of deep, oblong form with a bentwood center handle, h. 19”, w. 11”, l. 19”; and the second of oval cushion form with an arched woven splint-covered handle, h. 15”, w. 15”, l. 19”. [150/300]

662Five-Piece Collection of Hand-Woven Baskets, consisting of two Botswana lidded hanging medicine storage baskets; a Kenyan bowl; a Ukhamban beaded, lidded example; and a Louisiana, dyed and antler-handled example, fitted with a leather tassel, made by Randal W. Bales, Baton Rouge; the largest h. 7-1/2”, w. 9”, l. 11-1/2”. [100/200]

663Native American Ojibway Bow and Four Arrows, the buckskin-wrapped bow adorned with trade beads and feathers and a sinew flemish bow string, l. 68”, the quiver of buffalo hair-on-hide with tanned tassels and soft leather strap, l. 23”; the arrows with flint bird tip arrowheads attached with sinew and resin, and turkey feather flights, l. 32”. [400/700] Illustrated

664Group of Ten Handmade Indian Arrows, some examples with decorated shafts, and all having flint arrowheads, the largest l. 36-1/2”. [100/200]

665Matses Indian Bow and Two Arrows, one a spear arrow with a long projectile tip, bow l. 96”, arrows l. 56” and 58”. The Matses Indians are known as “The Guardians of the Rainforest” and can only be reached with a guide. The spear arrow was often launched using another stick notched like a ladle. [200/400]

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666Collection of Five Native American Pine Needle Baskets, consisting of two Seminole Indian open examples; two Louisiana Chitimacha lidded examples; and one Coushatta lidded example; the largest h. 3-1/2”, dia. 5”. [100/200] Illustrated

667Large Hand-Woven Vine Floor Basket, of tapering cylindrical form with two handles and a hardwood base, h. 20-1/2”, dia. 15”. [30/50]

668Two African Tribal Dyed Hand-Woven Baskets, including a Swazi sisal example, dia. 8-1/4”; and a wedding trinket basket of Navajo design, dia. 7-1/2”. [50/80]

669Collection of Five Ethiopian Woven Baskets, consisting of a vintage dyed example with a V-figure design; a vintage dyed example with a figural design; two dyed examples with a Navaho design; and a natural coil woven example; the largest dia. 15-1/2”. [50/80] Illustrated

670Group of Three Seminole Indian Arrows, each made with a garfish scale arrow tip, sinew and resin, l. 32”. [100/200] Illustrated

671Yanomami Indian Bow and Two Arrows, bow l. 71”, arrow l. 45”. These bows were not very powerful but required tremendous skill and were sometimes used with poisonous arrow tips. There are less than 20,000 Yanomami Indians known to exist today in the Amazon rain forest. [200/400] Illustrated

672Group of Four Indian Arrows with Stone Arrowheads, some examples with decorated shafts and turkey feather flights, the largest l. 33”. [50/80] Illustrated

673Huaorani Indian Bow and Two Arrows, one arrow for fishing, l. 64”, and one for hunting, l. 68”, bow l. 68”. The Huaorani Indians are known as “The Warriors of the Amazon”; there are less than 2,000 known to exist today. [200/400]

674American Wooden Bowl with Apples, the turned, stained and intaglio-carved fruitwood footed compote, probably American cherry wood, with a dozen turned and green-painted wooden apples, each with a single fabric apple leaf at the stem, h. 7-1/2”, dia. 10-1/2”. [30/50]

675Collection of Three American Wood Art Vessels, comprised of a “map-marked” worm wood fruit bowl by D. Carroll, Varbado, Louisiana; a turned box elder vase with natural bark rim, signed H. B. Hutchinson; and a small turned oak bowl of cup form, 1989, by R. W. Bales; all three pieces in a softly waxed natural finish, the largest h. 4”, dia. 11-1/2”. [100/200]

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676Group of Two West African-Style Masks and a Nigerian Figure, comprised of a Baule-style wooden face mask, West Africa, with oval-shaped face, striated hairdo and crescent-shape piercing at the eyes, the surface of face with abraded wire attached to pierced holes behind ears, h. 11”, w. 6-1/4”; another West African-style face mask with serene features, crescent piercing at eyes, band representing a beard around perimeter at bottom and striated hairdo at top, with vertical chevron raised scarification down forehead from hairline to eyebrows, h. 15”, w. 7-1/2”; and a Yoruba People’s Twin Figure, Nigeria, the wooden female figure modeled standing on a platform, with arms at sides touching legs, protruding breasts, crested hairdo and wearing a glass bead necklace, h. 9-1/2”. [100/200]

677Good Three-Piece Collection of American Turned Wood Art Vessels, comprised of an Australian york gum burl bowl with a natural edge; a turned poplar vase of baluster form; and an elm burl vase with a natural “buttress” shoulder; all three pieces in a softly waxed natural finish, the largest h. 11”. [150/300] Illustrated

678Good Three-Piece Collection of Turned Wood Art Vessels, comprised of a richly grained poplar bowl of traditional Native American form; a similarly grained poplar spherical short flared-neck vase; and a larger chestnut long-neck vase; all three pieces in a satin-waxed natural finish, the largest h. 10-1/2”. [150/300] Illustrated

679Two Cypress Items, one a large American freeform turned cypress burl bowl with integral arched handle, accompanied by five turned and green-painted wooden apples, each with a single fabric leaf at the stem; and the other a similar elaborately grained cypress burl basket; the largest h. 11”, w. 13”, d. 11”. [100/200] Illustrated

680Interesting Collection of Four Native American Gourd Vessels, comprised of a black-green-patinated gourd decorated with beads and tan feathers, signed “Baumgartner, ‘92”; a smaller gourd vase with coil-wrapped and pendant beaded neck by Beth Pellett, retaining the artist-placed talismanic contents of an obsidian arrowhead, two wax fragments, a cinnamon stick, a pyrite-veined rock, an onyx thumb stone and a gilt-metal putto head; a covered gourd bowl decorated in maque technique, Florida, 1998; and a smaller Beth Pellett spherical gourd vase with a coil-wrapped and turquoise-beaded lip; the largest h. 5”, dia. 6”. [30/50]

681Two-Piece Turned Wood Group, consisting of an American turned mesquite wood spherical vase/candleholder, h. 4-1/2”, dia. 4-1/2”; and a small turned cherry wood oval dip-sided sweetmeat bowl, with a natural bark rim, dated 1988, the bowl signed on the base “Oct’ 88/ M.Howle”, h. 3”, l. 5”. [40/70]

682Collection of Five Tribal Woven and Dyed Coil Baskets, consisting of a Choco Panama Indian example, three Wouaan Panama Indian examples and a Ugandan example, the largest dia. 13-1/4”. [100/200] Illustrated

683West African Woven Prayer Mat Hamper Basket, made by Wolof women in Senegal, h. 20”, dia. 13”. [100/250]

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684Suite of Five Tribal Hand-Woven Baskets, consisting of a Wounaan Indian example and four African Tonga Binga, Zimbabwe, plateau examples, the largest dia. 14”. [150/300] Illustrated previous page

685Two African Massai Elder Spears, each of forged steel and wood, dismantling into three sections, l. 100”. Elder spears were used by the young Massai warriors to prove their manhood by killing a lion. One end of the spear was planted in the ground and the other end pointed toward the charging lion. [100/200]

686African Masai War Shield and Spear, the shield made from hardened and painted animal hide, w. 20”, l. 26-1/2”, the spear with a protective animal hide spear point cover, l. 52”. [100/200]

687Raymond Chirambadare (Aimbabwe, d. 2006) “Shona”, a polished black-to-brown-to-red polished marble sculpture depicting a sleeping figure with an African mask-inspired face, signed on the right rear edge in incised letters “R. Chirambadare”, h. 15”, w. 7-1/4”, d. 5-1/2”. [200/400]

688William 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. [1200/1800] Illustrated

689American/Texas School (Second Quarter 20th Century) “Texas Landscape with Bluebonnets”, oil on canvas board, verso pencil signed “Miss Maggie Chuderwood”, 9” x 13. Framed. [500/800]

690Dan 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. [1200/1800] Illustrated

691Marie Gruber (American/South Carolina, Contemporary) “Window” and “Doorways”, pair of black and white silver gelatin prints, numbered, respectively, “6/50” and “8/50”, each signed lower right “Marie Gruber”, 20” x 13”. Glazed, matted and presented in stained wooden frames. [150/300]

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692Katherine Kuharic (American, b. 1962) “Chipmunk and Squirrel Amongst Ancient Ruins”, oil on canvas, signed lower right “Kuharic”, 46” x 56”. Presented in a molded giltwood frame. Provenance: Private collection, Jackson, Mississippi. [800/1200]

693Katherine Kuharic (American, b. 1962) “Chipmunk and Squirrel Amongst Ancient Ruins”, oil on canvas, signed lower right “Kuharic”, 46” x 57-1/2”. Presented in a molded giltwood frame. Provenance: Private collection, Jackson, Mississippi. [800/1200]

694John Andrew Schooler (American, b. 1954) “Gitano”, oil on canvas, signed, titled and dated “1993” on canvas verso, overall 21-1/2” x 18”. Presented in a custom hand-painted frame. Provenance: Private collection, Jackson, Mississippi. [150/300]

695American School (Contemporary) “Three Stylized Figures”, mixed media on paper, signed lower right “B. Ventura”, sight 9-1/2” x 7”. Glazed, double-matted and presented in a molded giltwood frame. Provenance: Private collection, Jackson, Mississippi. [75/125]

696Continental School (Fourth Quarter 20th Century) “The Masked Man”, graphite on paper, signed illegibly lower left, sight 23-1/8” x 18-1/2”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [75/125]

697American School (Contemporary) “Bunny” and “The Beetle”, two limited edition lithographs, initialed and dated lower right “NS ‘96” and “NS ‘91”, numbered lower right, sight 21-1/2” x 29”. Glazed and presented in parcel-gilt frames. Provenance: Private Collection, Jackson, Mississippi. [350/500]

698Raymond Moretti (French, b. 1931) “Claude 1”, oil on canvas, signed upper right corner “Moretti”, signed and titled verso, 28-1/2” x 23”. Framed. Provenance: Private collection, Jackson, Mississippi. [700/1000] Illustrated

699Angel Serrano (American, 20th/21st Century) “Untitled Abstract”, oil on canvas, signed and dated lower left “CA ‘87, Angel Serrano”, 24” x 18”. Presented in a molded giltwood frame. Provenance: Private collection, Jackson, Mississippi. [150/300]

700Angel Serrano (American, 20th/21st Century) “Cubist Nude”, oil on canvas, signed and dated lower right “CA ‘87, Angel Serrano”, 24-1/2” x 18”. Presented in a molded giltwood frame. Provenance: Private collection, Jackson, Mississippi. [150/300]

701Angel Serrano (American, 20th/21st Century) “Cubist Nude”, oil on canvas, signed and dated lower right “A. Serrano ‘87”, with dedication verso, 20” x 16”. Presented in a Louis XV-style giltwood and gesso frame with a linen liner. Provenance: Private collection, Jackson, Mississippi. [150/300]

702Alexis Karl (American, Contemporary) “Portrait of a Young Woman”, oil on canvas, signed lower right and verso, dated “1995” and titled stretcher verso, 18” x 14”. Presented in a deeply molded giltwood frame. Provenance: Private collection, Jackson, Mississippi. [75/125]

703American School (Fourth Quarter 20th Century) “Tropical Coastal Seascape with Sailboats”, oil on canvasboard, initialed lower right “LBA”, sight 13-1/4” x 10-3/4”. Presented in a molded polychromed frame with a linen liner. Provenance: Private collection, Jackson, Mississippi. [75/125]

704Jon Andrew Schooler (American, b. 1954) “The Red Voohoo In the Canyon of the Virgin of Guadalupe”, acrylic on canvas, signed, dated “1993” and titled verso, 31-1/2” x 40-1/4”. Presented in a custom-painted frame. Provenance: Private collection, Jackson, Mississippi. [300/500]

705Mexican School (Fourth Quarter 20th Century) “View of a Mountainous Village” and “Venetian Canal Scene”, oils on panel, the former unsigned, the latter signed illegibly lower right, 22” x 17-1/2”. Presented in matching Baroque-style ebonized, parcel-gilt and felt-lined frames. [600/900]

706Group of Four Bead Necklaces, composed of gemstone, pearl and wooden beads, one with a reticulated pendant, the stones including onyx, jade, pearl, agate and rock crystal, the largest l. 1-1/4”. [75/125] Illustrated following page

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707Chinese Jade, Silver-Gilt and Enamel Cuff Bracelet, composed of a reticulated white jade plaque set in a silver-gilt filigree mount with enamel decoration, dia. 2-1/4”. [100/200] Illustrated

708Two Asian Hardstone Necklaces, composed of a white jade pendant necklace with flattened carved oval beads, l. 16”, and a pendant in the shape of a banana leaf and a single strand of carnelian beads, l. 28”. [125/250]

709Group of Two Antique Rosaries, comprised of a silver and gemstone rosary necklace set with gemstone and enamel beads, l. 36”, and a gold-filled rosary with coral beads and medallion spacers, l. 18-1/4”. [300/500]

710Dramatic Black Bead and Citrine Choker Necklace, composed of eight rows of black beads with a central medallion of six citrine cabochons in bezel settings, dia. 5”. [125/250]

711High-Karat Gold and Cameo Lady’s Ring, the Eastern-style cast mounting set with a large onyx cameo depicting a Roman lady in profile secured with fleur-de-lis-shaped prongs, size 7. [300/500]

712Silver and Amethyst Demi-Parure, composed of a silver and amethyst necklace, l. 14-3/4”, and two pairs of amethyst and silver earrings, l. 5/8” and 1-1/2”. [250/400]

713Silver and Ivory Pendant Necklace, composed of a silver serpentine link chain with bar and hoop clasp, suspending an ivory tooth-shaped pendant, l. 27”. [75/125]

714Antique Silver and Shell Cameo Brooch, composed of an Italian shell cameo of a female profile in a silver mount, w. 1-1/4”, l. 1-1/2”. [75/100]

715Group of Six Charms and Intaglios, comprised of three hardstone charms, a devil’s horn pendant and two onyx intaglios, the largest l. 40”. [75/125]

716Six-Piece Group of Amber, Coral and Pearl Jewelry, consisting of four necklaces and two bracelets, each composed of tubular amber beads with pearl or coral spacers, the largest l. 20”. [250/400] Illustrated

717Dramatic Amber and Vermeil Toque Necklace and Amber Bracelet, the gilt-silver modernist tapered necklace set with a large pear-shaped amber cabochon at the front, l. 7”, w. 5-1/4”, the bracelet composed of a large triangular amber cabochon with tubular sides, dia. 2-5/8”. [125/250] Illustrated

718Group of Assorted Mineral Specimens, comprised of various stones and crystals with accompanying labels, the largest w. 1-1/4”, l. 1-5/8”. [75/125]

719Fourteen-Karat Yellow Gold Lady’s Wire Necklace, composed of a single polished yellow gold rigid-wire necklace with a double rectangle locking clasp, l. 11”. [150/300]

720Group of Four Fourteen-Karat Yellow Gold and Gemstone Clasps, three set with gemstones including diamonds, emeralds and pearls; one an openwork hollow sphere. [150/300]

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721Group of Ten Assorted Chains, including modern and antique examples in assorted metals including pinchbeck, fourteen-karat yellow gold and eighteen-karat yellow gold; a nice, varied assortment, the largest l. 44”. [250/400]

722Group of Three Pieces of Antique Jewelry, comprised of a pair of fifteen-karat yellow gold and diamond earrings in a leather case; a nine-karat yellow gold and carnelian brooch; and a twelve-karat yellow gold bangle bracelet with engraved ribboned attachment (loose), the largest w. 2-1/2”, l. 2-1/4”. [300/500]

723Pair of Fourteen-Karat Gold and Gemstone-Inlaid Earrings, each of oval shape, inlaid with gemstone plaques of turquoise, lapis lazuli, mother-of-pearl, onyx and agate, h. 1-1/2”, w. 1”. [100/200]

724Eighteen-Karat Yellow Gold and Diamond Nadine Ring Watch, in the form of a lady’s ring with a white enamel-faced watch accented at each end with three round brilliant-cut white diamonds, size 6-1/2. [100/200]

725Single Strand of Imitation Pearls, the ungraduated cream rose-colored imitation pearls with a silver filigree clasp, l. 20”. [60/90]

726Group of Four Pairs of Antique and Modern Earrings, comprised of a pair of fourteen-karat yellow gold Victorian earrings; a pair of fourteen-karat yellow gold retro modern earrings; a pair of fourteen-karat yellow gold lion-head hoop earrings; and a pair of fourteen-karat yellow gold carved blue sapphire and diamond earrings. [600/900]

727Group of Seven Assorted Jewelry Items, including antique and modern charms, pendants and fobs in silver, gold-fill and fourteen-karat yellow gold set with natural and synthetic stones. [125/250]

728Group of Two Lady’s Charm Bracelets, comprised of a double link bracelet with seven charms in fourteen-karat yellow gold set with jade, aventurine and amethyst, l. 7”; and a gold-filled single-link bracelet set with twelve small charms, l. 6-3/4”. [200/400]

729Group of Two Fourteen-Karat Yellow Gold and Gemstone Rings, comprised of a yellow gold ring cast as a lion’s head set with three diamonds; and a basket-weave shank yellow gold ring set with a rectangular step-cut emerald, estimated weight 2.0 carats, flanked by diamond-set hexagons; both size 8-1/2. [900/1200]

730Fourteen-Karat Yellow Gold, Enamel and Tourmaline Lady’s Indian Ring, of elongated shape, enameled on the interior with floral enamel on a white ground, the exterior enameled in translucent red enamel with bezel-set green tourmaline cabochons. [300/500]

Session IISunday, November 21, 201011:00 a.m. (Lots 731-1283)

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731Gentleman’s Rolex Oyster Perpetual Datejust Chronometer Wristwatch, of stainless steel with fourteen-karat yellow gold trim, black enamel face with date window at 3:00 position, gold and stainless bracelet, presented in a Rolex box. [1500/2500] Illustrated

731AGentleman’s Movado Calendomatic Wristwatch, with gold top and stainless back, the blue and white enamel face with month and day windows, fitted with a leather strap. [400/700]

732Stunning Platinum and Diamond Lady’s Engagement-Style Ring, composed of a platinum body set with three round brilliant-cut diamonds across the top, the center stone weighing an estimated 3.50 carats, the two side stones with an estimated 1.50 carats total weight, the diamonds SI-1 clarity grade and I-M color grade. [25000/40000] Illustrated Color Plate XV

733Eighteen-Karat White Gold and Diamond Wedding Ring, featuring a central prong-set round brilliant-cut white diamond, total weight 1.0 carat, supported by white diamond-set shoulders, featuring a mix of twenty-six prong-set round brilliant-cut and sixteen channel-set baguette-cut white diamonds, total diamond weight 0.59 carats, size 7. [4000/7000]

734Eighteen-Karat White Gold and Diamond Wedding Ring, composed of a central prong-set radiant shaped-cut white diamond, set within a bead-set round brilliant-cut white diamond lattice gallery, supported by bead-set round brilliant-cut white diamond-set shoulders, total diamond weight 2.55 carats, size 7. [8000/12000]

735Lady’s Platinum and Diamond Engagement Ring, set with a central round brilliant-cut white diamond weighing an estimated 1.48 carats, SI-2 clarity grade, I color grade, flanked to either side by two baguette-cut diamonds. [900/1200] Illustrated Color Plate XVI

736Fourteen-Karat White Gold and Diamond Band Ring, composed of three central rectangular-cut diamonds flanked on either side by three channel-set princess-cut diamonds, estimated total weight 2.0 carats. [4500/7000] Illustrated Color Plate XVI

737Lady’s Fourteen-Karat White Gold and Diamond Eternity Band, cast as entwined ribbons set with round brilliant-cut white diamonds (two lacking). [200/400] Illustrated Color Plate XVI

738Pair of Fourteen-Karat White Gold and Diamond Solitaire Earrings, each with a prong-set round brilliant-cut diamond, total weight 3.08 carats, ending with screw backs. [7000/10000]

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739Fourteen-Karat Yellow Gold, Blue Topaz and Diamond Lady’s Ring, composed of a central pear-cut blue topaz weighing an estimated 3.5 carats, surrounded by a conforming row of round brilliant-cut white diamonds, estimated total weight 1.0 carat, size 8. [500/800] Illustrated

740Eighteen-Karat White Gold and Diamond Lady’s Engagement-Style Ring, composed of a central .74-carat round brilliant-cut white diamond in a ribboned openwork setting pave set with round brilliant-cut white diamonds, size 6-1/2. [2500/4000] Illustrated

741Pair of Eighteen-Karat White Gold and Diamond Earrings, each composed of a central diamond surrounded by a border of round brilliant-cut white diamonds, extending up the suspension post, estimated total weight .47 carats. [900/1200] Illustrated

742Eighteen-Karat Yellow Gold, Pearl, Sapphire and Diamond Floral-Style Ring, composed of a central post-set pearl surrounded by flower petals set with multi-colored sapphires and edged in round brilliant-cut white diamonds, size 7-1/2. [3500/5000] Illustrated

743Fourteen-Karat White Gold and Black and White Diamond Lady’s Pendant, featuring a prong-set oval-shaped cut diamond, total weight 5.15 carats, within a prong-set round brilliant-cut diamond bezel, completed by an elaborate diamond-set bail, total weight of diamonds 2.75 carats, suspended on a fourteen-karat white gold chain ending in a lobster-claw clasp, l. 18”. [3500/5000] Illustrated Color Plate XVI

744Pair of Fourteen-Karat White Gold, Black and White Diamond Cluster Earrings, each with a prong-set round brilliant-cut deep black diamond, total weight 9.06 carats, surrounded by fifty-six flush-set round brilliant-cut white diamonds, total weight 0.33 carats, ending with standard backs. [2000/4000] Illustrated Color Plate XVI

745Tahitian Cultured Black Pearl Necklace, composed of a single graduated strand of thirty-five Tahitian cultured black pearls, ranging from 11.00 mm to 13.50 mm in size, knotted with a fourteen-karat white gold scalloped plunger-style clasp, l. 18”. [2500/4000] Illustrated

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746Pair of Fourteen-Karat Yellow Gold, Pearl and Diamond Earrings, each composed of an 11.0 mm black Tahitian pearl set above a triangular single-cut diamond in a prong mount. [2000/4000] Illustrated previous page

747Group of Two Pieces of Fourteen-Karat Yellow Gold, Mabe Pearl and Diamond Jewelry, comprised of a yellow gold openwork ring with a central mabe pearl with diamond accents; and a pair of yellow gold earrings with central mabe pearls and twisted wire settings, size 6-1/2. [300/500]

748Interesting Fourteen-Karat White Gold, Tanzanite and Diamond Pendant, featuring a prong-set triangle mixed-cut natural tanzanite, total weight 8.29 carats, set within a graduating bead-set round brilliant-cut diamond bezel and a bead-set round brilliant-cut diamond set under-carriage, supported by ribbons of bead-set round brilliant-cut diamonds, total weight of diamonds 1.60 carats, suspended on a designer-style chain ending in a lobster-claw clasp, l. 18”. [7000/9000] Illustrated Color Plate XVI

749Eighteen-Karat White Gold and Diamond Lavaliere-Style Necklace, composed of an Art Nouveau-style diamond-set pendant with two diamond-set suspensions and an oval link chain, estimated total diamond weight 1.70 carats, including the diamond-set clasp, chain 14”. [4500/7000] Illustrated Color Plate XVI

750Fourteen-Karat White Gold, Aquamarine and Diamond Lady’s Pendant, featuring a prong-set square cushion mixed-cut natural aquamarine, total weight 8.60 carats, set within a two-tiered diamond bezel, total weight of diamonds 0.86 carats, supported by an elaborate lattice under-gallery, completed by a diamond-set bail, suspended on a fourteen-karat gold designer-style chain, l. 18”. [2500/4000] Illustrated

751Eighteen-Karat Yellow Gold, Amethyst and Diamond Lady’s Cocktail Ring, composed of a central bulging rectangular fantasy-cut amethyst surrounded by a single border of round brilliant-cut white diamonds, size 6-1/2. [1800/2500] Illustrated

752Good Eighteen-Karat White Gold, Tanzanite and Diamond Ring, composed of a prong-set oval brilliant-cut natural tanzanite, total weight 15.28 carats, set with elaborate prong-set round brilliant-cut white diamond shoulders, total diamond weight 2.31 carats, size 7. [12000/15000] Illustrated

753Elaborate Fourteen-Karat White Gold, Tanzanite and Diamond Lady’s Ring, composed of a central prong-set oval mixed-cut natural tanzanite, total weight 5.23 carats, set with elaborate pave- and prong-set round white diamonds, mixed with channel-set baguette-cut white diamonds, total weight 2.66 carats, with white gold lattice under-carriage, size 7.5. [6000/9000] Illustrated Color Plate XVI

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754Beautiful Fourteen-Karat White Gold, Tanzanite and Diamond Lady’s Ring, featuring a central prong-set rectangular cushion mixed-cut natural tanzanite, total weight 3.57 carats, set within a two-tiered bezel with the first tier featuring prong-set round brilliant-cut white diamonds and the second tier with channel-set baguette-cut white diamonds, supported by a white gold lattice under-carriage and prong-set round brilliant-cut white diamond-set split shoulders, total diamond weight 1.35 carats, size 7.5. [4000/7000] Illustrated

755Fine Fourteen-Karat White Gold, Tanzanite and Diamond Dinner Ring, featuring a prong-set oval mixed-cut natural tanzanite, total weight 3.93 carats, set within a two-tiered bead-set round brilliant-cut white diamond lattice gallery, total diamond weight 1.67 carats, size 7.5 [3500/5000] Illustrated Color Plate XVI

756Beautiful Fourteen-Karat White Gold, Tanzanite and Diamond Lady’s Ring, featuring a prong-set rectangular cushion mixed-cut natural tanzanite, total weight 4.10 carats, set within a two-tiered prong-set round brilliant-cut white diamond lattice gallery, total diamond weight .049 carats, size 7.5 [3000/5000] Illustrated Color Plate XVI

757Platinum, Sapphire and Diamond Lady’s “Solitaire” Ring, composed of a central prong-set rectangular cushion-cut Ceylon blue sapphire weighing an estimated 8.0 carats flanked on either side by a tapered baguette-cut white diamond, size 7. [6000/9000] Illustrated Color Plate XVI

758Beautiful Sapphire and Diamond Lariat-Style Necklace, composed of a bezel-set oval mixed-cut natural blue sapphire and bezel-set round brilliant-cut white diamond clusters, connected to white gold bar links, supported by a sapphire and diamond flowerhead, total sapphire weight 10.12 carats, total diamond weight 2.06 carats, l. 17-1/2”. [2500/4000] Illustrated Color Plate XVI

759Eighteen-Karat White Gold and Yellow and White Diamond Lady’s Ring, featuring a prong-set cushion-cut fancy yellow diamond, total weight 3.47 carats, set within a one hundred twenty-seven pave-set round brilliant-cut white diamond bezel and white diamond-set shoulders, total diamond weight 0.75 carats, size 7. [7000/10000] Illustrated Color Plate XVI

760Lady’s Fourteen-Karat White Gold and Yellow and White Diamond Ring, composed of a central prong-set brilliant-cut fancy pale yellow diamond, total weight 1.28 carats, set within a prong-set round brilliant-cut white diamond bezel and shoulders, total white diamond weight 1.20 carats, size 7. [3500/5000] Illustrated Color Plate XVI

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765Fourteen-Karat Yellow Gold, Ruby and Diamond Lady’s Ring, composed of a featured prong-set rectangular cushion mixed-cut natural ruby, total weight 11.58 carats, surrounded by a single row of prong-set round brilliant-cut white diamonds, total weight 2.44 carats, size 7. [2500/4000] Illustrated

766Fourteen-Karat Yellow Gold, Ruby and Diamond Lady’s Ring, featuring a prong-set oval faceted-cut genuine ruby, total weight 4.13 carats, surrounded by thirty-two prong-set round full faceted white diamonds, total diamond weight 2.00 carats, size 5. [2000/4000]

767Fine Fourteen-Karat Yellow Gold, Ruby and Diamond Lady’s Ring, composed of a prong-set oval faceted genuine ruby, total weight 4.31 carats, surrounded by a single row of round full faceted white diamonds, finished with round full faceted white diamond shoulders, total diamond weight 1.49 carats, size 5. [1500/2500] Illustrated

768Eighteen-Karat White Gold, Ruby and Diamond Lady’s Ring, composed of a central 5.07-carat square-cut ruby surrounded by a border of round brilliant-cut white diamonds extending down the double shank, size 7. [4000/7000] Illustrated Color Plate XVI761

Eighteen-Karat White Gold and Brown and White Diamond Lady’s Ring, featuring a prong-set princess-cut fancy light brown diamond, total weight 2.04 carats, set within a pave-set round brilliant-cut white diamond bezel and split shoulders, total diamond weight .076 carats, size 7. [6000/9000] Illustrated

762Platinum and Diamond Lady’s Engagement-Style Ring, composed of a central prong-set princess-cut yellow diamond weighing 1.39 carats, flanked on either side by a baguette-cut white diamond, size 7-1/2. [5000/8000] Illustrated

763Fourteen-Karat Yellow Gold, Ruby and Diamond Cluster Bracelet, featuring a flexible strap composed of fifteen prong-set oval mixed-cut natural rubies, total weight 28.40 carats, surrounded by two hundred ten prong-set round brilliant-cut white diamond clusters, total weight 4.91 carats, having a concealed clasp with safety. [3000/5000]

764Fourteen-Karat Yellow Gold, Ruby and Diamond Cluster Necklace, featuring a flexible ribbon of thirty-five prong-set oval mixed-cut natural rubies, total weight 60.49 carats, and white diamond clusters set in a contiguous chevron-inspired design, total weight of diamonds 10.71 carats, the concealed clasp with safety, l. 16-1/2”. [6000/9000]

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769Lady’s Platinum and Diamond Art Deco-Style Ring, of cantered rectangular outline, set with an estimated 2.0 carats of emerald-cut, baguette-cut and round brilliant-cut white diamonds, size 8-1/2. [1400/1800]

770Fine Eighteen-Karat White Gold, Emerald and Diamond Lady’s Ring, composed of a central bezel-set 3.52-carat rectangular step-cut emerald surrounded by 1.70 carats of pave-set round brilliant-cut white diamonds in a dinner ring-style setting, size 8. [6000/9000] Illustrated

771Fine Fourteen-Karat Yellow Gold, Emerald and Diamond Lady’s Ring, composed of a featured prong-set square step-cut natural emerald, total weight 4.25 carats, within a bezel of prong-set round brilliant-cut diamonds, supported by diamond-set shoulders, total weight of diamonds 2.25 carats, completed with a yellow gold lattice under-carriage, size 6. [3000/5000] Illustrated

772Fourteen-Karat White Gold and Diamond Lady’s Tennis Bracelet, composed of forty-six individually prong-set brilliant-cut diamonds, total weight 8.18 carats, terminating in a concealed clasp, l. 7”. [5000/8000]

773Eighteen-Karat Yellow Gold and Diamond Lady’s Boucherer Bracelet Wristwatch, the circular face surrounded by a border of single-cut white diamonds and attached to an engraved flexible link bracelet. [600/900] Illustrated

774Fourteen Karat Yellow Gold and Diamond Lady’s Link Bracelet, composed of thirty-two bezel-set round brilliant-cut white diamond links, trimmed in one hundred ninety-two bead-set round brilliant-cut white diamonds, having a concealed clasp with safety, total diamond weight 3.89 carats, l. 7”. [4000/7000] Illustrated

775Eighteen-Karat Two-Color Gold and Diamond Lady’s Cluster Ring, composed of a central diamond-shaped cluster of round brilliant-cut white diamonds surrounded by a ballerina-style border of baguette-cut white diamonds, estimated total diamond weight 2.50 carats, size 7-1/2. [600/900] Illustrated

776Dramatic Fourteen-Karat Yellow Gold and Gemstone Lady’s Charm Bracelet, composed of an elaborate wirework and chain bracelet with seven charms set with gemstones including coral, amethyst, sapphire, emerald, ruby and pearls, l. 8”. [900/1200] Illustrated

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777Fourteen-Karat Yellow Gold and Smoky Quartz Pendant Necklace, the link chain supporting an oval-cut smoky quartz in a fish-scale openwork frame. [400/700] Illustrated

778Eighteen-Karat Yellow Gold, Quartz and Diamond Lady’s Ring, composed of a fantasy kite-cut smoky quartz weighing an estimated 22.0 carats surrounded by an estimated 2.0 carats of round brilliant-cut white diamonds, size 7. [1200/1800] Illustrated

779Bombe-Style Silver, Gold and Diamond Suite, composed of a graduated necklace set with multi-shaped rose-cut diamonds, surrounded by numerous bead-set single-cut diamond clusters, completed by a pair of matching graduated dangle earrings, total diamond weight 13.41 carats, the necklace terminating in a hidden box clasp with safety, l. 18”, the earrings with standard backs. [6000/9000]

780Unusual Silver, Gold, Quartz and Diamond Lady’s Dinner Ring, composed of an 18.67-carat central bezel-set fancy shape briolette mixed-cut natural quartz set within a bombe-style ring, supported by numerous multi-shaped-cut rose-cut diamond tablets, total diamond weight 8.00 carats, size 7. [2500/4000] Illustrated

781Group of Three Pieces of Costume Jewelry, comprised of a gold-tone bee pin with crystal body, a pair of blue aurora crystal screw-back earrings and a Lisner crystal-mounted foliate link bracelet. [75/125]

782Fourteen-Karat White Gold and Diamond Wide Band-Style Ring, composed of an estimated 1.0 carat of round brilliant-cut and baguette-cut white diamonds set in alternating rows, size 7. [700/1000]

783Miriam Haskell Faux-Pearl Necklace and Earring Set, comprised of a double-strand necklace with pearl floral cluster at the center and matching earrings. [150/300]

784Lady’s Platinum and Diamond Eternity Band, composed of a platinum body channel set with round brilliant-cut white diamonds, estimated total weight 1.20 carats, size 8.5. [500/800]

785Provincial American Bench-Mode Tiger Maple Step-Back Cupboard, composed of antique elements, the molded cornice over a case fitted with two astragal-glazed doors, above a lower case with three frieze drawers, over two paneled doors, raised on bracket feet, hand-made in the traditional manner with mortise and pin joints, h. 88-1/2”, w. 53-1/4”, d. 21”. [2500/4000] Illustrated

786Early American Chippendale Walnut Blanket Chest, fourth quarter 18th century, the rectangular lifting top over a conforming case fitted with a deep storage compartment above two short drawers, raised on bracket feet, the corners with exposed mortise and tenon joints, h. 23”, w. 47-3/4”, d. 17”. [350/500] Illustrated

787Pair of American Vernacular Red-Painted Ladderback Plantation Chairs, late 19th century, each with three slats across the back and having woven rush seats, the runzs mortised through the legs, h. 32”, w. 18”, d. 13-1/2”. [50/80]

788Pair of American Hickory Ladderback Sidechairs, mid-19th century, each with a four-slat back with the top slat mortised and pegged into the turned back posts, the legs joined by turned stretchers, the seats in old rush, h. 38”. [200/400]

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789Provincial American Carved and Polychromed Life-Size Tobacco Store Indian, mid-20th century, the figure with a full headdress and clenching a tomahawk in one hand and cigars in the other, h. 77”, w. 21”, d. 20”. [3000/5000] Illustrated Color Plate XI

790P. F. Collier and Sons, New York, Clothbound Set of the Works of Mark Twain, 1917, twenty-one volumes, gold-stamped, each with a facsimile Twain autograph, the frontispieces with various photographs of the celebrated American author, h. 8”, w. 5-1/2”, d. 1-1/4”. [75/125]

791 American Contemporary Patinated Bronze Bust, depicting General Pierre-Gustave-Toutant Beauregard, C.S.A., (1818-1893), the distinguished Confederate general depicted in his famous military cape and kepi, and sporting a moustache and goatee, h. 16-1/2”, w. 12”, d. 8”. [500/800] Illustrated

792Confederate-Style Field/Staff Officer’s Sword and Scabbard, the brass guard bearing the initials “CS”, l. 41”. [200/400]

793Liberty Head One Dollar Gold Coin, type 1, 1851-0 very fine, dia. 5/8”. [400/700]

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794Collection of Seven New Orleans Mint Morgan Silver Dollar Coins, including an 1880-0 very good, an 1882-0 very good, an 1885-0 very good, an 1887-0 fine, an 1888-0 very good, an 1887-0 extra fine, and a 1902-0 very fine, dia. 1-1/2”. [400/700]

795Vernacular Polychromed Cypress Wardrobe, the starburst-carved pediment over a case fitted with two paneled doors, the interior fitted with a bank of shelves and a hanging cubby, the whole raised on a recessed plinth base, h. 83”, w. 54”, d. 24”. [500/800] Illustrated

796Group of Three Decorative Pottery Vases, one mounted with whitetail deer antlers and having a dried flower arrangement with pheasant feathers, another with wooden flowers and one an African reed vase, the largest h. 20-1/2”, dia. 9”. [150/300]

797Four-Gallon Stoneware Pottery Butter Churn and Dasher, early 20th century, the shoulder decorated with blue lines and stenciled “L. L. Pottery, 4, Amory, Miss”, h. 16”, w. 10”. [50/80]

798Unusual Pair of American Cast-Iron Andirons, second quarter 20th century, in the form of rabbits seated on scroll-footed pedestals, presented in an old, naturally rusted finish, h. 13-1/4”, w. 8-1/2”, d. 13”. [100/200]

799Rare American Wooden Spoke Bicycle, third quarter 19th century, each wheel with shaped wooden spokes and wrought-iron band, the leather seat mounted to a red-painted frame, h. 70”, w. 48-1/4”. [1200/1800] Illustrated

800Large American Copper Hotel Coffee/Beverage Urn, first quarter 20th century, with a trio of spigots and tubular glass contents level indicators, the domed cover centered with a turned wooden finial of mushroom form and a brass crank, h. 38”, dia. 14”. [150/300]

801Interesting Cypress Stump Six-Bottle Wine Rack, h. 12”, w. 16”, l. 19”. [200/400]

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802American Glass Kerosene Parlor Lamp, fourth quarter 19th century, the copper-plated reticulated cast-iron and brass-mounted shaded ice-blue enameled white opal glass lamp in floral decor, now electrified and fitted with a shaded sky-blue spherical opal glass shade, the blown glass chimney removed in the conversion, h. 21”, dia. 10”. [125/250]

803American Kerosene Parlor Lamp, fourth quarter 19th century, the bronze-patinated brass-mounted maroon shaded white opal glass in polychromed “Cronus” decor, now electrified and retaining the matching spherical opal glass shade, the blown glass chimney removed in the conversion and the wick adjuster embossed “Success”, h. 24-1/2”, dia. 10”. [150/300]

804American Sheraton Mahogany Bowfront Chest, first quarter 19th century, the bowfront rectangular top over a conforming case fitted with four long drawers, flanked by reeded columnar stiles, ending in turned legs with toupie feet, h. 35-1/2”, w. 40”, d. 19”. [800/1200] Illustrated

805American Hepplewhite Mahogany Secretary Bookcase, second quarter 19th century, the carved, burlwood-inset cornice above a case fitted with a pair of Gothic-arch-molded and glazed doors over three drawers, the lower case fitted with a hinged top opening to reveal a writing surface above three graduated drawers, ending in splayed bracket feet, h. 74-1/2”, w. 33-3/4”, d. 19-3/4”. [1500/2500] Illustrated

806Large American Paneled Brass Double Kerosene “Student” Lamp, fourth quarter 19th century, fitted with ribbed cased pink-over-white opal glass shades and electrified, the blown glass chimneys removed in the conversion, h. 23-1/2”, w. 27”, d. 12”. [100/200]

807Set of Eight Wedgwood Claret Transfer-Printed Dinner Plates, 1949, commemorating the Washington and Lee University bicentennial, each featuring a different campus view or landmark, imported by Jones, McDuffee and Stratton, Boston, and so backstamped, dia. 10-7/8”. [100/200]

808Chippendale-Style Mahogany Sidechair, fourth quarter 19th century, the shaped crest over a pierced and carved splat above a padded seat, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 38”, w. 23”, d. 21”. [100/200]

809American “Centennial” Giltwood Looking Glass, fourth quarter 19th century, composed of carved and sawn mahogany in the early Georgian style, the scrolled cresting centered with a carved giltwood displayed eagle, the basal edge centered with a gilt patera, the plate beveled throughout, h. 38-1/2”, w. 22”. [500/800] Illustrated

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810American Brass Double-Pan Scale, first quarter 20th century, in the Centennial style, modeled as a fluted column surmounted by a sphere with a displayed eagle finial, the pans of silvered brass and suspended on three silvered chains each, h. 25”, w. 22-1/2”, d. 6”. [50/80]

811Good Pair of Gold-Lacquered Brass Candlesticks, first quarter 20th century, attributed to Bradley and Hubbard, of paneled hexagonal form in the “Centennial” style, the period lacquered finish largely intact, h. 12-1/2”, dia. 6-1/2”. [150/300]

812Attractive Anglo-American Double Standish, fourth quarter 19th century, composed of verdigris-detailed reticulated cast-iron in the Aesthetic taste, fitted with the period pair of square melon-ribbed glass ink bottles with hinged cast-iron covers and a stationery rack at the rear edge, h. 5-1/4”, w. 8-1/2”, d. 4-3/4”. [350/500]

813Federal New England Tripod Tilt-Top Table, ca. 1800, the oval top raised on a baluster-turned standard ending in cabriole legs on pad feet, h. 27”, w. 22-3/4”, d. 15-3/4”. [100/200] Illustrated

814American Federal Cherrywood Tripod Table, ca. 1800, the square tilting top with rounded corners and centered by a star inlay, raised on a baluster-turned standard ending in cabriole legs and pad feet, h. 24-1/4”, w. 16-1/2”, d. 16-1/2”. [100/200] Illustrated

815Two American Matte Black-Painted Metal Chandeliers, second quarter 20th century, composed of a tiered ten-light chandelier of baluster form in the Georgian taste, h. 22”, dia. 20”; and an eight-light chandelier in the Early American style, h. 18”, dia. 27-1/2”; each of small size, electrified and fitted with short bone-white faux candles. [200/400]

816American Federal Flame Mahogany Slant-Front Desk, fourth quarter 19th century, the slant-front door banded and inlaid with corner accents, and opening to a variety of drawers and cubbyholes, over a case fitted with three like-inlaid graduated doors, raised on slightly splayed bracket feet, h. 42”, w. 45-1/2”, d. 22-1/4”. [350/500] Illustrated Color Plate XII

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817Good 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”. [300/500]

818Queen Anne-Style Bench-Made Cherrywood Porringer-Top Tea Table, the porringer-shaped top over a carved apron, raised on tapering circular legs ending in pad feet, h. 27-1/2”, w. 36”, d. 26”. [100/200]

819English or American Federal Mahogany Tilt-Top Table, fourth quarter 18th century, the dished, birdcage tilt-top over a tapering columnar standard ending in three cabriole legs on pad feet, h. 28-1/2”, dia. 26-1/2”. [300/500] Illustrated

820Attractive Pair of Anglo-American Kerosene Lamps, third quarter 19th century, composed of brass and white marble in the neoclassical taste, now electrified, the shade rings and blown glass chimneys removed in the conversion, each lamp now fitted with a custom antique-white paneled fabric shade, the stepped bases of white marble mounted in gilded brass, h. 22-1/2”. [200/400]

821Tall Pair of American Blown Glass Hurricane Shades, of traditional form in the early 19th-century style, h. 20”, dia. 7-1/4”. [200/400]

822Reed and Barton Sterling Silver-Rimmed Brilliant-Cut Glass Salad Bowl, first quarter 20th century, in “Hobstar and Fan” decor, h. 4-1/2”, dia. 8-1/2”. [800/1200]

823Four-Piece Collection of Brilliant-Cut and -Pressed Glass, comprised of an attractive decanter of squat ewer form in “Dart and Snowflake” decor, first quarter 20th century; a cut and floral-engraved circular shallow bowl of like date; a Brilliant-pressed and crosshatch-cut berry bowl in “Hobstar and Petal” decor; and an unusual Brilliant-pressed and floral-engraved oblong bowl of like date; the largest h. 3-1/2”, w. 6”, l. 12”. [100/200]

824Fine Clark Brilliant-Cut Glass Cream-and-Sugar Set, first quarter 20th century, in the “Clark” 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”. [150/300]

825Libbey 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”. [150/300]

826Attractive American Intaglio-Cut Glass Vase, first quarter 20th century, of modified trumpet form in floral decor, h. 12”, dia. 4-1/2”. [200/400]

827After John James Audubon (American, 1785-1851) “Long-Tailed Duck”, hand-colored engraving with aquatint by R. Havell, Plate CCCXII from Birds of America, London, 1827-1838, sight 24-1/2” x 34-1/2”. Glazed, double-matted and presented in a burlwood frame. [3000/50000] Illustrated Color Plate XIII

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828After John James Audubon (American, 1785-1851) “Booby Gannet”, hand-colored engraving on J. Whatman paper, by R. Havell, Plate CCVII from Birds of America, London, 1827-1838, sight 38” x 25-1/2”. Attractively matted and framed. [2500/4000] Illustrated Color Plate XIII and previous page

829After John James Audubon (American, 1785-1851) “Trumpeter Swan”, offset chromolithograph, 20th century, sight 26” x 39”. Glazed and presented in a giltwood frame with a linen liner. [300/500]

830After John James Audubon (American, 1785-1851) “Mangrove Humming Bird”, hand-colored engraving with aquatint, on J. Whatman paper, by R. Havell, Plate CLXXXIV from Birds of America, London, 1827-1838, sheet size 38” x 25-1/2”. Glazed, matted and framed. [2000/4000] Illustrated

831After John James Audubon (American, 1785-1851) “Iceland or Jer Falcon”, offset chromolithograph, sight 38” x 24-1/2”. Glazed, attractively matted and presented in a molded giltwood frame. [500/800]

832After John James Audubon (American, 1785-1851) “Blue Bird”, hand-colored engraving with aquatint on J. Whatman paper, by R. Havell, Plate CXIII from Birds of America, London, 1827-1838, sheet size 37-3/4” x 25”. Glazed, matted and framed. [1200/1800] Illustrated

833After John James Audubon (American, 1785-1851) “Glofsy Ibis”, facsimile print, Leipzig edition, verso affixed with the “Ariel Press” label, sight 23” x 29”. Glazed, attractively matted in silk and Florentine paper and presented in a faux-burlwood frame. [400/700]

834Dell 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. [150/300]

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835After 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. [200/400]

836Gorham Sterling Silver Fruit Bowl, third quarter 20th century, with an everted lip in relief “Flower and Scroll” decor, dia. 11-1/2”, 17.25 t. oz. [900/1200] Illustrated

837Pair of American Sterling Silver Serving Bowls, first quarter 20th century, in the Louis XVI taste, with everted narrow rims, the centers handsomely monogrammed in entwined Art Nouveau script, dia. 7-1/2”, l. 9-1/2”, 25.7 total t. oz. [1200/1800]

838Whiting Manufacturing Company Fluted Sterling Silver Berry Bowl, fourth quarter 19th century, with an undulating rim in the Aesthetic taste, h. 3”, dia. 9-1/2”. [300/500]

839Seventy-Five-Piece Reed and Barton Sterling Silver “Francis I” Flatware Service, for eight persons, the pattern introduced in 1907, comprised of eight luncheon knives, eight luncheon forks, eight salad/pastry forks, eight grilled meats knives, sixteen teaspoons, eight citrus spoons, eight soup spoons, eight creamed soup spoons, one vegetable serving spoon, one cold meats fork and one master butter knife, the largest l. 9-1/2”. [3000/5000] Illustrated

840Two Gorham Sterling Silver “Chantilly” Dinner Forks, the pattern designed by William Christmas Codman and introduced in 1895, l. 7-1/2”. [50/80]

841Set of Six Wallace Sterling Silver “Cabot” Dinner Knives, with hollow handles, the pattern introduced in 1917, l. 8-1/2”, 11.05 total t. oz. [50/80]

842William R. Durgin Sterling Silver “Chrysanthemum” Vegetable Serving Spoon, the pattern introduced in 1893, the bowl of oval form, l. 9”, 3.85 t. oz. [350/500]

843Pair of Reed and Barton Sterling Silver “Francis I” Serving Bowls, of small size, the pattern introduced in 1907, dia. 8”, 19.85 total t. oz. [1200/1800] Illustrated Color Plate IX

844Reed and Barton Sterling Silver “Francis I” Bread Tray, of elliptical form, the pattern introduced in 1907, w. 7-1/2”, l. 12”, 14.35 t. oz. [900/1200] Illustrated Color Plate IX

845Trio of Gorham Sterling Silver Mint/Nut Dishes, first quarter 20th century, of flowerhead form, dia. 3”, 2.20 total t. oz. [100/200]

846Attractive Pair of Wallace Silverplate “Baroque” Goblets, third quarter 20th century, with gilded Interiors, h. 6-1/8”, dia. 3-3/8”. [50/80]

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847Attractive Meriden Silverplate Six-Piece Tea and Coffee Service, first quarter 20th century, in the 19th-century style, comprised of a tall, two-handled hot water urn, a coffeepot, a teapot, a large covered two-handled sugar basin, a footed vasiform waste bowl and a large cream pitcher, the largest h. 16-1/4”, w. 10-1/4”, d. 10-1/4”. [400/700] Illustrated previous page

848Reed and Barton “King Francis” Silverplate Supper Tray, second quarter 20th century, of oval, triple-compartment form, the central compartment of “well and tree” configuration, w. 12-1/2”, l. 16-1/2”. [40/70]

849Pair of Stieff Sterling Silver Bonbon Bowls, h. 1-1/4”, dia. 4-1/2”, 6.80 total t. oz. [250/400]

850Pair of Stieff Sterling Silver Footed Sweetmeats Stands, mid-20th century, in “Rose and Chrysanthemum” decor, h. 4-1/2”, dia. 4-1/2”, 10.30 total t. oz. [400/700]

851Highly Varied Twenty-Four-Piece Collection of Silverware, comprised of a Wallace sterling “Washington” teaspoon, the pattern introduced in 1911; a Reed and Barton sterling “Heritage” flat butter knife, the pattern introduced in 1924; an American hollow-handle sterling butter knife in a pattern similar to Dominick and Haff’s “Number 10” of 1896; a Rogers sterling long-handled baby feeding spoon in a pattern similar to Alvin’s “Pirouette” of 1961; a set of twelve American silverplate cream soup spoons in a pattern similar to Rockford’s “Emerson” of 1915; a pair of matching pastry forks and a citrus spoon en suite, with this pattern patented in 1914; a pair of English silverplate oval bowl “Fiddle” soup spoons, first quarter 20th century; an Edwardian plated “King’s Shell” master salt spoon of like date; and a pair of American silverplate “Variant Medallion” master salt spoons, fourth quarter 19th century; the largest l. 7-1/4”. [100/200]

852Fine and Rare American Classical Brass-Inlaid Rosewood Center Table, first quarter 19th century, probably Boston, the square top with rounded corners, the edge banded with rosewood veneers and thin brass stringing, mounted to a tapering central pedestal and platform base with four out-curved legs ending in cast-brass paw feet, h. 29-1/4”, w. 30”, d. 30”. [1500/2500] Illustrated

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853Fine and Rare American Late Classical Mahogany and Banded Rosewood Games Table, second quarter 19th century, Philadelphia, the fold-over top with a wide banded rosewood edge and supported by J-form legs with carved paw feet, h. 29-1/2”, w. 36”, d. 17-1/2”. Two nearly identical examples to this table are in the Metropolitan Museum of Art, New York, and are attributed to Anthony Quervelle of Philadelphia. [1500/2500] Illustrated Color Plate VIII

854Fine Pair of Bronze-Patinated and Parcel-Gilt Brass Tripodal Argand Lamps, second quarter 19th century, in the neoclassical taste, now electrified, retaining the period cut glass prisms and frosted and cut glass shades of inverted pyriform, h. 19-1/4”, w. 11”, d. 7-1/2”. [2000/4000] Illustrated Color Plate III

855Suite of Four American Classical Mahogany and String-Inlaid Sidechairs, first quarter 19th century, the back with a spiral-twisted carved crest rail above a foliate-carved slat and additional spiral slat, the back posts, seat frame and leg fronts with a string-inlaid detail, h. 32”, w. 18”, d. 21”. [500/800] Illustrated

856Rare American Classical/Rococo Revival Cast-Brass and Prism-Hung Four-Arm Gasolier, second quarter 19th century, possibly by Henry Hooper & Co., Boston, each arm depicting a stylized serpent or dolphin with a swirling tail perched along the top edge, the shaft fitted with concentric cast rings and draped with graduated prisms, the arms retaining period etched glass shades, h. 60”, dia. 40”. [3000/5000] Illustrated Color Plate XII

857Pair of American Late Classical Mahogany Stools, second quarter 19th century, each of diminutive bench form and having turned rails at each end supported by scrolled arms, the seat frame of large ogee form and raised on scrolled legs, h. 20-1/2”, w. 23-1/2”, d. 15”. [500/800]

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858Rare and Important American Gothic Revival Oak Hall Chair, mid-19th century, possibly New Orleans or New York, the tall back supported by pierced and carved stiles terminating in crocketed spires, the central pierced and carved splat with an additional carved spire, the solid plank seat with molded edge hinged along the back edge and opening to a void cavity, supported by pierced front legs, h. 70-1/2”, w. 20-1/4”, d. 20”. This chair belongs to a small but important group of furniture associated with the antebellum South. Related chairs have been found in Vicksburg, New Orleans, and most notably Stanton Hall Plantation in Natchez, Mississippi. It has been suggested that New Orleans may have been the source of this body of furniture since the Stanton Hall examples were invoiced by Henry Siebrecht of New Orleans. Related examples are in the collection of the Metropolitan Museum of Art, New York, the Bybee Collection, the Dallas Museum of Art, the Henry Francis duPont Winterthur Museum and the New Orleans Museum of Art. A mate to the Winterthur chair sold at New Orleans Auction Galleries in March, 1998, for $40,700, and another sidechair in March, 2000, for $56,000, and a third example which sold in this room in January 2009 for $28,800. The New Orleans Auction St. Charles Gallery also sold the matching recamier Color Plate IX

859American Gothic Revival Rosewood and Marble-Top Center Table, mid-19th century, possibly by J. & J. W. Meeks, New York, the hexagonal white marble top above a straight frieze with ribbon-molded border and acorn drop finials, the base with a hexagonal tapering pedestal and three outstretched bracketed legs, h. 31-3/4”, w. 28-1/2”, d. 28-1/2”. [1800/2500] Illustrated

860Very Rare and Important Pair of American Gothic Revival Mahogany Sidechairs, third quarter 19th century, attributed to the workshop of Alexander Roux or J. & J. W. Meeks, New York, each with a curved back with shaped spindles and trefoil cut-outs to the crest rail, h. 34”, w. 19”, d. 16-1/2”. Near identical chairs were used in the Lincoln White House and are seen in the famous engraving of “The First Reading of the Emancipation Proclamation Before the Cabinet”, for further discussion, another example bearing an Alexander Roux label is illustrated in “19th Century America-Furniture and Other Decorative Arts”, The Metropolitan Museum of Art, plate 99. [800/1200] Illustrated

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861American Gothic Revival Mahogany Hall Chair, mid-19th century, the carved back with a steeple-form crest and upholstered in a floral needlepoint, h. 47-1/2”, w. 18”, d. 18”. [200/400]

862American Transitional Late Classical into Rococo Revival Rosewood Armoire, mid-19th century, attributed to J. and J. W. Meeks, New York, now converted to a display cabinet, the top with a large overhanging cornice above a single door, with a drawer in the base, h. 83”, w. 47”, d. 24”. [800/1200] Illustrated

863American 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”. [200/400]

864American Late Classical Cherry and Flame Mahogany Four-Post Canopy Bedstead, second quarter 19th century, the large turned cherry posts joined by flame mahogany-veneered rails and arched headboard, the posts terminating in large brass feet (one foot lacking), h. 102”, inside w. 57”, l. 79”, outside w. 61-1/4”, l. 84-1/2”. [2500/4000] Illustrated Color Plate XII

865American Late Classical Mahogany and Stenciled Chest of Drawers, second quarter 19th century, the deeply framed top drawer above three graduated long drawers and flanked by turned and blocked half columns, the drawer fronts and cabinet sides paint decorated with grape and leaf motifs and stenciled emblems in the manner of Soap Hollow Furniture, h. 48-1/4”, w. 42-3/4”, d. 21-1/2”. [800/1200] Illustrated following page

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866American Late Classical Mahogany and Marble-Top Center Table, second quarter 19th century, the circular white marble top over a conforming rim and supported by a shaped pedestal mounted to a platform base with large scrolled feet, h. 30”, dia. 36”. [500/800] Illustrated

867Unusual 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”. [50/80]

868Good American Late Classical Mahogany Fold-Over Games Table, second quarter 19th century, attributed to Anthony Quervelle, Philadelphia, the hinged top mounted to a framed rim with carved corners and supported by a large turned and elaborately carved pedestal, raised on carved paw feet, h. 29-1/4”, w. 45-1/2”, d. 22”, extended l. 44”. [2500/4000] Illustrated Color Plate XIII

869American Late Classical Revival Mahogany Banquet Table, fourth quarter 19th century, in the Philadelphia style, the circular top with a gadrooned edge and raised on a circular standard to a concave base ending in claw feet on casters, accompanied with six 12” leaves, finished to match, h. 30”, dia. 54”, extended l. 120-1/2”. [2500/4000] Illustrated Color Plate XV

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870American Late Classical Mahogany Sideboard, second quarter 19th century, in the manner of J. and J. W. Meeks, New York, the backpiece with two corniced paneled ends, above a case with a rectangular top above a conforming case fitted with two rounded drawers above three recessed paneled cupboard doors, the end two with curved fronts, flanked to either side by a freestanding columnar upright, raised on in-scrolled feet, h. 58-1/2”, w. 67-1/4”, d. 25”. [1500/2500] Illustrated

871American Late Classical Mahogany Display Cabinet/Bookcase, second quarter 19th century, of large scale, the top with a flared cornice above a pair of glazed doors, raised on pineapple-carved legs, h. 83”, w. 68-1/4”, d. 25-1/2”. [1000/1500] Illustrated

872American Late Classical Mahogany and Banded Rosewood Secretary, second quarter 19th century, New York, the double-door bookcase top with a flared crown above and a pair of drawers below and mounted to a fold-open writing surface, the complex base with scrolled supports mounted to a platform base with large scrolled feet, h. 76-1/2”, w. 46”, d. 23”. [2500/4000] Illustrated Color Plate XIII

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873Late Classical Mahogany Bench, mid-19th century, the serpentine crest over a conforming padded back, above a like seat, raised on bracket feet, h. 37-1/2”, w. 48”, d. 20”. [200/400] Illustrated

874Early Empire Mahogany and Birch Tripod Table, ca. 1830, the circular dished top over a bulbous baluster-turned standard to three curved legs ending in spade feet, h. 28”, dia. 21-1/8”. Provenance: Private collection, Jackson, Mississippi. [100/200]

875American Brass, Marble and Glass Solar Lamp, second/third quarter 19th century, now electrified, the columnar brass standard with a square Danby marble base, surmounted by a blown glass chimney and spherical “Vintage”-engraved and partially frosted glass shade, h. 22”. [150/300]

876Set of Six Mason’s Patent Ironstone “Vista” Dinner Plates, second quarter 20th century, rose transfer-printed in the mid-19th century style, dia. 11”. [50/80]

877Three-Piece American Late Classical Revival Mahogany Bedroom Suite, fourth quarter 19th century, consisting of a four-post bedstead, h. 69”, inside w. 55”, l. 76”, outside w. 59”, l. 81”, a dresser, h. 75”, w. 60-1/2”, d. 25-1/2”, and a vanity, h. 58-1/2”, w. 45”, d. 22-1/2”, the dresser and vanity each with an oval mirror within a molded frame, joined to the lower case by circular acanthine-carved supports, the dresser fitted with two frieze drawers over two long recessed drawers, the vanity with a frieze fitted with two short drawers over an arched apron flanked by a short drawer on both sides, the bed with turned, acanthine-carved posts surmounted by acorn-carved finials, joined to the serpentine paneled headboard and footboard with rosette- and foliate-carved crests. [1500/2500] Illustrated

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878Late Classical Revival Mahogany Settee, fourth quarter 19th century, the shaped gadroon- and cornucopia-carved crest over a conforming padded back, joined to the like seat by outscrolled padded arms, over a reeded skirt, raised on splayed legs ending in paw feet on casters, h. 38”, w. 56”, d. 21”. [400/700] Illustrated

879American Late Classical Revival Mahogany Card Table, fourth quarter 19th century, the rectangular fold-over top with curved ends above a conforming gadroon-carved apron flanked by acanthine carvings, raised on a turned bulbous pedestal over a concave base ending in paw feet, h. 29”, w. 36”, d. 18”. [500/800] Illustrated

880Fine American “Centennial” “Patented Superior” Kerosene Student Lamp, fourth quarter 19th century, of weighted brass with an opalescent white-banded glass shade of inverted teardrop form, fitted with a brass finial of a displayed American eagle, h. 22-1/2”, w. 14-1/2”, d. 7-1/2”. [300/500] Illustrated

881American 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”. [150/300]

882American “Centennial” Tripartite Looking Glass, first quarter 20th century, in the early 19th-century Classical style, retains the period plates, h. 21-1/2”, w. 54”, d. 2-1/4”. [150/300]

883Bergmann Heritage Series Ebonized Baby Grand Piano and Bench, by Young Chang, ca. 2004, the interior marked TG0010605, h. 39-3/4”, w. 58-1/2”, l. 64”. [5000/8000] Illustrated Color Plate XIII

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884Thomas Moran (American, 1837-1926) “Mount Moran”, oil on canvas, signed and titled lower right “Mount Moran, Idaho, T. Moran”, 30” x 19-1/2”. Presented in a period giltwood and gesso frame. Provenance: Private collection, Mississippi. Thomas Moran was born in Bolton, Lancashire, England in 1837, but emigrated, with his family to the United States at age seven, settling in Philadelphia. Though he received no formal art training, he was an apprentice to a wood engraver in his teens and received much encouragement and advice from the Philadelphia-based painter James Hamilton. He also studied with his older brother, Edward, a marine and historical painter, whose studio he shared. Moran became a western artist after working as an illustrator for magazines including Harper’s and Scribner’s. In 1871, he was invited to accompany Ferdinand V. Hayden’s Geological Survey Expedition to the Yellowstone Territory. Moran’s paintings of Yellowstone’s geysers, hot springs, canyons and cliffs, combined with the photographs taken by pioneer photographer William Henry Jackson, played a major role in convincing Congress to make the region a national park in 1872. After the Yellowstone trip, Moran’s career as an expedition artist and painter blossomed. He continued to travel with subsequent Hayden surveys and painted Yellowstone, Yosemite and the Grand Canyon as well as other wilderness regions for the next forty years. Amongst the sites he visited were the Teton Mountains in Wyoming, whose peak Dr. Hayden had named Mount Moran in his honor. Examples of Moran"s work can be found in major public collections throughout the United States, including the High Museum of Art, Atlanta; the Museum of Fine Arts, Boston; the Denver Art Museum; the Amon Carter Museum, Fort Worth; Los Angeles County Museum of Art; the Metropolitan Museum of Art, New York; the Pennsylvania Academy of the Fine Arts; the Philadelphia Museum of Art; the Carnegie Museum of Art, Pittsburgh; the M. H. de Young Museum, San Francisco; and the Corcoran Gallery of Art, Washington, D.C. [125000/250000] Illustrated Color Plate V

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885American 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. [200/400]

886Alexander Helwig Wyant (American, 1836-1892) “Misty Landscape with a Pond”, oil on canvas, signed lower right “A. H. Wyant”, 28” x 38”. Presented in a giltwood and gesso exhibition frame affixed with a brass plaque incised with the artist’s name. Provenance: Private collection, Mississippi. Born in Evans Creek, Ohio, Alexander Helwig Wyant was part of the Hudson River School early in his career. He was influenced by the French Barbizon impressionists, but later turned to tonalism, having seen the work of George Innes, whom he eventually met and who recognized his talent and helped him secure the patronage of Nicholas Longworth of Cincinnati. Wyant went on to study at the National Academy in New York, and in Germany with Fredrik Gude of the Dusseldorf School of Artists. He frequently exhibited at the National Academy, Brooklyn Art Association, Boston Arts Club, Pennsylvania Academy of Fine Arts and the Art Institute of Chicago. In 1873 he was part of an expedition into New Mexico and Arizona where he suffered a stroke, which paralyzed his right hand and forced him to paint with his left. It was said that this led to a freer style, lighter tone, and looser technique, all of which correlated with the growing taste of the American public. The critic, Charles Caffin, wrote of his paintings that they were “pregnant with suggestion” and were a “search for the spiritual, poetic side of nature through an expressive simplification of composition and tone.” He exhibited at the National Academy of Design, 1865-92; Brooklyn Art Association, 1867-92; Boston Arts Club, 1877-82; Pennsylvania Academy of Fine Arts, 1879-81; Art Institute of Chicago; and Metropolitan Museum of Art. Public collections that include Alexander Helwig Wyant’s work can be found in the National Museum of American Art, Brooklyn Museum, Metropolitan Museum of Art, Toledo Museum of Art, Tennessee State Museum, and the Kentucky Art Museum. [40000/70000] Illustrated Color Plate I

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887Worthington (Thomas) Whittredge (American, 1820-1910) “Wooded Interior with a Stream”, oil on canvas, signed lower left ‘W. Whittredge”, 18” x 40”. Presented in a period giltwood and gesso frame. Provenance: Private collection, Mississippi. Worthington Whittredge, an important member of the later Hudson River School, is best remembered as a landscape painter who celebrated the beauty of the Catskill Mountains as well as the American West. Born in 1820, on a farm near Springfield, Ohio, he moved to Cincinnati in 1837 where he began working as a house painter’s assistant and gradually advanced to sign and banner painting and to a little portrait work. He went to West Virginia where he painted portraits but turned exclusively to landscape painting in 1843. With the help of a Cincinnati art patron, Nicholas Longworth, Whittredge moved to Europe to study painting in 1849. In the end Whittredge came to find extended European study undesirable, asserting the idea that it "undermined the distinctive quality of his work". Upon his return to America he settled in New York, was elected to the National Academy in 1861 and in 1865 he accompanied Major General John Pope on an expedition to the Rockies, journeying through Colorado and New Mexico as far as Fort Union. He traveled extensively throughout New England, especially Newport, Rhode Island, the North Shore of Massachusetts, the Catskill Mountains, Lake George in New York, and in New Jersey. He served as President of the National Academy from 1874 to 1877 and was a member of various New York Clubs: Union League, the Century Association and the Lotos Club. In 1880, he built a house in Summit, New Jersey, where he resided until his death in 1910. Worthington Whittredge’s work is in the collections of the Worcester Museum of Art, Massachusetts; the Cincinnati Art Museum; the Brooklyn Museum; the Metropolitan Museum of Art; and the Newark Museum, New Jersey among other institutions. [60000/90000] Illustrated Color Plate II

888Alfred Thompson Bricher (American, 1837-1908) “Rocky Coastal Scene with Distant Sailboats”, oil on panel, signed lower left “ ATBricher”, 6” x 12-1/4”. Presented in a molded giltwood frame. [4000/7000] Illustrated

889Harvey Ellis (American, 1852-1904) “Great Supper”, oil on canvas board, signed lower left “H. Ellis”, 12-3/4” x 16”. Presented in a molded giltwood frame. [3000/5000] Illustrated

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890American Naive School (Second Quarter 19th Century) “Still Life with Fruit”, oil on canvas, unsigned, 23-1/2” x 34”. Unframed. [300/500]

891American Naive School (Fourth Quarter 19th Century) “Georgian Country House”, oil on board, unsigned, 12” x 18”. Presented in a giltwood and gesso frame. [300/500]

892American Rococo Revival Rosewood Bedstead, third quarter 19th century, attributed to Alexander Roux, New York, the fruit- and foliage-carved and pierced crest above a serpentine paneled headboard, joined to the like wrap footboard by carved rails, ending in plinth feet, h. 71-1/4”, inside w. 57”, l. 81-1/2”, outside w. 74-1/2”, l. 85”. [3000/5000] Illustrated

893Rare and Important American Rococo Revival Rosewood Dressing Bureau, third quarter 19th century, bearing the stenciled label of “Springmeyer Bros/ J. H. Belter & Co.”, the pierced and carved foliate- and armorial-centered crest over a tripartite looking glass, the central arched panel flanked by two smaller ones, each fitted with three open shelves over a short drawer, the lower case with a rectangular top and protruding rounded ends, above a conforming case with four graduated long drawers, fitted with carved pulls, flanked by columnar supports and ending in plinth feet, h. 84”, w. 55-1/2”, d. 27”. [2500/4000] Illustrated Color Plate III

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894Fine American Rococo Revival Six-Arm Gasolier, third quarter 19th century, composed of polished brass and bronze-patinated spelter, the lower bowl fitted with six griffin-form arms and brass cherub heads and seated maidens above the bowl with brass palm leaves and masks continuing up the spiral brass shaft, h. 45”, dia. 32”. [5000/8000] Illustrated Color Plate II

895Extremely Rare Pair of American Rococo Revival Gilt-Bronze “Winged Cupid” Gas Sconces, mid-19th century, each fitted with a period hand-blown opalescent gas shade, h. 16”, w. 7”, d. 14”. [2500/4000] Illustrated

896Three-Piece Group of Continental Porcelain Items, comprised of a Germano-Bohemian porcelain cabinet ewer in the rococo taste, with hand-painted floral decoration by Edna Jones (American, ca. 1882-1940) and dated April 1902; and a two-piece Limoges porcelain footed cream and sugar set, also hand-painted in “Rose Garlands” decor, first quarter 20th century; all three pieces with gilded handles, the largest h. 10”, dia. 3-1/4”. [150/300]

897American Rococo Revival Walnut Parlor Chair, third quarter 19th century, the crest centered by a grape-cluster carving over a tufted and padded corset-form back, joined to a like serpentine seat by closed and tufted arms, raised on cabriole legs ending in scrolled toes on pegs, upholstered in floral needlepoint, h. 43”, w. 28”, d. 25”. [200/400]

898American Rococo Revival Rosewood and Faux-Rosewood Canterbury/Bookshelf, third quarter 19th century, the three-quarter pierced and carved galleried top surmounted by turned finials, over a graduated open shelf over a magazine rack with elaborately pierced and carved sides and scroll-carved dividers, above a serpentine skirt fitted with a drawer, raised on turned legs ending in toupie feet, h. 39”, w. 20”, d. 15”. [150/300]

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899American Rococo Revival Rosewood Child’s Armchair, third quarter 19th century, the padded corset-form back surmounted by a foliate- and fruit-carved crest, joined to the like seat by open downswept arms, raised on cabriole legs ending in casters, h. 35-1/2”, w. 22”, d. 21”. [1000/1500] Illustrated

900Rare American Rococo Revival Laminated Rosewood Child’s Chair, third quarter 19th century, New York, the pierced and carved back with scroll motifs, depicting a central patriotic shield with stripes and a single star, h. 32-1/4”. a similar chair in the form of a swivel piano stool is pictured in The Furniture of John Henry Belter and the Rococo Revival, p. 67, by Schwartz, Stanek and True, from the Richard and Gloria Manney collection, and is currently on display at the Metropolitan Museum of Art, New York. [1500/2500] Illustrated

901Very Rare and Fine American Rococo Revival Mahogany Child’s Armchair, third quarter 19th century, possibly by Charles A. Baudouine, New York, the back with a molded frame and scroll-carved arm fronts, h. 29-1/2”, w. 19-1/2”, d. 20-1/2”. A parlor suite of similar form made by Baudouine is in the collection of the Munson-Williams-Proctor Institute and is illustrated on pages 85-86 of Masterpieces of American Furniture. Baudouine was known not only for designing and manufacturing exuberant furniture in the Rococo Revival style but also for furniture in the more restrained Louis XV style as the chair featured here. [1000/1500] Illustrated

902American 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”. [1500/2500] Illustrated

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903American 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”. [500/800] Illustrated

904American Rococo Revival Walnut and Marble-Top Etagere, third quarter 19th century, the top with an arched bonnet with foliate-carved crest above a central mirror flanked by shaped open shelves supported by turned finials, the base with a white marble top and a central cabinet with a drawer above and open shelves to each side, h. 96”, w. 47-1/2”, d. 18”. [2500/4000] Illustrated Color Plate VIII

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905Rare and Important American Rococo Revival Laminated Rosewood Sofa, mid-19th century, in the pattern referred to as “Tuthill King”, attributed to John Henry Belter, New York, the undulating back with tall fruit- and floral-carved crests at each end and one in the center, above a pierced and carved scrolling frame featuring vines with grape clusters and leaves, raised on cabriole legs with floral-carved knees, h. 48”, w. 87”, d. 32”. The pattern names for both Meeks and Belter furniture has been derived, in most cases, from historical records of the names of original clients and owners of this furniture. In the case of Tuthill King, he was a very wealthy real estate tycoon in Chicago during the mid-19th century. The Tuthill King pattern of laminated and pierced carved parlor furniture has long been revered as one of the most elaborate and coveted patterns produced by John H. Belter. A sofa in this same pattern is illustrated in American Furniture of the 19th Century, by Eileen and Richard Dubrow, page 123. [30000/50000] Illustrated Color Plate III

906Rare Pair of American Rococo Revival Laminated Rosewood Meridiennes, mid-19th century, attributed to John Henry Belter, New York, each with a scrolling back frame and diamond-tufted back, raised on cabriole legs, h. 32”, w. 28”, l. 41”. [5000/8000] Illustrated Color Plate IV

907Rare and Fine American Rococo Revival Rosewood Ottoman, third quarter 19th century, possibly by John Henry Belter, New York, the padded silk damask-upholstered top over a serpentine frame with carved shells along each side, raised on cabriole legs, h. 15”, w. 17-1/2”, d. 17-1/2”. A similar ottoman attributed to Belter is illustrated in The Furniture of John Henry Belter and The Rococo Revival by Schwartz, Stanek and True, page 67, and is currently in the collection of the Metropolitan Museum of Art, New York. [1500/2500] Illustrated

908American Rococo Revival Laminated Rosewood Sidechair, mid-19th century, attributed to John Henry Belter, New York, the pierced and carved back frame with floral and grape details, the serpentine seat with a rose-carved front, raised on cabriole legs, h. 38”, w. 18”, d. 16”. [700/1000] Illustrated Color Plate IX

909American Rococo Revival Rosewood Three-Tier Corner Shelf, third quarter 19th century, the back having pierced and scroll-carved foliate motifs, the interior with three curved shelves, h. 31”, w. 16”, d. 10”. [300/500]

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910Petite American Rococo Revival Rosewood Work Table, third quarter 19th century, attributed to Alexander Roux, New York, the top with a hinged lid opening to a figured maple interior and supported by turned and fluted columns mounted to a trestle-form base joined by a turned and carved stretcher, a near identical stand is illustrated in “19th Century America-Furniture and Decorative Arts” plate 122, and is in the collection of the Metropolitian Museum of Art, h. 28-1/2”, w. 24-1/2”, d. 17”. [800/1200] Illustrated

911American Rococo Revival Walnut Drop-Front Secretary Bookcase, third quarter 19th century, the upper case featuring a pierced and carved crest with the bust of Sir Walter Raleigh over a pair of arched and glazed doors, the protruding base fitted with two framed and paneled doors, h. 89”, w. 47”, d. 20”. [2500/4000] Illustrated

912American Rococo Revival Walnut Center Table, third quarter 19th century, the serpentine top with a molded edge above a carved frame extending into cabriole legs, one side fitted with a drawer, h. 27-1/2”, w. 35”, d. 22”. [250/400]

913American Rococo Revival Walnut Cameo-Back Settee, third quarter 19th century, the serpentine-shaped carved crest over a padded conforming back, joined to the like seat by undulating arms, raised on cabriole legs ending in peg feet, h. 34-1/2”, w. 60-1/2”, d. 30”. [300/500]

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914Pair of Napoleon III Rococo Revival Mahogany Armchairs, third quarter 19th century, each with carved and molded crest rails, open arms and raised on cabriole legs, h. 38-1/2”, w. 23-1/2”, d. 29”. [300/500]

915American Rococo Revival Rosewood Etagere, third quarter 19th century, attributed to J. H. Belter, New York, in a rare low version of the etagere sold by Belter to “Rosalie” in Natchez, Mississippi, the crest centered by fruit carving amidst a pierced foliate- and grape-carved field, on an arched central mirror flanked by two graduated serpentine shelves on a pair of larger serpentine shelves each backed by a mirror plate, on a low serpentine marble-top base with central shell, foliate and fruit carving, h. 76-1/2”, w. 54”, d. 16”. [15000/25000] Illustrated Color Plate II

916American Rococo Revival Laminated Rosewood Slipper Chair, third quarter 19th century, attributed to J. H. Belter, New York, the back with a fruit- and floral-carved crest over a narrow ovoid backrest set in a pierced ground with serpentine front seat rail centered by floral and fruit carving and cabriole legs, h. 42”. A similar Belter slipper chair is illustrated on the back slip cover of "John Henry Belter and the Furniture of the Rococo Revival "by Schwartz, Stanek and True. [3000/5000] Illustrated

917American Rococo Revival Walnut, Faux-Rosewood and Marble-Top Corner Etagere, third quarter 19th century, the pierced and molded upper section with four graduated serpentine shelves over a conforming white marble deck, the base with a single door with applied carved motifs, h. 81”, w. 32”, d. 24”. [2500/4000] Illustrated

918American Rococo Revival Walnut and Marble-Top Center Table, third quarter 19th century, the oval white marble top with a molded edge over an acanthine- and cabochon-carved apron, raised on a turned and reeded standard, with serpentine brackets, to four like legs ending in scroll feet, h. 28-3/4”, w. 37-1/2”, d. 27-3/4”. [800/1200] Illustrated

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919American Rococo Revival Centripetal Spring Chair, third quarter 19th century, possibly manufactured by the American Chair Company, Troy, New York, the padded back with a pierced cast-iron head rest of foliate design, the whole mounted to a spring steel and ebonized wooden base, h. 42”, w. 24-1/2”, d. 22”. A similar example is in the collection of the Munson-Williams-Proctor Institute. [1000/1500] Illustrated

920Rare American Cast-Iron and Spring Steel Centripetal Stool, mid-19th century, the padded brown leather swivel seat mounted to a central turned wooden standard with ornate cast-iron legs, h. 20”, dia. 16-1/4”. [500/800] Illustrated

921American Rococo Revival Gilt-Brass Four-Arm Gasolier, attributed to Cornelius & Co., Philadelphia, mid-19th century, the shaft with three concentric tiers of ornamentation and female busts, the arms of foliate design and the exterior frame draped with grape and vine chains, h. 36”, dia. 30”. [3000/5000] Illustrated Color Plate I

922American Rococo Revival Giltwood and Marble-Top Pier Mirror, third quarter 19th century, the arched top with an ornate crest with hanging grapes, the base with a white marble top and raised on cabriole legs, presented in a gold-painted surface, h. 110”, w. 41”, d. 13”. [1500/2500] Illustrated Color Plate XII

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923Rococo Revival Walnut and Parcel-Ebonized Double-Chairback Settee, third quarter 19th century, probably Austrian, the central padded and tufted medallion with a foliate-carved frame flanked on both sides by an oval padded and tufted back surmounted by scrolling foliage and fruit, and pierced and carved crests, joined to the serpentine padded seat by open arms, over an apron centered by a fruit carving, raised on cabriole legs ending in peg feet, h. 43”, w. 60”, d. 30”. [1500/2500] Illustrated

924American Rococo Revival Walnut and Burl Walnut Center Table, third quarter 19th century, the oval burl walnut-veneered top with a molded edge and pierce-carved skirt, supported by a turned pedestal with four carved outstretched legs, h. 28-3/4”, w. 31-1/2”, d. 22-1/2”. [500/800] Illustrated

925Two-Piece Group of Brilliant-Cut Glass Bowls, comprised of an American flared glass berry bowl in “Graduated Hobstar” decor, first quarter 20th century, h. 4”, dia. 8-1/2”; and a Germano-Bohemian cut glass scroll-footed fruit bowl in “X and Oculus” decor, third quarter 20th century, h. 4-3/4”, dia. 9”. [100/200]

926Trio of Cut Glass Decanters, comprised of a German tall tapered example with Brilliant-cut palmettes and diamond polygons; an English “Diamond Band and Notched Prism”-cut tall-neck decanter; and an English “Palmette and Diamond Shield”-cut decanter of “ships” form; all with their original stoppers, the largest h. 16-3/4”, dia. 5-3/4”. [125/250]

927Fifteen-Piece Collection of English and American Cut Glass, comprised of an Anglo-Irish hurricane-shaded tea light lamp; an attractive American Brilliant-cut carafe in “Strawberry Diamond and Fan” decor, first quarter 20th century; a pair of matching beakers of like date; a two-piece Brilliant-cut cream-and-sugar set in “Hobstar and Fan” decor, also first quarter 20th century; a diminutive “Strawberry Diamond and Fan”-cut posy vase; a Brilliant-cut loop-handled nappy, first quarter 20th century; a Waterford cut glass elliptical celery/olives bowl (signed); and a set of six cut glass liqueur goblets in the Waterford style; the largest h. 7-3/4”. [100/200]

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130

928Twenty-One-Piece-Collection of English and Continental Glassware, comprised of a set of six diamond-pressed annular napkin rings; a pair of lapidary-pressed knife rests of “dumbbell” form; a set of four German olive-footed white wine goblets with “Vintage”-etched bowls in the traditional style; a small Brilliant-cut glass decanter of baluster form; an acid transfer-plate-etched red wine goblet in “Fleur-de-Lys” decor, first quarter 20th century; a pair of English “Diamond and Fan”-cut whiskey glasses, first quarter 20th century; a labeled Galway crystal posy vase of waisted flared form; a pressed glass toothpicks vase; a Brilliant-cut glass table bell in “Buzz” pattern; and a pair of English cut glass candlesticks in the Anglo-Irish style, third quarter 20th century; the largest h. 9-1/4”. [100/200]

929Good Rococo Revival Carved Carrara Marble Mantel, third quarter 19th century, the arched facade with foliate-carved ornamentation and supporting the thick serpentine marble deck, the front with an arched cast-iron ventilated door and frame, h. 41”, w. 64”, d. 16”. Provenance: A New Orleans Garden District residence. [1500/2500]

930Napoleon III Oval Looking Glass, third quarter 19th century, composed of carved giltwood and plaster, the tall cresting modeled as interlaced foliate scrolls surmounted by a bold stylized lily bloom, the period plate tastefully speckled, the primary border in “Gadroon” decor, h. 68”, w. 32”. [300/500] Illustrated previous page

931American School (Third Quarter 19th Century) “Portrait of a Woman with a Lace Collar”, oil on canvas, signed illegibly lower right, 26” x 22”. Presented in a Neo-Gothic-style ebonized and parcel-gilt frame. [800/1200] Illustrated

932American School (Mid-19th Century) “Portrait of a Gentleman Holding a Writing Instrument” and “Portrait of a Woman Holding a Book”, pairs of oils on canvas, unsigned, 36” x 30”. Presented in parcel-gilt and ebonized frames. [1000/1500] Illustrated

931

932pair

932pair

131

933American School (19th Century) “Portrait of a Woman Wearing a Mourning Brooch”, oil on canvas, 30” x 24”, signed and dated lower right “Clement 1875”. Presented in a later gilt and gesso exhibition frame. [300/500] Illustrated

934American 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. [150/300]

935American School (Fourth Quarter 19th Century) “Portrait of a Lady with a Gold Brooch”, pastel on paper, unsigned, sight 16-1/2” x 13-1/2”. Glazed and presented in an oval veneered frame. [150/300]

936Persian Sarouk Carpet, 2’ x 4’ 1”. [100/200]

937Oushak Carpet, 4’ 4” x 6’ 6”. [150/300]

938Antique Serapi Carpet, 9’ 7” x 12’ 8”. [3000/5000] Illustrated

939Pair of Agra Serapi Carpets, 4’ x 6’ and 4’ 1” x 6’ 1”. [600/900]

940Peshawar Sultanabad Carpet, 4’ 3” x 7’. [200/400]

941Sarouk Carpet, 9’ 11” x 12’ 7”. [500/800] Illustrated

942Peshawar Zeiglar Mahal Carpet, 5’ 4” x 8’ 5”. [700/1000]

933

938

941

132

943

945

949

951

133

943Persian Kerman Carpet, 9’ 10” x 13’ 6”. [700/1000] Illustrated Color Plate IV

944Persian Karaja Carpet, 2’ 2” x 6’ 3”. [200/400]

945Agra Serapi Carpet, 10’ x 14’ 3”. [1800/2500] Illustrated

946Kashan Carpet, 2’ 4” x 12’ 1”. [100/200]

947Agra Mahal Carpet, 9’ x 12’. [700/1000]

948Peshawar Zeiglar Mahal Runner, 2’ 9” x 9’ 6”. [500/800]

949Persian Kerman Carpet, 10’ 1” x 13’ 1”. [600/900] Illustrated

950Heriz Runner, 4’ 8” x 15’ 2”. [200/400]

951Semi-Antique Heriz Carpet, 11’ x 14’ 3”. [500/800] Illustrated

952Peshawar Sultanabad Carpet, 6’ 1” x 9’ 2”. [800/1200]

953Persian Heriz Carpet, 8’ 1” x 10’ 10”. [1200/1800] Illustrated Color Plate XIII

954Persian Mashad Carpet, 9’ 10” x 10’ 9”. [500/800]

955Needlepoint Carpet, 20’ 10” x 13’ 8”. [600/900]

956Persian Tabriz Carpet, 8’ 2” x 12’ 2”. [450/700] Illustrated

953

956

134

957Fine and Rare Three-Piece American Neo-Grec Tiger Maple Bedroom Suite, third quarter 19th century, attributed to Pottier and Stymus, New York, comprised of parcel-gilt, ebonized and stained wood, consisting of a high-back bedstead with two circular painted plaques and cast gilt-bronze plaque, h. 85”, inside w. 58-1/2”, l. 78”, outside w. 65”, l. 86”, a mirrored dressing bureau with painted plaque, h. 87-1/2”, w. 52-1/4”, d. 24-1/4”, and a matching work table, h. 29-1/2”, w. 34-1/2”, d. 22-1/2”, each piece retains a five-digit hand-painted item number “29812” along with the name “Magee” written in multiple places, the cast plaque on the headboard displays this same number engraved on the back side and the date of 1867 cast into the front lower right corner. [25000/40000] Illustrated Color Plate I

958Unusual American Renaissance Revival Inlaid Mixed Woods and Cast-Iron Checkerboard Table, third quarter 19th century, the circular molded top with inlaid checkerboard squares and mounted to a cast-iron and parcel-gilt tripodal base, h. 28”, dia. 21-1/2”. [500/800] Illustrated

959American Renaissance Revival Walnut and Burl Walnut Stand, third quarter 19th century, of circular form with a checkerboard top, the central standard flanked by three smaller turned supports, each with gilt-incised details and mounted to a base with outstretched legs and carved rosettes, h. 29-1/2”, dia. 17”. [700/1000] Illustrated

960American Neo-Grec Ebonized and Inlaid Circular Center Table, third quarter 19th century, probably New York, the top with a central inlaid scene depicting musical instruments and a floral bouquet and ribbons, the outer rim trimmed with a beaded brass border, the turned and carved central pedestal surmounted by three shaped buttresses with incised and gilded details, raised on outstretched legs ending in hooved feet, h. 30-1/2”, dia. 25-1/2”. [2000/4000] Illustrated Color Plate V

957three-piece

suite

957three-piece

suite

957three-piece

suite

135

961Bohemian Ruby-Over-Clear Cut Glass Decanter, fourth quarter 19th century, polychrome floral enameled and parcel gilded, retains the tall ruby overlay glass stopper of steeple form, h. 20-1/2”, dia. 6”. [300/500] Illustrated

962Bohemian Blown Ice-Blue “Vertical Optic Rib” Glass Tall-Neck Vase, fourth quarter 19th century, with floral enameling in coral and pale ochre, the lip gauffered, h. 15”, dia. 16-1/2”. [100/200] Illustrated

963American Renaissance Revival Walnut Canterbury, third quarter 19th century, the front and back sides with line-carved and gilt-incised detailing, the base fitted with a drawer from both directions, raised on turned trumpet-form legs, h. 21-1/4”, w. 23”, d. 14-1/2”. [500/800]

959

958

960

960top

962

961

962

136

964American Renaissance Revival Parcel-Gilded Walnut, Ebonized and Inlaid Three-Tier Shelf, third quarter 19th century, the top shelf with an inlaid panel depicting music and instruments and supported by turned columnar supports, h. 32-1/2”, w. 19-1/2”, d. 14”. [800/1200] Illustrated

965American Renaissance Revival Rosewood and Burl Walnut-Veneered Inlaid Three-Tier Shelf, third quarter 19th century, the top shelf depicting an inlaid panel with a bow and arrow with quiver amongst a floral bouquet, the turned columnar supports with gilt and ebonized details and brass chain swags draping from the top shelf, h. 32”, w. 20”, d. 13”. [800/1200] Illustrated

966American Aesthetic Movement Giltwood Salon Chair, attributed to Herter Brothers, New York, the back with turned spindles and line-carved details, the upholstered seat over a similar line-carved frame, raised on curved legs with a spindled apron across the front, h. 26”, w. 18-1/4”, d. 17”. [450/700] Illustrated

964965

966

967

968

137

967Rare Set of Four Rococo Revival Cast-Brass Gas Sconces, third quarter 19th century, each with an ornate backplate with scrolled and foliate arms, and fitted with cut glass shades, h. 18”, w. 6-1/2”, d. 12”. [1500/2500] Illustrated

968Large Napoleon III Giltwood Overmantel Mirror, fourth quarter 19th century, the top having rounded corners, the mirror plate not beveled, h. 70-1/2”, w. 55”. [300/500] Illustrated

969Attractive Pair of English Lattice-Cut Glass Decanters, in the Georgian style, each with the original cut stopper of “mushroom” form, h. 9-1/2”, dia. 5”. [100/200] Illustrated

970Two Good English “Diamond”-Cut Glass Decanters, consisting of a “ships”-form example with a spherical lapidary-cut stopper, h. 9-3/4”, dia. 7-1/2”; and a cylindrical section decanter with a matching cut stopper of drum form, h. 11-1/2”, dia. 4”. [100/200] Illustrated

971Good Val St. Lambert Fluted Crystal Vase, third quarter 20th century, of gently flaring form, the base signed in diamond stylus script “Val St. Lambert”, h. 8-1/4”, dia. 7”. [100/200] Illustrated

972Rare American Renaissance Revival Extra Grade Wooton Patent Secretary, Indianapolis, Indiana, third quarter 19th century, constructed of walnut, burl walnut and figured maple, the case with an elaborate gallery above two large swinging banks, each fitted with cubbyholes and compartments, the center section with a drop-front desk with drawers and cubbyholes, retaining its original gallery, lock and key along with the retailer’s label of T. G. Sellew, 111 Fulton St., New York, h. 79”, w. 45-1/2”, d. 32-1/2”. [20000/40000] Illustrated Color Plate VII

971

970

969

972

973

138

973Fine American Bronze-Patinated Brass and Spelter Four-Light Gasolier, third quarter 19th century, attributed to Cornelius and Company, Philadelphia, now electrified, the light arms surmounted by seated gesticulating putti, the standard with four armored knights standing before arcades, fitted with pierced etched colorless glass gas shades, h. 45”, dia. 33”. [8000/12000] Illustrated Color Plate VIII and previous page

974Impressive Three-Piece American Renaissance Revival Walnut and Burl Walnut Bedroom Suite, third quarter 19th century, Philadelphia, comprised of a high-back bedstead with large arched and foliate-carved crest, h. 95”, inside w. 65”, l. 80”, outside w. 72”, l. 86”, and a matching pair of marble-top dresser bureaus with large mirrors, each with a three-drawer base, h. 90”, w. 49-1/4”, d. 22”. [6000/9000] Illustrated Color Plate VI

974three-piece

suite

974three-piece

suite

977

139

975Eight-Piece American Renaissance Revival Walnut and Burl Walnut Parlor Suite, third quarter 19th century, consisting of two sofas, h. 41-1/2”, w. 70”, d. 28”, two armchairs, and four sidechairs, each with a carved crest above a padded back, raised on turned trumpet legs. Provenance: The Claiborne Mansion, Esplanade Avenue, New Orleans. [1200/1800] Illustrated

976American Renaissance Revival Walnut and Marble-Top Sideboard, third quarter 19th century, the top with a peaked crest and a central carved plaque above a beveled mirror and large shelf brackets, the base with a marble deck above a curved base having a row of three drawers above three doors, h. 90-1/2”, w. 57”, d. 25”. [2000/4000] Illustrated

977American Renaissance Revival Giltwood and Marble-Top Pier Mirror, third quarter 19th century, the crest with a central palmette, flanked by smaller palmettes to each side, the base with a marble top, supported by brackets, presented in an old gold-painted surface, h. 94”, w. 32”, d. 11-1/2”. [800/1200] Illustrated

978American Renaissance Revival Walnut Work Table, third quarter 19th century, the rectangular top with canted corners, above a conforming frieze fitted with a paneled drawer above a tapering, carved deep storage drawer, raised on carved and pierced supports joined by an H-form stretcher centered by a turned finial, h. 28-1/2”, w. 23-3/4”, d. 16-1/2”. [200/400]

975eight-piece suite

976

975eight-piece suite

140

979American Rococo Revival Cast-Brass Six-Arm Chandelier, fourth quarter 19th century, each arm with grapevine and pine cane motifs, currently wired for electricity but lacking the sockets, h. 36”, dia. 26”. [500/800] Illustrated

980American Renaissance Revival Walnut and Burl Walnut High-Back Bedstead, third quarter 19th century, of large scale, with a tall arched crest and a central shell-carved cartouche above the double paneled and burled headboard, the footboard with a thick molded frame and raised burl panels, h. 105”, inside w. 62”, l. 78”, outside w. 66”, l. 82”. [1500/2500] Illustrated

981American Renaissance Revival Rosewood and Marble-Top Low Table, third quarter 19th century, the oval cream marble top with a molded edge, over a conforming carved apron centered by patera designs, raised on a square standard and four C-form brackets, to the concave base ending in bun feet, h. 22-3/4”, w. 38-1/2”, d. 26-1/2”. [300/500] Illustrated

979

980

981

982three-piece

suite

141

982Three-Piece American Renaissance Revival Walnut Bed Set, third quarter 19th century, consisting of an arched top, double oval paneled bedstead, h. 72”, inside w. 60-1/4”, l. 78”, outside w. 64-1/4”, l. 82”, a drop center marble-top mirrored dressing bureau, h. 104”, w. 47-3/4”, d. 19”, and a mirrored double-door armoire, h. 89”, w. 60-1/4”, d. 21-1/2”. [1500/2500] Illustrated

983American Rococo Revival Walnut “Lincoln Rocker”, third quarter 19th century, h. 39-1/2”, w. 23-1/4”, d. 36”. [100/200]

984Ithaca Calendar Clock Company Double-Dial Calendar Mantel Clock, fourth quarter 19th century, composed of carved and stained walnut, the calendar dial signed “Manufactured by/ Ithaca Calendar Clock Co./ Ithaca, N.Y./ Patented”, retains the period brass winding key, h. 26-1/2”, w. 12-1/8”, d. 4-3/4”. [200/400]

985Richard Clague (American/Louisiana, 1816-1878) “Portrait of a Gentleman”, oil on canvas, signed “R. Clague”, 30” x 25”. Presented in a giltwood and gesso frame with a linen liner. [75000/100000] Illustrated Color Plate III

985

985detail

142

986Louisiana School (Third Quarter 19th Century) “Gulf Shores Landscape with a Boat Under a Moss-Covered Oak”, oil on panel, signed lower left “Jasop”, 10” x 13”. Presented in a giltwood frame. [600/900] Illustrated

987Alexander John Drysdale (American/Louisiana, 1870-1934) “Louisiana Bayou Landscape”, oil wash on board, pencil signed lower right “A. J. Drysdale”, sight 6” x 19-1/2”. Glazed, matted and framed. [800/1200] Illustrated Color Plate IX

988Louisiana School (First Quarter 20th Century) “French Quarter Courtyard”, painting on a plaque, signed lower right “Ch. Emmette Moore, New Orleans”, 4-1/4” x 3-1/4”. Presented in a molded giltwood frame. [40/70]

989American Eastlake Walnut Dining Table, fourth quarter 19th century, the rectangular top with rounded corners and a carved edge, above a paneled standard and block-and-ball turned supports, raised on four carved legs ending in plinth feet, with three original leaves, h. 29”, w. 51-1/2”, d. 51-1/2”, extended l. 100-1/4”. [500/800] Illustrated

990American Eastlake Victorian Walnut and Marble-Top Sideboard, fourth quarter 19th century, the top with a central beveled mirror and flanked by open shelves with spindled galleries, the base with a rouge marble deck over a cabinet fitted with three drawers above three cabinets, h. 80-1/2”, w. 55”, d. 22-1/4”. [1000/1500] Illustrated

986

987

989

143

991American Eastlake Victorian Mahogany Library Table, fourth quarter 19th century, each side fitted with a working drawer and a faux drawer, the base with turned and carved legs with a relief-carved panel between, the ends joined by a thick carved stretcher, h. 30”, w. 48”, d. 28”. [800/1200] Illustrated

992Elaborate Four-Piece Eastlake Victorian Walnut and Burl Walnut Bedroom Suite, fourth quarter 19th century, comprised of a high-back bed with burl panels and foliate relief-carved details, h. 77”, inside w. 57”, l. 74-1/2”, outside w. 59”, l. 81”, a large marble-top dressing bureau with beveled mirror, h. 81”, w. 60”, d. 24”, a single-door armoire with beveled mirror h. 94”, w. 56”, d. 22”, and a matching marble-top washstand, h. 38”, w. 36-1/4”, d. 18”. [2000/4000] Illustrated

990

991

992four-piece

suite

992four-piece suite

992four-piece

suite

144

993Fine Pairpoint Corporation Silvered Brass Parlor Lamp, first quarter 20th century, of two-handled vasiform, with a narrow-ribbed glass panel-set cut brass shade, the four reverse-painted glass panels in “Thistle and Butterfly” decor, one panel signed on the reverse “Pairpoint Corp”, h. 24-1/2”, w. 12”, d. 12”. [1500/2500] Illustrated Color Plate IV

994American Eastlake Victorian Walnut and Burl Walnut Flat-Top Desk, fourth quarter 19th century, the front with a narrow central drawer above a kneehole opening and flanked by two drawers on the left and a cabinet on the right, each bank with a shelf below and a spindled gallery, h. 28”, w. 47-1/2”, d. 29-3/4”. [500/800] Illustrated

995American Eastlake Walnut and Burl Walnut Side-Lock Chest, fourth quarter 19th century, the rectangular mirror surmounted by a dentillated crest centered by an incised cartouche carving flanked by columnar sides over two blind fretwork-carved drawers, above the lower case with a dentillated, carved and incised drawer, over four paneled drawers flanked by columnar frieze-carved stiles, ending in a plinth base on casters, h. 87”, w. 36-1/2”, d. 20”. [500/800] Illustrated

996American Eastlake Victorian Walnut Child’s Half-Tester Bed, fourth quarter 19th century, the diamond-tufted tester supported by a pair of brackets, the headboard with a line-carved crest above a rectangular raised burl panel, h. 88”, w. 65”, d. 38”. [500/800] Illustrated

997American Eastlake Victorian Walnut and Iron-Mounted Stand, fourth quarter 19th century, the circular framed top mounted to a turned column with three line-carved legs, each surmounted by a cast-iron and gold-painted eagle, h. 33”, dia. 13”. [100/200]

998American Turned and Mahogany-Stained Wood Three-Panel Folding Screen, fourth quarter 19th century, each panel set with a different oil-on-canvas scene, from left to right, the Natural Bridge of Virginia, a pair of white herons in a swamp, and a pair of deer on a river bank, the upper edge of each panel with a spindled gallery, h. 55”, l. 24”, extended l. 72”. [800/1200] Illustrated

993

995

994

145

999American Eastlake Victorian Overmantel Mirror, fourth quarter 19th century, the crest with stylized carved flowers above a line-carved frieze, the beveled plate glass mirror flanked by turned columns, h. 63”, w. 49”. [300/500]

1000Ansonia Slate Mantel Clock, fourth quarter 19th century, composed of gilt-brass-mounted and incise-carved polished black slate, the interior backplate signed “Ansonia Clock Co./ New York”, the circular dial enameled and having a convex glass cover, h. 10-1/4”, w. 9-1/2”, d. 4-5/8”. [150/300]

1001Ansonia Pottery Mantel Clock, first quarter 20th century, in “Clematis” Decor, in shaded sky-blue and white pottery, the circular enamel dial gilt-brass enframed and marked with the lozenge-surrounded Ansonia A and the Ansonia legend at the basal edge; Ansonia called this pattern “Terrace” and so marked on the backplate of the case, h. 10-1/2”, w. 9-1/2”, d. 5”. [200/400]

1002Good Pair of English Brilliant-Cut Glass Decanters, fourth quarter 19th century, of tall size in “Palmetto and Mandorla” decor, with matching cut “spear point” stoppers, h. 14-1/4”, dia. 5-1/4”. [900/1200] Illustrated

1003Diverse Three-Piece Collection of Glass, comprised of a Brilliant-cut vase of gently flaring cylindrical section in “Graduated Hobstar and Diamond” panels; a Fostoria “Georgian Block” rose globe of cushion form, second quarter 20th century; and a Scandinavian Modern blown glass vase of “bean” form with a cut and polished lip, third quarter 20th century; the largest h. 11-1/2”. The modern glass vase in this lot is by Peill & Sohn of Duren, Westphalia, Germany (active 1903-present) and an addorsed P mark is used on the firm’s art wares. [150/300]

1004Good Four-Piece Collection of American Pressed Glass, third quarter 19th century, comprised of a “King’s Crown” covered compote; a “Diamond Thumb-Print” tall celery vase; and a “Four Petal” covered and footed sugar basin and matching cream pitcher of generous size; the largest h. 11”, dia. 7-1/4”. [100/200]

996

998

1002

146

1005Fine and Rare Steuben Cast, Cut, and Engraved “Castle of Dreams” Sculpture, 20th century, designed by David Dowler, signed in diamond stylus script “Steuben”, presented in the original Steuben maroon morocco case with a crimson satin- and velvet-lined fitted interior, the case fitted with a two-piece black faux-morocco and crimson velvet display platform of lozenge configuration, h. 5-1/2”, w. 9-1/2”, d. 6”. [1400/1800] Illustrated

1006Three Good American Pressed Glass Cream Pitchers, third quarter 19th century, comprised of a “Horn of Plenty” pitcher; a “Paneled Waffle” pitcher; and a “Diamond Thumbprint” pitcher; the largest h. 6-3/4”. [75/125]

1007Three-Piece Group of Pressed Glassware, consisting of an American pressed “King’s Crown” tall iced beverages pitcher, ca. 1891; a pressed “Manhattan” soda fountain straw jar of cylindrical section with a domed metal cover, ca. 1902; and an American ruby-stained pressed “King’s Crown” milk pitcher, also ca. 1891; the largest h. 11-5/8”. [75/125]

1008Group of Two Glass Cake Stands, one a good American pressed amber glass footed cake stand in a variant “Daisy and Button” pattern, of square form with chamfered corners, fourth quarter 19th century, h. 60-1/2”, w. 9-1/2”; and the other a Fostoria Limited Edition circular cake stand in a Brilliant-pressed “Diamond Swirl” pattern, h. 6-1/2”, dia. 10-1/4”. [75/125]

1009Attractive Four-Piece Ellmore Sterling Silver Coffee and Tea Service, second quarter 20th century, in “Rope Edge” decor, in the Early American taste, comprised of a footed coffeepot, a footed teapot, a covered two-handled sugar basin and a footed waste bowl, the largest h. 11”, w. 5-1/2”, l. 10”, 54.30 total t. oz. [1000/1500] Illustrated Color Plate II

1010Pair of Gorham Weighted Sterling Silver Candlesticks, third quarter 20th century, in the Georgian taste, with attenuated nozzle-form candlesockets, h. 8-3/4”, dia. 4”. [50/80]

1011Rare Early American Silver Octagonal Salver, third quarter 18th century, hallmarked RDE, of footed form, dia. 6-1/2”, 6.30 t. oz. [600/900] Illustrated

1012American Sterling Silver Footed Iced Water Pitcher, first quarter 20th century, in the “Early American” taste, h. 9-1/2”, w. 6”, l. 9”, 17.35 t. oz. [125/250] Illustrated

1013Two Silverplate Serving Trays, second quarter 20th century, comprised of a large American oval, footed and compartmented supper tray in the Georgian taste, with a central “well and tree” roasted meats compartment flanked by two vegetable compartments, w. 16”, l. 22-1/4”; and a Webster-Wilcox “Joanne” circular sandwich/pastry tray with a bar-pierced rim, dia. 14-1/2” [75/125]

1005

1009

1011

1012

147

1014Group of Four Weighted Sterling Silver Items, second quarter 20th century, comprised of an International weighted sterling tall, footed jelly stand in the Georgian taste; a similar Newport weighted sterling stand; a smaller Poole Art Deco weighted sterling stand; and an Otto Richard, New York, weighted sterling footed bonbon bowl in the Georgian taste; all four examples fully hallmarked on the bases, the largest h. 5-3/4”, dia. 6-1/4”. [100/200]

1015Imposing American Silverplate Four-Handled Revolving Supper Service, comprised of a warming base, a central footed soup tureen, four oval covered vegetable dishes, a pair of sauce bowls and a pair of salt-and-pepper casters, all in “Gadroon” pattern, the four handles lacquered in gloss black, h. 19”, dia. 24”. [300/500] Illustrated

1016Four-Piece F. B. Rogers Silverplate Chafing Dish-on-Stand with Tray, second quarter 20th century, in the Old Sheffield style, the chafing dish composed of a fruitwood-handled pan, cover bowl liner and stand, h. 13”, dia. 11”, l. 19”, along with a matching circular, lobed and footed tray, dia. 17”, all of the pieces in “Flower and Scroll” decor, the alcohol lamp for the chafing dish lacking. [100/200]

1017Fine Pair of William Gale and Son, New York, Sterling Silver Sauceboats, third quarter 19th century, in a “Floral Repousse” pattern with high foliate-scroll handles, h. 7”, w. 4-1/8”, l. 8”, 26.20 total t. oz. [2500/4000] Illustrated

1018Pair of Godinger Silverplate Circular Pastry Trays, with garlanded reticulated borders in the Louis XVI taste, dia. 13-1/8”. [250/400]

1019Handsome Pair of Meriden Silverplate Three-Light Candelabra, first quarter 20th century, in the “Old Sheffield” style, each candlesocket fitted with a detachable bobeche (one lacking), h. 17”, w. 19”, d. 6”. [350/500]

1020Good Reed and Barton Sterling Silver Two-Handled Trophy Cup, first quarter 20th century, the facade handsomely engraved with an American Agriculturist presentation inscription, h. 12-1/4”, dia. 6”. [200/400] Illustrated

1021Good Bigelow, Kennard and Company, Boston, Sterling Silver Presentation Porringer, dated 1898, in the Early American style, dia. 5”, 8.00 t. oz. [250/400]

1015

1017

1020

148

1022Interesting Fourteen-Piece Group of Sterling Silver Items, second and third quarter 20th century, comprised of an eight-piece collection of Frank M. Whiting sterling silver-rimmed sunburst-pressed glass drink coasters in “Antique Bead” decor; an unusual set of four Saart Brothers sterling silver and star-cut glass drinks coasters with integral canape/ash wells; an Attleboro Chain Company sterling silver circular place ashtray with attached matchbook stand; and a Ronson silver “Crown” table lighter; the largest dia. 3-1/8”, l. 5-1/8”. [100/200]

1023Whiting Manufacturing Company Sterling Silver Trophy Tankard, dated 1890, of large size, the base engraved “Tuxedo/3-15-90/ Kent twice/Macalester once”, the basal edge with a relief foliate-scroll border, h. 6”, dia. 4-3/4”. [500/800] Illustrated

1024Alvin Sterling Silver-Overlay Glass Decanter, first quarter 20th century, of ewer form in “Vintage” decor, retains the period silver-overlay glass stopper of tall spherical form, h. 13”, dia. 5-1/2”. [500/800]

1025Reed and Barton Silverplate Iced Water Pitcher, third quarter 20th century, in the “Winthrop” pattern, of substantial weight, h. 10”, w. 6-1/2”, l. 9”. [100/200]

1026Handsome Pair of Gorham-Thurber Paneled Sterling Silver Footed Presentation Goblets, 1850-1852, each engraved in script on one panel “Dexter”, h. 5-5/8”, dia. 3-1/4”, 12.50 total t. oz. [1200/1800]

1023

1029

1030

1031

149

1027Large Silverplate-Rimmed Cannele Glass Salad Bowl, second quarter 20th century, the rim stamped “14640 Bointaburet a Paris”, the base with a reverse-pressed thirty-two-point sunburst, h. 5-1/4”, dia. 15-3/4”. [75/125]

1028Fisher Sterling Silver “Gadroon” Footed Teapot, second quarter 20th century, in the Early American taste, h. 10”, w. 6”, l. 11”, 24.50 t. oz. [150/300]

1029Good American Late Victorian Mahogany Partner’s Desk, fourth quarter 19th century, attributed to R. J. Horner and Co., New York, the rectangular top with a molded edge and carved ends over a central drawer flanked by a bank of two drawers, all with foliate carvings and lion-head pulls, h. 30”, w. 56”, d. 34”. [5000/8000] Illustrated Color Plate V

1030Fine and Rare Pairpoint Corporation Bronze-Patinated Brass Parlor Lamp, first quarter 20th century, with a Pairpoint reverse-painted domed glass shade depicting “Peacocks in a Garden”, the shade signed in miniscule stencil at the basal edge “Pairpoint Corp.”, the base also signed and numbered “D-3065”, h. 25”, dia. 18”. [2500/4000] Illustrated Color Plate V

1031Fine Moe Bridges Company, Milwaukee, Cast-Iron Parlor Lamp, first quarter 20th century, the gilded and polychrome-detailed paw-footed lamp with a large reverse-painted domed glass shade in “Crested Birds, Butterflies, Trees and Flowers” decor, the exterior of the shade pebbled and lightly frosted, the base of the lamp embossed “Moe Bridges Co./Milwaukee, Wis.”, h. 23”, w. 18”. [500/800] Illustrated Color Plate VIII

1032American Late Victorian Mahogany Settee, fourth quarter 19th century, in the manner of Karpen, the curved back with a deep pierced and scroll-carved wraparound crest and terminating into scrolled knuckles at the arm fronts, raised on cabriole legs ending in paw feet, h. 36”, w. 54”, d. 29”. [500/800] Illustrated

1033Stylish Handel Gilt-Brass-Mounted Copper Vasiform Kerosene Parlor Lamp, in the Art Nouveau style, the wick adjuster with an 1895 patent date, the font cap touchmarked “Miller”, retains the blown glass chimney and frosted shaded peach-to-clear glass shade with enameled “Cherries” decor and signed Handel Co. 2853, h. 22”, dia. 12-3/4”. [800/1200] Illustrated

1034Italian Spelter Putto Candelabrum Stand, fourth quarter 19th century, of tall size in the Venetian style, composed of gilt-brass-mounted carved ebonized wood and bronze-patinated spelter, the bronze-patinated figure of the putto surmounting a carved monopodal figure of a winged roaring dragon, the whole supported on a box base with four carved paw feet, h. 54”, w. 12”, d. 12”. [800/1200] Illustrated

1032

1033

1034

150

1035American Late Victorian Mahogany Fireplace Mantel, ca. 1900, the top with an egg-and-dart molding above a shelf supported by large columns and a central oval beveled mirror, h. 87”, w. 59-1/2”, d. 14”. [400/700] Illustrated

1036American Late Victorian Mahogany Settee, fourth quarter 19th century, the padded and tufted back back with scrolled feather-carved returns, the arm fronts depicting lion heads, raised on cabriole legs with paw feet, h. 41-1/2”, w. 41”, d. 23”. [250/400]

1037American Late Victorian Walnut Figural Side Table, ca. 1900, the shaped top with a carved drawer and supported by cabriole legs with carved putti, h. 29-1/4”, w. 22”, d. 16”. [150/300]

1038Continental Walnut-Stained and Marble-Top Center Table, fourth quarter 19th century, the circular rim with line-carved details and supported by four standing putti, h. 32-1/2”, dia. 54”. [1200/1800] Illustrated Color Plate IV

1039Imposing American Brass Fifteen-Light Chandelier, first quarter 20th century, in the Louis XIV taste, modeled as alternating large bust-capped foliate arms and plain paired arms, the longer arms fitted with vasiform frosted glass shades with gauffered rims, the paired arms fitted with leaf-etched glass shades of bell form (one lacking), h. 40”, dia. 36”. [7000/10000] Illustrated Color Plate IV

1040Fine 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”. [200/400]

1041French Art Nouveau Cameo-Cut Glass Iced Beverages Pitcher, first quarter 20th century, with an opulent gilded brass collar and pouring lip, the body of the pitcher in parcel-gilded grass green flowerheads and foliage over a rippled, frosted clear, h. 12-1/4”, l. 7-1/4”, dia. 6-1/2”. [250/400]

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1038

1039

151

1042Lalique Satin-Finished Crystal Head of a Horned Ram, fourth quarter 20th century, designed by Marie-Claude Lalique, signed at the proper left basal edge in diamond stylus script “Lalique R France”, h. 6-1/4”, w. 3-3/4”, l. 8”. [250/400]

1043Five-Piece Collection of Brilliant-Cut and Pressed Glass, second/third quarter 20th century, comprised of a Germano-Bohemian scroll-footed fruit bowl cut in “X and Buzz” decor; a similar Brilliant-pressed tall vase in “Fan and Star” decor; a Germano-Bohemian Brilliant-cut large covered compote in “Interlaced Buzz” decor; a silverplate-mounted prism-pressed salad bowl; and a Continental pressed bowl of coronet form; the largest h. 12-3/4”, dia. 8”. [100/200]

1044Interesting Fourteen-Piece Glass and Silverplate Collection, comprised of a set of four blown glass Irish coffee glasses of cylindrical section; a set of six Reed and Barton silverplate cafe brulot spoons produced for Adler’s, New Orleans; a pair of cut dessert wine goblets, first quarter 20th century; a two-piece English lattice-cut cream-and-sugar set consisting of a circular open sugar basin and a matching cream pitcher; a Baccarat “Petal” covered mustard pot and matching long-handled mustard spoon, signed on the base with the Baccarat “decanter” acid stamp; an American Brilliant-cut glass scroll-footed rose globe of small size in “Buzz” decor, first quarter 20th century; an English diamond-cut water pitcher in the Waterford style; an American candlestick of square section, second quarter 20th century; and an English “Oculus and Star”-cut glass fruit bowl; the largest h. 3-1/2”. [150/300]

1045American Chippendale-Style Mahogany Desk, fourth quarter 19th century, the rectangular top with a molded edge over a frieze fitted with two drawers above an arched, carved apron flanked on both sides by a short drawer, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 30”, w. 55”, d. 32”. [300/500] Illustrated

1046American Cast-Iron Parlor Lamp, first quarter 20th century, in black and green “Lotus” decor, with a puffy reverse-painted glass shade in the Pairpoint style, the mold-blown shade in “Poppies” decor, h. 21-3/4”, dia. 12”. [1000/1500] Illustrated Color Plate III

1047Tall Cameo-Cut Glass Vase, the blue over smoky topaz over yellow glass vase of tall baluster form in “Mountain Lake” decor in the manner of Emile Galle (1846-1904), the side with a pseudo-Galle signature in cameo script, h. 14-1/2”, dia. 4”. [300/500] Illustrated

1048Emile Galle-Style (1846-1904) Cameo-Cut Glass Vase, early 20th century, of modified flask form in “Mountain Lake” decor, signed at one side “Galle”, in wavy script within a freeform reserve, h. 8-3/4”, w. 5-1/4”, d. 3-1/2”. [250/400] Illustrated

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1046

1047

1048

152

1049Louis Comfort Tiffany (1848-1933) Dome-Footed Vase, first quarter 20th century, of modified nozzle form in “Leaf Comb-Up” Favrile glass, signed on the rim of the foot “L.C.T.”, h. 9-3/4”, dia. 5-1/4”. [600/900] Illustrated

1050Good Louis Comfort Tiffany (1848-1933) Calyxiform Vase, first quarter 19th century, in shaded amber to rose and ivory “Leaf Comb-Up” Favrile glass, the underside of the circular foot signed “635 J L. C. Tiffany-Favrile”, in script, h. 8-1/4”, dia. 3-1/4”. [600/900] Illustrated

1051American Eastlake Victorian Mahogany Dresser, fourth quarter 19th century, the top with a tilting beveled mirror above three long drawers, each with heavy cast-brass hardware, h. 78”, w. 49-1/2”, d. 24”. [700/1000] Illustrated

1052Victorian-Style Mahogany Window Seat, the cushioned seat flanked to either end by padded outscrolled arms to lion’s-head terminals, raised on splayed legs ending in ball-and-claw feet, h. 28-1/4”, w. 55-1/4”, d. 18-1/2”. [300/500] Illustrated

1053American Brass-Inlaid Figured Mahogany Bedstead, early 20th century, in the manner of Duncan Phyfe, New York, the headboard with a turned and reeded crest rail above a paneled frame with brass-inlaid details, raised on turned and reeded legs, h. 42”, inside w. 56”, l. 76”, outside w. 59”, l. 80”. [50/80]

1054Stylish Two-Handled Vasiform Kerosene Lamp Base, in the early manner of Louis Comfort Tiffany (American, 1848-1933), bronze-patinated, now electrified and fitted with a leaded glass “Purple Clematis” shade, also in the Tiffany style, the lamp base touchmarked with a pseudo-Tiffany Studios, New York, punch marked, the upper interior edge of the shade with an applied Tiffany Studios plaque and a stamped pseudo-Tiffany numeral, h. 21”. For the “Purple Clematis” shade, see E. Neustedt, The Lamps of Tiffany, New York, 1970, p. 98, # 142. [500/800] Illustrated

1049 1050

1051

1052

153

1055Unusual Metal and Iridescent Gold Glass Vasiform Five-Light Table Lamp, third quarter 20th century, in the manner of Louis Comfort Tiffany (American, 1848-1933), modeled as a bronze-patinated metal central vasiform element capped by a single upright lily-form shade and enframed by four separate inverted lily-form shades, the shades with diamond stylus-engraved L.C.T. monograms, h. 19-1/2”, dia. 27”. [400/700]

1056Verdigris-Patinated Tripodal Table Lamp, in the manner of Louis Comfort Tiffany (American, 1848-1933), the bulb socket fitted with upright iridescent gold “Federzeichnung” glass shade, h. 22-1/4”, dia. 7”. [400/700]

1057Attractive American Metal and Leaded Glass Parlor Lamp, third quarter 20th century, bronze-patinated in “Nasturtium” decor in the manner of Louis Comfort Tiffany (1848-1933), the footed “Library Lamp” base fitted with a trio of spiraled bulb sockets and touchmarked with a pseudo “Tiffany Studios/New York”, h. 22”, dia. 16-1/2”. Reference: For the “Library Lamp” base, see E. Neustadt The Lamps of Tiffany, New York, 1970, p. 93, #130. [500/800] Illustrated

1058American Bronze-Patinated Spelter and Brass Parlor Lamp Base, first quarter 20th century, with a later domed leaded glass “Cherry Blossom” shade in the Handel style, the weighted circular foot of the base with a trio of bud-and-stem wreathed Art Nouveau female heads, the upper terminus with a pair of spiraled light sockets, h. 25”, dia. 19-1/2”. [400/700]

1059Stylish Leaf-Etched Leaded Glass Transom Window, first quarter 20th century, composed of caramel slag and rose, cobalt, citron yellow, emerald green and ruby leaded glass, featuring a beribboned swagged garland, h. 17-1/4”, w. 36-3/4”. [100/200]

1054

1057

154

1060Morris Henry Hobbs (American/Louisana, 1892-1967) “Bromeliad and Butterfly”, watercolor on paper, signed lower right “Morris Henry Hobbs”, sight 17-1/2” x 11-1/2”. Glazed, French-matted and framed. [1200/1800] Illustrated

1061Morris Henry Hobbs (American/Louisiana, 1892-1967) “Bluebird on a Branch”, watercolor on paper, signed lower right “Morris Henry Hobbs”, sight 16-1/2” x 11-1/2”. Glazed, French-matted and framed. [1000/1500] Illustrated

1062Morris Henry Hobbs (American/Louisiana, 1892-1967) “Bromeliad and Butterfly”, watercolor on paper, signed lower left “Morris Henry Hobbs”, sight 19-1/2” x 13”. Glazed, French-matted and presented in a polychromed and parcel-gilt frame. [1500/2500] Illustrated

1063Louisiana School (Contemporary) “New Orleans Cemetery Scene”, black and white digital print, signed verso “E. S. Romig”, sight 9-3/4” x 6-1/2”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [75/125]

1064Charles Reinike III (American/Louisiana, b. 1947) “Nocturnal Street Scene”, watercolor on paper, signed in pencil lower left “C. Reinike III”, sight 10” x 14”. Glazed, matted and framed. [700/1000] Illustrated

1065Earl Horter (American/Louisiana, 1881-1940) “Balconies, New Orleans”, black and white etching, signed in pencil lower right “E. Horter”, titled in pencil lower left, sight 11-1/2’ x 8”. Glazed, triple-matted and presented in a giltwood and gesso frame. [400/700] Illustrated

1060

1061

155

1062

1064

1065

156

RandalBalesisaUnitedStatesMarineCorpsVeteranwithtwentyyearsactivemilitaryserviceanddutiesthatincludedthreetoursintheRepublicofVietnam,dutiesinmilitaryintelligencewithfiveyearsasSeniorMarineInstructorattheIntelligenceCenterandSchoolatFt.Huachuca,Arizona.HewasalsoaninstructoratMarineSurvival,Evasion,ResistancetoInterrogationandEscapeSchool(SERE),withdutiesinKorea,Okinawa,TurkeyandtheMiddleEast,aswellasAssistantNavalAttachetotheRepublicofMalagasy.

Duringhistravelsandduties,Randydevelopedaloveforbowhuntingandfishing.DuringhisstayinAfrica,hewaspriviledgedtohavemanysafariswherehedevelopedandperfectedtheskillofbowhunting.

Randyalsoenjoysmakingantlerartincludinglamps,tables,chandeliers,candles,baskets,knives,etc.Allofthetrophiesandantlerartfeaturedinthissaleweretakenwithhisbowandarrow.

NewOrleansAuctionSt.CharlesGalleryispleasedtoofferthewildlifecollection

ofavidbow-hunterRandalW.Bales,

BatonRouge,Louisiana.

157

1066Taxidermy Shoulder-Mounted Trophy Whitetail Deer, with a nine-point rack and a 25-3/4” spread, h. 40”, w. 25-1/2”, d. 16-1/2”. [300/500] Illustrated

1067Very Large Taxidermy Shoulder-Mounted Ten-Point Whitetail Buck, h. 49”, w. 18”, d. 19-1/2”. [300/500] Illustrated

1068Taxidermy Shoulder-Mounted Ten-Point Trophy Whitetail Deer, included in the Boone and Crockett Record Book, 1964, Alabama state record and a 177-318 score, National Rifle Association Silver Bullet Award Winner, along with an NRA Award plaque and a framed photograph of the hunter and the tagged deer, h. 34”, w. 19-1/4”. [800/1200] Illustrated

1066

1067

1068

158

1069Taxidermy Mounted Full-Size Coyote, presented on a driftwood stump, h. 48”, w. 36”, l. 40”. [300/500] Illustrated

1070Symmetrical Ten-Point Whitetail Deer Rack, retaining its registered deer tag, h. 15”, w. 16”, d. 11-1/2”. [75/125]

1071Taxidermy-Mounted Grizzly Bear Rug, a full, life-size Alaskan grizzly bear presented with full open mouth bearing teeth and claws, mounted on a double felt two-tone backing, 80” x 88”. This is an “A” grade rug with great blond color winter coat. [1500/2500] Illustrated

1072Taxidermy Shoulder-Mounted Japanese Sika Deer, also known as “spotted” or “Japanese” deer, h. 33”, w. 12”, d. 18”. [400/700] Illustrated

1073Large Taxidermy Shoulder-Mounted Indian Axis Deer, with in-velvet antlers, h. 40”, w. 26-1/2”, d. 23”. This is an example of an Axis deer before the velvet is rubbed off and the hardened antlers are exposed. [400/700] Illustrated

1074Pair of Moose Antlers, each separated from the skull, w. 25-1/2”, l. 21-1/2”. [50/80]

1075Taxidermy-Mounted Green-Winged Teal Duck, presented in-flight on a hardwood wall plaque, h. 16”, w. 24”, d. 17”. [150/300] Illustrated

1069

1071

1073

1072

1076

1075

159

1076Taxidermy-Mounted Female Mallard Duck, presented in flight on a driftwood wall plaque, h. 24”, w. 17”, d. 21”. [150/300] Illustrated

1077Taxidermy Wall-Mounted Bufflehead Duck, presented on a cut log, h. 13”, w. 6”. [75/125]

1078Interesting Taxidermy-Mounted Rosy-Billed Pochard Duck, presented in flight and mounted to a driftwood base, h. 19”, w. 29”, l. 20”. [200/400]

1079Taxidermy-Mounted Full-Maned African Lion, presented as a half-size, full mount on an artificial rock base, h. 54”, w. 34”, d. 21”. This was an old, solitary lion, scarred due to many fights over the years. [1500/2500] Illustrated

1080Taxidermy Shoulder-Mounted Small Aoudad Ram, from Catalina Island, California, h. 17”, w. 14-1/2”, d. 11-1/2”. [100/200] Illustrated

1081Large Taxidermy Shoulder-Mounted Cinnamon European Mouflon Ram, h. 23-1/2”, w. 26-1/2”, d. 13”. [300/500] Illustrated

1082Taxidermy Shoulder-Mounted Large Mouflan Ram, from Texas, h. 24-1/2”, w. 15-1/2”, d. 13”. [200/400] Illustrated

1083Indian Nilgai Antelope Horns, with a full bleached skull, mounted on a shield-form wall plaque, h. 17-1/2”, w. 10”, d. 9”. [100/200]

1084Collection of Miscellaneous Deer Antlers, presented in a rolled vine basket, h. 18”, dia. 14”. [50/80]

1085Zebra Rug, full-size perfect trophy grade Burchell zebra rug, presented with felt backing and exceptionally large, 82” x 120”. [1500/2500] Illustrated

1079

1081

1080

1082

1085

160

1086Taxidermy Shoulder-Mounted African Springbok Antelope, h. 26”, w. 12”, d. 13”. The name for this antelope is derived from the buck’s springy hop as it runs. [200/400] Illustrated

1087Taxidermy Shoulder-Mounted African Reed Buck Antelope, h. 32”, w. 13”, d. 13”. [200/400] Illustrated

1088Taxidermy Shoulder-Mounted African Thompson Gazelle, h. 24”, w. 8”, d. 13-1/4”. [200/400] Illustrated

1089Eight-Point New Mexico Bull Elk Antlers, with full bleached skull, mounted on a shield-form wall plaque, h. 31-1/2”, w. 24-1/2”, d. 13”. [100/200]

1090Taxidermy-Mounted Alaskan Ptarmigan, presented in its winter white plumage and mounted on a driftwood base, h. 9”, w. 15-1/2”, l. 13”. [50/80]

1091Taxidermy-Mounted Argentinian/Peruvian Plains Viscacha, presented on its hind legs, on a vegetation diorama, h. 17”, w. 9”, d. 18”. This unusual animal is a prolific burrower. [200/400] Illustrated

1087

10881086

1093

1092

1091

1094

10971096

1095

161

1092Taxidermy-Mounted Raccoon, presented standing on its hind legs on a driftwood base, h. 30”, w. 9-1/2”, d. 26”. [200/400] Illustrated

1093Taxidermy-Mounted Bobcat, presented on a natural plant and rock diorama base, a caught bird at its feet, h. 22”, w. 24-1/2”, d. 14”. [300/500] Illustrated

1094Taxidermy Shoulder-Mounted Indian Nilgai Antelope, h. 37”, w. 15”, d. 27”. The Nilgai Antelope is Asia’s largest antelope and sometimes called the “Blue Bull”. [300/500] Illustrated

1095Large African Sable Antelope Horns, on a skull cap, h. 15”, w. 12”, l. 32”. [100/200] Illustrated

1096African Waterbuck Antelope Horns on a Full Skull, h. 16”, w. 20”, l. 32”. [100/200] Illustrated

1097Large African Oryx Antelope Horns, on a bleached skull, h. 12”, w. 17”, l. 44”. [100/200] Illustrated

1098African Water Buffalo Horns, with a skull cap, mounted on an oval hardwood wall plaque, h. 17”, w. 25”, d. 10-1/2”. [100/200]

1099Taxidermy-Mounted African Cape Buffalo Horns, presented with the skull cap and mounted to a wooden wall plaque, h. 22”, w. 31”, d. 13”. [200/400] Illustrated

1100Taxidermy Full-Mounted, Life-Size African Impala, presented in a leaping pose in mid-air, anchored to a driftwood tree stump, h. 82-1/2”, w. 87-1/2”, d. 18”. [1500/2500] Illustrated

1101African Grants Gazelle Horns and Waterbuck Antelope Horns, each with a skull cap, mounted on an oval hardwood wall plaque. [150/300] Illustrated

1099

1100

1101

162

1102African Blesbok Horns, with skull cap, mounted on an oval hardwood wall plaque, h. 14”, w. 15”, d. 9”. [75/125] Illustrated

1103African Red Lechwe Antelope Horns, with skull cap, mounted on an oval hardwood wall plaque, h. 21”, w. 20”, d. 15”. [100/200] Illustrated

1104African Tsessebe Antelope Horns, with a skull cap, mounted on an oval wall plaque, h. 21”, w. 7”, d. 10”. [100/200] Illustrated

1105Two Taxidermy-Mounted Skull Cap Antelope Horns, one an African Duiker antelope, h. 7”, w. 5”; and the other an African Steenbok antelope, h. 12”, w. 7”; each mounted to a wooden wall plaque. The Duiker antelope is the smallest antelope in Africa. [75/100]

1106Axis Deer Antlers, with a skull cap, mounted on a shield-form wall plaque. [50/80]

1107Rare Taxidermy Full-Mounted, Life-Size European Albino Fallow Buck, presented standing, on a carpeted plinth base, h. 66-1/2”, w. 71”, d. 25-1/2”. [400/700] Illustrated

1108Large White Arctic Timberwolf Carpet, an Alaskan taxidermy-mounted solid white rug, presented with head and claws, with felt backing, 63” x 74”. [300/500] Illustrated Color Plate XI

1109Taxidermy Shoulder-Mounted Asian “Black” Fallow Buck, h. 33”, w. 16”, d. 20”. The “black” fallow deer ranges in color from a dark chocolate brown to a spotted brown. [200/400] Illustrated

1104

1103

1102

1107

1108

1110

1109

163

1110Taxidermy Shoulder-Mounted Asian “White” Fallow Buck, h. 35”, w. 23”, d. 21”. The “white” fallow deer ranges in color from a solid white to a light spotted white and brown. [200/400] Illustrated

1111European Fallow Buck Antlers on a Bleached Skull, h. 32”, w. 24”, d. 9-1/4”. [100/200]

1112Taxidermy Shoulder-Mounted African Red Hartebeest, h. 42”, w. 13”, d. 28”. [300/500] Illustrated

1113Eleven-Point Bull Elk Antlers, with skull cap mounted on a shield-form wall plaque, h. 43”, w. 37”, d. 15-1/2”. [100/200] Illustrated

1114Cowhide Rug, 75” x 83”. [300/500] Illustrated

1115Collection of Whitetail Deer Antlers, presented in an Antique Remington Arms wooden cartridge box, h. 12”, w. 12-1/2”, l. 18-1/2”. [100/200]

1116Large Thirteen-Point Whitetail Deer Antlers, with a skull cap, mounted on a shield-form wall plaque, h. 17”, w. 15”, d. 11-1/2”. [150/300]

1117Alaskan Caribou Twenty-Point “Double Shove” Antlers, with a skull cap, mounted on a shield-form wall plaque, h. 33”, w. 25”, d. 15”. [150/300] Illustrated

1112

1113

1114

1117

164

1118Taxidermy-Mounted Bobwhite Quail Terrarium, having two Bobwhite quail presented in a winter snow diorama scene under a glass dome, with a turned and polished mahogany base, h. 19”, dia. 13”. [200/400] Illustrated

1119African Antelope Rug, of circular shape and made using six antelope hides, dia. 42”. [100/200] Illustrated

1120Springbok Hide Rug, with felt backing, 27” x 33”. [50/80] Illustrated

1121African Puku Antelope Horns, with skull cap, mounted on an oval hardwood wall plaque, h. 11”, w. 12”, d. 12”. [50/80]

1122Taxidermy Shoulder-Mounted African Puku Antelope, h. 35”, w. 9-1/2”, d. 16”. [200/400] Illustrated

1123Taxidermy Shoulder-Mounted Male Pronghorn Antelope, from Arizona, h. 32”, w. 10”, d. 15”. [200/400] Illustrated

1124Taxidermy Shoulder-Mounted African Impala, h. 36”, w. 13-1/2”, d. 17-1/2”. [200/400] Illustrated

1125Group of Four Large Bull Elk Antlers, three having six points and one with seven points, the largest w. 21”, l. 45”. [100/200]

1118

1119 1120

1123

1122 1124

1127

1126

1128

165

1126Rare Asian Sambar Deer Antlers, on a skull cap, mounted on a shield-form wall plaque, h. 25-1/2”, w. 14-1/2”, d. 15-1/2”. [100/200] Illustrated

1127Large Mule Deer Antlers, mounted on a cast-metal wall plaque, h. 28”, w. 29”, d. 12-1/2”. [200/400] Illustrated

1128Western Mule Deer Antlers, on a skull cap, mounted on a shield-form wall plaque, h. 26”, w. 23”, d. 15”. [100/200] Illustrated

1129Taxidermy-Mounted Nine-Point Red Stag Antlers, presented with its skull cap and mounted to a wooden plaque, h. 27”, w. 26-1/2”, d. 19-3/4”. [100/200] Illustrated

1130Ten-Point Red Stag Antlers, on a skull cap, mounted on a brass-studded, shield-form wall plaque, h. 22”, w. 33”, l. 32”. [100/200] Illustrated

1131Group of Two Desert Ram Horns on Skulls, the larger h. 10”, w. 24”, d. 8-1/2”, the smaller h. 10”, w. 14”, d. 10”. [100/200]

1132Group of Two Ram Horns on Skulls, one a small desert ram, h. 7-1/2”, w. 11”, d. 10”; and the other an aoudad ram, h. 7-1/2”, w. 22”, d. 13-1/2”. [75/125]

1133Rare Sixteen-Point Pere David’s Deer Antler Rack with Full Bleached Skull, h. 23”, w. 27”, l. 39”. The Pere David’s deer lives only in remote parts of China or in captivity and is considered one of the hardest trophies to obtain by hunters. [200/400] Illustrated

1134Rare Ten-Point Pere David’s Deer Antler Rack on Skull Cap, h. 18-1/2”, w. 26”, l. 27”. The Pere David’s deer lives only in remote parts of China or in captivity and is considered one of the hardest trophies to obtain by hunters. [200/400] Illustrated

1135Large Collection of European Axis Deer and Mule Deer Antlers, presented in a large woven basket, h. 14”, dia. 24”. [100/200] Illustrated

1136Large Collection of Miscellaneous Deer Antlers, presented in a large woven basket, h. 24”, dia. 22”. [200/400] Illustrated

1137Collection of European Fallow Deer Antlers, in a large woven basket, h. 21”, w. 22”, l. 26”. [100/300] Illustrated

1138Eland Antelope Horns, with a partial bleached skull, mounted on an oval wooden plaque, h. 32”, w. 14”. The eland is Africa’s largest antelope. [100/200]

1130

1129

1133

1134

1136

11351137

166

1139John P. Cowan (American/Texas, 1920-2008) “Flock of Mallards Being Flushed”, watercolor on paper, signed lower right “Cowan”, sight 20” x 28”. Glazed, matted and presented in a burlwood-veneered frame. [3000/5000] Illustrated

1140John P. Cowan (American/Texas, 1920-2008) “Fishing Jamaica”, watercolor on paper, signed lower left “Cowan”, sight 19-1/2” x 28-1/2”. Glazed, linen-matted with an affixed brass plaque incised with the artist’s name and work’s title, and presented in a molded burlwood frame. [3000/5000] Illustrated Color Plate X

1141John P. Cowan (American/Texas, 1920-2008) “Spur Ranch”, watercolor on paper, signed lower left “Cowan”, sight 21” x 29”. Glazed, matted with an affixed brass plaque incised with the artist’s name and the work title, and framed. [3000/5000] Illustrated Color Plate X

1142Ervin LeBlanc (American/Louisiana, 20th/21st Century) “Bird Studies”, pair of watercolors on paper, both signed lower right “Ervin LeBlanc”, sight 5” x 3”. Both glazed, matted and presented in hardwood frames. [50/80]

1143After John Cowan (American/Texas, 1920-2008) “Too Soon”, offset chromolithograph, published in 1973 by Long & Company and Long Resources of Hudson, TX, sight 21” x 28”. Glazed, matted and framed. [100/200]

1144Herb Booth (American/Texas, b. 1942) “Mallards in Flight”, watercolor on paper, signed lower left “Herb Booth”, sight 13-3/4” x 19-3/4”. Glazed, matted and framed. [1200/1800] Illustrated

1139

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1141

167

1145Herb Booth (American/Texas, b. 1942) “Pintail Passing”, watercolor on paper, signed lower left “Herb Booth”, sight 21-1/2” x 28-1/2”. Glazed, linen-matted and presented in a molded giltwood frame. This work is illustrated on page 58 of Texas Brush Strokes by Ray Sasser. [1500/2500] Illustrated Color Plate X

1146Herb Booth (American/Texas, b. 1942) “Mallards in Flight”, watercolor on paper, signed lower right “Herb Booth”, sight 21-1/2” x 29-1/2”. Glazed, matted and framed. [1500/2500] Illustrated Color Plate X

1147Herb Booth (American/Texas, b. 1942) “In the Bush”, watercolor on paper, signed lower right “Herb Booth”, sight 29” x 41”. Glazed, French-matted and presented in a giltwood frame. [3000/5000] Illustrated Color Plate X

1148Herb Booth (American/Texas, b. 1942) “Pintail Pageant” and “Bachelor’s Club”, two limited edition chromolithographs, both signed in pencil lower right margins “Herb Booth”, the former pencil numbered lower left “436/5300”, the latter “159/450”, the larger sight 19-1/2” x 25”. Both glazed, matted and framed. [300/500]

1149Group of Three American Prints, consisting of “Florida Jay”, offset chromolithograph, “Winter Beach”, offset chromolithograph by Tom Nicholas, signed and dated in pencil lower right “Tom Nicholas 1977”, and “The Old Georgia Farmhouse”, chromolithograph by Butler Brown, signed and dated in pencil lower right “Butler Brown ‘77”, the largest sight 19-1/2” x 23”. All glazed and framed. [400/700]

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168

1150Charles L. McCann (American, 20th Century) “Regent Park, London”, watercolor and gouache on paper, signed lower right, sight 14” x 18-1/2”. Glazed, matted and presented in a molded giltwood frame. [200/400]

1151American Late Victorian Heavily Carved Quarter-Sawn Oak Sideboard, fourth quarter 19th century, of large scale, the upper section with a masque- and foliate-carved crest, over a cabochon-carved frieze to a mirrored backsplash joined to the lower case by Dionysian creature-carved brackets, the lower case with a rectangular top over two drawers, above two paneled and “masque within foliage”-carved doors and an apron fitted with a long drawer, the whole flanked by columnar supports and ending in paw feet, h. 89”, w. 72”, d. 28-3/4”. [1500/2500] Illustrated

1152American Late Victorian Oak Dining Table, the circular top supported by a columnar pedestal on scroll feet, the top opening to accommodate leaves, h. 28-1/2”, dia. 51”. [200/400]

1153American Arts and Crafts Quarter-Sawn Oak Fireplace Mantel, ca. 1900, the upper section with a protruding shelf above a rectangular mirror, flanked by wrought-iron hooks, h. 85”, w. 60”, d. 15”. [200/400]

1154American Oak Arts and Crafts Prie-Dieu, first quarter 20th century, the padded crest hinged and lifting to reveal a storage compartment over a caned folding seat, raised on carved legs, h. 36”, w. 20”, d. 24”. [100/150]

1155Rare Strait & Richards, Newark, New Jersey, Terra Cotta “Driftwood”-Pattern Gas Log, the underside so stamped and patented May 7, 1907, accompanied by a pair of cast-iron log holders and fender, h. 15”, w. 26”, d. 11-1/2”. [700/1000]

1156Pair of Arts and Crafts Patinated Bronze Five-Light Candelabra, first quarter 20th century, of modified T-form, the candlesockets of truncated nozzle form, the bases of broad circular form, h. 14”, w. 16”, d. 6-1/2”. [50/80]

1151

1157

1158

169

1157Good Rutledge Brass Company Etched Brass Plaque, depicting “The Courtship of Miles Standish”, first quarter 20th century, in the Arts and Crafts style, presented in the original fumed oak Arts and Crafts frame retaining its Rutledge printed paper label, h. 15-1/2”, w. 11-1/2”. [50/80] Illustrated

1158Good Rookwood Pottery Circular, Footed Bulb Bowl, dated 1914, of cushion form in the Arts and Crafts style, the in-turned rim with stylized bas-relief ornament of leaves and berries, the base fully marked and numbered underglaze, h. 2-1/2”, dia. 8”. [300/500] Illustrated

1159Three-Piece Collection of Rookwood Vellum-Glazed Pottery, comprised of a shaded cinnamon “Cattails” vase, 1926, h. 5”, dia. 3-1/4”; a triple-buttress blue cigar ashtray, 1929, dia. 6”; and a shaded green floriform low candlestick, 1923, dia. 3-1/2”; all three pieces fully signed and numbered. [300/500]

1160Interesting Collection of Three American Art Pottery Pieces, second quarter 20th century, comprised of a Roseville “Zephyr Lily” vase of flared cornucopia form, h. 8-3/8”; a Weller double-aperture “Marvo” vase in matte green in the Arts and Crafts taste, h. 5”, w. 7-1/2”, d. 3-1/4”; and a rare Weller “Rosemont” octagonal cachepot with a cream ground, h. 5”, dia. 6”, the line introduced ca. 1927-1930; the Roseville vase with full embossed marks underglaze, the Weller examples not signed; Weller’s “Rosemont” line typically was produced with a black ground but some examples were made with the rarer ivory ground. [200/400]

1161Southwestern-Style Ceramic Jar, in a white-glazed crackle pattern with eight Kokopelli dancing flute players around the circumference and five undulating rows of bound grasses around the perimeter lip, the bottom signed “Shuman”, h. 9”, dia. 8”. Provenance: Private collection, Jackson, Mississippi. [75/125]

1162Fourteen-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”. [200/400]

1163Forty-Nine-Piece Metlox Pottery, California, “Poppytrail” Partial Dinner Service, for twelve persons, third quarter 20th century, in “Peach Blossom” decor, comprised of eight dinner plates of rounded square form, four dessert bowls, twelve cups, twelve saucers, four iced beverages glasses, two graduated serving bowls, one platter, one oval divided vegetable bowl with crabstock handle, one relish/olive bowl of elongated teardrop form, two salt-and-pepper casters, one cream pitcher, and one covered two-handled sugar basin, all of the pieces fully backstamped in underglaze black, the largest w. 12-3/4”, l. 12-1/2”. [200/400]

1164American Late Victorian Oak Drop-Front Desk, fourth quarter 19th century, the superstructure with a serpentine crest over a mirrored backsplash flanked by a shelf on both sides over three short drawers, the lower case with a drop-front drawer, opening to a variety of cubbyholes, centered by a short drawer, over a skirt fitted with a drawer flanked by a short open shelf, over a long concave shelf, raised on square legs ending in ball feet on casters, h. 71-1/2”, w. 31”, d. 17”. [700/1000] Illustrated

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170

1165American Quarter-Sawn Oak File Drawer Cabinet, ca. 1900, of two-part construction, each section fitted with three rows of three short drawers, for a total of eighteen drawers, h. 15-1/2”, w. 19”, d. 17”. [300/500]

1166American Late Victorian Quarter-Sawn Oak Hall Tree, fourth quarter 19th century, the upper half with a large beveled mirror, the frieze above with two carved serpents and the sides with standing winged griffins, the curved base with a lift seat, h. 86”, w. 62”, d. 20-1/2”. [1500/2500] Illustrated previous page

1167American Late Victorian Mahogany Rotary Bookshelf, fourth quarter 19th century, the square top with a molded edge over two open shelves joined by a square standard, with slated supports, raised on four carved splayed legs ending in casters, h. 36”, w. 19-1/2”, d. 19-1/2”. [300/500]

1168American Late Victorian Mahogany Three-Section Stacking Bookcase, ca. 1900, each section bearing a Globe Wernicke Label, h. 49”, w. 34”, d. 11”. [200/400]

1169American Turned Mahogany Floor Lamp, first quarter 20th century, in the Centennial style, h. 63-1/2”, dia. 14”. [100/200]

1170Fine and Rare Mount Washington Glass Company “Crown Milano” Biscuit Jar, fourth quarter 19th century, in “Thistle” decor, richly gilded and silverplate-covered, the base with a crowned CM monogram in entwined script, the silverplate bas-relief cover in floral decor with a raised butterfly and hallmark “M.W./4418/e”, h. 6-1/2”, dia. 7-1/2”. [100/200]

1171Two American Pressed Glass Cake Stands and a Serving Bowl, first quarter 20th century, comprised of a circular footed cake stand in “Dakota” pattern, ca. 1885-1898, h. 6-3/4”, dia. 9-1/2”; a slightly smaller footed cake stand in “Plume” decor, ca. 1890, h. 6”, dia. 9-1/2”; and a “Laurel Wreath” glass oval serving bowl, w. 7-1/2”, l. 10” (three total pieces). [75/125]

1172Two Good American Pressed Glass Cake Stands, first quarter 20th century, composed of a “Broken Column” footed cake stand, h. 8”, dia. 10-1/2”; and a Brilliant-pressed “Laurel Wreath” circular footed cake stand, h, 7”, dia. 10-1/4”. [75/125]

1173Two Good American Pressed Glass Circular Footed Cake Stands, third quarter 19th century, one an “O’Hara Diamond” example, h. 7-5/8”, dia. 10-1/4”; the other a petal-pressed example, h. 7”, dia. 10-1/2”. [75/125]

1174Impressive Elk Antler Floor Lamp, composed of six intertwined bull elk antlers, reinforced with three blacktail deer antlers, fitted with a rawhide lamp shade and an antler-mounted light pull, h. 63”, dia. 22-1/2”. [700/1000] Illustrated

1175Elk Antler and Glass-Top Side Table, the circular glass top with a beveled edge and raised on a vase composed of four bull elk antlers, reinforced with two blacktail deer antlers, made by Randal W. Bales, Baton Rouge, Louisiana, h. 23-1/2”, dia. 20”. [300/500]

1174

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171

1176Interesting Group of Four Mounted Horn Items, comprised of a Spanish chromium-mounted horn candlestick, the interior of the base touchmarked “Sorolla Sculpt “, fourth quarter 19th century; an American sterling silver-mounted horn gimbal sealing wax lamp, the primary mount in the form of a cloven hoof, fourth quarter 19th century; and a pair of Anglo-Indian nickel silver-mounted horn toasting cups, the basal terminals in the form of avian heads, first quarter 20th century; the largest h. 9”, w. 7”, dia. 5”. [75/125]

1177Large Assembled Elk Horn Four-Light Chandelier, in the “Jager” style, the brass pendant finial of bell form, fitted with an interior down-light, h. 47”, w. 34”, d. 34”. [500/1000] Illustrated

1178Horn-Legged Circular Footstool, first quarter 20th century, upholstered on period printed silk velvet in the rococo taste, h. 8”, dia. 12”. [50/80]

1179European Fallow Deer Antler Table Lamp, the base composed of three-point fallow antlers, fitted with a stained leather shade, surmounted by a spike antler finial, made by Randal W. Bales, Baton Rouge, Louisiana, h. 30”, w. 14”, d. 12”. [200/400] Illustrated

1180European Fallow Deer Three-Light Candelabra, composed of three intertwining antlers, fitted with three pressed glass candleholders, made by Randal W. Bales, Baton Rouge, Louisiana, h. 19”, w. 12”, d. 12”. [200/400] Illustrated

1181Tall Pair of Zebra Hoofed Foreleg Table Lamps, each presented on a matte black-painted wooden disc base and fitted with a custom ivory linen shade of modified square pagoda form, h. 25”. [700/1000] Illustrated

1182Group of Four Small Animal Pelts, now designed as doilies, the largest w. 15”, l. 21”. [30/50]

1183Large Pair of Footstools, each formed of a taxidermy elephant foot and topped by a circular upholstered loose cushion, h. 19”, dia. 15”. [500/800] Illustrated

1184Antler-Mounted and Mirrored Wall Shelf, having four small antlers and a central shaped mirror along with a carved deer track key-ring hanger peg at the right edge, h. 7-1/2”, w. 22”, d. 7”. [75/125]

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1179

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1183

172

1185Group of Three Antler-Handled Walking Canes, each with leather straps, the largest l. 40”. [50/80] Illustrated

1186Two Antler-Handled Walking Canes, each with leather and beaded decor, l. 40”. [30/50] Illustrated

1187Unusual Collection of Three Pairs of Salt-and-Pepper Casters, the first pair of gilt-brass-mounted deer antler sections; the second pair of African ebony-mounted carved and polished bone featuring elephants and veldt trees; and the third a pair of American turned wood casters in the form of wire-handled miniature whiskey jugs; the largest h. 3-1/4”, dia. 2-1/2”. [30/50]

1188Clementine Hunter (American/Louisiana, 1886-1988) “Funeral Procession”, oil on board, monogrammed middle right, 16” x 23-1/2”. Framed. Provenance: Clementine Hunter; Mrs. Ann Brittain; private collector, Houston, Texas. [3500/5000] Illustrated

1189Clementine Hunter (American/Louisiana, 1886-1988) “The Wake”, oil on board, monogrammed lower right, verso titled, dated “May 1967” and inscribed “Melrose Plantation, May 1967, Property of Gillis W. Long”, 15-7/8” x 24”. Framed. Provenance: Private collection, Houston, Texas. [3000/5000] Illustrated Color Plate XV

1190Clementine Hunter (American/Louisiana, 1886-1988) “Angels”, oil on canvas board, monogrammed lower right, verso affixed with a polaroid photograph of Clementine Hunter holding the painting and a “Lampe Gallery of Fine Art & Antiques, New Orleans” label, 12” x 6”. Presented in a parcel-gilt and ebonized shadowbox frame. Provenance: Private collection, Houston, Texas. [2500/4000] Illustrated Color Plate XV

1191Clementine Hunter (American, Louisiana, 1886-1988) “Black Jesus and Angels”, oil on canvas board, monogrammed lower right, 16” x 12”. Framed. Provenance: Clementine Hunter; Mrs. Ann Brittain; private collector, Houston, Texas. [2500/4000] Illustrated

1186

1185

1188

1189

173

1192Southern School (First Quarter Century) “Country Cabin with a Woman Boiling Laundry”, oil on canvas board, unsigned, 5” x 7”. Presented in a hardwood frame. [100/200]

1193Willie White (American/Louisiana, 1908-2000) “Three Horses and Three Circles”, markers on paperboard, signed lower right, sight 21” x 27”. Framed. [300/500]

1194May Kugler (American/Louisiana, 1916-1998) “The Ice Man”, oil on canvas board, signed and dated lower right “May Kugler 1978”, titled verso with inscription by May Kugler, 8” x 10”. Presented in an oak frame. [300/500]

1195Welmon Sharlehorne (American/Louisiana, b. 1952) “Mid-Century Monkey House”, markers and color pencils on cardboard, signed lower right “W. Sharlehorne”, sheet size 17-1/4” x 18-1/4”. Unframed. [200/400]

1196Richard McKey (American/Mississippi, Contemporary) “Portrait of a Pig on a Blue Background”, oil on canvas, initialed lower right, signed on stretcher verso, 20” x 24”. Presented in a molded ebonized frame. Provenance: Private collection, Jackson, Mississippi. [75/125]

1197Fine and Rare Gorham Sterling Silver Art Nouveau Inkstand, first quarter 20th century, in relief “Floral Whiplash” decor, retains the cylindrical blown and cut glass inkwell liner, fully hallmarked, h. 2-1/2”, w. 10-1/2”, d. 6”, 16.15 t. oz. [4000/7000] Illustrated

1190

1191

1197

1199

174

1198American Sterling Silver-Mounted Cut Glass Inkstand, fourth quarter 19th century, of square form, with a sterling silver collar and cap in “Antique Bead” decor, the sterling cap monogrammed “B”, in script, the obverse and reverse edges of the stand convex-cut to accommodate a pen, h. 2-1/4”, w. 3”, d. 3”. [30/50]

1199Pair of Reed and Barton Sterling Silver “Love Disarmed” Salad Servers, the pattern introduced in 1899, comprised of a broad-fluted oval bowled serving spoon and a matching three-tine fork with a pierced bowl, l. 11”, 15.70 total t. oz. [1000/1500] Illustrated previous page

1200Set of Six Sterling Silver Soup Spoons, by the Manchester Silver Company, the round-bowl spoons in “Gadroonette” pattern, the pattern introduced in 1938, l. 6-1/8”. [50/80]

1201American Sterling Silver Photograph Frame, in relief “Songbirds” decor in the Aesthetic taste, maker: R.C., the back and easel in midnight-blue velvet, h. 9-1/2”, w. 7-1/4”. [200/400] Illustrated

1202American Embossed Sterling Silver Photograph Frame, in “Pensive Maiden” decor in the Art Nouveau style, the back and easel of midnight-blue velvet, h. 12”, w. 9”. [200/400] Illustrated

1203Rare Whiting Manufacturing Company Sterling Silver Calling Card Tray, fourth quarter 19th century, of rounded triangular form in “Hummingbird” decor in the japonesque taste, produced for Theodore B. Starr, New York, and so hallmarked, dia. 7-3/4”, 7.90 t. oz. [1200/1800]

1204Attractive Pair of Tiffany and Company Sterling Silver “Floral Repousse” Sweetmeat Bowls, dated 1885, of oval, two-handled and footed form, presented as a twentieth wedding anniversary present and engraved 1865-1885 in the center of each example, h. 2-3/4”, w. 4-1/4”, l. 8”, 11.65 total t. oz. [1800/2500] Illustrated

1205Three-Piece Collection of American Sterling Silver Tablewares, second quarter 20th century, comprised of a Kirk “Repousse”-bordered footed sweetmeats bowl; a Newport weighted sterling footed jelly stand in the Georgian taste; and an F. M. Hirsch weighted sterling tall, footed sweetmeats stand in “Gadroon” decor; the largest h. 6”, dia. 6”. [100/200]

1202

1201

1204

1211

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175

1206Fifteen-Piece Collection of Sterling and .800-Standard Silver Tablewares, comprised of a set of eight Taxco pierced and sterling annular napkin rings; a trio of National Silver weighted sterling liqueur goblets; a two-piece Mauser weighted sterling footed cream and sugar set in the Georgian taste; a Continental .800-standard silver double-lipped brandy ladle with an ebonized fruitwood handle, ca. 1925-1930; and a Reed and Barton sterling ovoid bonbon bowl in “Shell and Scroll” decor; all but the last item second quarter 20th century, the bonbon bowl first quarter 20th century, the largest w. 6-1/4”, l. 8-1/2”. [100/200]

1207Set of Twelve Perlita, Mexico, Hand-Wrought Sterling Silver Bread-and-Butter Plates second quarter 20th century, in the 18th-century Colonial style, dia. 6-3/4”, 62.75 total t. oz. [1400/1800]

1208Good Three-Piece Mueck-Cary Company Sterling Silver Console Set, third quarter 20th century, in the “Scandinavian Modern” taste, comprised of a footed center bowl, h. 4”, dia. 10-1/2”, and a matching pair of weighted sterling silver candlesticks, h. 4”, dia. 3-3/4”, 7.35 t. oz. (center bowl only). [600/900]

1209Rare Tiffany and Company Sterling Silver “Wave Edge” Serving Spoon, with stylized shell-form bowl, the pattern introduced in 1884, l. 9-1/4”, 3.55 t. oz. [700/1000] Illustrated

1210Tiffany and Company Sterling Silver Trumpet Vase, first quarter 20th century, of small size, h. 9”, dia. 4”, 7.70 t. oz. [400/700] Illustrated

1211Early Tiffany and Company Sterling Silver “Antique Bead” Child’s Presentation Tankard, dated 1861, produced for the Tiffany firm by Charles Grosjean and Eli Woodward (in partnership ca. 1840-1862) and so hallmarked on the base, h. 3-3/4”, dia. 3”, 3.75 t. oz. [400/700] Illustrated

1212Pair of Tiffany and Company Sterling Silver Candlesticks, first quarter 20th century, of baluster form in the “Early American” taste, h. 9-1/2”, dia. 4-3/8”, 24.55 total t. oz. [1800/2500]

1213Pair of Tiffany and Company Vermeil Nut/Mint Dishes, second quarter 20th century, of shell form and ball footed, w. 2-1/2”, l. 3”, 2.30 total t. oz. [200/400]

1214Rare Tiffany and Company Sterling Silver “Persian” Sauce Ladle, the pattern introduced in 1872, the bowl artichoke leaf-petaled on the exterior wall, l. 7”, 1.95 t. oz. [400/700]

1215Tiffany and Company Sterling Silver “Persian” Cold Meats Fork, the pattern introduced in 1872, l. 8-1/4”, 2.40 t. oz. [400/700]

1216Tiffany and Company Sterling Silver Silent Butler, the pattern introduced in 1961, of circular form with a “bamboo” handle, dia. 6”, l. 10-1/4”, 13.15 t. oz. [800/1200]

1217Good Hamilton Ebonized Baby Grand Player Piano and Bench, model H391, fitted with a digital reproducer, piano h. 41”, w. 58”, d. 56”. [4000/7000] Illustrated

1218Contemporary Black Leather and Chrome Sofa, the padded rectangular back and arms above a like seat, raised on a tubular chrome frame, h. 28-1/2”, w. 75”, d. 28”. [300/500] Illustrated

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176

1219Suite of Three Contemporary Nesting Tables, composed of faux cherry and tubular faux brass, h. 17-1/4”, w. 24”, d. 12”. [30/50]

1220Pair of Contemporary Tubular Stainless Steel and Black Leather Bar Chairs, h. 38”, w. 21-1/2”, d. 21”. Provenance: Private collection, Jackson, Mississippi. [200/400]

1221Contemporary Steel and Black Plate Glass Console, the U-form base supporting the plate glass top, h. 26-1/2”, w. 50”, d. 16-3/8”. Provenance: Private collection, Jackson, Mississippi. [100/200]

1222Contemporary Steel and Glass Nesting Work Station, each section with a black oval plate glass top pivoting along the metal post allowing multiple configurations, h. 33”, w. 28”, d. 57”. [150/300]

1223Stylish Russell Woodard Furniture Company Polished Aluminum Table and Four Chairs, third quarter 20th century, the table with a plate glass top, the chairs with swivel seats and black faux-leather cushions, table h. 28-1/4”, dia. 42”, chair h. 31”, w. 20-1/2”. [1000/1500] Illustrated

1224After Mahonri Mackintosh Young (American, 1877-1957), a pair of patinated bronze bookends modeled as inward pushing elephants, second quarter 20th century, each signed at the proper right front edge “Young”, h. 5-1/2”, w. 7”, d. 2-1/2”. [125/250]

1225Katherine Kuharic (American Contemporary), an unusual hand-painted tabletop sphere of a startled baby and a monkey surrounded by a host of such exotic creatures as scorpions, Gila monsters, blowfish, moths and butterflies, second quarter 20th century, the wooden disc base signed in black permanent marker ‘Kuliani/ The Painter’s World/ 1988”, h. 12”, dia. 9”. Provenance: Private collection, Jackson, Mississippi. [500/800]

1226Jim White (American/Georgia; Active ca. 1965-1990), a carved and polychromed wooden figure of a Carolina Wren, 1971, the figure perched on a natural branch mounted on an oviform stained wood plaque, the plaque with a presentation inscription “Carved for Gloria Oys/ by/ Jim White/ Cairo, GA /1971”, h. 7”, w. 6”, d. 4”. [50/80]

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177

1227Interesting Collection of Three Decoys, first and third quarter 20th century, comprised of a folk art carved and gray washed wood figure of a partridge; a good Fred Guidry, Louisiana, decoy fabricated of naturally finished cypress knee; and a small bronze-headed black-painted composition figure of a duck; the Guidry decoy and the bronze-headed duck set with taxidermist’s glass eyes, the Guidry piece also signed on the base in incised script “Fred/Guidry”, the largest h. 5-3/4”, w. 3-3/4”, l. 8-1/2”. [50/80]

1228Two Contemporary American Wire Sculptures, including one of a fish mounted on a natural hardwood base, signed “P.E. Paghabeno”, h. 7”, w. 11”, d. 16”; and a papier-mache and wire sculpture of a standing fisherman on a rough-cut marble base, h. 23”, w. 10”, d. 23”. [100/200]

1229Two-Piece Haywood Wakefield Mid-Century Modern Maple Salon Set, consisting of a sofa, h. 31”, w. 75”, d. 34”, and a matching armchair, h. 32”, w. 32”, d. 33”, both with reversible cushions and possibly retaining the original upholstery. [800/1200] Illustrated

1230Pair of Moderne Leather Club Chairs, each with a rectangular tufted back, joined to the like seat by padded arms, raised on turned legs ending in casters, upholstered in black leather, h. 31”, w. 27”, d. 24”. [700/1000] Illustrated

1231Edwardian 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]

1232Edwardian Mahogany and Marquetry Armchair, ca. 1900, the carved crest centered by an oval with blonde wood and mother-of-pearl leaf inlay, over a lyriform splat, joined to the needlepoint padded seat by open arms with turned uprights, raised on tapering square legs ending in pad feet, h. 35-1/2”, w. 24”, d. 19-1/2”. [50/80]

1233Edwardian Inlaid Mahogany Settee, fourth quarter 19th century, the curved back with mixed woods and mother-of-pearl inlay above a padded back and seat, raised on cabriole legs, h. 38”, w. 52”, d. 25”. [600/900]

1234Collection of Five Toby Jugs and Tankards, comprised of a Royal Doulton “Fagan” jug, first quarter 20th century; a small Doulton “Beefeater” cream pitcher; a small Doulton “Farmer John” cream pitcher; a Sandland “Sairey Gamp & Weller” tankard; and a Staffordshire “Mr. Priss” small tankard, second quarter 20th century; all of the pieces but the last fully marked on the base, the largest h. 6-1/2”, w. 5-1/4”, d. 4-1/2”. [100/200]

1235Three-Piece Group of Royal Cauldon Creamware, second quarter 20th century, all in the “Bittersweet” pattern, comprised of a fruit bowl, a matching tray and a tankard, all the pieces fully marked and numbered on their bases, the largest h. 5-1/2”, dia. 10-1/4”. [150/300]

1236Good Trio of Royal Doulton Creamware Plates, first quarter 20th century, featuring English types, such as “The Mayor”, “The Hunting Man”, and “The Doctor”, all executed in the “Illustrator” style, each plate fully marked and numbered on the reverse, dia. 10-1/2”. [75/125]

1237Good Seven-Piece Collection of English Pottery, comprised of a four-part Edwardian veilleuse in “Pink Rose” decor, first quarter 20th century, consisting of a covered teapot, a paneled pedestal base, and the original godet, the cream pitcher and the milk jug with double-foliate scroll handles; a rare ochre-banded copper luster child’s mug, second quarter 19th century; a broad-ribbed floral enameled copper luster cream pitcher of like date; a royal blue-banded copper luster milk jug, also second quarter 19th century; a pair of Staffordshire polychromed Toby mugs of, respectively, a crowned King Arthur and a helmeted Knight of the Round Table, both in the Royal Doulton style, first quarter 20th century; and a Johnson Brothers, Staffordshire, blue transfer-printed footed “Old Britain Castles” teapot, second quarter 20th century; the largest h. 11-1/4”, w. 9-1/2”. [250/400]

1238Edwardian Mahogany and String-Inlaid Side Cabinet, ca. 1900, the top having a small back splash, the single door opening to a shelved interior and raised on slender turned legs, h. 33”, w. 16-1/2”, d. 14-1/2”. [50/80]

1239Group of Two Copper Beverage Cisterns, first quarter 20th century, comprised of a large Eclipse Copper Company, York, cylindrical footed beverage cistern with spigot, with an applied and embossed oval signature plaque above the spigot, h. 19-1/2”, dia. 13”; and a similar brass-mounted copper cistern with a domed cover, spigot and side-mounted tubular glass contents level indicator, h. 20-1/2”, dia. 12-1/2”. [100/200]

1240Dutch Fruitwood Occasional Table, second quarter 20th century, the rectangular top inset with Delft tiles, raised on tapering circular legs ending in pad feet, h. 22”, w. 21”, d. 16”. [100/200]

178

1241Stately Pair of English Mahogany Knife Boxes, the carved and turned oviform boxes in the style of Robert Adam (1728-1792), the domed covers lifting to reveal the cutlery grilles, each one holding twelve knives and twelve forks, each lower facade fitted with a diminutive brass lock, h. 22-1/2”, w. 10-1/2”. [900/1200] Illustrated

1242Attractive Edwardian Mahogany Desktop Stationary Cabinet, of slant-front form with gilt-lacquered brass mounts, the two sloping doors opening to reveal a seven-compartment paper rack, an oblong concave tilting stylus well and ink bottle compartment, the exterior basal edge fitted with a shallow transverse drawer, h. 13-1/2”, w. 14”, d. 7-3/4”. [200/400]

1243Edwardian Mahogany Bowfront Sideboard, ca. 1900, of Hepplewhite form, the top with an arched backsplash and shelf above a base fitted with four drawers and a cabinet to each side, raised on tapered legs ending in block feet, h. 57-1/4”, w. 72”, d. 25-3/4”. [500/800] Illustrated

1244Edwardian Mahogany Desk, first quarter 20th century, the rectangular leather-inset top over a frieze fitted with three drawers, raised on two pedestals, one fitted with three graduated drawers, the other with a deep drawer, raised on tapering square legs ending in spade feet, h. 30”, w. 48”, d. 30”. [500/800]

1245Interesting Eight-Piece Collection of Desk and Library Accessories, comprised of an Edwardian patinated brass double standish in the Renaissance taste, first quarter 20th century; an Edwardian highly reticulated brass double-slot stationery rack in the rococo style, also first quarter 20th century; a brass sealing wax candlestick of like date in “Ivy” decor; an Edwardian brass lady’s gavel in the Georgian style, first quarter 20th century; a paneled brass table bell of like date; an Anglo-Indian lattice-incised bone and brass desk magnifier, first quarter 20th century; an unusual American brass and ebonized wood stamp box and letter scale with an underlying drawer, second quarter 20th century; and a good West German brass-mounted mahogany wall barometer of small size in the American “Federal” style, third quarter 20th century, produced for the American trade, with its indicators in English, the barometer dial of ivory porcelain, both the barometer and thermometer in working order; the largest h. 20-1/4”, w. 5-3/4”. [250/400]

1246Edwardian Oak Kneehole Desk, first quarter 20th century, the rectangular top with canted edges, over two frieze drawers above a central arched skirt, flanked on both sides by a short drawer, raised on cabriole legs ending in squat bun feet, h. 30-1/4”, w. 42”, d. 19”. Provenance: Private collection, Jackson, Mississippi. [150/300]

1247English Patinated Bronze Figure of “A Windy Day”, first quarter 20th century, featuring a country lass in a large hat, her long skirts blown upward by the wind, h. 10-1/2”. [150/300]

1248Diminutive Edwardian Mahogany Dressing Bureau, ca. 1900, the top having a tilting beveled mirror of shield form and mounted to tapering posts with turned brass finials and glove boxes below, the base with two side-by-side drawers above two long drawers and raised on tapering square legs, h. 66”, w. 42”, d. 20”. [100/200]

1249Edwardian 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”. [100/200]

1241

1243

179

1250Anglo-Colonial Mahogany Armchair, first quarter 20th century, the shaped crest over a rectangular splat, joined to the cushioned seat by the open arms, raised on cabriole legs joined by a shaped H-form stretcher and ending in bun feet, h. 44-1/2”, w. 23-1/4”, d. 24”. Provenance: Private collection, Jackson, Mississippi. [100/200]

1251Edna Hibel (American, b. 1917) “Mother and Child”, color lithograph and silver leaf with pastel, signed lower right “Hibel”, numbered lower left “218/375”, sight 10-3/4” x 14”. Attractively matted and presented in a molded silvered frame. [400/700] Illustrated

1252Edna Hibel (American, b. 1917) “Girl Feeding Pigeons on San Marco Square”, color lithograph with pastels and gold leaf foil, pencil signed lower right, numbered lower left “218/375”, sight 13” x 19-1/3”. Glazed, double matted and presented in a molded giltwood frame. [200/400]

1253Edna Hibel (American, b. 1917) “Portrait of Two Girls in Headdresses” and “Portrait of a Girl in a Headdress Amongst Flowers”, the former a color lithograph, the latter a color lithograph with gold leaf and pastel, both signed in pencil lower right, numbered lower left, sight 9-1/2” x 13” and 12-1/2” x 16-1/2”. Both glazed and attractively matted and framed. [400/700] Illustrated

1254Edna Hibel (American, b. 1917) “Dutch Farmers in a Field”, color lithograph, signed in pencil lower right, numbered in pencil lower left “218/375”, sight 13” x 22”. Glazed, attractively matted and presented in a molded giltwood frame. [300/500]

1255Edna Hibel (American, b. 1917) “Lovely”, chromolithograph, artist’s proof, signed in pencil lower right, titled in pencil lower middle, sight 24” x 33”. Glazed, attractively triple matted and presented in a parcel-ebonized giltwood frame. [400/700]

1256Edna Hibel (American, b. 1917) “Japanese Mother and Child” and “Japanese Boy”, two color lithographs on gold foil, signed in pencil lower right, numbered in pencil lower left “218/375”, sight 13-1/2” x 10-3/4”. Both glazed, attractively matted and presented in giltwood faux-bamboo frames. [700/1000] Illustrated

1251

1253

1256

180

1257Edna Hibel (American, b. 1917) “Japanese Boy with a Fishing Pole” and “Japanese Girl”, two color lithographs, both signed in pencil “Hibel” lower right, pencil numbered lower left, the former “5/15 ed. 250”, the latter “5/14 ed. 250”, sight 15” x 9-1/2”. Both glazed, attractively double matted and presented in giltwood faux-bamboo frames. [500/800]

1258Edna Hibel (American, b. 1917) “The Piccolo Player”, color lithograph with pastel, signed in pencil lower right, numbered in pencil lower left “VI 9/22 ed. 99”, sight 15” x 10”. Glazed, attractively triple matted and presented in a weathered polychromed and parcel-gilt frame. [200/400]

1259Edna Hibel (American, b. 1917) “The Piccolo Players”, color lithograph, signed in pencil lower right, numbered in pencil lower left “II 28/75 ed. 300”, sight 12-1/2” x 16-1/2”. Glazed, attractively triple matted and presented in a molded polychromed and parcel-gilt frame. [300/500]

1260Persian Kashan Carpet, 8’ x 11’ 7”. [400/700]

1261Persian Hamadan Carpet, 4’ 4” x 7’ 1”. [200/400]

1262

1266

1270

181

1262Persian Kashan Carpet, 9’ 9” x 12’ 5”. [700/1000] Illustrated

1263Soumak Carpet, 8’ x 10’ 3”. [300/500]

1264Bidjar Carpet, 5’ x 7’. [200/400]

1265Chinese Carpet, 6’ x 9’. [150/300]

1266Chinese Carpet, 9’ x 12’. [300/500] Illustrated

1267Persian Camel Carpet, 7’ 1” x 9’ 8”. [300/500]

1268Jaipur Runner, 2’ 7” x 10’ 1”. [250/400]

1269Chinese Carpet, 3’ 8” x 5’ 1”. [100/200]

1270Rajistan Carpet, 9’ x 11’ 10”. [1000/1500] Illustrated

1271Contemporary Belouch Runner, 9’ 4” x 2’ 3”. [50/80]

1272Persian Mahal Runner, 3’ 10” x 10’ 3”. [200/400]

1273Persian Hamadan Runner, 3’ 6” x 9’ 2”. [200/400]

1274Peshawar Sultanabad Carpet, 8’ 2” x 10’. [700/1000] Illustrated

1275Malayer Carpet, 3’ 3” x 10’ 8”. [200/400]

1276Chinese Carpet, 11’ 11” x 20’ 6”. [150/300]

1277Gabbeh Modern Carpet, 4’ x 5’ 11”. [100/200]

1278Louis XIV-Style Needlepoint Carpet, 8’ 5” x 11’ 6”. [1000/1500] Illustrated

1279Two Chinese Carpets, the first a rug, 3’ 1” x 5’ 7”, and the second a runner, 2’ 7” x 12’ 6”. [200/400]

1280Chinese Carpet, 3’ x 5’. [100/200]

1281Persian Josheghan Carpet, 4’ 4” x 6’ 6”. [200/400]

1282Chinese Runner, 2’ 3” x 9’ 7”. [100/200]

1283Pair of Agra Serapi Runners, 2’ 8” x 10’ and 2’ 7” x 10’. [700/1000]

1274

1278

A

American Naive School 891

American School 55, 346, 349, 403, 414, 415, 416, 689, 695, 697, 703, 890, 931, 932, 933, 934, 935, 1149

Anzalone, William 688

Audubon, John James (after) 827, 828, 829, 830, 831, 832, 833, 835

B

Blake, William (after) 413

Bodine, A. Aubrey 407

Booth, Herb 1144, 1145, 1146, 1147, 1148

Bricher, Alfred Thompson 888

British School 51, 52, 54, 344

C

Cafieri, I 885

Clague, Richard 985

Continental School 107, 115, 696

Cowan, John 1139, 1140, 1141

Cowan, John (after) 1143

D

Dali, Salvador 345

Davidson, Jim 575

Dearman, John 258, 259, 260, 261

Drysdale, John Alexander 987

Dutch School 111

E

Eidenberger, Josef 410, 411

Ellis, Harvey 889

F

Fine, Lois 348

French School 26, 103, 354

G

German School 104, 114

Gruber, Marie 691

H

Hagerbaumer, David 255, 256, 257

Herring Sr., John Frederick 50

Herring, John F, Jr. (follower) 53

Hibel, Edna 1251, 1252, 1253, 1254, 1255, 1256, 1257, 1258, 1259

Hobbs, Morris Henry 1060, 1061, 1062

Horter, Earl 1065

Hunter, Clementine 1188, 1189, 1190

K

Karl, Alexis 702

Kasimir, Luigi 406, 408, 409

King, James S. 402

Kline, Franz 341

Kollowitz, Kathe (after) 405

Kugler, May 1194

Kuharic, Katherine 692, 693

L

LeBlanc, Ervin 1142

Lewis, Nat 351

Louisiana School 986, 988, 1063

Ludlow, Henry Stephen 102

Index of ArtIsts And PrIntmAkers November 20-21, 2010

M

McCann, Charles 1150

McKey, Richard 1196

Mexican School 705

Meyer-Eberhardt, Kurt 412

Mitchell, Joan 342

Moran, Thomas 884

Moretti, Raymond 698

N

Neiman, LeRoy 352

Nugent, Frances Robert 110

P

Pascal, Paul 105

Picasso, Pablo 343

R

Reinike III, Chalres 1064

Ricci, Pio 101

Rigaud, Hyacinthe (follower) 100

S

Schooler, John A. 694

Schooler, Jon Andrew 704

Segal, George 347

Serrano, Angel 699, 700, 701

Sharlehorne, Welmon 1195

Southern School 1192

Spanish School 106

St. Yves, R. 361

Sweet, Ralph 353

V

Van Rijn, Rembrandt (after) 113

W

Weller, Dell 834

Welliver, Neil 350

Whistler, James Abbott McNeill 401

White, Willie 1193

Whittredge, Worthington 887

Wingren, Dan 690

Wyant, Alexander Helwig 886

Index of ArtIsts And PrIntmAkers November 20-21, 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

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

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.

Customers, Please Note:DeaDliNe for abseNtee/telePhoNe biDDiNg

5:00 P.m. CeNtral – friDay, November 19, 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, November 18, 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.

REQUEST FOR CONDITION REPORTS (DEADLINE: THURSDAY, NOVEMBER 18 AT 5:00 P.M.)

Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Con-dition reports will not be given verbally. Photo requests will only be processed for items not illustrated in our catalog or website (www.neworleansauction.com). Detail photographs will be provided at our discretion.

Name (Please Print): _______________________________________________________ Date: __________

Business Name: ____________________________________________________________________________

Address: __________________________________________________________________________________

City: __________________________________________________ State: __________ ZIP: ____________

Telephones: Work: (_______)____________ Home: (_______)___________ Fax: (_______)__________

(For Fed-Ex Requests) Federal Express Account #: _________________ Email Address: __________________

Lot # Description Special Requests_________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

PlEASE SUBMiT THiS FORM ViA FAx: 504-586-8841

PlEASE SElEcT:Method of Receiving Reports: _____Fax _____Mail _____Email Method of Receiving Photographs: _____Mail _____Email

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.

Page No. 1New Orleans AuctionPrices Realized for

Sale A105 September 25, 2010 September Estates Auction Lot No. begins not with "P"

09/29/2010 15:02:48

Lot# Aggregate

1 1,1683 5536 1537 4618 869 18411 11013 43014 86115 9816 79917 58419 21520 67621 18422 27623 39924 7325 6126 18429 8630 12331 52232 43033 61534 7335 43036 79937 49239 1,72240 1,10741 7344 1,16846 21548 11049 33850 33851 46152 67655 27656 33857 24659 36960 110

Lot# Aggregate

61 6162 27665 7367 8668 1,72269 21570 1,84571 15372 18473 15374 52275 12377 61578 18479 9881 15382 7383 61584 15388 7389 21591 49292 30793 15395 30796 15397 861100 153101 922104 153105 184106 184107 184108 73109 153110 215112 184113 73114 369115 36124 276125 98126 307127 861

Lot# Aggregate

129 153130 1,107131 184134 1,168135 184136 153137 338138 369139 43140 12142 738144 307145 153146 153147 307148 215149 430150 307153 73154 153155 110157 61158 12159 73161 276162 676163 123166 799168 246169 738170 738174 492175 369176 98177 153179 86180 153183 49184 153186 86189 307190 36192 215195 153

Lot# Aggregate

196 276197 49199 492200 184203 184204 615205 110206 86207 738210 215211 184213 246214 461215 492218 98221 430222 215223 307224 246227 676228 110229 738230 1,599231 86232 55233 738234 584238 399241 73244 799246 553250 1,230253 98255 184257 123258 123259 61260 215261 1,045263 338266 399269 522270 1,168274 123

Lot# Aggregate

275 492277 922278 55279 492280 1,722282 36283 49284 98287 3,936288 861289 73292 369293 276294 1,230295 30298 36299 246301 184302 86304 369305 492306 584308 153312 153316 86318 153319 1,476320 461321 73322 184323 1,476324 492326 1,599327 86333 522334 799337 98340 861341 153342 215345 184346 184347 4,182349 461

Lot# Aggregate

351 738352 492353 184355 61356 399357 922358 184360 430361 276369 73371 110374 3,198377 430378 307379 73380 110381 86382 98384 18385 676389 215390 215395 24396 123399 338400 584401 73402 73403 615405 676409 184410 522411 55412 153413 338414 153416 430417 98419 61420 461421 18422 86423 246424 153

columns62.frx

Page No. 2New Orleans AuctionPrices Realized for

Sale A105 September 25, 2010 September Estates Auction Lot No. begins not with "P"

09/29/2010 15:02:49

Lot# Aggregate

425 184426 246427 110428 399429 1,968430 338432 861434 98436 338437 184438 98440 184442 430445 123446 98447 430448 399454 123456 922457 584458 676459 110460 73463 1,230464 369465 110467 6468 61469 184470 492471 215472 276473 30475 73476 36478 399479 799480 615481 184482 73483 73487 98489 184490 184

Lot# Aggregate

491 73493 123495 338497 215500 307504 14,760505 430506 584508 98511 338513 153514 98515 86517 369519 338520 153523 86524 1,722526 799528 676529 307532 399534 430543 338545 184546 184547 98549 461550 110552 338553 184555 215556 123557 338558 461560 338562 215564 1,045565 110566 799567 338568 184569 184570 246

Lot# Aggregate

572 2,460573 492574 338578 861579 2,091581 738584 246587 184589 215590 307591 153592 1,107593 98594 98595 584596 123597 553598 492599 338600 73602 184603 984604 73612 110613 307614 123615 522616 55618 307621 61622 61624 553625 98627 861629 492630 430631 98635 49638 184639 73642 61643 55644 676645 522

Lot# Aggregate

646 123647 215649 36650 36651 123652 307653 215655 799657 153658 492660 55661 43662 123663 430664 215665 246666 276668 36670 1,353671 215672 2,214677 307678 984680 1,722686 123688 338692 246693 246695 338696 215698 246699 1,107702 153703 184704 246705 153706 215707 246708 276710 338712 184713 184714 338715 86

Lot# Aggregate

716 2,337717 246719 123723 307724 49726 276727 73728 492730 153731 215732 369733 738734 98735 338736 276737 553738 1,107739 1,045740 276741 184742 553743 153749 110752 307753 246754 110755 307756 98757 153758 49759 922762 799764 98765 215766 123769 110772 215774 276775 799776 73778 184779 615780 153782 1,107

Lot# Aggregate

783 399785 461786 1,722788 738791 369792 984794 1,722796 86797 184798 153799 430800 584801 1,722802 246807 246808 153810 36811 24812 246814 4,182817 2,091819 5,904820 2,952825 3,075830 3,690840 73841 215842 61843 246844 338845 2,706846 276847 73848 98849 184853 399854 338859 61860 153863 1,230864 922867 153868 36869 98

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Page No. 3New Orleans AuctionPrices Realized for

Sale A105 September 25, 2010 September Estates Auction Lot No. begins not with "P"

09/29/2010 15:02:50

Lot# Aggregate

871 276872 492873 43874 110877 61879 73881 123884 553885 492886 246892 110895 307896 399897 246899 676900 184902 246903 369904 307905 1,230906 215907 215908 553910 276911 153912 246913 73914 399915 3,198916 246917 73919 61920 307923 184925 61926 276927 276928 49929 30932 30934 276935 338936 86937 98

Lot# Aggregate

938 184939 861941 338942 61943 984944 461945 492948 110949 153950 153952 246955 246957 307964 307965 110966 246967 1,230968 4,920971 123974 584975 1,107976 4,182980 461982 246984 399985 36986 861989 369990 184991 369992 1,168993 153998 5221000 7381001 8611004 4611005 2461006 3691009 1531013 3071015 1841016 181019 861023 86

Lot# Aggregate

1024 5221025 1101029 491030 9221032 981034 1531037 1,1681038 3,4441041 1,1681043 11,9921044 1,8451045 9221046 731049 1531050 1101051 1531052 1231053 7991055 1841056 1841057 2151059 981060 2461061 2151062 1841063 2151064 2461065 2461066 2151068 1841069 301070 2461071 2461072 2151073 4921075 1841076 2151077 2461078 2,7061080 1101081 1231082 3381083 3381084 246

Lot# Aggregate

1085 491086 2761088 1531089 3691090 1101091 3381092 1,7221093 431094 1531095 981101 1,7221102 2,7061103 5221104 5221105 2151106 6761107 491108 731109 241110 1231112 3071114 4611115 3691116 5531120 4921121 2461123 5221127 2461128 2461129 8611130 1231131 1531134 5841135 5841137 1841138 2,7061139 7381140 1841141 611143 5841145 491147 2461149 9221153 1,107

Lot# Aggregate

1154 3381156 4,1821158 1231159 1531161 731162 4611164 3381165 4611168 1531170 1,1681171 5221172 1531173 9841174 2761175 1841176 2461180 2151183 491184 431185 2761191 1531197 1101198 611200 611203 3071205 7991207 3991208 1531214 1841215 1531225 981226 3991230 731231 1231234 361236 861237 8611241 1,2301242 6151244 1531246 3,6901248 1531249 861250 3,936

Lot# Aggregate

1252 1531256 3691261 6151262 551263 1721267 1,7221268 431269 2,7061270 861271 2761272 361274 3991275 731277 301278 2761279 4921280 3381282 6151283 1841285 301287 301289 1841290 3691291 981297 2151298 2151299 981301 2151302 6151303 5531304 3991308 3691309 1841316 1,7221317 981318 5841319 1231320 1231321 1231325 611326 3071327 1841329 241330 430

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Page No. 4New Orleans AuctionPrices Realized for

Sale A105 September 25, 2010 September Estates Auction Lot No. begins not with "P"

09/29/2010 15:02:51

Lot# Aggregate

1332 7991333 1841334 491337 1231339 861342 731343 1841344 731345 861348 3381349 3991351 1231352 861353 4301354 611357 2151358 2151359 5531360 611361 2461363 4611364 2,0911365 3691366 5221372 861373 2461374 1531376 491377 611379 1,4761380 1231382 7991383 1531384 1841385 731388 1531389 4301393 731395 1531396 981397 2151398 611401 2461402 110

Lot# Aggregate

1403 3691407 981410 1231412 3071413 981414 1,1071416 1841417 6761418 2151419 981422 861423 2461424 1531426 551428 981429 2151430 1,1681431 1841435 6761436 1531437 981438 2461440 2461441 611442 5841444 2761444A 4921448 491451 1231452 1231456 1231457 361459 1231460 2461461 241462 731463 2461466 611467 1841468 1231469 3381470 981471 2761472 153

Lot# Aggregate

1473 981480 8611483 1231487 8611488 7991488A 861491 6151496 6151499 861

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JJEEAANN VVIIDDOOSS

President

TTEESSSSAA SSTTEEIINNKKAAMMPP

Executive Vice President

GGRREEGG SS.. KKOOWWLLEESS

Director of Consignments / American Furniture

JJEELLEENNAA JJAAMMEESS

Fine Arts Consignments

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Office Manager

KKAARRLLAA PPEELLAARRDDEE

Administrative Assistant

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Marketing Director

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Auctioneer

NNAATTAALLIIEE HH.. GGIIBBSSOONN,, CC..EE..SS..Certified Estates Specialist

Administrator of Online Auctions

JJOOHHNN WW.. KKEEEEFFEE // 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